Alternative Sound

Access to the alternative sound

In this thesis, I use the term “alternative sound” rather than “extended technique” since my main concern is about sound itself. To produce a certain sound, I search and discover a technique that is related to it. Nevertheless, my focus is not on how to produce a certain sound but rather, what kind of sound I discover and apply in the music. Thus I think the term alternative sound delivers the perspective of my work properly.

My very first approach to the alternative sound was just playing the saxophone recklessly without any cautious tone, scales, chords, etc. In a rehearsal, I tried all kinds of skills very roughly and overstated every moment until it reached the limit. It was the universe of freedom that allows me to explore inherent potentials.

To develop my sound and technique, I get sources from other musicians and their recordings. I categorize them according to the sort of sound which has a similar character or technique. I practice each sound systematically and independently of the other sounds. To extend my vocabularies and discover interesting sounds, I have been exploring many different aspects which are on the body of the instrument, separate parts of the saxophone that I have dismantled, and tried to make sounds on, even the sound by using saliva. In the live situation or composing process, this classification does not bring a satisfactory outcome that resembles too much a catalogue of sounds. However, this problem was naturally solved when I got a deeper understanding of using each sound and enhance my perspective of the alternative sound.

Another input is from fellow musicians who play different instruments. In the band projects, I get inspired by their ideas, approaches, and sounds. I imitate them and transform their sounds into my saxophone sound. Since different instruments have different mechanical systems and distinguishable timbres, it is not possible to bring exactly the same concept and technique from one to another. However, it allows me to try another approach to generate a new idea. During searching for a sound that has a similar character with that of another, I am guided to encounter another technique and develop it as my own skill that causes a chain reaction to create a new one.    

Also, I employ exploration and experimentation with a certain image to develop new sounds. Many of those images embody the sound in nature or in real life. The process includes both directions that I create a sound by imitating some material or I discover a sound and associate it with a certain image. The discovered sound starts with one image but it also can contain other meanings. Consequently, when the sound expands its connotation, it derives variations of sound from the same root.

The additional effects by searching and practicing alternative sound is that they require training better control of many instrumental aspects such as embouchure, breathing, and tonguing since many extended techniques demand advanced skills.  Another aspect is that alternative sounds expand one’s mind and give other perspectives on creativity.

In the following sections, I will classify the alternative sounds I use according to the method I apply to discover and explore them.

Imitating sounds from other musicians

Since my main focus is sound itself, learning it from the sound resources of other musicians is important and efficient. The basic method is the same as the one from traditional jazz. From a given recording, I extract individual sounds that I want to learn. During the learning process, I figure out a technique to imitate the sound and make variations of it. Especially, I make a free improvisation with that specific sound to comprehend its character and explore it in-depth. Because I have a jazz background, I got considerable influences from jazz musicians, particularly from the fields of free jazz/free improvisation.  

John Coltrane

First of all, I need to mention John Coltrane who is one of the most influential jazz saxophonists, also in the free jazz scene. He is well-known for his unique style “sheets of sound” which is a massive compound of arpeggios, patterns, licks, and scales that trace out each chord in a progression. The term was coined by Down Beat magazine jazz critic Ira Giltler on the liner notes for Soultrane in 1958.

“I first became aware of this 'sheets of sound' approach when Trane used it on a date under [drummer] Arthur Taylor's name in 1957. ... Without using the phrase, I referred to the 'sheets' in the liner notes to the original issue of Traneing In in 1957, writing of the ‘excruciatingly, exhilarating intensity of rapid exigent runs with their residual harmonic impact' and actually called them by name relevant to Russian Lullaby, in the Soultrane album of 1958."1 

He was not the first jazz musician who applied extended technique in the playing, but his unique style and the use of modes became the cornerstone of the sound concept of saxophone in free jazz. Coltrane had an approach that expresses sound as a texture by tons of notes. Also, he often played bigger intervals and used overtones actively in a way that has become an influential saxophone sound in free improvisation. His sound and concept had a huge influence on other free jazz musicians including the musicians I mention below. He also was influenced by fellow free jazz musicians such as John Gilmore who was a saxophonist in the band of free/avant-garde keyboardist Sun Ra. 

After Coltrane’s famous album A Love Supreme, he devoted his career to free jazz and his playing became more abstract. In this period, his music showed prominent influences from Albert Ayler's style which is explained below. Late Coltrane’s sound and playing included the incorporation of multiphonics, overtones, and altissimo which is the uppermost register on woodwind instruments, which were articulated with sheets of sound as well.

e.g.1) John Coltrane - Chasin’ The Trane (Live at the Village Vanguard, 1961, Impulse!) 03:50-04:02 

e.g.2) John Coltrane - Ascension – Edition I / Pt.1 (Ascension, 1965, Verve) 04:08-4:26 

Pharoah Sanders

Pharoah Sanders is a member of John Coltrane’s groups of the mid-1960s. He is well known for his aggressive sound, overblowing, harmonics, multiphonics, and flutter-tonguing on the saxophone. On Sanders’ official website, it describes his playing, “The hallmarks of Sanders’ playing [in the mid-60s] were naked aggression and unrestrained passion.“2

Since he uses diverse alternative sounds and has a distinctive approach to saxophone playing, his recordings work to me like a textbook and a treasure chest. He got inspiration in religious concepts from Indian and Islamic music to the effect that his music has been called "spiritual jazz". In addition, Sanders is considered a disciple of Coltrane. Albert Ayler said, “Trane was the Father, Pharoah was the Son, I am the Holy Ghost.”3

e.g.) John Coltrane - Kulu Se Mama (Kulu Se Mama, 1965, Verve) 05:34-05:51, 07:28-07:47 

Albert Ayler

Albert Ayler and his album “Spiritual Unity” is one of the major influences on free/avant-garde jazz. Ayler’s rough, aggressive and strong sound of the distorted tone, low-register honks, a wide and wavy vibrato, flexible and variable pitch heavily influenced the so-called “titans” of free jazz in the 21st century who play saxophones such as Charles Gayle, Peter Brötzmann, and the late David S. Ware. Mandel (2008) claims that Ayler’s wild sound foreshadowed contemporary hardcore, noise, and experimental rock styles. His soloing articulates extreme and violent emotions while it is uniquely structured.

Especially, from Ayler’s sound, I discovered a common figure strongly with a Korean folk wind instrument which is called “Piri”. His sound and style remind me of the sound of Piri which includes the intrinsic rough and thick texture of the material. More detail about Piri is in the later chapter.

e.g.) Albert Ayler - Ghosts: First Variation (Spiritual Unity, 1964, ESP) 02:10-02:21, 02:25-02:36

European free jazz saxophonists

The European free jazz/free improvisation scene was influenced by American free jazz and had its own development in different countries. It has grown and developed as a popular genre of music in Europe and became a specific art form. It contains various different approaches and styles in different countries and their social backgrounds. In this research, I mainly focus on two saxophonists, the German saxophonist Peter Brötzmann and the British saxophonist Evan Parker.

Peter Brötzmann is one of the most influential pathfinders in the European free jazz scene. His trademark is an extremely heavy and aggressive saxophone sound. “His rough tone and emotively ferocious method of attack on saxophones, clarinet, and taragato are among the most recognizable in jazz.”4 He developed and exaggerated the concept of saxophone sound which is texture-based and created high intensity. For this extreme sound, he even has crumpled his saxophone neck. Kelsey (2020) claims Albert Ayler’s influences in Brötzmann’s playing is capable of producing improvised lines of depth and sensitivity while informing them with enough raw power to make a lesser saxophonist wilt.  

In addition, I got the impression that his playing reflects heavy and complex emotions in post-World War II Germany such as anger, fear, anguish, frustration. Brötzmann said, “In Germany, we all grew up with the same thing: ‘Never again.’ But in the government, all the same old Nazis were still there. We were angry. We wanted to do something.”5 This emotional transparency is reflected in his music such as “Machine Gun”. The title, the sound, and the musicians playing directly convey the theme and their emotions to the listeners.

e.g.) Peter Brötzmann - Machine Gun (Machine Gun, 1968, BRÖ) 02:14-02:21, 03:10-03:16 

Another pioneer in European free jazz is Evan Parker. He is originally inspired by Paul Desmond but he is better known for his later work which is influenced by American free jazz. If Brötzmann developed the texture-based sound in free jazz saxophone to its extreme, Parker expanded the diversity of saxophone sounds and techniques. Particularly, he has pioneered and expanded extended techniques in solo saxophone. Wynn (2020) describes him as one of the most innovative and intriguing saxophonists in Europe. “Evan Parker's solos and playing style are distinguished by his creative use of circular breathing and false fingering. Parker can generate furious bursts, screeches, bleats, honks, and spiraling lines and phrases, and his solo sax work isn't for the squeamish.”6 Especially, the combination of his techniques and his use of the plastic reed created a distinct sound of timbre and texture.

e.g.) Evan Parker - Solo Improvisation I (Live at Akbank Jazz Festival, 2011, Ares) 00:35-00:50

Interchanging ideas of other instruments

I have been playing in a duo with the trumpeter Andreas Hatzikiriakidis since 2018. This project is called “Search Party” which has a concept of free improvisation of two wind instruments. In the beginning, we got many good ideas from the Norwegian duo of trumpet and saxophone-“Streifenjunko”, especially their early work which is an acoustic setup rather than their recent development with electronic sounds. “Their work is focused, and the sound revolves around different experimental playing techniques, selected and fermented during years of music making.”7 The music from this duo consists of many small noises and constant sounds of extended techniques. We have worked on producing these layers of pad sounds.

Since it is important to blend the mixture of sounds in this concept, I focus on the feature of trumpet sound and derive inspiration from it to create a new sound. On the trumpet, by using lips and moisture inside, it is possible to generate a distorted sound. Especially, in this duo, this sound is very effective when it is applied as a non-pitched airy sound. Even though the mechanism of the saxophone and its technique is different, I explore the same type of sound on the saxophone. It comes out with a different volume which is normally much softer. However, I am not so concerned with imitating the volume, but rather to approach the particular non-pitched airy texture of the trumpet.

There is an additional influence on this sound-making. I participated in the British artist Alwynne Pritchard’s project “Stamp Club Report 1980” in 2018. It has a very unique concept that a group of people generates certain sounds from inside their throat and mouth by breathing, by using their mouth, tongue, and saliva. In this experience, I was able to explore all kinds of small noises in my throat and mouth and discovered the potential of applying it to saxophone playing. 

By combining those two aspects, borrowing an idea of sound from the trumpet, and applying the sound of the inside mouth, I discovered the sounds mentioned below. I categorized these two sounds separately but they have similar features with only small distinctions, as they are both generated from the inside of the mouth, with only tiny movements. The actual instrument is made up of the muscles of the mouth and the tongue, and the body of the saxophone works as a maximizer. The sound with saliva expresses a unique texture because of the distinct material and movement of water. This technique also can be applied to other constant sounds.

A Sound concept from folk materials

In South Korea, it is more common to use the term “traditional music” rather than “folk music”. Perhaps, it is because folk music was the mainstream before modern times. The definition of folk music in the western world is,

Type of traditional and generally rural music that originally was passed down through families and other small social groups. Typically, folk music, like folk literature, lives in oral tradition; it is learned through hearing rather than reading. It is functional in the sense that it is associated with other activities, and it is primarily rural in origin. The usefulness of the concept varies from culture to culture, but it is most convenient as a designation of a type of music of Europe and the Americas.8

Every region of the world has its own folk music. Since it is an enormous and wide topic, it is not possible to investigate all the folk music in different regions. However, during the search, I have discovered similar features that they contain in their sound. Particularly, my main concern is about old folk instruments and their sounds. These instruments produce a sound that has a distinctive character of strong texture, unique timbre, and complex temper which I call natural features. These features are caused by less advanced technology that generates other overtones, frequencies, and noises together in the sound. I focus on this sound concept which I find to be inherent in folk music and apply it to my saxophone sound with extended techniques. In this exposition, I look into Korean folk music particularly.

Piri

In Korean folk music, there is a wind instrument Piri which I already mentioned in the chapter of Albert Ayler.

P’iri, also spelled piri, Korean double-reed musical instrument, a type of cylindrical oboe. The large mouthpiece and the body are made of bamboo, and there are eight finger holes, seven on the front and one on the back.9 

Since the body of Piri is very simple, just a short pipe and holes on it, the sound is generated by overtones entirely. This sound has a strong timbre and it gives the same impression of the overblowing saxophone sound in free improvisation. In addition, a specific atmosphere in Korean folk music by using blue notes occur flexibility and ambiguousness that I adopt it to phrasing melody. Here is a sound example of piri and my own sound inspired by the instrument.      

e.g.) Sangryeongsan (Audioguy Korean traditional music sampler, 2020, Leeway) 00:00-00:20

Samulnori

Another source is Korean folk drumming which is called "Samul nori".

Samulnori ("samul" means four things and "nori" means to play) is a percussion quartet comprised of a “buk” (barrel drum), a “janggu” (hourglass-shaped drum), a “jing” (gong), and a “kkwaenggwari” (small gong). Its rhythmic patterns are derived from “Pungmulgut” (folk and religious music) or “Nongak” (farmers' band music) which are performed outdoors with acrobatic and dance movements… The principle of Samulnori is the fluctuation between tension and relaxation. While improvising rhythms based on several rhythmic patterns, the performers seek to achieve a perfect integration of the four percussion instruments.10 

Since it is my cultural background, this rhythmic approach of Samul nori is familiar to me. I apply the elements from it to the slap tonguing to produce a similar effect. Rather than choosing one specific rhythm, I articulate the whole shape of the groove from Samul nori which is busy, complex, and energetic. Also, it affects another skill that creates a mixture of different sounds and layers. In this sound-making, I have a concept that each sound has a role as a drum. Together, they create a kind of group drumming.

e.g.) Samulnori – P’u Sal (Record of Changes, 1988, CMP) 06:29-06:42

Own exploration – Imaginary sound

As an additional method, I investigate other alternative sounds on the instrument. I search for inspiration from the environment around me in real life and I articulate it by describing a certain sound, image, or motion. One idea can generate several different sounds or otherwise, one sound can include several ideas that are applied in a different way. Sometimes, or more efficiently, some sound is discovered during the actual playing process. Especially, in free improvisation, during the process of music-making, a lot of accidents happen that affect musicians to encounter another potential.

Using object

In the contemporary scene, many musicians and composers experiment and explore different objects to discover a new sound effect. Depending on the feature of the material, an additional impact occurs in the sound from the instrument. I experimented with different materials to investigate the effects I can get. I have utilized a plastic bottle, a glass bottle, a towel, but above all, I have a satisfactory effect from aluminum foil.

I attended a classical contemporary concert in Bergen about 2 years ago. In this concert, the composer unrolled the whole package of aluminum foil as an ending. It stimulated my idea with its metallic texture in the sound and I have experimented with this object. Aluminum foil includes features of metal that are dry, cold, solid, etc. On the other side, since it is very thin, it vibrates like paper by the wind blowing. I produce this metallic vibrating sound by putting the aluminum foil on the saxophone. The saxophone has a bell part and many holes throughout the whole body. By installing aluminum foil on the specific part of the saxophone, it is able to choose the range which generates the vibrating effect.

Alternative sounds I developed by the method of imitation

Here follows a list of the alternative sounds and distinct techniques from the saxophonists mentioned on the left, which I have incorporated into my saxophone playing.

• Overblowing: This influential sound represents the one from saxophone in free improvisation. It produces mixtures of timbre, texture, temper that generate huge dynamic, aggressive expressions, and extraordinary aesthetic of sound.

• Overtones: It is easily mixed with other techniques, particularly overblowing. I put overtones between big intervals and create a certain pattern. Also, altissimo is produced based on overtones. I apply it to melody in a very high register.

• Multiphonics: Because of the peculiar character of this clash sound, I often use it to give a distinctive atmosphere to the music. Since each multiphonic has a different vibration and volume, it gives various effects by incorporation. I apply it to the written melody in the project. Details in chapter 5.

• Flutter tonguing: This one I also use in two versions, one with pitched sound and another with only airy sound.

• Slap tonguing: This percussive sound allows saxophonist to produce rhythmic grooves. I prefer applying it for an active soloistic role, like in Korean or African folk drumming, rather than making a backbeat. I often use it without a pitch, by using less air pressure, resulting in more emphasis on the percussive aspect.

• Circular breathing: This technique is often employed to produce a kind of pad sound to fill the space together with airy sound, multiphonics, overtones, and some other noises. Especially, in some pieces, I actively use it to keep the energy of the music.