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Great feel and perfect vibe- did the ending stop abruptly?
Yes, no outro. I'm just following the form of a collaborating guitarist's template and giving it a melodic line. Most of the tunes I'm doing are collaborations in which I'm providing the melodies/lead, but not the changes. Glad you liked it. Maybe I'll post a few more?
 

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Well I gave it a try singing and had a real hard time with my voice wavering all over - just really out of shape. I tried doubling two vocal takes and I'm not sure if that makes it worse or if it helps hide the flaws. I was only able to sing one verse and I'll have to rest my voice a bit - but I think if I start singing every day it might come back. 40-50 years ago I was singing 5 sets a night 6 nights a week but I haven't sung much at all in the past 30 years. It was fun to pull the flute out too.

Here's a sampler taste of the tune. Or is that wrong of me to show the work in progress -- should I wait until I have it finished? I'm hoping by showing the work in progress I might get some suggestions about where to go with it. The expected form is the 2nd verse will come right where this little sample fades out and then a short solo (probably Tenor Sax?) and chorus out.

Note: Você é Gata --- someone was telling me that this is Portuguese for "You're a Cat" but that it's used in Brazil to mean "You're so Sexy". I don't know for sure if that's true and I'm certain I'm not pronouncing it right.

https://soundcloud.com/user-460666353%2Fvoce-gata-first-verse-with-flute
Really nice production that's got the right balance of push and ease. Too easy for a track like this to become too laid back (smooth) or trying to be too pushy with overly technical solos. You've got a great natural sense of balance for your productions. The vocals work well in not being too forward and everything working together.
 

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This breaks my own rule a little! .This is my arrangement (vs. an original) of “Summer Breeze” by Seals and Crofts. I made it awhile back during record-breaking cold just after a blizzard in Maine (it was therapeutic!) and attached a pic of a summer day playing a gig in Castine,Maine on my website.I play saxophone, flute and synths I used the Partido Alto groove for the verses. The partido alto groove was very difficult to play my melody with for some reason and I'm not entirely happy with it because it seems kind of choppy or something, but no matter how I tried to do it differently it just didn't seem to improve it, but it does contrast with the other section that used a more traditional dry swing drum loop.

I'm working on an original Rumba though so stay tuned!

Summer Breeze

View attachment 139533


Sounds: The verse uses Partido Alto loops/samples from Celso Alberti, fretless bass, jazz guitar and Rhodes. In the second verse I use a new device called Humana in the DAW I use (Reason) which has great samples of the human voice. The last verses are solos- first tenor, then synth (Rhodes put through a polyphonic arpeggiator), and finally flute for the outro. The chorus has a more traditional dry swing drum loop, a “low simple sub” bass, a guitar sound called “Vollenweiderustica” and a synth called “Shoals”. The contrasting, more tranquil sounds in the bridge are synths called “Ambient Bamboo” and “Cinematic Justice”. The Rhodes accompanies, and there is an Udu sample.
Very cool! Excellent arrangement and use of synth. Your flute work is really lovely. A minor comment: The sax sounds further forward and "drier" than the flutes and to my way of hearing the flute has more of a lead in this.
 

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In case there is interest in me posting the progress on this tune as I build it up - I re-sang the vocals this morning and added the second verse. I'm still out of shape but if feels like it'll come back if I practice a little every day for a few months/years :ROFLMAO:

I've got the bridge chord progression and then vamp out on the chorus (tomorrow when my voice has recovered enough to sing the outro).

I've got lots of questions about how to build this tune if you guys feel like weighing in:
I'm thinking Tenor Sax for the solo?
I added some echo to the flute - too much?
When I sing the outro (just chorus repeating over and over) should I overlay flute or sax with the vocals? And how polite do I need to be? Seems like I can intrude over the vocals a bit more with a horn or flute since it's just repeating the same lyrics over and over - thoughts on that?
Occasionally I drop into an Arabic tonality on a flute fills - is that off putting, out of character too much or does it work?
https://soundcloud.com/user-460666353%2Fvoce-e-gata-take-two-second-verse-and-bridge-chords-added
Good that you're open to comments, however I'd be happy to hear this all as your vision rather than a composition by committee. You've got a good musical vision and all the ingredients seem classy and refined. OK, the voice isn't perfect, maybe easier if put into a lower key? Leads and fills should be your choice. Repeated lyrics a problem? Not to most pop stars who've raked in the $$ with a lots less musically or lyrically happening. Most amusing having a musical serial.
 

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OK, time to throw in another track. This one is also a combo type mixing Tango and Flamenco...I called it Flamingo (close enough). This is a collaboration with a long time associate from Malaga Spain who plays bass and rhythm on this. Only the first half has tenor sax. The second half was supposed to be filled out by someone else, but showcases my friend Mario's fine playing.
 

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Here's a piece for concert band called summer breeze in modest cuban/bossa style. It's the last of my 4 movement piece "4 winds" - and I could thankfully link two of them in the odd meter OOTM.
The sounds are sibelius/noteperformer. I wrote this for a composition contest for junior concert band, which I did not win ;) But without the contest I wouldn't have invested the time and work and I learned a lot on the way. So if you run a ensemble like this - drop me a line and I'd be glad to send the parts.
All the best!
Really nice "classic" approach with an excellent orchestration. Good melodic ideas throughout.
 

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Hopefully this comes across as "constructive": You're a fine player from many tracks I've heard you play and this composition is really superb. However, as with many players, your low notes aren't strong or consistent. Maybe put this up a third and play it where you may be more comfortable? The ideas in those opening phrases and the repeats are so clever, you really want them to shine. Might help using a mellower mouthpiece as well which doesn't have an "ambiguous" high harmonic. The solos and horn arrangement are really top notch.
 

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Hello- I think you're talking to me- yes my low notes are killing me with frustration at the moment. I had a fairly new reed, and a few days of playing on it it was much better actually, but by that time I didn't want to record it again. I just wish someone would invent the perfect reed/MP/lig combo and could fit it to the person- like when you buy a bra!
Sorry to have not made it clear the comments were about your track. I'm old and a little chunky, so may need to take the bra advice soon. For what little it may be worth I'm one of those oddballs that prefer to play the bottom of the horn. A slightly softer reed helps, but then you sacrifice some of the edge for the high notes. I also use the Hartmann fiberreeds, so not often changing reeds and when I do they are the same without a "break in" period. That's not the case for all synthetics e.g. Légère.

When we double and want our sound to be there instantly on demand, the only way to get this is to have a consistent set up. The reed is the culprit that usually lets us down. Any new reed or setup takes time. If the longevity for the reed is short, then one's always in that mode of adjustment and possibly disappointment. I'd highly recommend getting a reed like one of Hartmann's and taking the time to adjust (as one needs to do with any new set up). Expecting a synthetic to sound exactly the same as one's favorite brand of cane isn't being real. However I'm sure you and others have noticed that when we change horns, mouthpieces, etc. after a while we just sound like ourselves. Our sound comes from a subtle feedback of adjusting to various gear until we fit. When/if we want a radically different sound, change mouthpiece and/or reeds, and for a while you'll be in the different space...until you once again adjust. Just saying...
 
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