Paul Wainwright & SaxSafari funky sax driven groove music

EDUCATION
TEMPER AND THE TREATMENT by Paul Wainwright
Written for Canadian Musician Magazine March 15, 1995
Temper and the Treatment deals with the opposing ends of the immensely diverse capabilities of the saxophone's tonal spectrum - the rarefied atmosphere of sonic perfection experienced in wind instrument vibration, and the reptilian rantings from which we experience the darkest side of the musical psyche.

TEMPER
Tempering is the term given to tuning certain strings slightly sharp to make them sound a little brighter, or slightly flat to take some of the edge off. However it is something that not only applies to stringed instruments. Indeed, when thoughtfully used as part of saxophone technique it can become one of the most moving elements in a performer's style. A prominant guitarist known for his beautifully smooth style and impeccable tone once explained that because EAD & G were wound strings and B & E were unwound he always heard a dramatic difference between the two. To compensate, he would always tuned his B string just a little bit flat to soften the tone. In much the same way, sax players need to understand where the break points are on their instrument.

When played with the correct support from the diaphragm, you shouldn't need to make any embouchure adjustments from one note to the next for tuning purposes. However, you may choose to adjust pitch for tonal purposes. Moving into the high register above C# can become somewhat harsh sounding. If a smoother sound is desired, it can be achieved by playing a little flatter in this range. Conversely, if the lower range and bell tones need a little edge to bring out their true colours, they can be played a little more sharp. This covers some of the inherant characteristics of the instrument.

A far more subltle and emotive use of this technique involves tempering based on interval relations and phrasing. Most players make use of the "scoop" and the "fall" which can be useful devices to employ. In addition there is pitch vibrato. But tempering notes based on their harmonic value is what can really give a player a more deeply sophisticated and lyrical quality to their playing.

Obviously, not much of this applies in rapid passages, but when one rests on a note, and works that note like a singer in the throws of musical ecstacy, it's essential to put the bend in it to get the most out of it. As a rather loose general rule, major 3rds and major 6ths can stand more flatenning that other intervals. These are particularly useful if you don't want them too happy sounding. It kind of puts a little tarnish on them. If you need the colour notes to come out, particularly 9ths, it can be helpful to sharpen them slightly.

Gradually sharpening a held note can be a dramatic way to create tension. And great soloing is all about tension and release. Everyone wants to play in tune and sound good, but there is plenty of room to stretch the listeners ear. Leaving room to bend pitch can open up a great deal of expression on the saxophone with it's inherent lyrical capabilities.

THE TREATMENT
Most teachers of saxophone don't specialize in rock n roll technique. So there are always more than a few questions about how to get the grunge thing happening. These are the basics of the raunchy blow hard tricks that put the balls into rock n roll saxophone. This is "the Treatment":

Hum along.

Sounds easy? Simply by humming as you blow, you will get that raunchy as all get out tone. It's the sax players' equivalent of hitting the overdrive switch. And does it ever work! You don't need to hum in tune or any where even close to pitch. It works like this: As you hum you create a set of harmonic waves that are carried along the windstream. When these harmonics pass over the reed they take on a secondary set of harmonics which is in fact the original sound of the sax. When the two sets of harmonics interact, harmonic distortion occurs. You're on your own to discover all the nuance of "the Treatment" but here are a couple of pointers.
• Avoid the kind of high in the troat humming that feels like clearing your throat - especially if you're a singer. You can seriously damage your larynx without being aware of it.
• Use the diaphragm to support humming and the windstream together.

Advanced "Super Shred Treatment"
If you've successfully mastered "the Treatment" but still need more, here it is. Careful how you use it. By utilizing a rolling R with the tongue over the tip of the reed, you can achieve the ultimate saxophone raunchiness. This takes a lot of work to achieve the desired effect and you will likely shred a number of reeds before you get it down, but the effort is worth it when you need the last word in saxophonic distortion.

Use sparingly and make it count. I'll be listening.




	MUSIC - Listen to music from Plank Spankin', plus tracks from our upcoming release. CALENDAR - upcoming show listings CONTACT - Call or email for info about booking this group EDUCATION Lessons and articles plus info on seminars at select shows.		EDUCATION TEMPER AND THE TREATMENT by Paul Wainwright Written for Canadian Musician Magazine March 15, 1995 Temper and the Treatment deals with the opposing ends of the immensely diverse capabilities of the saxophone's tonal spectrum - the rarefied atmosphere of sonic perfection experienced in wind instrument vibration, and the reptilian rantings from which we experience the darkest side of the musical psyche. TEMPER Tempering is the term given to tuning certain strings slightly sharp to make them sound a little brighter, or slightly flat to take some of the edge off. However it is something that not only applies to stringed instruments. Indeed, when thoughtfully used as part of saxophone technique it can become one of the most moving elements in a performer's style. A prominant guitarist known for his beautifully smooth style and impeccable tone once explained that because EAD & G were wound strings and B & E were unwound he always heard a dramatic difference between the two. To compensate, he would always tuned his B string just a little bit flat to soften the tone. In much the same way, sax players need to understand where the break points are on their instrument. When played with the correct support from the diaphragm, you shouldn't need to make any embouchure adjustments from one note to the next for tuning purposes. However, you may choose to adjust pitch for tonal purposes. Moving into the high register above C# can become somewhat harsh sounding. If a smoother sound is desired, it can be achieved by playing a little flatter in this range. Conversely, if the lower range and bell tones need a little edge to bring out their true colours, they can be played a little more sharp. This covers some of the inherant characteristics of the instrument. A far more subltle and emotive use of this technique involves tempering based on interval relations and phrasing. Most players make use of the "scoop" and the "fall" which can be useful devices to employ. In addition there is pitch vibrato. But tempering notes based on their harmonic value is what can really give a player a more deeply sophisticated and lyrical quality to their playing. Obviously, not much of this applies in rapid passages, but when one rests on a note, and works that note like a singer in the throws of musical ecstacy, it's essential to put the bend in it to get the most out of it. As a rather loose general rule, major 3rds and major 6ths can stand more flatenning that other intervals. These are particularly useful if you don't want them too happy sounding. It kind of puts a little tarnish on them. If you need the colour notes to come out, particularly 9ths, it can be helpful to sharpen them slightly. Gradually sharpening a held note can be a dramatic way to create tension. And great soloing is all about tension and release. Everyone wants to play in tune and sound good, but there is plenty of room to stretch the listeners ear. Leaving room to bend pitch can open up a great deal of expression on the saxophone with it's inherent lyrical capabilities. THE TREATMENT Most teachers of saxophone don't specialize in rock n roll technique. So there are always more than a few questions about how to get the grunge thing happening. These are the basics of the raunchy blow hard tricks that put the balls into rock n roll saxophone. This is "the Treatment": Hum along. Sounds easy? Simply by humming as you blow, you will get that raunchy as all get out tone. It's the sax players' equivalent of hitting the overdrive switch. And does it ever work! You don't need to hum in tune or any where even close to pitch. It works like this: As you hum you create a set of harmonic waves that are carried along the windstream. When these harmonics pass over the reed they take on a secondary set of harmonics which is in fact the original sound of the sax. When the two sets of harmonics interact, harmonic distortion occurs. You're on your own to discover all the nuance of "the Treatment" but here are a couple of pointers. • Avoid the kind of high in the troat humming that feels like clearing your throat - especially if you're a singer. You can seriously damage your larynx without being aware of it. • Use the diaphragm to support humming and the windstream together. Advanced "Super Shred Treatment" If you've successfully mastered "the Treatment" but still need more, here it is. Careful how you use it. By utilizing a rolling R with the tongue over the tip of the reed, you can achieve the ultimate saxophone raunchiness. This takes a lot of work to achieve the desired effect and you will likely shred a number of reeds before you get it down, but the effort is worth it when you need the last word in saxophonic distortion. Use sparingly and make it count. I'll be listening.
			©2010 Paul Wainwright