tag:blogger.com,1999:blog-15236606333950502992024-03-05T15:48:45.894+00:00Tenor Madness | All things Tenor Saxophone and more...Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-1523660633395050299.post-63646311846749725872016-03-06T00:35:00.000+00:002016-03-06T00:35:14.277+00:00Some Not All for Three CellosI haven't had the chance to write about this piece yet... what follows are some thoughts on my first ever graphic score!<br /><br /><div>
As my compositional research in to interpretation through notation at Brunel University develops I have been looking at various forms of "graphic" notation... from Earle Brown's Folio experiments through to the myriad of shapes and colours from the Notations 21 (Theresa Sauer) collection.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPbj9nGEYabyNyEyZfnlPyum_vwvYboGg8Lz9IWt0x57-WkMOF-Q2pe6I6-lN885Jpo-XAMiEfclo4vpb39xCv4jZAdQD6I9HrySiOHvubnApEY3gnOEZNd8moWUBTGsPCy-7xeVxpwMf0/s1600/Some+Not+All.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPbj9nGEYabyNyEyZfnlPyum_vwvYboGg8Lz9IWt0x57-WkMOF-Q2pe6I6-lN885Jpo-XAMiEfclo4vpb39xCv4jZAdQD6I9HrySiOHvubnApEY3gnOEZNd8moWUBTGsPCy-7xeVxpwMf0/s400/Some+Not+All.jpg" width="281" /></a></div>
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The nature of graphic scores which are for the most part void of traditional notations or references for the players requires the performer to decode the symbols they are presented with resulting in improvisation. I always find it intriguing that the word "improvisation" is often never mentioned when it comes to the practice of performing graphic scores... perhaps it is so not to scare people away?!</div>
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I tried to forget everything I'd seen from these examples when it came to creating my own score and with so many options open when it comes to shapes, colours and form it is hard to know where to start!</div>
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With that in mind I wanted some kind of uniformed presentation and practice to the score to help the performers navigate their way through it which also imparts structure, something that isn't always too clear. </div>
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I found there was something rather cathartic and yet very pressured in creating the score... being able to experiment so freely is invigorating and distilling ideas down to their core was enjoyable. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyLkX9NIoYFW_m2xE8xEl_8A1D11TQaqGWsy11hGhCQKhG8C9tUPpIGuVNW89lOjEHgydIKtawT1yF6A4hdWWgMoWcBVIzJ8m_i0tXTPMthEryxZ1by9oKiP9YiSde8ZvTuQTwXmSSMPC/s1600/61xcXjX4ovL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyLkX9NIoYFW_m2xE8xEl_8A1D11TQaqGWsy11hGhCQKhG8C9tUPpIGuVNW89lOjEHgydIKtawT1yF6A4hdWWgMoWcBVIzJ8m_i0tXTPMthEryxZ1by9oKiP9YiSde8ZvTuQTwXmSSMPC/s200/61xcXjX4ovL.jpg" width="200" /></a></div>
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Drawing my final score on the other hand was very stressful... who knew! I ended up practicing each part before drawing it bit by bit on to the master score.</div>
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I used my especially bought Noligraph pen for the staves. The pen itself is not as refined as I first expected with it being biro instead of ink, however I very quickly realised that this was an advantage as it allowed for variation and depth when it came to shading.<br /><br /><a href="http://trevocicelloensemble.com/">Tre Voci</a> who are made up of Torun Stavseng, Gregor Riddell and Colin Alexander were brilliant in decoding and performing the score. Here is the corresponding performance note for the score followed by two recorded realisations. Enjoy!<div>
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<b>SOME NOT ALL</b> for Three Cellos (2015)</div>
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<span style="-webkit-text-stroke-width: initial; font-size: 9.5px;">Graphic Score:</span></div>
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Each player should start from one of the numbered circles 1,2 or 3 on the page and move independently towards the tutti centre of the score.</div>
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Each circle represents a musical event and are joined together by transitions forming a path for each player. It is up to each player how they interpret the graphic in and around the circle. Colour could represent timbre… </div>
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The shape of the circle implies and encourages repeats of each event before moving on to the next. Their differing size could determine tempo, number of repeats or both.</div>
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Some circles and transitions are more complex then others… all are open to the personal interpretation of the player.</div>
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The tutti section at the centre should be cued by player 1. Players 2 and 3 should repeat the single joined bar at the end of their path independently from each other until the tutti cue from player 1. </div>
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Remember to take your time and not rush through your path.</div>
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/174645913&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe></div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-53751078814475904012015-12-14T00:06:00.000+00:002015-12-15T12:55:36.022+00:00Flea Circus for oboe, violin, tenor sax and double bassAt the start of July I was lucky enough to spend a whole week in the picturesque town of Cheltenham as a young composer on the music festivals Composer Academy 2015!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBkkHoR5gPYpuswV9AB3wdrOogg4KAaiNTqXlNX2yUXC8VH9vnESsG8Cy8eLkc6uhK9nmZCWheZghY7o-mCBXCZu2hTl27l5gMG6hhwj8wh7WdEbrgM-PHCalnG-Vl6ghkZAhwiyCN2d0/s1600/11227510_10155836731275038_7095009441976002439_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBkkHoR5gPYpuswV9AB3wdrOogg4KAaiNTqXlNX2yUXC8VH9vnESsG8Cy8eLkc6uhK9nmZCWheZghY7o-mCBXCZu2hTl27l5gMG6hhwj8wh7WdEbrgM-PHCalnG-Vl6ghkZAhwiyCN2d0/s400/11227510_10155836731275038_7095009441976002439_n.jpg" width="400" /></a>I got to work with Trish Clowes' Emulsion Quartet a brilliant group made up of members from her <a href="http://emulsionmusic.org/">Emulsion Sinfonietta</a>! </div>
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At the start of the writing process I was very much aware of the rather unusual instrumentation and therefore decided to embrace this and devise a character piece.<br />
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I also took into consideration the rehearsal time the composers would have with the quartet and decided that I would write a piece with a larger composed element to improvisation ratio.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1w1lX1caoLajs0XnhiFI58WuEvb1bzQXYaB2HVYV3ZK7MeDxxCLkROlKKwPWR8GL0FAz3spZ8Gi5TGds_kmJSx_BVUX7EQ6qFR1LN9cRe724nKEDinwm_IccSODMq_04AB4rQI6xAiYHk/s1600/IMG_2698.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1w1lX1caoLajs0XnhiFI58WuEvb1bzQXYaB2HVYV3ZK7MeDxxCLkROlKKwPWR8GL0FAz3spZ8Gi5TGds_kmJSx_BVUX7EQ6qFR1LN9cRe724nKEDinwm_IccSODMq_04AB4rQI6xAiYHk/s200/IMG_2698.jpg" width="150" /></a>This ensured rehearsals were productive and relaxed enabling the group to explore, develop and understand the piece in fine detail and to really let go on the open sections.</div>
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Another reason for having a larger composed / fixed element was to support and encourage the players interpretation of open notation systems and their improvising by having clear points of reference to work and depart from.<br />
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Many thanks to Joe Sanders (oboe), Donald Grant (violin), Trish Clowes (tenor saxophone) and Calum Gourlay (double bass) for all their hard work and good company over the week.</div>
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So without further ado... </div>
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<span style="text-align: center;">"Roll up, roll up, roll up! Ladies and gentlemen, boys and girls... let my rag tag troupe of performers entertain you!”</span><br />
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This piece is inspired by the street and cabaret music of 1890s Paris. A thread is carried across line and rhythm often playing with the physicality and theatre of sound.<br />
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<iframe frameborder="no" height="350" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/213691456&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe></div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-7943846500394690512015-06-24T23:23:00.002+01:002015-06-24T23:28:02.030+01:00Tenor Saxophone Collective debut at SaxOpen<br />
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I am delighted to announce this exciting <a href="http://tenorsaxindex.info/">Tenor Saxophone Index</a> event happening at <a href="http://webtv.saxopen.com/">SaxOpen</a>!</div>
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The TSi will be debuting its new ensemble "The Tenor Saxophone Collective" at a featured SaxOpen Festival evening event on Sunday 12th July at 6pm!<br />
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Consisting of twelve established tenor saxophonists from accross the world the ensemble will present 8 world premieres music written especially for this excting event!<br />
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Music by Christoph Enzel, Jenni Watson, Peter Leung, Andy Scott, Matt London and Matt Styles.<br />
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The TSi is delighted to include two new works in this programme from celebrated british composers Simon Holt and Colin Riley!<br />
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With our mission statement to champion original music for tenor saxophone the inclusion of these two composers is a real triumph for the instrument adding important new works to the repertoire.<br />
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<b>Concert & booking details available via the SaxOpen website: <a href="http://webtv.saxopen.com/event/the-strasbourg-project/">http://webtv.saxopen.com/event/the-strasbourg-project/</a></b><br />
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The members in alphabetical order are:<br />
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Andy Scott [UK]<br />
Arno Bornkamp [Netherlands]<br />
Christoph Enzel [Germany]<br />
Erik-Jan de With [Netherlands]<br />
Erin Royer [Australia]<br />
Gillian Blair [UK]<br />
Henrique Portovedo [Portugal]<br />
Jenni Watson [UK]<br />
Matt London [UK]<br />
Nathan Henshaw [Australia]<br />
Niels Bilj [Netherlands]<br />
Peter Leung [Australia]<br />
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<b>Simon Holt</b></div>
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<span style="text-align: center;">Shortly after graduating from the Royal Northern College of Music, Simon Holt was firmly established on the new music circuit with a series of commissions and fruitful collaborations with the London Sinfonietta and the Nash Ensemble. Influenced by Messiaen, Xenakis and Feldman as well as visual artists such as Goya, Giacometti and Brancusi, his music is complex, dramatic and often enigmatic. The intricate internal structures of his works are concealed by a seemingly impulsive nature. During the 1980s he worked primarily in complex soundworlds, while since the 1990s the dense textures have often been offset by Feldmanesque moments of calm, that Holt refers to as ‘still centres’.</span><br />
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Holt was Composer in Association at the BBC National Orchestra of Wales 2008 - 2014 and during that time wrote a number of successful orchestral works including St Vitus in the Kettle, Centauromachy, The Yellow Wallpaper and Morpheus Wakes.<br />
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He is Professor of Composition at the Royal College of Music. His music is published exclusively by Chester Music Limited.</div>
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"<b><i>His mastery of tone-colour and instrumental resource is clearly relished by all the performers."</i></b> - Gramophone</div>
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<b><span style="font-size: x-small;"><a href="http://www.musicsalesclassical.com/composer/long-bio/Simon-Holt">Simon Holt | Chester Music</a></span></b></div>
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<b>Colin Riley</b></div>
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Riley's work draws on elements of improvisation, new technologies, song-writing and large-scale classical form. His work is impossible to categorize, embodying a genuine integration of stylistic approaches. As an established, but ever-questioning figure within the contemporary music scene over the last 20 years he has cut an independent path through many layers of trends and styles. His music is played by a wide range of performers and ensembles and he also regularly creates work for his own two groups, the Homemade Orchestra and MooV, where he is composer and performer/director. His work embraces the tension of complex and simple approaches, as well as those between the avant-garde and popular music. He is also a committed advocate of the emerging and up and coming in the new music scene. As well as being Senior Lecturer at Brunel University London, Colin has been a mentor for the Making Music’s Adopt A Composer Scheme for the last eight years, director of the network for creative musicians, Music Orbit, and co-Artistic Director of the iF Festival.</div>
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<b><i>"Colin Riley has for some years been a composer who seems to be able to create moments of magic."</i></b> - Classical Music Magazine</div>
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<a href="http://www.colinriley.co.uk/"><b><span style="font-size: x-small;">www.colinriley.co.uk</span></b></a></div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com1tag:blogger.com,1999:blog-1523660633395050299.post-60064855435623478542015-05-27T20:28:00.001+01:002015-05-27T20:39:07.917+01:00Northern Call for Small Ensemble <div class="separator" style="clear: both; text-align: center;">
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The brilliant <a href="http://www.distractfold.co.uk/">Distractfold</a> recently visited us at Brunel University and played my latest compositional offering!<br />
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Distractfold is a young and exciting ensemble that is establishing themselves as a strong, fresh, and daring voice in the UK music community.</div>
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<b>Northern Call </b>for bass clarinet, violin, viola, cello and improvising percussionist</div>
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<iframe frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/205201537&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>
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A keening for a place afar and in the past.<br />
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Using my purposeful and spacial style of notation the piece is anchored in a single blurred key as a simple thread of line gradually unwinds and opens out, always over this key building more and more tension before the release at the end away from that key.
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Rocío Bolaños - Bass Clarinet</div>
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Linda Jankowska - Violin<br />
Emma Richards - Viola<br />
Alice Purton - Cello<br />
Rodrigo Constanzo - Percussion</div>
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Many many thanks to Distractfold for the great performance!<br />
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[Brunel University London 06.05.2015]</div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-10138483723504699202015-05-16T13:12:00.001+01:002015-05-16T13:13:55.458+01:00Selection for Cheltenham Composer Academy 2015!<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9RJDjoHXY62gsbkAHwLOo2hkshySgBAB7fU4xKR7dK9L7PTDjVGPFtfVqK1TKKDjG-A36-x7b1CJWP9U3aQtREMGERca2K5Trx9o3nfz-wVPGU37iWtTJpjx6LTw76ZcQCOD8kjeVTdgr/s1600/cheltenham-festivals-thumb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9RJDjoHXY62gsbkAHwLOo2hkshySgBAB7fU4xKR7dK9L7PTDjVGPFtfVqK1TKKDjG-A36-x7b1CJWP9U3aQtREMGERca2K5Trx9o3nfz-wVPGU37iWtTJpjx6LTw76ZcQCOD8kjeVTdgr/s1600/cheltenham-festivals-thumb.jpg" /></a></div>
I am very excited to have been selected for this years Cheltenham Music Festivals Composer Academy 2015!<br />
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The third edition of Cheltenham Composer Academy invites 12 successful applicants to have their work developed and publicly performed by one of the lead ensembles over the course of the week.<br />
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As a selected participant I will have the opportunity to work on a short piece for four players from Emulsion Sinfonietta which will be workshopped, performed and recorded, plus attend a range of exciting concerts happening at the festival.<br />
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<a href="http://www.cheltenhamfestivals.com/music/whats-on/2015/composer-academy-showcase-2/"><b>COMPOSER ACADEMY SHOWCASE 2</b></a></div>
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<b>MON 6 JUL 2015 6:00PM - 7:00PM</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5UQf-qvSqwRxDFVUmSim4NBbSgkhfsDWwtKYJK0Sej0Mg_jNR3FsAEwRsQutVUXUBgp2A2XjQJMB-rZS_GEl95ZcZexvWuFWv_lF6ZaZxQZdSNDM9dayeVos-p_7lGWToOYYzDvah2kN/s1600/6989.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5UQf-qvSqwRxDFVUmSim4NBbSgkhfsDWwtKYJK0Sej0Mg_jNR3FsAEwRsQutVUXUBgp2A2XjQJMB-rZS_GEl95ZcZexvWuFWv_lF6ZaZxQZdSNDM9dayeVos-p_7lGWToOYYzDvah2kN/s320/6989.png" width="320" /></a></div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-60183821384923427382015-04-30T23:16:00.000+01:002015-04-30T23:20:02.128+01:00Article published in Saxophone Life Magazine <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJaI7h1VUKKHIN19BnW6XUZnD_7GDMFKAOZSPveSrKpnOCmQ61kDhZ_KID-I94xQVhex-RHxLpoPHj7eLH-ZnGMLzh2n0Pz4uwrRAmoQcRLUFqLB-sXTat0kEAvTOAJL8ilyG555xQKf5/s1600/sl-cover-may-a4-thumb-saxophone-life-magazine.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJaI7h1VUKKHIN19BnW6XUZnD_7GDMFKAOZSPveSrKpnOCmQ61kDhZ_KID-I94xQVhex-RHxLpoPHj7eLH-ZnGMLzh2n0Pz4uwrRAmoQcRLUFqLB-sXTat0kEAvTOAJL8ilyG555xQKf5/s1600/sl-cover-may-a4-thumb-saxophone-life-magazine.jpg" /></a></div>
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I was recently approached to write an article for <b><a href="http://www.saxophonelife.com/">Saxophone Life</a></b> a rather good new digital saxophone magazine!<br />
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Wanting to include some more classical focused articles in Saxophone Life, Nigel McGill the founder asked if I could write a piece about a seminal classical saxophone figure.<br />
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After some thought I decided to write a profile piece about the great Fred Hemke!<br />
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The article was published in this months issue (May), and is my first ever "published" piece of writing!</div>
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It's great to see saxophone based publications like <a href="http://www.saxophonelife.com/index.html"><b>Saxophone Life</b></a> and <a href="http://www.saxophonetoday.com/"><b>Saxophone Today</b></a> founded and edited by David J. Gibson both digitally based making a come back after the end of Saxophone Journal. </div>
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Check these publications out!</div>
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<span style="font-family: Courier New, Courier, monospace;">Saxophone Life brings you the best celebrity player interviews, reviews and insider saxophone tips each month in a fun and easy format.</span></div>
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Monthly subscription gives you access to this month AND all previous issues for just $3.99 per month (£2.49) <a href="http://www.saxophonelife.com/">http://www.saxophonelife.com</a></span></div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-26372585383528500882015-03-28T16:53:00.001+00:002015-03-28T16:53:22.275+00:00FaN for Violin, Horn & Cassette Tape<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvo8Jb9mhizLXfLianZ_UfuJUJ5rMkqrWdfZAejdrp8XyxlF-NQp1DO01DM5681wKkwes35pWDC_3ndDaDVU5jTsG9pZ3uXm49ZcFh9Ng0zKWhTDcJBVjbwLA4PLIjuPeOW1kWDrV-Himl/s1600/11050156_863133617093019_1315233841965247349_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvo8Jb9mhizLXfLianZ_UfuJUJ5rMkqrWdfZAejdrp8XyxlF-NQp1DO01DM5681wKkwes35pWDC_3ndDaDVU5jTsG9pZ3uXm49ZcFh9Ng0zKWhTDcJBVjbwLA4PLIjuPeOW1kWDrV-Himl/s1600/11050156_863133617093019_1315233841965247349_n.jpg" height="200" width="150" /></a></div>
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FaN | Fanfare about Nothing - Is my latest offering of composed music! Here I have chosen to explore the energy and physicality of sound in my writing.</div>
<br />Once again I have used my open style of notation which I have been developing in an attempt to allow for personal interpretation by the players. It is my belief that when performers are required to invest in the realisation of the music they play, results in vivid, stimulating and personal performances for both practitioner and listener. Everyone is included!<br /><br />So without further adieu here is the brilliant Jetpack Bellerive: Noëlle-Anne Darbellay [violin] and Samuel Stoll [horn] and my vintage Ferguson cassette recorder "Technology you can trust" !<br /><br /><br /><div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Uzb2lp0bfi8/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/Uzb2lp0bfi8?feature=player_embedded" width="320"></iframe></div>
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The audio you can hear on from the cassette recorder is a lecture from youtube dubbed "<i>If you don't like boring videos and/or boring lectures i reccomend not watching this</i>" it is all about PDFs! I used it because I really liked the dry mono tone delivery to offset and bubble under the music.<br />
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Jetpack Bellerive are great because they embrace the silly and humours side of life & art and are able to incorporate it in to programmes of "serious" music with ease.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPw3EIZDLYy8r2R_Okl1DpcJQoI_MXlFwewF5yK9TrChLSVbGQaWHLdjU_diklmwdENHhZZbNfZevnvWPNlYD-ppmnrxbySgIFeRruiz-Z5qXRkCRKlScaiT6ZMHiYGNKuG1rP0rycMmEO/s1600/202688-music-at-brunel-poster-a3_jetpack-only-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPw3EIZDLYy8r2R_Okl1DpcJQoI_MXlFwewF5yK9TrChLSVbGQaWHLdjU_diklmwdENHhZZbNfZevnvWPNlYD-ppmnrxbySgIFeRruiz-Z5qXRkCRKlScaiT6ZMHiYGNKuG1rP0rycMmEO/s1600/202688-music-at-brunel-poster-a3_jetpack-only-2.jpg" height="200" width="141" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicu0tRcQvuNNyBSmwo3KJ1PMYfoXheeY4WG6J_T3qbC9CXBsHFmhiupqJIjMxhmGc1Pk4J-XPg5p88I9_ouFgAxNR9iN3IhWWpJ1F34rkdr7JlrIlg5aJ7-tMcUtjkzclLbtiEpNrqXi-j/s1600/11028965_10206132535821979_6462800975369320752_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicu0tRcQvuNNyBSmwo3KJ1PMYfoXheeY4WG6J_T3qbC9CXBsHFmhiupqJIjMxhmGc1Pk4J-XPg5p88I9_ouFgAxNR9iN3IhWWpJ1F34rkdr7JlrIlg5aJ7-tMcUtjkzclLbtiEpNrqXi-j/s1600/11028965_10206132535821979_6462800975369320752_n.jpg" height="154" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0tuplRMxayoJk_Wrg2VhfeFZWKadXoEcIiXOz_rRa4OuhrN0_0pZp5qaeRO4e8SborOyD907vvSPorlkxzOhijqgQxGrvYjBbppLS2C9tKEioDmjTMTj7ZYjTxrYTd_AO22iKc2F8S2J/s1600/11026040_863130590426655_1068736795646834127_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0tuplRMxayoJk_Wrg2VhfeFZWKadXoEcIiXOz_rRa4OuhrN0_0pZp5qaeRO4e8SborOyD907vvSPorlkxzOhijqgQxGrvYjBbppLS2C9tKEioDmjTMTj7ZYjTxrYTd_AO22iKc2F8S2J/s1600/11026040_863130590426655_1068736795646834127_n.jpg" height="149" width="200" /></a></div>
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/194835997&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe></div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-49800423488882397822015-03-08T15:58:00.002+00:002015-03-08T15:58:58.114+00:00MOT / check your saxophone accessories !<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCckrFiLWDFkJFUUiSEvZ4kWvtoVurmKTjUi_ZkwgtXnKyNRfrx-E-6cHZRHnkDSkn7wAfZAMtXeUL6Hi6bkzWy0EsMNYDGOd3nekNmd4QB6MKJ1RGbbvItrcCZB0YxW8_SdmUmS6oj1_D/s1600/1044_sax_strap_stell_soft_large.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCckrFiLWDFkJFUUiSEvZ4kWvtoVurmKTjUi_ZkwgtXnKyNRfrx-E-6cHZRHnkDSkn7wAfZAMtXeUL6Hi6bkzWy0EsMNYDGOd3nekNmd4QB6MKJ1RGbbvItrcCZB0YxW8_SdmUmS6oj1_D/s1600/1044_sax_strap_stell_soft_large.jpg" height="262" width="320" /></a></div>
Don't just get your saxophone serviced... remember to <u>check your saxophone accessories</u> as well!<br />
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They are just as important!<br />
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What takes the weight of your saxophone...?<br />
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The sling!<br />
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So remember to check the clamp (hook) is in good working order and that the crimps (knot type ends) of the strap are still tight and effective.<br />
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Also check your case straps! The same goes for your saxophone stand.<br />
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Don't get caught out like I did recently. The plastic hook on my sling just snapped... I caught the saxophone just, but it still took a light hit on the crook. That needs repairing plus some of the upper body of the sax needs a little work due to the impact energy that went through the instrument. Think I might get a sling with a metal closing hook... should give me a little warning instead of plastic which is brittle.<br />
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End of public warning. Be safe.<br />
Happy playing!Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-46336010531704472292015-02-25T14:10:00.000+00:002015-02-25T14:14:54.010+00:00Composers block<div class="separator" style="clear: both; text-align: center;">
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So I've had composers block for the past 3 weeks whilst trying to write a piece for French and Violin! I think this is down to this rather unusual combination which seem totally unrelated.<br />
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So far I have got a quarter of the way through at least three attempts all have gone into the bin never to see the light of day. Trying to find the core material and an identity for the piece has been for the main challenge.<br />
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I think I have finally settled on an idea and so it is now a race to finish it for the players who are due to workshop it in TWO weeks time! Ahhhhhhhhhh<br />
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<br />Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-74600182083541300322015-02-14T00:36:00.000+00:002015-02-14T00:47:28.519+00:00Shard for Bass Clarinet & Live Electronics <div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-PNr70D-SlIJYxZ3vAQ740CfQ8FKOM7tM2xpOuVv-pTYcnOS0PN2UdEqRrcSiBnpNFALb_8d_n3lK9AIW-nXNPyY6DqLnuqEFwos_CBQHoqm6sE7BbGrzeJYQFB-Xa6VjnxRuHsr49n2/s1600/CCMP-MVG-12-1495.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-PNr70D-SlIJYxZ3vAQ740CfQ8FKOM7tM2xpOuVv-pTYcnOS0PN2UdEqRrcSiBnpNFALb_8d_n3lK9AIW-nXNPyY6DqLnuqEFwos_CBQHoqm6sE7BbGrzeJYQFB-Xa6VjnxRuHsr49n2/s1600/CCMP-MVG-12-1495.jpg" width="179" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MVG</td></tr>
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So here is a recording of my latest work written for the brilliant bass clarinet virtuoso Marij van Gorkom [<a href="http://sonicspaces.eu/">sonicspaces.eu</a>]. Marij has an international reputation as a leading exponent of the instrument in creating new music for it combined with electronics. The research students at Brunel University were very lucky to have her visit us.</div>
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At first I was a little hesitant in writing a piece that included electronics. My experience with these type of pieces as a player is rather limited and the ones I have either heard or seen haven't really inspired me. They often seem loop based taking a simple idea / statement and then just layering related or new ideas on top. Often named along the lines of... "The butterfly effect".</div>
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For me these type of pieces often loose their musicality and nuance and have absolute fixed tempi taking away interpretive freedom and limits dynamic range.</div>
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This is not the way I work especially with my research based around the idea of spontaneity, improvisation and interpretative freedom. </div>
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<b>Shard</b> for Bass Clarinet & Live Electronics<br />
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This piece looks at sound as if it were light passing through glass constantly shifting and shimmering. Sometimes corse and sharp imagine a visceral energy like an electrical undercurrent passing through unseen before it breaks and shatters.<br />
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Many thanks to Marij for a great performance. I hope you enjoy it!<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/181644926&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>
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Here is a brief breakdown of the work if anyone is interested:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlt8V4HPVBO0AIL8tPg2usqM9sm20XE2NXkK7jY-CG_RmgqxiTa6yuzg8D5VYZTzRuc2e1JOaPRNagiaiQQXuzVytjiSRmn9A5xSY8lgVJ2LBZHbET42Fk85Q6dK1a-tdNzWwuhdmVEwD/s1600/15994458566_81541ddc2b_z.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlt8V4HPVBO0AIL8tPg2usqM9sm20XE2NXkK7jY-CG_RmgqxiTa6yuzg8D5VYZTzRuc2e1JOaPRNagiaiQQXuzVytjiSRmn9A5xSY8lgVJ2LBZHbET42Fk85Q6dK1a-tdNzWwuhdmVEwD/s1600/15994458566_81541ddc2b_z.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MAX MSP Patch designed by B. Fox</td></tr>
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The work is broken down into three sections; opening text page score followed two using purposeful spacial notation. </div>
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For the electronic side I decided to use Max MSP (a visual programming language for music and multimedia) programme as it could offer more flexibility and unique development instead of standard presets and traditional looping stations.</div>
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Having pretty much no experience with the programme I was able to enlist the help of a great Brunel Sonic Arts student Benjamin Fox who designed and built the patch. I described effects and states that interested me and Ben was able to create examples for me to listen to helping to inform the writing process. </div>
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The main varying effects include; random stereo panning, differing delay, reverb, ring modulation plus tone detection to trigger a sampled tone. Each section of the three has a different state / set of parameters within the patch relating to the differing treatment of sound and spirit of the composed music. </div>
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All of this is designed to allow the electronics to be flexible and not fixed down hopefully resulting in piece that sounds organic with the bass clarinet not tied down by the electronics. </div>
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With Marij being so brilliant and experienced with the process of working with composers allowed me to develop my ideas to which I am ever so grateful for. None of which would have been possible without Ben's help.</div>
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Shard also allowed me to produce my first ever text score! The recently(ish) published book <b>Word Events </b>by John Lely & James Saunders was extremely useful in creating my text score and feeling a bit like a music hippy!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPt5YGpHihko18xJ5ldtyNvzEGdSfSAGfYSp-AneXCc6XD6Dwd28Ose4ggSwDE2hp7V4KXN9HEqExk0hkX9gZk2qZOSWxZLnxhhr0QN8OtqQibNKVL7x7M0mRo-sJEKAOeheJ_n2eAtL5/s1600/1013643_10205353567948269_6996487657228339617_n.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk91v7iIs4osvplGikHPo24-BGF3noVNl_VwICJ-rzHsjYmdIc2s1_rAJmmqaLogZ52QVwz9X8t3FMleBDAlf1LufMMaKLj8anaD1PwRqGShqBHibof5r8D1XnGgrubMfhsw4kWjDe8ZFi/s1600/CCMP-MVG-12-1482.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPt5YGpHihko18xJ5ldtyNvzEGdSfSAGfYSp-AneXCc6XD6Dwd28Ose4ggSwDE2hp7V4KXN9HEqExk0hkX9gZk2qZOSWxZLnxhhr0QN8OtqQibNKVL7x7M0mRo-sJEKAOeheJ_n2eAtL5/s1600/1013643_10205353567948269_6996487657228339617_n.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyPt5YGpHihko18xJ5ldtyNvzEGdSfSAGfYSp-AneXCc6XD6Dwd28Ose4ggSwDE2hp7V4KXN9HEqExk0hkX9gZk2qZOSWxZLnxhhr0QN8OtqQibNKVL7x7M0mRo-sJEKAOeheJ_n2eAtL5/s1600/1013643_10205353567948269_6996487657228339617_n.jpg" width="200" /></a></div>
</div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-FsYfWxZLzymT8y9SAzpcjam_Tl2wcxFixjUN6bs9sGsScyW1TTBz9F88m7LGDJuVeS3EVTgUvYUQRrwxtLc1x_CwtMo5kds7mJXopRYYVwv1eltR5asoV6LBP2DsEIg00xqMLwJMjLu/s1600/16018039611_38a9b5225b_z.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-FsYfWxZLzymT8y9SAzpcjam_Tl2wcxFixjUN6bs9sGsScyW1TTBz9F88m7LGDJuVeS3EVTgUvYUQRrwxtLc1x_CwtMo5kds7mJXopRYYVwv1eltR5asoV6LBP2DsEIg00xqMLwJMjLu/s1600/16018039611_38a9b5225b_z.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ben, Marij & me talking about the piece at the CCMP performance.</td></tr>
</tbody></table>
<hr noshade="noshade" size="2" style="color: #525760; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Verdana, Jamrul, sans-serif; font-size: 12px; line-height: 18px;" />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCVB-1kMGu5GaM7niieDKGh99hl2sidOrxwZsVR_283YcVd3tV8DOB9Ois8whzjxZIe5gXV_7kSXvwm3Zuukxn9__TkoxjTlxME32to2r7fBric5DPTo_MZj_UC8xA7vQlYe3zk8Oizw0x/s1600/Unknown.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCVB-1kMGu5GaM7niieDKGh99hl2sidOrxwZsVR_283YcVd3tV8DOB9Ois8whzjxZIe5gXV_7kSXvwm3Zuukxn9__TkoxjTlxME32to2r7fBric5DPTo_MZj_UC8xA7vQlYe3zk8Oizw0x/s1600/Unknown.jpeg" height="200" width="140" /></a></div>
<span style="color: #444444; font-family: Times, Times New Roman, serif; font-size: x-small;"><br /></span>
<span style="color: #444444; font-family: Times, Times New Roman, serif; font-size: x-small;">Word Events: Perspectives on Verbal Notation </span><span style="color: #444444; font-family: Times, 'Times New Roman', serif; font-size: x-small;">by John Lely and James Saunders</span></div>
<div>
<span style="color: #444444; font-family: Times, 'Times New Roman', serif; font-size: x-small;"><br /></span></div>
<div>
<span style="color: #444444; font-family: Times, 'Times New Roman', serif; font-size: x-small;">Verbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making. Works created with this type of notation are often referred to by their authors as event scores, prose scores, text scores or instruction scores.</span></div>
<div>
<span style="color: #444444; font-family: Times, Times New Roman, serif; font-size: x-small;"><br /></span></div>
<div>
<span style="color: #444444; font-family: Times, 'Times New Roman', serif; font-size: x-small;">Word Events features over 170 scores, many printed here for the first time, representing the works of more than 50 practitioners including George Brecht, John Cage, Cornelius Cardew, Pauline Oliveros, Yoko Ono, Michael Pisaro, Karlheinz Stockhausen, Jennifer Walshe and La Monte Young.</span></div>
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My first piece to encorparate live electronics will be workshopped and then performed [09.12.14] by the amazing bass clarinettist Marij van Gorkom [<a data-mce-href="http://sonicspaces.eu" href="http://sonicspaces.eu/" style="color: #0093da; outline: none; text-decoration: none;">Sonic Spaces</a>] at Brunel University London!<br />
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This is very much a new experience for me working with live electronics [MAX MSP]. Trying to envisage how the electronics will effect the end sound of the bass clarinet has been the key challenge for me to overcome!<br />
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The Brunel postgrad composers and I are very lucky to have Marij visit us for a few days to prepare & workshop for Tuesday's performance.</div>
<div class="center" data-mce-style="text-align: center;" style="background-color: white; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Verdana, Jamrul, sans-serif; font-size: 12px; line-height: 18px; text-align: center;">
<span data-mce-style="font-size: 16px;" style="font-size: 16px;"><strong>Shard</strong></span><br />
<span data-mce-style="font-size: 16px;" style="font-size: 16px;"><span data-mce-style="font-size: 12px;" style="font-size: 12px;"><em>" This piece looks at sound as if it where light passing through glass constantly shifting and shimmering. Sometimes corse and sharp imagine a visceral energy like an electrical undercurrent passing through unseen before it breaks and shatters. "</em></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKL_2K6cjauU328T_Gp3ljimG-MmUMBavwotSm_l0JeH1bstkAXUDm_Eb6ZipZsqsllthxmowp3Z5hyphenhyphend5iOl5RlR3UC4ozSju9ovAPZcIA6-dTKhehYWEN9p-9hhrH8-8LX2_GrWfgyrQX/s1600/MvG%20CCMP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKL_2K6cjauU328T_Gp3ljimG-MmUMBavwotSm_l0JeH1bstkAXUDm_Eb6ZipZsqsllthxmowp3Z5hyphenhyphend5iOl5RlR3UC4ozSju9ovAPZcIA6-dTKhehYWEN9p-9hhrH8-8LX2_GrWfgyrQX/s1600/MvG%20CCMP.jpg" height="640" width="451" /></a></div>
Open workshop</div>
<div class="center" data-mce-style="text-align: center;" style="background-color: white; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Verdana, Jamrul, sans-serif; font-size: 12px; line-height: 18px; text-align: center;">
Time: 14:00<br />
Place: Room GASK 033, Gaskell Building, Brunel University<br />
Free event - all welcome</div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-86659604575717147632014-10-18T00:24:00.000+01:002014-12-05T22:46:41.182+00:00Aphra for Mezzo-soprano and Piano<div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1sAIn_YGLVs2AGsHiy2Na4QlKddNdkT4HJox_FejI9g3g_5kMmDHOOgQxVYOQrg7FPsNaEZ2HXZyJjdtCUqzUVZi8E7NfWvUQcbWlKFLO1ZBSI6fnI_8NgLeBFQBRi1M8LqXgs1Yb5uWe/s1600/shell.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1sAIn_YGLVs2AGsHiy2Na4QlKddNdkT4HJox_FejI9g3g_5kMmDHOOgQxVYOQrg7FPsNaEZ2HXZyJjdtCUqzUVZi8E7NfWvUQcbWlKFLO1ZBSI6fnI_8NgLeBFQBRi1M8LqXgs1Yb5uWe/s1600/shell.png" height="200" width="199" /></a></div>
Here is a short song cycle based on poetry by Chrissy Williams written on the Britten-Pears Aldeburgh English Song Project 2014.</div>
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<div style="font-family: 'Baskerville SemiBold';">
<span style="font-family: Baskerville; letter-spacing: 0px;"><b>Aphra by Chrissy Williams</b></span></div>
<div style="font-family: 'Baskerville SemiBold'; font-size: 12px; min-height: 14px;">
<span style="font-family: Baskerville; letter-spacing: 0px;"><b></b></span><br /></div>
<div style="font-family: 'Baskerville SemiBold';">
<span style="font-family: Baskerville; letter-spacing: 0px;"><b>Aphra the Destroyer</b></span></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I am Aphra the Destroyer.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;"><i>Look! I’ve got your nose!</i></span></div>
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<span style="letter-spacing: 0px;">Scab-treasures, sock-demons, spider-trophies.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">Beware my flying mandarins of fire!</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I am hair-puller, bone-twiter, flesh-pulper.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I am here for your heart.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I am slave-namer, book-burner, hell-master, blood-spitter, pall-caster, gut-eater, death-sculptor.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">My halls are lined with bones.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">Bury me with my sword of foam.</span></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
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<span style="font-family: Baskerville; letter-spacing: 0px;"><b>Aphra Steals Light</b></span></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I will steal your light.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I will swallow your breath.</span></div>
<div style="font-family: Baskerville;">
<span style="letter-spacing: 0px;">I lie in our bed.</span></div>
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<span style="letter-spacing: 0px;">Look in my eyes, my darling, my darling.</span></div>
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<span style="letter-spacing: 0px;">There’s nothing there.</span></div>
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<span style="letter-spacing: 0px;"><br /></span></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
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<span style="font-family: Baskerville; letter-spacing: 0px;"><b>Aphra Realises</b></span></div>
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<span style="letter-spacing: 0px;"></span><br /></div>
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<span style="letter-spacing: 0px;">Do I show my real face?</span></div>
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<span style="letter-spacing: 0px;">Does anyone show their real face?</span></div>
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Performed by Olivia Warburton (Mezzo) and Johan Barnoin (Piano).<br />
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<iframe frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48790363&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe><br />
This cycle represents my first setting of contemporary poetry. The week prior to the residency I set some Blake which was my first ever time setting words, in-fact writing for voice! I hope to get a recording of the Blake setting sometime soon. </div>
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Being new to vocal writing I found my English Song Project participation exhilarating & challenging. </div>
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Whilst the score is notated traditionally I have included sections of spacial notation especially in the second and third movements for open interpretation. </div>
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It was great working with Olivia and Johan during the composers return visit to Aldeburgh and Snape ending in the showcase concert at club inégales.</div>
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I hope you enjoy the cycle.</div>
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Big Noises!</div>
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Matt</div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-9047346160740628312014-07-29T17:39:00.002+01:002014-07-29T17:39:29.979+01:00RANTS - Plight of the Classical Saxophone<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssiZEFBWtVej8emwYmaCM8G_tHGFGKG7F53Ajk-4Xz9GYaMXsk9brzW5zIIEsnXyFvWP1qqwWxKheQtZf8UUZT-E39dK2r286cOeTrDGBPmaagmKuY3_loeDaLPFc3WG88CwAHu3xQyWA/s1600/logo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssiZEFBWtVej8emwYmaCM8G_tHGFGKG7F53Ajk-4Xz9GYaMXsk9brzW5zIIEsnXyFvWP1qqwWxKheQtZf8UUZT-E39dK2r286cOeTrDGBPmaagmKuY3_loeDaLPFc3WG88CwAHu3xQyWA/s1600/logo.png" height="72" width="320" /></a></div>
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I play classical saxophone.<br />
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Yes I am a classical saxophonist.</div>
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It does, we do exist!</div>
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Ask someone to name a saxophonist and more often than not they will name a exponents of the instrument such as Parker, Coltrane, Rollins, Gordon, Lovano the list goes on. But can they name a classical saxophonist. Can you?</div>
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The saxophone is the leading exponent of Jazz and rightly so. Alongside the voice it is perhaps the most versatile and expressive instrument out there.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk6QZIQBSE9NSnFUFfbHQMwCTtjkKiQf3jZjS0Qz9Ga1iXLme4aGldXwvDX0NPvobANtt7itpJ1SzJMjyy07dPG_B5cwDR6f9UwYo1K5ei8eJGndvw6xABeXInhOr7PJ_lHB_w2SguozZR/s1600/danger+1.png" imageanchor="0" style="clear: left; float: left; margin-bottom: 0em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk6QZIQBSE9NSnFUFfbHQMwCTtjkKiQf3jZjS0Qz9Ga1iXLme4aGldXwvDX0NPvobANtt7itpJ1SzJMjyy07dPG_B5cwDR6f9UwYo1K5ei8eJGndvw6xABeXInhOr7PJ_lHB_w2SguozZR/s1600/danger+1.png" /></a></div>
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Did you notice that in this years BBC Young Musician competition there was not one but TWO saxophonists in the woodwind final? So things might finally be a changing.</div>
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And yet after some superb playing by these brilliant committed young musicians, the expert panel convenes and the “chair” proclaims…</div>
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“ <i>The saxophone in not blessed with a great repertoire</i> ”</div>
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A saxophonic community sighs, and shake their heads.</div>
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THIS PERCEPTION MUST CHANGE!</div>
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Our recital rep ranges from Villa-Lobos to Berio, and our escapades into the symphonic sees Ravel, Prokofiev, Vaughan Williams and MacMillian take up the torch. And our concerti, well, Bennett, Birtwistle, Turnage and Adams are advocates. Need I say more?<br />
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<div>
But this is not enough, composers please write for this expressive, agile and evocative instrument. More recognition is need to highlight and champion this fantastic instrument. So please get writing and spread the word.</div>
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<div>
And concertgoers, across the UK and the world there are extraordinary classical saxophonists such as Rob Buckland, Vincent David, Arno Bornkamp, James Houlik and Andy Scott, the list goes on, performing equally extraordinary music, so go look them up and discover an instrument of beauty, that deserves to be treated equally within the classical establishment.</div>
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We deserve your respect!</div>
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Thank you.</div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbJK-jF67-Sj3H6hyK48zORz9VUd8EbfueaP6xG4fZEVapSkuJRrc3mG9Z38UauqELL9qU0m69UrPM2Ptb8mwoEyBEGH4sbCREEdrFMm-xKByH9rzxOK2-jJNFzyZz-r2lCVb9NhNxWRY/s1600/JS_wide2_Adams_20130825111521646417-620x349.jpg" imageanchor="0" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbJK-jF67-Sj3H6hyK48zORz9VUd8EbfueaP6xG4fZEVapSkuJRrc3mG9Z38UauqELL9qU0m69UrPM2Ptb8mwoEyBEGH4sbCREEdrFMm-xKByH9rzxOK2-jJNFzyZz-r2lCVb9NhNxWRY/s1600/JS_wide2_Adams_20130825111521646417-620x349.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Adams conducts Tim McAllister performing the composers Saxophone Concerto </td></tr>
</tbody></table>
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<hr style="color: #525760; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Verdana, Jamrul, sans-serif; font-size: 12px; line-height: 18px;" />
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So that was my other RANT representing the <a href="http://instituteofcomposing.org/">Institute of Composing</a> written down for you to enjoy, agree or disagree with, which I performed at the Southbank Centre as part of the New Music Biennial Festival weekend!</div>
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Big Noises!</div>
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Matt</div>
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</div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-24762965071209878772014-07-22T11:39:00.001+01:002014-07-22T11:39:25.480+01:00Pictures from Aldeburgh English Song Project July 2014 <div class="separator" style="clear: both; text-align: center;">
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Improvisation - Jamming and riffing off each other is our nature. We do this across all art forms and in our lives.</div>
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Some choose to prepare and write down these ideas turning them into great works of art and symphonies.</div>
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Others choose to embody the spirit of spontaneity following them down expected and unexpected paths.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGov-3A80k9wapeHHdo-1aIc089gYTabVjLJJ_HGDyi5T11TJzKyyXjTfFsjRlYbaWFTHG-ckqTXgXZeXHagIbd9uqyH1oxUlG1g9Ko7I4yetaHmxzOSelaWC-7zihLbdSJQhBOODLL_Hp/s1600/Barry+Guy+in+Hexentrio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGov-3A80k9wapeHHdo-1aIc089gYTabVjLJJ_HGDyi5T11TJzKyyXjTfFsjRlYbaWFTHG-ckqTXgXZeXHagIbd9uqyH1oxUlG1g9Ko7I4yetaHmxzOSelaWC-7zihLbdSJQhBOODLL_Hp/s1600/Barry+Guy+in+Hexentrio.jpg" height="320" width="222" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barry Guy</td></tr>
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Just because they can’t be documented or explained as easily as the more formulated traditions, does not mean improvisation is any less valid, considered or authentic.</div>
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In fact if you really watch and listen any improvisor from any idiom you will see and hear that they are just as, if not more devoted and committed to creating something for you to enjoy and to challenge you. </div>
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As a classical musician, improv has taught, and allowed me to develop a greater understanding of expression, phrasing and presence in performance.</div>
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And an an improvisor, classical music has bestowed technique, control, commitment and direction.<br /><br />So, improv musos why not go to that Bach, Mozart, Bartok, Stravinsky or Schoenberg performance? You don’t know what you’re missing!<div>
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And classical musos why not go that club that has Keith Jarrett, Wayne Shorter, Julian Arguelles, Barry Guy or Paul Dunmall playing? You really don’t know what you’re missing!</div>
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So lets all acknowledge, treat and respect all idioms of music as equals. Tear down the barriers of genre, education and especially funding, (cough) Arts Council, and allow these brilliant practitioners to collide and unite!</div>
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Thank you.</div>
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So that was my first RANT representing the <a href="http://instituteofcomposing.org/">Institute of Composing</a> written down for you which I performed at the Southbank Centre as part of the New Music Biennial Festival weekend!</div>
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I'll type up my other RANT soon named - <i>Plight of the Classical Saxophone</i> </div>
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So keep an eye out for that!</div>
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Big Noises!</div>
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Matt</div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-23920226000176645482014-07-06T01:09:00.001+01:002014-07-31T15:02:45.190+01:00Planet Hugill and Jazzwise SPEAK NOW review<div style="text-align: center;">
More positive reviews of my debut classical tenor saxophone album SPEAK NOW</div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ZJhnhCRr7m1StD7bUFSlUcgcMwB28-buw43WlLYDnpC9W5DaKwLpfjNkDBx6rNDcooWoBQYNOxMObEjD6vUaSJY6UMb_RteZtgVxHok_OqlVmKursQZVTfzkVnLTwry7jYfrOHKomHFX/s1600/wx_hDku5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ZJhnhCRr7m1StD7bUFSlUcgcMwB28-buw43WlLYDnpC9W5DaKwLpfjNkDBx6rNDcooWoBQYNOxMObEjD6vUaSJY6UMb_RteZtgVxHok_OqlVmKursQZVTfzkVnLTwry7jYfrOHKomHFX/s1600/wx_hDku5.jpg" height="200" width="200" /></a><br />
First a great in-depth write up from <a href="http://www.planethugill.com/">Planet Hugill - World of classical music</a> (one of Saga Magazines 50 Best Bloggers over 50)<br />
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<span style="text-decoration: none;">View here: </span><a href="http://www.planethugill.com/2014/07/bringing-tenor-saxophone-out-of-shadows.html"><b>Planet Hugill - Bringing the tenor saxophone out of the shadows</b></a><span style="text-decoration: none;"> <b>- </b></span>"<i>London shows that the modern classical tenor saxophone is indeed a finely virtuoso, flexible and dynamic instrument.</i>"<br />
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I am very happy to have made it on to this very informative and active site!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlzGBEG80KpyIxyF4T4vS7dI0-nmyIDYR9WMo2hFJAI7_vf4m8bg6fibPZfSsgjzsNFClwCSlkyuiElQW7ZtV7RjcqG0o9LV3ZSs5s2C4Zvg74lOzztVqNYvYi7UROdbpHx0yr0K07GBN/s1600/Jazzwise+review.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlzGBEG80KpyIxyF4T4vS7dI0-nmyIDYR9WMo2hFJAI7_vf4m8bg6fibPZfSsgjzsNFClwCSlkyuiElQW7ZtV7RjcqG0o9LV3ZSs5s2C4Zvg74lOzztVqNYvYi7UROdbpHx0yr0K07GBN/s1600/Jazzwise+review.png" height="236" width="320" /></a><br />
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Next up:<br />
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I am delighted, honoured and quite surprised to have made it to print of <a href="http://www.jazzwisemagazine.com/">Jazzwise</a> magazine - the UK's biggest selling jazz monthly and the leading English language jazz magazine in Europe.<br />
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My classical album made into the shortcuts section of their July issue!<br />
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Chuffed that it made it into the magazine, and very happy that it got 3 stars from the jazz community. Especially as it is a classical album!<br />
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SPEAK NOW music for tenor saxophone is available from</div>
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<a href="http://www.mattlondonmusic.com/"><b>www.mattlondonmusic.com</b></a></div>
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Many thanks.<br />
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Big Noises!<br />
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Matt<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ubGqUuNjyKJW7XMXu_-klpoacrpyYUljuc_r0h2r5fAlg9HWZKQDMfuk-pQ8tGpwUY8FfEF4MBJw8HMAjvyJm4QeGHrWe5czkf45mDPASrZgDP6ewv57-ptVu_cEIxujoCJYU8LQQpV6/s1600/Jazzwise-July2014-cover500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ubGqUuNjyKJW7XMXu_-klpoacrpyYUljuc_r0h2r5fAlg9HWZKQDMfuk-pQ8tGpwUY8FfEF4MBJw8HMAjvyJm4QeGHrWe5czkf45mDPASrZgDP6ewv57-ptVu_cEIxujoCJYU8LQQpV6/s1600/Jazzwise-July2014-cover500.jpg" height="200" width="143" /></a><br />
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<br />Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-28339170787261423092014-07-04T21:44:00.001+01:002014-07-04T21:44:14.452+01:00RANTS speaker @ Southbank Centre<div class="separator" style="clear: both; text-align: center;">
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<b>Southbank Centre | The Front Room at Queen Elizabeth Hall</b><div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXC6UTX9aNee7EnYmTZJHgkG78QMXzcIAnh5S_77_ZVBBU9AgVsR0m9o1XEHGNCepnQG0V63tY40HtCc0_H9uJIMlZdlIKh7xoBtHjCzcwaszg5nJ9pCaZitr2KhqbC3Uaa6oW3JqhUUI/s1600/new-music-biennial-logo-18.06.14_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: right;"><b><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXC6UTX9aNee7EnYmTZJHgkG78QMXzcIAnh5S_77_ZVBBU9AgVsR0m9o1XEHGNCepnQG0V63tY40HtCc0_H9uJIMlZdlIKh7xoBtHjCzcwaszg5nJ9pCaZitr2KhqbC3Uaa6oW3JqhUUI/s1600/new-music-biennial-logo-18.06.14_1.jpg" height="200" width="200" /></b></a><b>Sat & Sun 7pm<br />Free</b><br /><br />I will be 'ranting' at the Southbank Centre on Saturday 5 & Sunday 6 July as one of the Institute of Composing <a href="http://www.southbankcentre.co.uk/whatson/rants-84620">RANTS</a> speakers! Part of <a href="http://www.southbankcentre.co.uk/whatson/festivals-series/new-music-biennial/productions">New Music Biennial Festival</a> - <i>A weekend of free concerts, workshops and new music. </i><br />RANTS -<br /><i>Short snappy soundings off from Institute of Composing speakers.<br /><br />Speakers stir up vigorous debate about all things new music, from writing to playing to listening, across practice and genre.</i></div>
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There will be a group of us who have been invited to rant on a soapbox with a megaphone!</div>
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I have two subjects and will write down and post them up after the live event! I'm ever so slightly nervous! </div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-28519928100427476642014-06-25T23:51:00.003+01:002014-06-26T11:56:49.250+01:00Clarinet & Saxophone Society review SPEAK NOW<div style="text-align: center;">
CASS Magazine album review by Kenneth Morris | Volume 39, No 2</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpClckAEjfB_IJ9BVFhpMdEpnF0nnd-7CpAVJqeye_M5qGnxDzzj7xfwxXRjlorkFP4ISSabFNl_Y5qBLTvFENpmiFveVQx-OeEnuuQcJRxJkgP_wBnniGVOaEb5C43QXazRZKbj6m-Kr1/s1600/wx_hDku5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpClckAEjfB_IJ9BVFhpMdEpnF0nnd-7CpAVJqeye_M5qGnxDzzj7xfwxXRjlorkFP4ISSabFNl_Y5qBLTvFENpmiFveVQx-OeEnuuQcJRxJkgP_wBnniGVOaEb5C43QXazRZKbj6m-Kr1/s1600/wx_hDku5.jpg" height="320" width="320" /></a></div>
SPEAK NOW music for tenor saxophone<br />
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Matt London (saxophone), David Howard and Geoff Eales (piano)</div>
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ML001 available from <a href="http://www.mattlondonmusic.com/">www.mattlondonmusic.com</a><br />
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Readers of my reviews might remember my railing against ‘modern music’ some of which, to my ears, comes devoid of melody, harmony, rhythm, structure and even tonality / sonority. Matt’s late 2013 recording of some 66 minutes duration and nine modern compositions contains six well short of memorable melodies and three very tuneful pieces<span style="font-family: Helvetica; font-size: 11px; letter-spacing: 0px;"> </span><i>Song for my Mother</i>, <i>Ballad in Memory of Shirley Horn</i><span style="font-family: Helvetica; font-size: 11px; letter-spacing: 0px;"><i> </i></span>(ballads) and <i>Farewell Patagonia</i><span style="font-family: Helvetica; font-size: 11px; letter-spacing: 0px;"><i> </i></span>(an extremely rhythmic tango). But every single track is a variable triumph of sonority. What a sublime variety of tonalities, I’m pretty sure Matt won’t thank me for one of the exquisite sounds I received, that of a bassoon.<br />
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This disc meant a great deal to me. As a amateur tenorist for some 66 years, I’ve grown up through the ever developing jazz sounds of Coleman Hawkins, Vido Musso, Warne Marsh, Hank Mobley, Stan Getz, Bobby Wellins and John Coltrane plus the classical French soloists and, more recently the sounds of the <a href="http://www.rncm.ac.uk/">RNCM</a> tutors and their alumni of which Matt is one. Whatever composition Matt delivers and wherever the range on the horn the sound is immaculate. Go to Matt’s website for much more about his performance and compositional objectives, they are clearly set out (and I very much enjoyed his summary of the last <a href="http://mattlondonmusic.blogspot.co.uk/2012/08/world-saxophone-congress-xvi.html">World Saxophone Congress</a> in Aberdeen).<br />
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How Matt generates his superb sound comes down to the usual three elements: the player, the mouthpiece and the instrument. Clearly the <a href="http://robbuckland.com/">Rob Buckland</a> / <a href="http://www.andyscott.org.uk/">Andy Scott</a> duo have had a considerable influence on the player. For those not fortunate enough to work with these two teachers the former has recently written <i>Playing the Saxophone</i> (published by <a href="http://www.astute-music.com/shop/index.php">Astute Music</a> and reviewed in this magazine last year, Vol.38, No.3). I make no recommendation on mouthpieces as they should be individually selected by the player but Matt uses a Brilhart Ebolin 4* with a <a href="http://www.woodwinds.daddario.com/woodwindsHome.Page?ActiveID=1195">Rico H ligature and Rico Jazz Select Filed 3H reeds</a>.<br />
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His saxophone however is something else. It’s a 1933 C.G Conn New Wonder Transitional customised by Leeds based saxophone engineer <a href="http://www.stevecrow.co.uk/">Steve Crow</a>. Possessed of extraordinary sonority, tenor saxophones made by Conn from 1931 to 1962 can be re-engineered in a number of ways to mimic post Second World War key plate positioning (and other improvements). Steve and I currently working up an article for a future issue of this magazine on Vintage Conn Saxophones to cover sopranos, altos and baritones as well as the tenor. By the way Matt is not the only professional UK tenorist to use a customised vintage Conn.<br />
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Back to the CD! It opens with Matt’s composition <i>The Pervasive Force</i> a duet part ballad and part brisk dialogue with the piano. Track 2 is the <a href="http://www.geoffeales.com/">Geoff Eales</a> duet <i>Song for my Mother</i> followed by an Andy Scott tenor solo <i>My Mountain Top</i> with background synths noises and spoken prose. Adam Caird’s <i>Out of Line</i> is a technically extremely demanding duet with piano followed by another tenor solo <i>Sarcanthus</i> by <a href="http://www.cherylfranceshoad.co.uk/">Cheryl Frances-Hoad</a> - this is the track with a bassoon-like sonority. The last four tracks are: <i>Farewell Patagonia</i> by Geoff Eales, <i>Passing</i> by <a href="http://www.fitkin.com/">Graham Fitkin</a>, <i>Kaito</i> by <a href="http://www.grahamcoatman.org/">Graham Coatman</a> an ultra-modern duet and <i>Ballad in Memory of Shirley Hor</i>n by <a href="http://www.theguardian.com/culture/2011/jul/22/richard-rodney-bennett-life-music-film">Richard Rodney Bennett</a>. Awesome sounds - beautifully played.<br />
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Kenneth Morris</div>
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<span style="font-size: x-small;">CASS exists to promote the playing of the clarinet and saxophone at all levels and in all musical styles. Visit us at <a href="http://www.cassgb.org/">www.cassgb.org</a> for new online content.</span></div>
Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-33358931136643672552014-04-19T23:13:00.001+01:002014-04-19T23:15:52.789+01:00" The pestilent sprite " writing for string trio<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu4mXVxrgoeIcqTVHV0j0o2DDLFfgdDdkb1OOPJNudhFsMri3qQj-s465nC8ugMxIgOJAoK78V1V97JoAaJrBZ59U-2tkEdnSmd3cv2V6n_LMC7SOeQtLNcBIvKL_dL81I0pJUKaDAz3bx/s1600/Distractfold+pic.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu4mXVxrgoeIcqTVHV0j0o2DDLFfgdDdkb1OOPJNudhFsMri3qQj-s465nC8ugMxIgOJAoK78V1V97JoAaJrBZ59U-2tkEdnSmd3cv2V6n_LMC7SOeQtLNcBIvKL_dL81I0pJUKaDAz3bx/s1600/Distractfold+pic.png" height="268" width="320" /></a></div>
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The <a href="http://www.brunel.ac.uk/arts/music" target="_blank">Brunel University</a> music department was recently very fortunate to host the brilliant <a href="http://www.distractfold.co.uk/">Distractfold Ensemble</a> for a day workshopping new works by four postgrad research composers!</div>
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The lucky composers were:</div>
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Oliver Brignall</div>
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Adam Bell</div>
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Paul McGuire</div>
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Matt London (myself)</div>
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We were given an open brief from John Croft (Head of Music) to write a piece for string trio [ violin, viola and cello ] . What a luxury!</div>
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Written in a few days my piece " The pestilent sprite " was a chance for me to look and develop out some open notation ideas I had recently tried out in Aldeburgh on the Britten-Pears Young Artist English Song Project.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BR3cXn8JZzqlcDBEM2jgaYurU2OV5m0uQcZbdacjKLBZicaBJfqYlpq1pmthyZeW_mj6zTJLreu_4oPpcYi-jDm1LAJ6gGmnuZ6yjj4y5a3wrUz-bNtNB6eyjCfRVsBRJr-7KrhNAv5R/s1600/The+pestilent+sprite+for+string+trio+-+Matt+London.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BR3cXn8JZzqlcDBEM2jgaYurU2OV5m0uQcZbdacjKLBZicaBJfqYlpq1pmthyZeW_mj6zTJLreu_4oPpcYi-jDm1LAJ6gGmnuZ6yjj4y5a3wrUz-bNtNB6eyjCfRVsBRJr-7KrhNAv5R/s1600/The+pestilent+sprite+for+string+trio+-+Matt+London.jpg" height="320" width="226" /></a><br />
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The score has an open notated quality for the players to individually and collectively make it their own! I am currently trying to develop out an effective way to represent this open notation idea for reading players to take ownership of the music and interpret freely. </div>
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The idea of tones without rhythms with purposeful spacial placement to act as a very loose guide to help performers is a an idea I really like, and have observed in some of Morton Feldman's piano pieces. </div>
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I tried this idea in Aldeburgh and for the most part it worked, but I did notice a tendency to rush through. With that still fresh in mind [ having just got back from Snape a few days ealier] I decided to develop out this idea and try to represent this idea of time and space more clearly in the outer movements of this short three movement work.</div>
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The Distractfold players were brilliant and so amenable to my idea of freedom in performance. I think they really enjoyed and were surprised by my a lot of my answers to their questions about the piece... </div>
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" <i>I don't care </i>"</div>
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" <i>I want you to decide how you want to play it, make it your own! </i>"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiD0-FpEaAo2OjmlsdMB9fREfpJkAch1htWms3u_O8P_gbhYPy2mNJ1dJjP368lp97EjoJo_D95QiQxdAMzrOu4XiFqsc890RTk79uSII7piuZBwaSShO1MUh_VLYEGn1fKP4GGwczQya/s1600/df-reading-session.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiD0-FpEaAo2OjmlsdMB9fREfpJkAch1htWms3u_O8P_gbhYPy2mNJ1dJjP368lp97EjoJo_D95QiQxdAMzrOu4XiFqsc890RTk79uSII7piuZBwaSShO1MUh_VLYEGn1fKP4GGwczQya/s1600/df-reading-session.jpg" height="141" width="200" /></a><br />
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Many thanks to again to Linda Jankowska [violin] , Emma Richards [viola] and Alice Purton [cello] for a great day and some formidable & superb reading and playing! I hope they visit Brunel again.</div>
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It was also great to meet and hear fellow Brunel research composers. A diverse and quality bunch, and a department with no house style!</div>
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<b><span style="font-size: large;">The pestilent sprite </span></b>for String Trio<br />
Written for Distractfold Ensemble [ violin, viola and cello ]<br />
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The pestilent sprite is a character unsure of itself and it’s purpose. Causing mischief and other things underpinned by a great sadness and fiendish thoughts!</div>
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/145312341&color=ff9900&auto_play=false&hide_related=false&show_artwork=true" width="100%"></iframe>I hope you enjoy the piece.<br />
<br />
Big Noises!<br />
<br />
Matt<br />
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<br />Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-44839326164074982962014-04-05T18:11:00.000+01:002014-04-05T18:11:25.855+01:00A week in Aldeburgh !<div class="separator" style="clear: both; text-align: center;">
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I was extremely fortunate to spend an action packed week in the beautiful and inspiring surroundings of Aldeburgh and Snape on the Britten-Pears Young Artist Programme composing on the Aldeburgh English Song Project!</div>
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Like the ESP 2013 the idea was to write new vocal works (english song) set to poetry. However the big change for 2014 was that the poetry would be produced there and then by young poets! All under the guidance of a brilliant bunch of supportive tutors; John Woolrich (composer), Huw Watkins (composer/pianist), David Harsent (poet), Richard Edgar Wilson (tenor).<br />
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Each composer was paired up with a poet for the week. The combinations were (composer and poet):<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxRu58t2c2IJMI5ik762zi0fj3PjPr1AFgLRWKwqPp3KXQkTZe-EEMfvB3sOpwFtRSYiqrPDbjX4dFP1Dofzjv9UFcRsNcXWfDacGb7gJlQROtfyzCKTOtMFZhP7FBE4wqHP6LfBoCIdF/s1600/IMG_0822.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTxRu58t2c2IJMI5ik762zi0fj3PjPr1AFgLRWKwqPp3KXQkTZe-EEMfvB3sOpwFtRSYiqrPDbjX4dFP1Dofzjv9UFcRsNcXWfDacGb7gJlQROtfyzCKTOtMFZhP7FBE4wqHP6LfBoCIdF/s1600/IMG_0822.jpg" height="320" width="240" /></a><br />
Adam Dickson and Holly Hopkins<br />
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Gregory Emfietzis and Rebecca Perry<br />
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Benedict Giles and Jo Surzyn<br />
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Matt London (me) and Chrissy Williams<br />
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Gareth Moorcraft and Lavinia Singer<br />
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Liza Sobel and Richard Scott<br />
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Freya Waley-Cohen and Caleb Klaces<br />
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We were also joined by the very talented Phoebe Haines (mezzo soprano) and Lucy Colquhoun (pianist).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirhfE4l2xDMLRYVn6Ceo0SV2fs7RSWfgiE6z3XHO6K9r59oyOSy3APIreIkLcGV5nRRwssYfLi2J91vnXVvcThFu38zzyZUIfh1YJXdYBLMBFRGv6evjW2xBOvDi8cjIERfg2dnfizCdbU/s1600/IMG_0878.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirhfE4l2xDMLRYVn6Ceo0SV2fs7RSWfgiE6z3XHO6K9r59oyOSy3APIreIkLcGV5nRRwssYfLi2J91vnXVvcThFu38zzyZUIfh1YJXdYBLMBFRGv6evjW2xBOvDi8cjIERfg2dnfizCdbU/s1600/IMG_0878.jpg" height="200" width="150" /></a>Here's a brief breakdown of how the week unfolded...<br />
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Day 1 (half day) - Introductions: Here we were all introduced and given a brief plan and aims for the week. The plan was to write a set of miniatures not necessarily finished for the final day open showcase. We then launched straight into some poetry, language and their relationship with music discussions, and collective setting and reading exercises. It was really interesting to see how the poets emphasised and read lines differently to the composers / musicians. <br />
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Day 2 - Exercises and ideas: In the morning the composers went through some setting exercises looking at ways to set rhythmically (words from David Harsent poetry) from a more natural speaking / reading perspective, and then later adding three tones. Ricard Edgar Wilson was brilliant managing to read, make sense and sing our scribbles! The afternoon was set aside for the composer poet pairings to really discuss, develop and then present their initial ideas to everyone.<br />
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At the end of the day John set the composers the task to write short solo piano piece giving us a title each vaguely based on the ideas presents. </div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtJO6pC_0Z4ih6VJpLlI4yE3Jhzy3wA9XlIXF88JT9xYerrockQB7J7bNJL-jzDjqOvHLOJmGv5jhXOQrIKz6W05hKNEMRMc875Y_r19tEKG4Ys84nYrDlG_bv45Zu019kVm1sgzWHxBx/s1600/IMG_0852.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtJO6pC_0Z4ih6VJpLlI4yE3Jhzy3wA9XlIXF88JT9xYerrockQB7J7bNJL-jzDjqOvHLOJmGv5jhXOQrIKz6W05hKNEMRMc875Y_r19tEKG4Ys84nYrDlG_bv45Zu019kVm1sgzWHxBx/s1600/IMG_0852.jpg" height="200" width="150" /></a><br />
Day 3 - In the morning the short solo piano pieces were workshopped alongside initial poetry ideas, my piece was called ' Frames ' based on a very simple idea that was varied ever so slightly either through elongation or diminution with added colour as it went on. <br />
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What was left of the day was spent making a start on our songs. I started work with what would be the final song of our set.<br />
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Day 4 - A good day exchanging ideas and working with Chrissy which resulted in some great words for the opening miniature! Plus we got to hear Richard and Huw perform some Britten<span style="color: #252525; font-family: Arimo, Liberation Sans, Helvetica Neue, Helvetica, Arial, sans-serif;"><span style="font-size: 14px; line-height: 21px;"> </span></span><i>Winter Words At the Railway Station, Upway </i>words by Thomas Hardy!<br />
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Day 5 - Wrote the whole middle song in the day! And started thinking about the opening song.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQMenp6gbBy2Y4FLso7g6wHh8Wg_djPXPe2GPBJ4XFogw_E8RzuEKoS1A35xksRAAIkVtxBuNtZ7lBhJqhA2dYWHJqSOwJca6bdrsO2ZHx4gQlsFIGH77Cs2VYWVJ8M0KyNN_BfGu1Gab/s1600/IMG_0886.JPG" imageanchor="1" style="clear: right; display: inline !important; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQMenp6gbBy2Y4FLso7g6wHh8Wg_djPXPe2GPBJ4XFogw_E8RzuEKoS1A35xksRAAIkVtxBuNtZ7lBhJqhA2dYWHJqSOwJca6bdrsO2ZHx4gQlsFIGH77Cs2VYWVJ8M0KyNN_BfGu1Gab/s1600/IMG_0886.JPG" height="150" width="200" /></a>Day 6 - Managed to mark out the opening miniature of the set in scribbles. Richard and Huw performed <i>A Singing Sky </i>by John, followed by Phoebe and Lucy with some Hugo Wolf songs.<br />
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Day 7 was the last full day where we were joined by Peter Wiegold (composer, director & conductor)! Peter came round to see all the composers individually to look at work and offer a fresh prospective on the collaborations. I managed to get two and a half miniatures ready for open showcase!<br />
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At the end of the day I was really lucky to have the piece I wrote just prior and in preparation for the course <i>Image flawed</i> performed by the brilliant Richard Edgar Wilson and Huw Watkins! It was great to hear it and discuss with everyone my ideas for it. A great way to end the day.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ShhnBH6MkVeVzCxicOiE_lUBpVXR6vR6rIm0ZZs-XYVZSNsR35waPaHJDKnuOw8qamTMh4f-Z9VZMERuOd7mfPM3BWaM-d2mYI3QIkB4o4Cjb74M6kVdnQnuw0KMWxDnrtxEoXbdKMnm/s1600/IMG_0820.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ShhnBH6MkVeVzCxicOiE_lUBpVXR6vR6rIm0ZZs-XYVZSNsR35waPaHJDKnuOw8qamTMh4f-Z9VZMERuOd7mfPM3BWaM-d2mYI3QIkB4o4Cjb74M6kVdnQnuw0KMWxDnrtxEoXbdKMnm/s1600/IMG_0820.jpg" height="320" width="240" /></a><br />
The final day on the Britten-Pears Programme residency was the open showcase concert of all the music we produced over the week! It was mind blowing that collectively we produced an hours worth of music from scratch in just 6 days! The concert went really well, and I am looking forward to the follow up sessions later in the year, finishing off the set of miniatures for performances at Snape and London in July!<br />
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A massive shout must go out to Rebecca Knights and Imogen Hurst for looking after and organising us over the whole week, and the brilliant catering staff who provided the most amazing lunches to help get us through the long days.<br />
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I learnt so much over the week and it was great working with the poets, sharing ideas and experiences with all the composers and tutors, and just having a good time together in the evenings (mainly at the Cross Keys Inn)!<br />
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Having to work so quickly seemed very unnatural but it was so interesting and useful to learn not fear what might be produced and to not over think!<br />
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I'd fully recommend applying for a Britten Pears programme!<br />
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A brilliant and collaborative week had by all.<br />
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Keep an eye out for the dates of the Snape and London concerts of the finished works.<br />
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Big Noises!<br />
<br />
M<br />
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A personal approach from tenor saxophonist Matt London<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-PWsFTiBbMQPvc2JUKoYiBi0FnsJNkwfuieL0I5lSsFxp7F1zdJ-O3S4IvwXxcsD9OSYpfouK9wdaknJB3C3Nwary-Fl1A8U9bo8KO7R5sqk3wE2kIyaWrlbu6hHpKd0QdvlaRIHH8dhd/s1600/conn%252010m%2520and%252018m%2520sax.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-PWsFTiBbMQPvc2JUKoYiBi0FnsJNkwfuieL0I5lSsFxp7F1zdJ-O3S4IvwXxcsD9OSYpfouK9wdaknJB3C3Nwary-Fl1A8U9bo8KO7R5sqk3wE2kIyaWrlbu6hHpKd0QdvlaRIHH8dhd/s320/conn%252010m%2520and%252018m%2520sax.jpg" width="320" /></a></div>
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To me musical classifications often build barriers to what should be an all encompassing approach and experience when it comes to performing and composing. Being open to incorporating influences from any form of music, art or life is really important and helps inform us to develop both musically and individually.</div>
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Personally I feel we should try not to go down the route of older established instruments which could bring about certain expectations and restrictions on the music we play and the way we play it.</div>
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The following questions form the basis of my thought process when it comes to the classical tenor saxophone today…</div>
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<li style="text-align: left;"><span style="font-size: 11.5pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 11.5pt;">What constitutes a classical tenor sound today?
With the saxophone being such a versatile instrument across many genres does
one approach represent or define this field of music today?</span></li>
</ul>
<ul>
<li style="text-align: left;"><span class="Apple-style-span" style="font-size: 15px;">The importance of traditions. Does one subscribe
and stay loyal to already established traditions [French, American or Raschèr
etc] ? Do these even apply to the tenor? James Houlik has spearheaded his own
individual sound and style, why not follow his lead?</span></li>
</ul>
<ul>
<li style="text-align: left;"><span style="font-size: 11.5pt;">The eternal set-up conundrum. Why not look past the
usual C* or D styled mouthpiece? Are they really appropriate for the
tenor?</span></li>
</ul>
<ul>
<li style="text-align: left;"><span style="font-size: 11.5pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 11.5pt;">How does one approach transcriptions? Are they
important? Why not play the saxophone as a saxophone instead of trying to mimic
an unrelated instrument when playing transcriptions.</span></li>
</ul>
<ul>
<li style="text-align: left;"><span class="Apple-style-span" style="font-size: 15px;">The creation of new repertoire for the instrument
should take precedent but how does one identify new works of quality or
substance to perform and present to audiences.</span></li>
</ul>
<ul>
<li style="text-align: left;"><span class="Apple-style-span" style="font-size: 15px;">How would I describe the tenor to a composer
interested in writing for the instrument? What are the instruments technical
capabilities and limits, tonal characteristics, and playable sonority pallet
[range] ?</span></li>
</ul>
<ul>
<li style="text-align: left;"><span class="Apple-style-span" style="font-size: 15px;">The saxophone is a relatively young instrument lets
proactively help develop it and its voice for today’s player and audience.</span></li>
</ul>
<div style="text-align: left;">
These are some of the core points I always ask myself and challenge when it comes to the classical tenor saxophone. I dislike the labels and boundaries that often pop up when asking these questions. I try to look past them and open them up. However one must be careful and think from both the players and listeners prospective.</div>
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<div style="text-align: left;">
I hope this is food for thought for some of you and would be interested to hear your thoughts and questions when it comes to playing and listening to the classical tenor saxophone today.</div>
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Big Noises!</div>
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<br /></div>
<div style="text-align: left;">
Matt</div>
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<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This post can be viewed and downloaded from the TSi <a href="http://www.tenorsaxindex.info/articles.htm" target="_blank">here</a>.</span></div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-9143810616926980112013-12-19T18:49:00.000+00:002013-12-19T19:22:29.811+00:00Britten-Pears Young Artist Programme selection!<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;">
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I am absolutely delighted to announce that I have been selected for <a href="http://www.aldeburgh.co.uk/bpp/aldeburgh-english-song-project-0">The Aldeburgh English Song Project</a> as part of the <a href="http://www.aldeburgh.co.uk/bpp">Britten-Pears Young Artist Programme</a> ! The course starts with a week in Aldeburgh and will continue with further events in Aldeburgh and London with composers John Woolrich and Peter Wiegold, Huw Watkins composer/pianist, David Harsent poet, Richard Edgar Wilson tenor, plus Wolfgang Holzmair baritone and Imogen Cooper piano!<br />
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<div>
The plan is to devise a work that explores the possibility of including varying elements of improvisation for both musicians [ voice and piano ] alongside the notated tradition. This idea of "in the moment" musical composition will hopefully bring out and champion this powerful and magical element of communication and expression for all involved, in it’s conception and performance.<br />
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This intuitive way of working will be a fascinating experience researching and producing a method that introduces and develops elements of improvisation whilst ensuring an unbiased weighting towards the experienced improviser on top of a over a broad and stable but movable structure. Hopefully making the work accessible to performers not so accustomed to improvisation. </div>
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This is such an exciting opportunity and I am really looking forward to visiting Aldeburgh for the first time!</div>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-25672600245213427272013-11-30T15:37:00.001+00:002013-11-30T15:37:11.259+00:00Lament for Michel<div>
<div style="text-align: left;">
On 22nd November I was fortunate enough to be invited to write for and perform with notes inégales as part of their second night link up with London Jazz Festival!</div>
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<div style="text-align: left;">
We played a subtle postcard piece I wrote in memory of one of my favourite jazz pianists; Michel Petrucciani, which was beautifully realised by the notes directed by Peter Wiegold.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1g9IsuC1a65UFF6QC2tPMqoKd8l0YloHAGt1S3YJigLh28_EePuYeq9WvPTJ9_E8uNrpPEZ2H062a0luas1dk8_yclJ8Jhrz_UWX0XPZy9Wcp3dHHcy89zMxD4ziUYmvciCh8pr_w1OBG/s1600/michel_petrucciani.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1g9IsuC1a65UFF6QC2tPMqoKd8l0YloHAGt1S3YJigLh28_EePuYeq9WvPTJ9_E8uNrpPEZ2H062a0luas1dk8_yclJ8Jhrz_UWX0XPZy9Wcp3dHHcy89zMxD4ziUYmvciCh8pr_w1OBG/s320/michel_petrucciani.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption">Michel Petrucciani</td></tr>
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Michel Petrucciani was a person and musician always full of joy ignoring the affliction of a disease that stunted his growth and weakened his bones to become one of the most celebrated jazz pianists of his generation.<br />
<br />
I really enjoyed playing with the notes. They are a great collective ensemble! I joined them again at the end of the night for some exhilarating improv with Raymond MacDonald [ saxophone ] and Miguel Carvalhais [ electronics ] !<br />
<br />
<a href="http://www.clubinegales.com/" target="_blank">club inégales</a> [ London Euston ] is such a great venue for creative music. I highly recommend you come down soon. <br />
<br />
Enjoy this live recording of <i>Lament for Michel </i>!<br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/121540482&color=e6c500&auto_play=false&show_artwork=true" width="100%"></iframe><br />
<div style="text-align: right;">
<span class="Apple-style-span" style="font-size: x-small;">Recorded live at club inégales 22.11.13</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1IWZ1-SgHO5MysfuwBdfNTWkRMaUmtHKf6rt1HXH194MsAIkwJqV46_reJK97GtAeSLnKJrAkR01XErF8WX8-qtNEfZ2WXKEVqvyrhKx3UTsKL52HQ6vX4cFQS3ce92_T08YxSa0Mn5n/s1600/club_neon_cropped.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1IWZ1-SgHO5MysfuwBdfNTWkRMaUmtHKf6rt1HXH194MsAIkwJqV46_reJK97GtAeSLnKJrAkR01XErF8WX8-qtNEfZ2WXKEVqvyrhKx3UTsKL52HQ6vX4cFQS3ce92_T08YxSa0Mn5n/s200/club_neon_cropped.jpg" width="80" /></a><br />
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-87250834828283874402013-11-07T00:02:00.001+00:002014-04-26T17:03:46.918+01:00SPEAK NOW - music for tenor saxophone<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Uj8CLXUQ-TIcuqGkc-NAScuBJhfMRYPXJZhLkdDYubnRSP_-RWZESjernTzHnUwY2mwEat6z4PJH37LLhGACbudy7FtBg41xxMCW_Qm9BgDRZMMYVqNLqYzzYa7FPEBOq3JMqldJDjZl/s1600/mattlondon.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Uj8CLXUQ-TIcuqGkc-NAScuBJhfMRYPXJZhLkdDYubnRSP_-RWZESjernTzHnUwY2mwEat6z4PJH37LLhGACbudy7FtBg41xxMCW_Qm9BgDRZMMYVqNLqYzzYa7FPEBOq3JMqldJDjZl/s320/mattlondon.jpg" height="320" width="320" /></a></div>
<div style="text-align: left;">
It's finally here. My debut classical tenor saxophone album!</div>
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Putting this whole project together as an independent artist has been a lot of fun, frustrating at times, plus a lot of organisation. I've taken away pieces from the original intened line up and added. In that sense it has been a really useful experience in programming. </div>
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I am glad that is it all finished. No more redtape! </div>
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It is my hope that this album provides interest and pleasure not only to the listener who, like me, has a great affection for the instrument, but also introduces newer listeners to compelling repertoire being written today.</div>
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Playing my old 1933 Conn has been a blast and quite an experience. Keeping it under control and consistant has been a challenge but a highly enjoyable one. I wouldn't change it. I just love that rich and open Conn sound!</div>
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<br /></div>
<div style="text-align: left;">
Beautiful physical copies of the album will be available from my <a href="http://mattlondonmusic.com/store" target="_blank">online shop</a>! Digital downloads from iTunes, <a href="http://www.amazon.co.uk/Speak-David-Howard-Geoff-London/dp/B00G7Y05HG" target="_blank">Amazon MP3</a> and GooglePlay! All available to buy from 10 November!</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Artwork by <a href="https://www.facebook.com/schillustration" target="_blank">Saven Chadha</a></div>
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Here are some short samples:</div>
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/117350545&color=ff2c00&auto_play=false&show_artwork=false" width="100%"></iframe>
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Extended soundbites will be available to hear on the <i>Tenor Saxophone Index Listening Hub </i>also launching on the 10th. More on that soon...</div>
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I hope you enjoy the samples and perhaps buy the album & help support the composers in original music making!</div>
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Big Noises!</div>
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<div style="text-align: left;">
Matt<br />
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P.S. here are some pictures from the recording sessions. Enjoy!</div>
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<span style="color: black;"><b><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The Phipps Concert Hall, University of Huddersfield<span class="Apple-style-span" style="font-size: x-small;">.</span></span></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Graham Coatman and Matthew Bennett</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Irish</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Recording Sarcanthus by Cheryl Frances-Hoad</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The reaction to my piano writing! </td></tr>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><b>Studio Red Gables, London.</b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Dave with Dick Hammett</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Dave appreciating the lovely Steinway B at the studio! </td></tr>
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Anonymoushttp://www.blogger.com/profile/06961597061403129434noreply@blogger.com0tag:blogger.com,1999:blog-1523660633395050299.post-76391325266548217892013-10-05T22:04:00.000+01:002013-10-05T22:04:23.368+01:00RNCM Saxophone Day 2013<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: x-small;"><b>Rob Buckland, Andy Scott</b> <i>artistic directors</i></span></td></tr>
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In its 13th year, the UK’s leading annual saxophone event features concerts, workshops and presentations from special guests including classical saxophone legend Arno Bornkamp, jazz guests Iain Ballamy and BBC New Generation Artist Trish Clowes, plus Australian saxophonist and professor Matt Styles and two recent RNCM graduates, Jenni Watson and Matt London. In a first for the RNCM Saxophone Day, we also host the inaugural UK Vandojam, led by Michel Chevet, giving participants the chance to take centre stage and blow up a storm!</div>
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<a href="http://www.rncm.ac.uk/whats-on/events/festival-overview/rncm-saxophone-day/#" target="_blank">Visit the RNCM website more information</a><br />
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As you may have noticed I am playing this year! It is really exciting and an honour to be invited to play at the UKs best and most prestigious saxophone event!</div>
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The concert I will be sharing with the super talented Jenni Watson will launch my debut album <i>SPEAK NOW </i>an album dedicated to the classical tenor saxophone! </div>
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I will be writing a full post all about my forthcoming CD soon so keep an ear and an eye out for that.</div>
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Big Noises!</div>
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Matt </div>
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