Dr. Wife and I had some errands to run last week, and while she was tending to a few things I jotted down today’s piece. I will sometimes keep little bits of staff paper open in my music journals for short musical sketches, and I had three glorious staves waiting for an opportune moment to do some hasty composing.
The result is this set of three chorales. I posted polls on Substack and Telegram asking for feedback about the instrumentation, but results were limited. I initially arranged it for a string trio—violin, viola, and cello—but changed to a woodwind trio of flute, oboe, and bassoon. I think that captured the sound I wanted better.
I imported the WAV from Noteflight into Audacity and applied a “Small Bright Room” reverb effect; an “Wide Synth Pad” chorus effect; and a “Tape” master effect. I then took the audio and pictures of the score and track artwork and imported them all into iMovie. From there, I imported the resulting video into YouTube Create, where I added my favorite filter, “Vaporwave,” and added one bit of text that reads “<–“(C# Locrian)” to indicate that the “A major” section in the handwritten score is, actually, in that highly unusual key signature.
Yours portly has been noodling away on his alto saxophone and putting together some experimental recordings, which I’ll eventually compile and release as Säx II: Noodling. These aren’t great masterworks, but I’ve enjoyed putting them together, especially taking a more DIY and improvisational approach to composing and creating music.
Of course, in case you missed it a few Sundays back, here’s what I’m referencing in the the title for today’s post:
With that silliness out of the way, here’s three posts about recent sax recordings:
“New Music Tuesday XIV: ‘Sumatran Snake Charmer’” – I really love this piece; it’s my favorite of the three I’ve done so far. The scuttling of Nugget’s feet and the chirping of birds bleeding into the drum part really lends it that mystical, Far Eastern quality (along with the slithery sax part).
“New Music Tuesday XVI: ‘Old Boy’” – Such a weird piece (and accompanying video); I really love how strange this one is, and it’s based off a “vocal stim” I sometimes chant/mutter/recite around the house, ha!
Like last week’s piece, I’ve got another experiment in multitrack recording recording using Audacity and my Logitech Blue Yeti USB microphone (that’s an Amazon Affiliate link; I receive a portion of any purchases made through that link at no additional cost to you). My workflow was a bit different. I did start with a Voice Memo recording while driving to play at a Sunday morning camp service for the local Presbyterian Church (the summer is always a good time to be a sellsword hedge pianist), and I used that as the template for building today’s piece.
I tend to walk around the house singing and/or chanting weird little phrases or songs I make up. Dr. Wife calls these my “vocal stims“; she claims (correctly) that I do them the most right before bed, as I get the “zoomies” before crashing out for the night. One I do frequently is saying, “Old Boy” in a slight British accent in a very low register.
To illustrate, here’s the track I recorded on the way to play that morning (converted to a lossless WAV):
I used that track as the base for recording other parts. I used the count-in to assure that I came in with the vocal harmonies correctly. I did a major third, a fifth, and a major seventh, then re-recorded the root note so I could ditch the above track, as I didn’t want the road noise in the mix. I also re-recorded the beatboxing as part of the root track.
To keep effects consistent, I mixed the four fresh vocal tracks down to a single track, and applied a 1980s chorus effect, as well as a “large room” reverb preset and some kind of mastering preset. The only downside was that, for some reason, my mic did not pick up the new beatboxing well at all, even though I was “performing” directly into the microphone, with my generous, pouty lips touching the mic’s grill. Maybe I screwed something up when I was playing with noise reduction, which I tried initially to avoid re-recording the (admittedly) short base/bass/beatboxing track.
Next came the saxophone parts. I wasn’t sure what key I was in, I just knew it was major. It turned out to be something approximating B major, with the vocal parts forming a Bmaj7 chord (B, D#, F#, and A#). That works out to an Ab major on the alto sax, but due to some intonation (and possibly the slight tonal ambiguity introduced by the major seventh A#), it didn’t sound quite right until I started recording. It felt like I brute-forced the song back into major—the vocal parts were taking a minor flavor—with the punchy, vibrant saxophone part. Regardless, I riffed out parts that, to me, sounded like a celebration, which really changes the entire mood of the piece (although it probably does capture something of the chaotic joy of vocal stimulation).
I was recording the sax part yesterday morning in the waning minutes before I had to head out for an afternoon of tasks. That said, I managed to squeeze in four quick sax parts, with the result being today’s track, “Old Boy”:
Like last week’s piece, I’ve got another experiment in multitrack recording recording using Audacity and my Logitech Blue Yeti USB microphone (that’s an Amazon Affiliate link; I receive a portion of any purchases made through that link at no additional cost to you). I followed a similar workflow, this time using the Voice Memo app on my iPhone to record a percussion part on one of Dr. Wife’s mixing bowls. The blow in question is made from some kind of lightweight metal and has a rubber bottom, so it made for a pretty good drums.
The four sax parts are a bit chaotic. My timing does not always align perfectly, but there is a driving sense of forward motion in the piece. The melody is built on an improvised F major (concert Ab major) arpeggio, then I had a great deal of fun bleeding in different harmonies that sometimes work beautifully, and other times add strange (but, I think, still pleasing) colors, like major seconds and such.
I’ve got something very different for readers/listeners this Tuesday. I’ve been experimenting with multitrack recording using Audacity and my Logitech Blue Yeti USB microphone (that’s an Amazon Affiliate link; I receive a portion of any purchases made through that link at no additional cost to you)—the most rudimentary setup since my early days dangling a computer microphone from an ancient 486 33Mhz computer running Windows 3.11 for Workgroups in front of my older brother’s ancient Crate amplifier (shew—talk about a long sentence).
I’ve done lo-fi recording before, and this setup is actually pretty clean. The Lo-Fi Hymnal and The Lo-Fi Hymnal II were both recorded entirely using the Voice Memo app on my old second-generation Apple iPhone SE. Well, the “drum” part for this piece was recorded using the Voice Memo app on my new third-generation Apple iPhone SE!
I put “drum” in scare quotes because the “drum” in question is actually a piece of yellow, metallic patio furniture that Dr. Wife brought down from her old house:
Photo Credit: Dr. Wife; Yellow Metallic Cylinder Thing Credit: Dr. Wife
While I was carrying that cylindrical “table” (or whatever it’s supposed to be) outside, I whipped out my phone and recorded a quick little drumbeat (the pitter-patter of feet at the very beginning is Dr. Wife’s three-legged dog, Nugget, shuffling along the floor behind me):
My plan was to use that little beat for something at some point. I had a chance Saturday morning, and imported the file into Audacity. Well, I tried to import it into Audacity, but the Voice Memo records in the obscure M4A format, which isn’t supported in Audacity without jumping through a bunch of software hoops that I’ll figure out eventually but didn’t want to mess with while the creative juices were flowing. Instead, I used an online audio converter (the same one I use to get the WAVs that I export from Noteflight upconverted to the proper bitrate for digital distribution).
With a proper WAV file, Audacity took the track. I then copied it and replicated it over the course of about forty-five seconds, after which I grabbed my alto saxophone and started layering in tracks:
I started with a “root” alto sax part that essentially consisted of the root of a A minor (concert C minor) chord, along with some other little bits of noodling. The “harmony” alto added in the minor third, with the lead alto coming last. For “OCD” reasons, I added a fourth alto sax part to the tail end of the “Yellow Metallic Gong” percussion track to add a bit more color into the last chord, an Asus2 (concert Csus2).
The end result is this slithering, mysterious, slightly messy piece, “Sumatran Snake Charmer“:
I’m working on a new album, PRISM, which will release (God Willing) on Friday, 7 February 2025. The title track from the album is the lengthiest piece I’ve ever composed, clocking in at around 20:23. There is, admittedly, a great deal of repetition within that runtime, as the themes repeat frequently—almost hypnotically, which is part of the point.
“PRISM” is a lengthy exploration of musical themes that double back on one another in a hypnotic folding of sound. New ideas are gradually introduced and woven into this colorful tapestry of sound.
“PRISM” contains flute, bass clarinet, violin, cello, double bass, and two-hand organ parts.
The piece will post on YouTube on Friday, 7 February 2025 at 6 PM; you can view click on the video below and ask YouTube to send you a notification when the premiere begins:
I’m working on a new instrumental album, PRISM. It’s color-themed, very much like last year’s Four Mages. I enjoy composing with different colored pens, and Dr. Girlfriend gave me some awesome V5 Precision pens that are great for composing by hand.
This week I’m featuring the second piece I’ve written for the album, “Green Space”:
Pickup my newest release: Leftovers III! Use promo code ziggurat to take an additional 20% off all purchases on Bandcamp! Code expires at 11:59 PM UTC on Tuesday, 31 December 2024.
Hard to believe that it’s the last day of 2024! Instead of a retrospective, though, I’m looking ahead to a new album, one that I’ll release at some point in 2025.
To celebrate the new year, I’m featuring the first track from that planned album, “Blue Field”:
Pickup my newest release: Leftovers III! Use promo code ziggurat to take an additional 20% off all purchases on Bandcamp! Code expires at 11:59 PM UTC on Tuesday, 31 December 2024.
I’ve just released my tenth album of the year, Leftovers III. It’s really an EP, as it just contains five tracks, but it also contains the longest piece I’ve ever composed, “Hanging Gardens.”
This week I’m featuring the third track from the album, “Rainy Wednesday Morning Waltz“; it’s looking like tomorrow (Christmas!) is going to be pretty rainy, so it seemed apt:
Pickup my newest release: Leftovers III! Use promo code ziggurat to take an additional 20% off all purchases on Bandcamp! Code expires at 11:59 PM UTC on Tuesday, 31 December 2024.
I’ve just released my tenth album of the year, Leftovers III. It’s really an EP, as it just contains five tracks, but it also contains the longest piece I’ve ever composed, “Hanging Gardens.”
This week I’m featuring the sixth and final track from the album, “Funny Phantom“:
