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Discussion Starter · #1 ·
I am a fourth year saxophone major who is absolutely in love with extended technique and Colin Stetson. It is my dream to be able to play "The Stars in his head," this year if possible so I can perform it. It is such an insane cluster of extended techniques that I have no idea where to begin with transcribing, does anyone have a transcription of this or an efficient method of doing so?
Thanks
 

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Discussion Starter · #6 ·
Why not just get in touch with him directly and see if you can get a lesson with him in Montreal - or wherever he might be touring?
I have contacted him but never heard anything back. I made sure to mention he was a massive influence to me and that I appreciated what he's been able to transform the saxophone into, but never heard anything back sadly. I'll give it another try, thanks for the reply!
 

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Discussion Starter · #7 ·
Maiaihii, I do know about his microphone atmosphere, I think he uses 24 mics in his average recording, but I have seen him play a 3am single microphone performance in a tunnel in Montreal. Somehow it's as close to the recording as that video cameras microphone will allow in terms of quality. Those are good suggestions for how to approach a normal transcription, but finding the overtones as well as the fingerings seems extremely difficult, could you possibly elaborate on how to approach finding these fingerings and overtones?
 

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Discussion Starter · #12 ·
I'm also a big fan of what he does and I've worked a bit on that tune. Not enough to be able to really play it, my circular breathing chops aren't so good. But I've played around with it enough to get a decent idea of what is involved. Before trying to think about what to transcribe, I would ask do you really need to write it down? People can mean many things when they use the word. If you had to, for college or whatever...."

Very helpful and extremely thorough, thank you very much. And you're right, all I meant for transcribing was just being able to figure out the notes, I'm not sure I'd necessarily write it down.

I also contacted Colin, but sadly he had not done any transcriptions nor did he plan on doing them but he gave me this:

"One bit of info, though, each of these pieces is written and performed on specific instruments. That is to say, if I was to play Judges, say, on a make and model of bass saxophone different than the one that I wrote it on, the overtones (and some of the key mechanisms) would potentially not be the same, and so the music would be impossible to recreate, as it is all based in overtone and multiphonics.
Again, thanks for listening and good luck!"

I'm not giving up on this piece, despite that piece of information, I just thought it was something worth sharing that I did not know before.

I also knew Colin didn't invent the techniques, but I had never cared about them before. Multi phonics sounded like crap to me until I heard them in this way.

I will look into the books you and MattiL suggested.

Thanks everyone,
Keep suggestions coming if you have them,
Mike
 
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