Evolution of the Saxophone

[badger2]

 

[whoisit]

I use to dance on skates to this one. We had a juke box in the rink.

 

[badger2]

Played it at least a thousand times. Boots had a club on Printer's Alley in Nashville, and badger once called him there. His songs were constantly requested by Fieldcrest cotton-mill workers at a club on the Chattahoochee River, Alabama side. (see Pedal Steel Guitar thread)

 

[badger2]

We posted about amino acid music concerning ovarian cancer at
The Cancer Forums
Cancer Information, Support Groups, Message Boards - Cancer Forums

as well as other cancer posts without the mention of amino acid music. All of badger2's posts after having joined today have been removed. Beware of the fascism at this site that steals posts and keeps its prisoners in the dark (like mushrooms) about deadly human diseases.

 

[badger2]

Coltrane, Giant Steps

 

[Mike Dwight]

I couldn't follow the talk about Amino Acids. There's a lot of pseudo-science going on here. Basically, I'd say, there's a real African American conversation to look at in the evolution of Jazz Saxophone. Now of Course John Coltrane himself, chipped in Commercially, with his song Birmingham. But just consider, if the true Virtuoso, of the entire field most people are going to say Charlie Parker, most thins in Jazz do seem to flourish off of Louis Armstrong or Charlie Parker. Charlie Parker was a hot playing competitor, that's what spawned his surviving artistic Partner, Miles Davis into producing Cool Jazz, lets say. Now let me get back to my feeling, my point, what if in the Short, Tragic life of Charlie Parker, not really Racism directly, or maybe institution, but we allowed That virtuoso to experience the Freedom of Artistry which is the Whole Point of the newest Free Jazz era that Ornette Coleman is promoting. That's about Philosophy of music, and Western Music. I'm not going to include Ornette Coleman at All in the psychedelic , the funk, even though that is his timeperiod. That's avant garde.

 

[badger2]

It may not be possible for you to point to a single example of pseudo-science in this thread. If you can, please show it to all of us. The evolution of jazz saxophone is the evolution of a style of expression, just as amino acid music is also the evolution of a style of expression. Both styles are expressed via the saxophone. When we couple sax fingering to didgeridoo, the parameters change even more radically, because the musician now plays the didj as it is traditionally played, though superimposed over that is the simultaneous playing of chords and melody via the switching harness evolved from the electric saxophone.

 

[badger2]

It should be agreed that freedom of artistry may have produced a different Bird. Unfortunately, we can't ask Parker to comment on having read this thread.

 

[badger2]

There are now several others in collaboration to develop an electric sax-didj concept. Tentatively, an electric didgeridoo could be introduced by October. This will challenge the player to maintain a rhythm line on the didj while simultaneously playing chords and melody on a synthesizer.

 

[badger2]

The concept of the electric didgeridoo as described in this thread is graphically represented in this video at timepoint 4:20 (Circle of Notes, Circle of Fifths, Rhythmic Cycles).

William Sethares, Topology of Musical Data

 

[badger2]

Errata: should be timepoint 40:25.

 

[badger2]

Tribal Need Buskers @7:45 comes close to the electric didj though still uses looping.

 

[badger2]

Guitar and Didgeridoo at Disney by Dominic Gaudious

 

[badger2]

 

[badger2]

Barton Dige Fusion @ around timepoint 2:08

 

[badger2]

Rudd strives to master the rhythm cycle of the topological trinity.

Xavier Russ Lioness Eye

 

[badger2]

And succeeds.

 

[badger2]

One of the reasons for developing a Japanese alphabet is because the Japanese have never seen a graphic representation of their consonants, they are always hidden within a syllabary. When a Japanese alphabet is adapted to amino acid music, and English letters can be interchanged with Japanese letters, the situation changes radically. As we have already shown, four lines of the traditional musical staff can be eliminated when adapting amino acid letters to sheet music, and not only can any other music be transcribed, any word in any other language can also be transcribed to amino acid sheet music. The musical instrument becomes a typing keyboard, and musical notes do not have to be produced to generate signals, signals which have other applications.

When we adapt this system to applications such as reading comprehension problems or dyslexia, it's immediately clear why:

'As one's ability to physically write Chinese characters, stroke by stroke, improves, so it seems one's ability to recognize them and distinguish them one from the other. Conversely, as writing skills deteriorate from lack of practice, so does recognition. Primitive motor skills seem to play a part in reinforcing memory here as in other areas. If this phenomenon were related to handwriting specifically, literacy would have been lost in the West entirely by now, for most Westerners do their "writing" today on keyboards. But the fact is, typing has reinforced Westerner's "hands on" awareness of the language by virtue of the direct one-to-one correspondence between discrete hand motions and the letters that make up words. Character coding schemes, as we have seen, have little or no direct physical connection with the structure of the character -- certainly none that bears any relationship to the specific motor skills that are exercised in forming characters

Although it seems unlikely, for all of the reason given above, that nonphonetic coding will emerge as the primary means of processing Chinese characters for a significant part of the character-l;iterate East Asian population, if this were to happen, the technique could lead eventually to a deterioration of user's ability to deal with the characters generally. In other words, the same machines that were supposed to give the characters a new lease on life may contain the seeds of the character's destruction....Japan's failed "fifth generation" computer project to adapt its obsolete orthography to the demands of modern society is a clear warning that the patch-and-fill approach to dealing with Chinese characters will not work forever.'
(Hannas, Asia's Orthographic Dilemma)

 

[badger2]

Biden's political term for Trump as an "existential threat" can easily be compared with the introduction of a Japanese alphabet: its existence, introduction and use by the Japanese themselves would be akin to the fact that Biden is not president but challenges the incumbent. As this Japanese alphabet became known and applied in the transmission of language or music, the character-based script would have a rival, a political rival defined not by numbers of users but by the sheer introduction, like amino acid music, of an idea that may or may not become popular. This movement still does not prevent the idea from being defined as political. It has to get political. The idea is such even before it begins to be known and used in real-world situations, because government does not exist without the written forms that represent language, or sound.

 

[badger2]

Smeykal's Bladerunner @ timepoint 3:46 is a rhythm compatible for superimposed synth chords if not also melody. It's easy to envision a switching harness slipped over the yidaki: