Evolution of the Saxophone

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These links were first discovered today:

7 May 2007 The Music of Amino Acids
The Music of Amino Acids

Genome Biology 2007 Conversion of Amino-Acid Sequence in Proteins to Classical Music: Search for Auditory Patterns
Conversion of amino-acid sequence in proteins to classical music: search for auditory patterns. - PubMed - NCBI
(This conversion still clings to the complexity and eye strain of the four traditional lines of the musical staff.)

Joel Sternheimer: DNA Music Sound Samples
Joel Sternheimer: DNA Music - Applied Biophysics Aether Research Laboratory

This music fails to give the listener the original sound of the amino acid sequences before chords or other notes are added on.

 

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We will give a tentative rendition of a song based on the Sydney Funnel Web to someone who is going to visit Sydney early in 2019. The song features sax-synth accompanied by a termite-forged didjeridoo bass line (still evolving). Here is the melody line of the fatal male venom:

Sydney Funnel Web, Atrax robustus Omega Hexatoxin
Omega-hexatoxin-Ar1c precursor - Atrax robustus (Sydney funnel-web spider)

 

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The Atrax hexatoxin sequence, GVI, at positions 6-8 is the same isoelectric sequence on sax (see chart, above).

 

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Deleuze for the Desperate #11: Refrain

 

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('consistency' is at time-point 19:06, 'creativity' is at time-point 30:21)

 

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Dec 2018 Finland: Ovarian Cancer / Canine Olfactory
FAIMS analysis of urine gaseous headspace is capable of differentiating ovarian cancer. - PubMed - NCBI

 

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The FAIMS gaseous links for the cysteine trajectory of Sierra the Siberian Husky are:

1. Cystathione beta-synthase

2. Cystathione gamma-lyase

3. 3-Mercaptopyruvate sulfurtransferase

 

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2019 Analog Trajectories

One can "play" a broom handle or a tree branch. What we are saying is that if the woodwind musician wants to perform the Funnel Web song above, they can attach switches directly to the didgeridoo by way of a harness or sleeve apparatus that positions the switches as they would relate to a sax, clarinet, or flute. This retrofitting can apply to any didgeridoo and not mar or change its surface. Once attached, the bass-rhythm line is assured via the didgeridoo embouchure, and the melody line and chords can be fingered accordingly. This chord-making capability is still not been offered by MIDI controllers such as Roland or EWI, and will free woodwind prisoners to explore the world of chords just as any guitar or piano has always done.

Mechanical switching is possible, though in this example, to transmit the fingering signal from the didj to any synthesizer or piano keyboard requires solenoids. Depending on solenoid and power supply, we think that Pease's website offers very important parameters for operating multiple solenoids.

Bob Pease: What's All This Solenoid Driver Stuff, Anyhow?
What’s All This Solenoid Driver Stuff, Anyhow?

 

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When following the amino acid alphabet for music, most all of the English alphabet can be accommodated (including o, u, x, z, etc.). This means that the woodwind player also has a "typewriter" that makes musical notes and can write words, especially complex technical words in science and medicine, which can be a bilingual aid in learning these words and their grammatical use. These will be displayed on a screen the same way that amino acid music can be displayed. Therefore, the development of a Japanese alphabet is appropriate for the transition away from the use of Chinese characters (always a strain on the eyes), so that any word in science, medicine, etc. can be transcribed with it, basing this alphabet on the organic lines of a simplified Hiragana:

Hiragana
Hiragana - Wikipedia

There is much more to the book than this review can offer:

Asia's Orthographic Dilemma
Project MUSE - Asia's Orthographic Dilemma (review)
'....The most important message for us all from part I is that there is nothing sacred about Chinese characters and that the conversion to a totally phonetic writing system can happen overnight.'

 

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This page gives further excerpts from the book"

Asia's Orthographic Dilemma
https://books.google.com/books/about/Asia_s_Orthographic_Dilemma.html?id=aJfv8lyd2m4C
' page 170:....Rather, the correlation seems to be with different regions within the left hemisphere -- temporal for kana, occipito-parietal for kanji.'

With amino acid music, not only can the genes linked to dyslexia be played, they can be studied:

Dyslexia
Diminished brain responses to second-language words are linked with native-language literacy skills in dyslexia. - PubMed - NCBI
'....right temporal cortex....'

Dyslexia
The role of parieto-temporal connectivity in pure neglect dyslexia. - PubMed - NCBI
'....occipito-parietal damage....'

 

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We recommend a termite-forged didj. Some sound samples are available here for various types:

Didjshop.com
Didjshop.com - Australian Aboriginal Didgeridoos, Didjeridoo Music, Artifacts

 

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Fingers Mitchell Cullen

 

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There are two places on a saxophone where the switching logic involves a key that can stand for another key plus the involvement of a neighboring key. One can think of this situation as a disjunctive syllogism. A didgeridoo switching harness that would connect to a synthesizer could mechanically represent the decoding of this switching logic at these two places with a transparent (plastic) cover over the apparatus that would be interesting to view, as in the workings of a watch. This didj harness would challenge the musician's performance and open a creative trajectory for future compositions.

5 Ways to Understand Deleuze Through the Work of David Byrne and the Talking Heads
(site not secure)
www.critical-theory.com/5-ways-approach-deleuze-work-david-byrne/

'I would like to address a very particular aspect of university teaching. In the traditional arrangement, a professor lectures to students who are acquiring or already possess a certain competence in some discipline. These students are working in other disciplines as well; and let's not forget interdisciplinary studies, even if they are secondary. Generally speaking, then , students are "judged" by their degree in some discipline, abstractly defined.

At Vincennes, the situation is different. A professor, e.g. one who works in philosophy, lectures to a public that includes to varying degrees mathematicians, musicians (trained in classical or pop music), psychologists, historians, etc. The students, however, instead of putting these other disciplines aside to facilitate their access to the discipline they are supposedly being taught, in fact expect philosophy, for example, to be useful to them in some way, to intersect with their other activities....In this way, what directly orients the teaching of philosophy is the question of how useful it is to mathematicians, or to musicians, etc, even and especially if this philosophy does not discuss mathematics or music. This kind of teaching has nothing to do with general culture; it is practical and experimental, always outside itself, precisely because the students are led to participate in terms of their own needs and competences. In two important respects, therefore, Vincennes differs from other universities: 1) the distinction of years of study , since Vincennes can support the coexistence of students of very different qualifications and ages at the same level of instruction; and 2.) the problem of selection, since selection at Vincennes can be subordinated to a method of "triage," where the direction that the instruction takes is constantly guided by the directions the students take.
....
Even if we were to limit ourselves to the project of reforming higher education -- initiating competitive universities based on the American model -- we would have to build three or four Vincennes, not dismantle the one we have.....The real problem facing us today is a kind of intellectual lobotomy, the lobotomy of teachers and students, against which Vincennes offers its own particular capacities of resistance.'
(Deleuze, How Philosophy is Useful to Mathematicians and Musicians, Vincennes ou le desir d'apprendre [Vincennes or the Desire to Learn], Paris: Editions alain Moreau, 1979) (The existence of the university was threatened at the time by the government of Giscard d'Estaing, led by Alice Saunier-Seite with the active support of the mayor of Paris, Jacques Chirac.)

 

[the other mike]

Jay Beckenstein turned me onto the saxophone the most.

 

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Beckenstein is a master of the commercial sound, and one of the secrets, reminiscent of Stan Getz, is the use of a hard rubber mouthpiece custom-evolved with individuality of embouchure.

Spyro Gyra's Jay Beckenstein Solos

 

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Shakedown, precisely at time-point 3:57 would be open to experimentation of left hand melody, right hand chord technique. On electric sax the melody could be simultaneous with the horn sound and a synth sound for the melody, and synth chords played from the same instrument (electric sax). More problematic is when Beckenstein's melody takes in a larger range of keys that would implicate the right hand.

 

[the other mike]

My friend Norm in Dallas is an awesome keyboard player and he used to nail the sax parts like on Pink Floyd Money and some Steely Dan tunes...really amazing.

 

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Imagine if you will, that the keys of the above keyboard have been sawn off with a hack-saw and that solenoids have been aligned over the membrane switches that lie underneath the keys. Optoisolators were used on the Prophet 600 when we built an electric sax apparatus in 1987, though the 2019 trajectory uses solenoids, and on a different brand of synth.

Now, when the electric sax is played, both the sound of the sax and the sound of the synth are synchronized. One hears both the sax and synth notes simultaneously, just as we have noticed in some of Chris Potter's arrangements, even though there are two separate musicians producing that sound. If the sax keys are split at the F key (concert pitch), then keys from the F upward plays melody, whilst from F downward plays chords. If we place this switching apparatus on a didgeridoo, then a synth melody (and [italics]) chords can be played superimposed over the sound of the synth, the didj being played by the woodwind player who is also playing the synth simultaneously. This is the challenge for future woodwind applications.

As far as is known, there is as yet no electric didgeridoo, let alone these techniques applied to sax harmony (for example, duets). What would two didgeridoos sound like, each playing melody, chords, and rhythms?

 

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Imagine Mortensen playing a synth and digeridoo.

Pamela Mortensen Fast Rhythm Tutorial

 

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Next imagine Mortensen's 'to-wa-kee' transcribed into a Japanese alphabet, and then naming the sax keys that connect to the synth (or didj switching harness that connects to the synth) with the 20 basic amino acids, which can then be seen on a screen as they are played. This can be justifiably defined as the evolution of the saxophone.