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Evolution of the Saxophone
- Thread starter badger2
- Start date
- Thread starter
- #143
One can begin to practice making chords on tenor sax by first marking the keys in some way, according to the chart in post #2, and verifying on a keyboard (synth or piano that is also marked in aminos) that the chord can be produced. This is how one can practice silently: (sax/synth-earphones), even on horns that are not yet electrified. The letters of a chord may change when crossing the octave-key boundary at concert B (an open note on the sax). This is also a matter of voicing of a chord (mixing the various notes in the chord, placing the root note on top, etc.) and whether one is in complete chord mode (the entire bank of sax keys produces the notes of a chord) or melody-chord mode (on an electric sax, split left hand for melody, right hand for chords), mentioned previously in the thread. Extra right-hand electric switches for chords will extend the range of notes accessible across the octave-key boundary. These future additions of switches added to the actual sax will also free up the important right-hand thumb for chord production. Mounting the sax on a pivoting tripod will eliminate the need for a neck strap though still allow some freedom of movement of the player.
Here are the concert pitch major and minor chords in "words" of the amino-acid signature:
C major FSI
C sharp TMD
D QWA
E flat SDN
F MEF
F sharp WCT
G INQ
A flat DFY
A ETS
B flat CQM
B NYW
C minor FYI
C sharp TSD
D QMG
E flat YWC
E SIN
F MDF
F sharp WET
G ICQ
A flat DNY
A EFS
B flat CTM
B NQW
Here are the concert pitch major and minor chords in "words" of the amino-acid signature:
C major FSI
C sharp TMD
D QWA
E flat SDN
F MEF
F sharp WCT
G INQ
A flat DFY
A ETS
B flat CQM
B NYW
C minor FYI
C sharp TSD
D QMG
E flat YWC
E SIN
F MDF
F sharp WET
G ICQ
A flat DNY
A EFS
B flat CTM
B NQW
- Thread starter
- #145
Error: Concert D major above is written either QWE or QWG, depending on voicing of the chord, the two voicings cross the octave-key boundary. This potentially confusing arrangement is part of the amino-acid beast and will be further explained*.
This time we will name the chords in a separate list so that the prisoners can see the pattern emerge from the sequences that are more correctly aligned. The major and minor chords posted above include this pattern.
C diminished (C dim)
C sharp (dim)
D
E flat
F
F sharp
G
A flat
A
B flat
B
the corresponding sequences of chord "words":
F Y W
T S I
Q M D (or V)
Y W G (or E)
S I C
M D N (or DNM)
W E F
I C T
D N Q
E F Y
C T S
NQM
C dim 7
C sharp
D
E flat
F
F sharp
G
A flat
A
B flat
B
F Y W E
T S I C
Q M D N
Y W E F
S I C T
M D N Q
W E F Y
I C T S
D N Q M
E F Y W
C T S I
N Q M D
To learn a 12-letter "chord word," one will have learned all the root notes of all the chords: vertically in the first column is FTQYSMWIDECN. Though the columnization is mis-aligned (suggested is to write them out on graph paper), note that the same sequence is in the second column as well as the third and the fourth columns, etc. of chord words. Obviously, this is an important pattern to learn on the saxophone, woodwind instrument, synth-piano keyboard, or even a typewriter keyboard.
* (depending on where they occur in each register (upper or lower register):
R and Y = E flat
K and Q = D
P and F = C
A and N = B
L and C = B flat
G and E = A
V and D = A flat
Having mastered this relationship for sax fingering, all other notes repeat in both upper and lower registers (see post #2).
This time we will name the chords in a separate list so that the prisoners can see the pattern emerge from the sequences that are more correctly aligned. The major and minor chords posted above include this pattern.
C diminished (C dim)
C sharp (dim)
D
E flat
F
F sharp
G
A flat
A
B flat
B
the corresponding sequences of chord "words":
F Y W
T S I
Q M D (or V)
Y W G (or E)
S I C
M D N (or DNM)
W E F
I C T
D N Q
E F Y
C T S
NQM
C dim 7
C sharp
D
E flat
F
F sharp
G
A flat
A
B flat
B
F Y W E
T S I C
Q M D N
Y W E F
S I C T
M D N Q
W E F Y
I C T S
D N Q M
E F Y W
C T S I
N Q M D
To learn a 12-letter "chord word," one will have learned all the root notes of all the chords: vertically in the first column is FTQYSMWIDECN. Though the columnization is mis-aligned (suggested is to write them out on graph paper), note that the same sequence is in the second column as well as the third and the fourth columns, etc. of chord words. Obviously, this is an important pattern to learn on the saxophone, woodwind instrument, synth-piano keyboard, or even a typewriter keyboard.
* (depending on where they occur in each register (upper or lower register):
R and Y = E flat
K and Q = D
P and F = C
A and N = B
L and C = B flat
G and E = A
V and D = A flat
Having mastered this relationship for sax fingering, all other notes repeat in both upper and lower registers (see post #2).
- Thread starter
- #146
The reader can use the 12-letter word to decipher all of the chords. All one needs is the first chord of a chord type:
C augmented (C aug) F S D
One begins in the first column by continuing the 12-letter sequence: after F it is TQY, etc. Second column is the S followed by the rest of the 12-letter sequence, M W I D E C N, etc.. This pattern follows so that all of the chords can be filled in:
C dominant 7 (C dom 7) F S I C
C major 6 (C maj 6) F S I E
C minor 6 (C min 6) F Y I E
C 7 sharp 5 FSDC
....etc.
Once these are accomplished, C sharp chords of all chord types, then D, etc.
C augmented (C aug) F S D
One begins in the first column by continuing the 12-letter sequence: after F it is TQY, etc. Second column is the S followed by the rest of the 12-letter sequence, M W I D E C N, etc.. This pattern follows so that all of the chords can be filled in:
C dominant 7 (C dom 7) F S I C
C major 6 (C maj 6) F S I E
C minor 6 (C min 6) F Y I E
C 7 sharp 5 FSDC
....etc.
Once these are accomplished, C sharp chords of all chord types, then D, etc.
the other mike
Diamond Member
- Thread starter
- #149
A suggestion is to examine an old computer keyboard for adaption to chord production, whose switches can be assigned to amino acid chords. What is desired is a symbol that carries a clean and consistent repetition, where motor skills are consistently reinforced by auditory cues. Chinese characters are much less compatible for this application, especially when it comes to chord production, and is another reason to develop a Japanese alphabet:
'The reforms narrowed the gap between spoken and written Japanese to a greater extent than similar efforts did for Chinese, without the verbosity that characterizes Chinese texts that imitate spoken style. The reason is easy to pinpoint: with phonetic subscripts at their disposal, Japanese writers get by with fewer characters and, the fewer characters used, the more style resembles speech. Although there will always be a difference between the way people write and speak, no matter what system of writing is used, the character script encourages differences in excess of what is normally encountered, because the individual symbols convey so much more information to the eye than their phonetic equivalent does to the ear. The same phenomenon applies to modern Korean.
....
Character texts, accordingly, when written as such, seem to carry the principle of conciseness much further than texts written phonetically, a fact cited by supporters of Chinese characters as proof of their superiority. But is this really the case? Or is the claim based on a confusion of categories? While it is true that character texts seem more concise, we obtain this impression from the paucity of phonetic information that accompanies the decipherment of successive symbols. Graphically all the characters do is distribute the required amount of information over different parameters: instead of encoding serially, the characters provide the visual data in compressed chunks. Either way, the redundancy needed to convey a given amount of information is present. In terms of the number of visual cues available, there is no reason to believe that one system is more economical or concise than the other.'
(Hannas WC, Asia's Orthographic Dilemma, pp. 250-1)
'The reforms narrowed the gap between spoken and written Japanese to a greater extent than similar efforts did for Chinese, without the verbosity that characterizes Chinese texts that imitate spoken style. The reason is easy to pinpoint: with phonetic subscripts at their disposal, Japanese writers get by with fewer characters and, the fewer characters used, the more style resembles speech. Although there will always be a difference between the way people write and speak, no matter what system of writing is used, the character script encourages differences in excess of what is normally encountered, because the individual symbols convey so much more information to the eye than their phonetic equivalent does to the ear. The same phenomenon applies to modern Korean.
....
Character texts, accordingly, when written as such, seem to carry the principle of conciseness much further than texts written phonetically, a fact cited by supporters of Chinese characters as proof of their superiority. But is this really the case? Or is the claim based on a confusion of categories? While it is true that character texts seem more concise, we obtain this impression from the paucity of phonetic information that accompanies the decipherment of successive symbols. Graphically all the characters do is distribute the required amount of information over different parameters: instead of encoding serially, the characters provide the visual data in compressed chunks. Either way, the redundancy needed to convey a given amount of information is present. In terms of the number of visual cues available, there is no reason to believe that one system is more economical or concise than the other.'
(Hannas WC, Asia's Orthographic Dilemma, pp. 250-1)
- Thread starter
- #150
Because the article's fascism is for subscribers only, we will post excerpts here so that non-subscribers can read it:
12 Aug 2019 Milwaukee Journal Sentinel, Debate Over Dyslexia Bill Reignites 'Reading Wars'
Public Hearing Tuesday on Startlingly Partisan Issue
It seems innocuous enough. A bill making its way through the Legislature would require the state Department of Public Instruction to create an informational guidebook on dyslexia and related disorders for schools and parents. Across the country, in all but seven states, lawmakers have passed similar legislation aiming at helping children who struggle with a neurologically based learning disorder that makes it difficult for them to learn to read, write and spell.
But the Wisconsin bill, like past measures intended to address dyslexia, has drawn concerns and outright opposition from some educators. The debate is a microcosm of the broader "reading wars" that have raged among educators for decades. It stems from the growing frustrations of parents who complain that schools, which parents say often eschew the term, are not doing enough to help their children. "Schools will dance around it....They'll say, 'We don't test for dyslexia,' or they'll avoid using the word," said Jennifer Kelly of Decoding Dyslexia Wisconsin, part of a national, parent-led organization that is promoting legislation across the country.
"We're not asking for anything earth-shattering," she said. "Reading is a life skill. And if you can't read, you're going to be considered disabled." Repeated efforts by the Journal Sentinel to speak with leaders of the Wisconsin State Reading Association, the only organization to oppose the bill, have not been successful. But its legislative chairman, Kathy Champeau, provided a copy of her testimony before the Assembly Education Committee in April. In it, she raise concerns about the bill's definition of dyslexia, potential financial conflicts of interest among those who might be selected to help draft the guidebook and the idea of tailoring legislation to a particular disability.
"The proposed guidebook should inform all literacy (and) reading-related conditions, not to be a marketing tool to promote one condition," said Champeau, whose organization represents about 2,200 members around the state. A coalition of organizations that represent school districts and board members raised similar concerns but said the "concept of creating a guidebook has merit."
The Education Committee approved the bill along party lines, with all Republicans in favor and Democrats opposed. It passed the full Assembly, 76-21, with 13 of 38 Democrats joining the majority, including one Democrat committee member who changed his mind. The bill now moves to the Senate Education Committee, which will hold a public hearing at 10 a.m. Tuesday in Room 411 South of the State Capitol.
Asked why a dyslexia guidebook would be a partisan issue, state Rep. Sondy Pope, D-Mt. Horeb, the ranking member of the Assembly Education Committee, echoed Champeau's arguments, then suggested that "Democrats are just better informed about reading disorders."
Rep. Bob Kulp, R-Stratford, who chaired the 2018 Legislative Council Study Committee on the Identification and Management of Dyslexia, which proposed the bill, called the politicizing of reading instruction "unfortunate." "That kids, parents, teachers and administrators are left without resources that could give (students) a leg up on the opportunities of life, by learning to read, is such a shame," he said.
Tuesday's hearing is expected to be emotionally charged. In April, some witnesses wept as they testified about their own or their children's struggles in learning to read. It comes as school districts are under increased pressure to ensure they provide children with disabilities the free and appropriate education required by law, following a 2017 U.S. Supreme Court ruling. Last month, a Wisconsin district was ordered to pay for an expensive boarding school for a student whose mother says she struggled for years to get the district to acknowledge that he is dyslexic.'
12 Aug 2019 Milwaukee Journal Sentinel, Debate Over Dyslexia Bill Reignites 'Reading Wars'
Public Hearing Tuesday on Startlingly Partisan Issue
It seems innocuous enough. A bill making its way through the Legislature would require the state Department of Public Instruction to create an informational guidebook on dyslexia and related disorders for schools and parents. Across the country, in all but seven states, lawmakers have passed similar legislation aiming at helping children who struggle with a neurologically based learning disorder that makes it difficult for them to learn to read, write and spell.
But the Wisconsin bill, like past measures intended to address dyslexia, has drawn concerns and outright opposition from some educators. The debate is a microcosm of the broader "reading wars" that have raged among educators for decades. It stems from the growing frustrations of parents who complain that schools, which parents say often eschew the term, are not doing enough to help their children. "Schools will dance around it....They'll say, 'We don't test for dyslexia,' or they'll avoid using the word," said Jennifer Kelly of Decoding Dyslexia Wisconsin, part of a national, parent-led organization that is promoting legislation across the country.
"We're not asking for anything earth-shattering," she said. "Reading is a life skill. And if you can't read, you're going to be considered disabled." Repeated efforts by the Journal Sentinel to speak with leaders of the Wisconsin State Reading Association, the only organization to oppose the bill, have not been successful. But its legislative chairman, Kathy Champeau, provided a copy of her testimony before the Assembly Education Committee in April. In it, she raise concerns about the bill's definition of dyslexia, potential financial conflicts of interest among those who might be selected to help draft the guidebook and the idea of tailoring legislation to a particular disability.
"The proposed guidebook should inform all literacy (and) reading-related conditions, not to be a marketing tool to promote one condition," said Champeau, whose organization represents about 2,200 members around the state. A coalition of organizations that represent school districts and board members raised similar concerns but said the "concept of creating a guidebook has merit."
The Education Committee approved the bill along party lines, with all Republicans in favor and Democrats opposed. It passed the full Assembly, 76-21, with 13 of 38 Democrats joining the majority, including one Democrat committee member who changed his mind. The bill now moves to the Senate Education Committee, which will hold a public hearing at 10 a.m. Tuesday in Room 411 South of the State Capitol.
Asked why a dyslexia guidebook would be a partisan issue, state Rep. Sondy Pope, D-Mt. Horeb, the ranking member of the Assembly Education Committee, echoed Champeau's arguments, then suggested that "Democrats are just better informed about reading disorders."
Rep. Bob Kulp, R-Stratford, who chaired the 2018 Legislative Council Study Committee on the Identification and Management of Dyslexia, which proposed the bill, called the politicizing of reading instruction "unfortunate." "That kids, parents, teachers and administrators are left without resources that could give (students) a leg up on the opportunities of life, by learning to read, is such a shame," he said.
Tuesday's hearing is expected to be emotionally charged. In April, some witnesses wept as they testified about their own or their children's struggles in learning to read. It comes as school districts are under increased pressure to ensure they provide children with disabilities the free and appropriate education required by law, following a 2017 U.S. Supreme Court ruling. Last month, a Wisconsin district was ordered to pay for an expensive boarding school for a student whose mother says she struggled for years to get the district to acknowledge that he is dyslexic.'
- Thread starter
- #152
The tracing of the actual amino-acid letters to be played even before playing them may also assist in the music-reading process, even for non-dyslexics:
Positive Tactile-Kinesthetic Response
Multimodal alexia: neuropsychological mechanisms and implications for treatment. - PubMed - NCBI
'....The most important finding of this experiment was that tracing facilitated the learning of arbitrary names which were paired with a series of abstract patterns. This finding could not have been confidently predicted on the basis of any previous experiments, and provides further evidence to suggest that remedial teaching procedures which incorporate tracing are soundly based.'
What is known as "circular breathing" for didgeridoo can be basically achieved in just a few weeks. It is a critical skill to learn and it opens up the fascinating world of this woodwind instrument. The hygienic aspect of the airdidge is much appreciated, for it can be cleaned both inside and out in mild soap and water. The resonance of this carbon fiber didge is noteworthy. Suggested is to not get into the habit of quickly extending the instrument as shown on the videos. If there is still moisture inside, the parts can dry tightly together and prompt the use of force. After the unit arrived, a 1/4" sliver went into the hand when applying force to twist the sections free, so check for machining before use.
A mounting of electric switches for didge can be customized by the player: a clarinetist would mostly align with the didge (which is on a stand) axis itself, and the switching harness or armature could actually be a hollow tube-like structure inside of which the didgeridoo could be inserted if didge diameter permits. A sax player, in contrast, would align the switches on some type of armature that is more perpendicular to the axis of the didge. This armature could be a most open, skeleton-type of rigid metal construction. Otherwise, an electric sax on a pivoting tripod-stand places the instrument right next to the stationary didgeridoo.
Positive Tactile-Kinesthetic Response
Multimodal alexia: neuropsychological mechanisms and implications for treatment. - PubMed - NCBI
'....The most important finding of this experiment was that tracing facilitated the learning of arbitrary names which were paired with a series of abstract patterns. This finding could not have been confidently predicted on the basis of any previous experiments, and provides further evidence to suggest that remedial teaching procedures which incorporate tracing are soundly based.'
What is known as "circular breathing" for didgeridoo can be basically achieved in just a few weeks. It is a critical skill to learn and it opens up the fascinating world of this woodwind instrument. The hygienic aspect of the airdidge is much appreciated, for it can be cleaned both inside and out in mild soap and water. The resonance of this carbon fiber didge is noteworthy. Suggested is to not get into the habit of quickly extending the instrument as shown on the videos. If there is still moisture inside, the parts can dry tightly together and prompt the use of force. After the unit arrived, a 1/4" sliver went into the hand when applying force to twist the sections free, so check for machining before use.
A mounting of electric switches for didge can be customized by the player: a clarinetist would mostly align with the didge (which is on a stand) axis itself, and the switching harness or armature could actually be a hollow tube-like structure inside of which the didgeridoo could be inserted if didge diameter permits. A sax player, in contrast, would align the switches on some type of armature that is more perpendicular to the axis of the didge. This armature could be a most open, skeleton-type of rigid metal construction. Otherwise, an electric sax on a pivoting tripod-stand places the instrument right next to the stationary didgeridoo.
- Thread starter
- #156
In the video, Fagen's fingering is seen from above, which can be transcribed to amino acid chords for electric sax by simply attaching the amino acid letter to the corresponding piano key. To play the same chord (or same note) in quick succession as Fagen does requires a repetition switch that is now evolving for operation by the player's foot.
Donald Fagen Talks PEG Pt. 1
Donald Fagen Talks PEG Pt. 1
- Thread starter
- #159
The entire book is traditional sheet music. What would happen if it were amino acid sheet music instead? Would it help or hinder a normal singer or a dyslexic?
A New Approach to Sight Singing, a book by Sol Berkowitz, Gabriel Frontier, Leo Kraft, Perry Goldstein and Edward Smaldone, W.W. Norton & Company, New York/London, 5th edition (2011), states on p. 4,
What To Avoid. For a musician, the ability to 'hear' music without playing it is an invaluable tool. Sight singing is an audible way for students to demonstrate that they can accurately translate notation into sound. The ultimate goal of a sigh singing curriculum is to develop skills and confidence in "hearing" notation and reproducing that notation through singing. Avoid crutches that enable you to learn and sing a melody but that hinder your growth of your ability to hear and sing music without playing it. Under no circumstances should you learn melodies assigned for prepared sight singing by recording them, or learn them through memorization after several playings at the piano or other instruments. Doing so will not help you learn to hear what you see. Furthermore, you should not write the solfege syllables or numbers in the book, as this will prevent you from gaining facility in the use of syllables or numbers. The well-trained musician will be able to look at a line within a texture and accurately "hear" it without playing it (or anticipate it before playing or singing it), and that goal should be in your mind as you practice.'
A New Approach to Sight Singing, a book by Sol Berkowitz, Gabriel Frontier, Leo Kraft, Perry Goldstein and Edward Smaldone, W.W. Norton & Company, New York/London, 5th edition (2011), states on p. 4,
What To Avoid. For a musician, the ability to 'hear' music without playing it is an invaluable tool. Sight singing is an audible way for students to demonstrate that they can accurately translate notation into sound. The ultimate goal of a sigh singing curriculum is to develop skills and confidence in "hearing" notation and reproducing that notation through singing. Avoid crutches that enable you to learn and sing a melody but that hinder your growth of your ability to hear and sing music without playing it. Under no circumstances should you learn melodies assigned for prepared sight singing by recording them, or learn them through memorization after several playings at the piano or other instruments. Doing so will not help you learn to hear what you see. Furthermore, you should not write the solfege syllables or numbers in the book, as this will prevent you from gaining facility in the use of syllables or numbers. The well-trained musician will be able to look at a line within a texture and accurately "hear" it without playing it (or anticipate it before playing or singing it), and that goal should be in your mind as you practice.'
- Thread starter
- #160
We had already posted this presenilin gene in Nov 2018 at post #16 of this thread. One can play the amino acid music music on sax, piano, etc.:
4 Nov 2019 CBS News: Rare Genetic Mutation Might Hold Clues to Preventing Alzheimer's
(URL functions if typed in spacebar)
cbsnews.com/news/alzheimers-disease-rare-genetic-mutation-might-hold-clues-to-prevent-treat-dementia/
'.... E280A, in addition she also carried the so-called "Christchurch" mutation in the APOE3 gene.'
This report from Harvard, etc. is misleading because it does not mention that the "Christchurch" mutation, of which the woman has two copies, is R136S (arginine to serine). Note that arginine has the highest isoelectric point of all amino acids, and that the mutation to serine is a somewhat radical leap, isoelectrically. In the Japanese reports of post #16, the dentate gyrus is implicated, and the mutations are alanine-to-valine (A260V). Since our amino acid music is based on isolelectric assignments of the aminos, this isoelectric report for presynaptic impairment also links the (outer two-thirds) of the dentate gyrus, which we will subsequently link back to those involved in the early story of Alzheimer's:
Nov 2019 High-Resolution Isoelectric Focusing / Presynaptic Impairment in the Dentate Gyrus
The proteome of the dentate terminal zone of the perforant path indicates presynaptic impairment in Alzheimer disease. - PubMed - NCBI
'....in outer two-thirds of the molecular layer of the dentate gyrus....'
For the Japanese mutation of 1998, A260V (Pubmed abstract # 9643011), the presenilin gene sequence is, from position 251 to 270: AVISVYDLVA/VLCPKGPLRM. The mutation happens where the slash mark is at position 260, flanked on either side by two valines, which means that the natural sequence is changed to three valines in a row.
4 Nov 2019 CBS News: Rare Genetic Mutation Might Hold Clues to Preventing Alzheimer's
(URL functions if typed in spacebar)
cbsnews.com/news/alzheimers-disease-rare-genetic-mutation-might-hold-clues-to-prevent-treat-dementia/
'.... E280A, in addition she also carried the so-called "Christchurch" mutation in the APOE3 gene.'
This report from Harvard, etc. is misleading because it does not mention that the "Christchurch" mutation, of which the woman has two copies, is R136S (arginine to serine). Note that arginine has the highest isoelectric point of all amino acids, and that the mutation to serine is a somewhat radical leap, isoelectrically. In the Japanese reports of post #16, the dentate gyrus is implicated, and the mutations are alanine-to-valine (A260V). Since our amino acid music is based on isolelectric assignments of the aminos, this isoelectric report for presynaptic impairment also links the (outer two-thirds) of the dentate gyrus, which we will subsequently link back to those involved in the early story of Alzheimer's:
Nov 2019 High-Resolution Isoelectric Focusing / Presynaptic Impairment in the Dentate Gyrus
The proteome of the dentate terminal zone of the perforant path indicates presynaptic impairment in Alzheimer disease. - PubMed - NCBI
'....in outer two-thirds of the molecular layer of the dentate gyrus....'
For the Japanese mutation of 1998, A260V (Pubmed abstract # 9643011), the presenilin gene sequence is, from position 251 to 270: AVISVYDLVA/VLCPKGPLRM. The mutation happens where the slash mark is at position 260, flanked on either side by two valines, which means that the natural sequence is changed to three valines in a row.
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