PPT mouthpieces

Want to share some of my originals.

L

Ling

Member
Messages
7
Location
London
Hello, everyone.

First, let me apologize for the sound quality. I'm only able to record it with my phone at the moment, and it's just a sax solo without any other instruments accompanying it. It may not sound perfect, but I still wanted to share these ideas with you all. No one wants their music to go unheard, and I know there are so many great players and music lovers in this forum. Where else could I find a better place to share my music than here? Please let me know what you think about it and feel free to say anything you want. Although I'm scared to death right now, I think I'm ready for the embarrassment.

Now, let me present the song "Mirage." I wrote it many years ago. It's not the first song I've written, but it's the first one I dare to show to someone.

If you like it, please don't forget to give me a like on YouTube. It would be a great encouragement for me. If you don't, there are more songs on my channel. Check it out; maybe you'll find one you like.

I hope you enjoy it. Thank you so much. :D



View: https://youtu.be/0Y2-Uto_FGI
 
Welcome to the forum Ling, if you don't mind me asking I have all these questions after watching this :). It sounds like you have a lot of Eastern European/Middle Eastern influence in your style, is that right? What music are you listening to? Also do you always play without a strap with the sax resting across your leg (?) like that? Is that a common thing where you learned how to play?
 
You're creating a very interesting feel/vibe that's a Middle Eastern type of mode. Modal music has a very long history and is still used extensively. I can't say what your inspiration is/was, however it would be good if you could frame your ideas so that it tells a story and has more "form". Running variations on the same scale/mode has limitations for most "Western" listeners. Rhythm is also one of the more important aspects of music. It doesn't require a metronome type of rigid beat, yet should also have it's own logical/form. This is also very true for Middle Eastern music which has very strict rhythm.

One can certainly make up their own musical patterns that are valid to themselves. However most music is a form of communication, so "speaking a common language" allows us to convey melodies, stories, or in the case of a lot of jazz, just the ability of the player to show off their technical abilities.

Keeping in the same "mode" is OK, yet having some variations can give more interest (even using the same mode in a different key). An easy exercise you could try using the exact same mode/scale is to make a short initial statement with a short break, then answer it. That's called "call and response". It's a dialogue of music that's easy for most people to understand, but it can't be random, there needs to be a relationship like a conversation.

Giving form also gives meaning and allows others to understand. Rhythm does this superbly. Having a (relatively short) clear melodic idea that is your "statement" also then allows one to play variations on that theme (another basic composition technique just called "theme and variations").

None of this needs to be taken up, and you can just continue on your own path and see where you wind up. The above clues are simply based on "common musical language", which communicates well with others. It's certainly possible to develop your own musical language and even instruments. The only question would be whether it's important for you to be saying something musically to others.

Google a composer named Harry Partch. He's an extreme example of where this leads, which is either genius or madness depending on your point of view.
 
wakyct said:
Welcome to the forum Ling, if you don't mind me asking I have all these questions after watching this :). It sounds like you have a lot of Eastern European/Middle Eastern influence in your style, is that right? What music are you listening to? Also do you always play without a strap with the sax resting across your leg (?) like that? Is that a common thing where you learned how to play?
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Hello Wakyct. Thanks for asking.

Actually, I have no idea what Eastern European music sounds like. I grew up listening to classical, jazz, and bebop. I also like Japanese traditional music and have been influenced by it a lot, but that was much later than when I composed the song. As for my "interesting" playing position, it's just a bad habit of mine. However, it helps me hold the horn steadily, makes it easier to play fast, and, of course, it's much more comfortable. So, maybe you can try it yourself next time and see if it works for you. :D
 
Wade Cornell said:
You're creating a very interesting feel/vibe that's a Middle Eastern type of mode. Modal music has a very long history and is still used extensively. I can't say what your inspiration is/was, however it would be good if you could frame your ideas so that it tells a story and has more "form". Running variations on the same scale/mode has limitations for most "Western" listeners. Rhythm is also one of the more important aspects of music. It doesn't require a metronome type of rigid beat, yet should also have it's own logical/form. This is also very true for Middle Eastern music which has very strict rhythm.

One can certainly make up their own musical patterns that are valid to themselves. However most music is a form of communication, so "speaking a common language" allows us to convey melodies, stories, or in the case of a lot of jazz, just the ability of the player to show off their technical abilities.

Keeping in the same "mode" is OK, yet having some variations can give more interest (even using the same mode in a different key). An easy exercise you could try using the exact same mode/scale is to make a short initial statement with a short break, then answer it. That's called "call and response". It's a dialogue of music that's easy for most people to understand, but it can't be random, there needs to be a relationship like a conversation.

Giving form also gives meaning and allows others to understand. Rhythm does this superbly. Having a (relatively short) clear melodic idea that is your "statement" also then allows one to play variations on that theme (another basic composition technique just called "theme and variations").

None of this needs to be taken up, and you can just continue on your own path and see where you wind up. The above clues are simply based on "common musical language", which communicates well with others. It's certainly possible to develop your own musical language and even instruments. The only question would be whether it's important for you to be saying something musically to others.

Google a composer named Harry Partch. He's an extreme example of where this leads, which is either genius or madness depending on your point of view.
Click to expand...
Thank you for the kind and detailed reply. What you said is very true. I have always struggled with music theory, and you have wisely pointed that out.
I was still young when I wrote the song. In my case, being young unavoidably meant being arrogant and ignorant. All my other works from that period are going to stay in the bin forever, and I would never wish for anyone to find them.
To me, it's still a question of how we understand music. Do we really understand music through its formats or patterns? I mean, if you consider music as a kind of artwork, it's possible that it doesn't follow any discipline or rules and is still accepted by people. In the end, humans are very weird and sophisticated; it's not easy for us to come up with any conclusion. It's indeed a very interesting topic, really worth us delving deeper into. But if you say I'm stubborn, yes, I agree with you. :D
 
Ling said:
Hello Wakyct. Thanks for asking.

Actually, I have no idea what Eastern European music sounds like. I grew up listening to classical, jazz, and bebop. I also like Japanese traditional music and have been influenced by it a lot, but that was much later than when I composed the song. As for my "interesting" playing position, it's just a bad habit of mine. However, it helps me hold the horn steadily, makes it easier to play fast, and, of course, it's much more comfortable. So, maybe you can try it yourself next time and see if it works for you. :D
Click to expand...
Not Eastern European, Middle Eastern.. eg. Turkey, Jordan, Syria, etc. If your single desire is to play "fast" without reference to those "fast" notes rhythmically working, then I think you're missing a major component of music. You're sharing your playing with us, so should have and deserve honest feedback. You can accept this or not, as it's unclear if you wish to musically communicate or just play for your own amusement. If the latter, then there is no need to post here as you may find that you get those honest replies... which you may not like.
Ling said:
Thank you for the kind and detailed reply. What you said is very true. I have always struggled with music theory, and you have wisely pointed that out.
I was still young when I wrote the song. In my case, being young unavoidably meant being arrogant and ignorant. All my other works from that period are going to stay in the bin forever, and I would never wish for anyone to find them.
To me, it's still a question of how we understand music. Do we really understand music through its formats or patterns? I mean, if you consider music as a kind of artwork, it's possible that it doesn't follow any discipline or rules and is still accepted by people. In the end, humans are very weird and sophisticated; it's not easy for us to come up with any conclusion. It's indeed a very interesting topic, really worth us delving deeper into. But if you say I'm stubborn, yes, I agree with you. :D
Click to expand...
This isn't a matter of theory in the same way that one doesn't need to study grammar in order to speak a language. In Japan there is a school of music for very young children called Suzuki. It's basic principle is that children can learn music the same way that one learns language. You copy and become fluent in that language. There is no theory or even reading music in the first few years. That only comes much later after you learn to play the instrument by ear.

By all means one can develop their own music, which is what the reference to Harry Partch was about. However it's not like he's well known or his music was understood or even liked by most people. There is a very long history of artists and musicians who consider themselves "misunderstood" and that everyone will only realize how much of a genius they were after they are dead. Didn't happen for poor Harry Partch, and many thousands of others.

Most of us stick with trying to give stories, emotions and entertainment to others. That's kind of the job description for all the arts, however nothing is stopping anyone from following their own path. Just don't expect to have others who somehow like or follow what you're doing. One can also write novels in their own made up language. You either want to connect with others in your art, or just amuse yourself. Both are OK, it's only having unrealistic expectations that might not be healthy.
 
Wade Cornell said:
Not Eastern European, Middle Eastern.. eg. Turkey, Jordan, Syria, etc. If your single desire is to play "fast" without reference to those "fast" notes rhythmically working, then I think you're missing a major component of music. You're sharing your playing with us, so should have and deserve honest feedback. You can accept this or not, as it's unclear if you wish to musically communicate or just play for your own amusement. If the latter, then there is no need to post here as you may find that you get those honest replies... which you may not like.

This isn't a matter of theory in the same way that one doesn't need to study grammar in order to speak a language. In Japan there is a school of music for very young children called Suzuki. It's basic principle is that children can learn music the same way that one learns language. You copy and become fluent in that language. There is no theory or even reading music in the first few years. That only comes much later after you learn to play the instrument by ear.

By all means one can develop their own music, which is what the reference to Harry Partch was about. However it's not like he's well known or his music was understood or even liked by most people. There is a very long history of artists and musicians who consider themselves "misunderstood" and that everyone will only realize how much of a genius they were after they are dead. Didn't happen for poor Harry Partch, and many thousands of others.

Most of us stick with trying to give stories, emotions and entertainment to others. That's kind of the job description for all the arts, however nothing is stopping anyone from following their own path. Just don't expect to have others who somehow like or follow what you're doing. One can also write novels in their own made up language. You either want to connect with others in your art, or just amuse yourself. Both are OK, it's only having unrealistic expectations that might not be healthy.
Click to expand...
Certainly not! I'm very happy that you can share your honest feelings with me. I'm not saying I don't care how people think about me, but it's not going to discourage me that easily. More importantly, I can share some of my stories and discuss music ideas here. That's good enough.



I'm not from those areas. I never listened to their music before. I have no intention of making that type of style of music. At that time, I was deeply obsessed with Jimi Hendrix's music and playing (and I still am. He is one of the best.) So maybe his gypsy-style sound influenced me more.



As you mentioned Japan, I've also been influenced by Japanese traditional music. They don't have a strong rhythm like the West. If you want an example, you can google Shakuhachi 尺八. I also recommend finding some way to keep yourself awake before you listen. Perhaps that kind of music is somewhat ingrained in my musical DNA, which might explain why it makes the rhythm sound more "funky" to you.



To me, what makes us like or dislike something is more of a feeling, which is very difficult to describe. We just can't treat it like math or language. It's difficult to come up with a formula to determine which kind of music will work and which won't. Only time can tell.



I'm not in the mood to find out what Harry Partch's music sounds like now. Since no one loves my music, I have to go find some pillows and start to cry. Maybe someday I'll go check it out, but I can't guarantee it.
 
As said, I don't know your what your inspiration is, yet there is nothing in what you played that reminds me of Jimmy Hendrix. Unfortunately you've prejudged me as not knowing anything about the shakuhachi which I enjoy very much. I've made and played the shakuhachi in my younger days, but not recently. I still occasionally make and play bamboo flutes, but the shakuhachi is much more demanding. It's very soulful, and to my ears and communicates well to anyone who is calm, patient, and listens deeply. It is not repetitive and has a depth of spirit that is unique even though it has a very limited number of notes. The sax has lots of notes but is seldom played with with as much feeling or depth. If you enjoy the shakuhachi then I'd certainly suggest studying and playing it as a key to making music that is both very personal, and very communicative.
 
I took time to listen to all the tape and I must say it is pretty cool! I think Jimmy Page would be interested in that. Good keywork BTW. Play on as Jimmy would say!
 
peedeeblues said:
I took time to listen to all the tape and I must say it is pretty cool! I think Jimmy Page would be interested in that. Good keywork BTW. Play on as Jimmy would say!
Click to expand...
Wow! Thank you! I would give you a hug now if I could.






mizmar said:
For historical/ general knowledge, of not theoretical purposes... This is fun

View: https://youtu.be/XYgTkW4WK80?si=s7lC-lc6fvo3RonQ
Click to expand...
I listen to Paco de Lucia a lot. And now I know better when the next time I listen. Thank you!
 
Wade Cornell said:
As said, I don't know your what your inspiration is, yet there is nothing in what you played that reminds me of Jimmy Hendrix. Unfortunately you've prejudged me as not knowing anything about the shakuhachi which I enjoy very much. I've made and played the shakuhachi in my younger days, but not recently. I still occasionally make and play bamboo flutes, but the shakuhachi is much more demanding. It's very soulful, and to my ears and communicates well to anyone who is calm, patient, and listens deeply. It is not repetitive and has a depth of spirit that is unique even though it has a very limited number of notes. The sax has lots of notes but is seldom played with with as much feeling or depth. If you enjoy the shakuhachi then I'd certainly suggest studying and playing it as a key to making music that is both very personal, and very communicative.
Click to expand...
I'm sorry, I by no means intended to prejudge you at all. What I meant to say is that making unaccompanied saxophone music is very challenging, especially considering that you have to breathe while playing, so it's unavoidable to have pauses in the music. Therefore, I spent some time on Google trying to find something similar, and I found the shakuhachi. Spirituality, I'm impressed by the philosophy behind it, but still, it feels very sleepy to me. Its musical concept is deeply connected to Taoism. So, what I learned is that sometimes you just have to let go a little bit. Just like with the shakuhachi, the saxophone is also difficult to use to create rhythm by itself. I tried my best, and this is the result. I know the two types of music don't sound alike at all, but spirituality is where my inspiration comes from. By the way, if you haven't heard of Michio Miyagi yet, check him out, he's one of my favorites.
 
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mizmar said:
Is it a bird? Is it a plane?
No! it's an allusion going straight over my head!
Click to expand...
I don't want to hijack this thread but FWIW, the serail used to be an area reserved for women only at the caravan way stations. Often the Italian form of the word "seraglio" is used, e.g. Mozart's "The abduction from the seraglio" and in modern parlance, the caravan serail is often misched to caravanserai even if it actually defies the original meaning of the "women's only" area. The serail were famous for their fragrances, a mixture of perfumes and delicacies, for example lamb chops marinated in rose petals and honey. It's an old middle European expression: "The seven fragrances of the caravan serail" or sometimes "paradise or zhanat/djanna" and it can be used as a compliment (as in this thread) or as a slander (definitely not intended here).
 
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