Page 1

SaxMax, Section 1

3

start here, then move freely to other boxes.

1

2

5 3

steady, erratic spead up, slow down

4

vibrato/tone color changes (

6

)

8

7

noises, key clicks 5 1 2 3 B 4 5 6 C

9

1 2 3 B 5 6 C

10 +/- ta

( )

( )

( ) back and forth

11

13

12

improvise

15 14

16 +/- ta

slap

(

)


Section 2

4

sax stops

Guidelines for this section: 1) Create this shape:

electronics fade to niente 2) Saxophonist still chooses cells to record (via foot switch). 3) Saxophonist can change behavior (transpose and harmonization) of computer’s granulation via foot pedal. 4) Transpose, fragment, repeat cells

Jazzy 1

2

gliss.

3

bend ( )

4

fast; play as is; or improvise with these shapes; rhythm even and/or ad lib.

5 gl.

7

6 gl.

gl.

gl.

gl.

gl.

5

8

9

10 gl.

gl.

5


SaxMax Section 2, continued

5 12

11

13

gl.

gliss.

gl.

bend

3

14

15 gl. ( )

( )

5

16 Use this box to end Section 2 (end loud)

fast; play as is; or improvise with these shapes; rhythm even and/or ad lib.

Build to climax (following general shape for Section 2); crescendo to forte; stop; allow electronic resonance to continue for a while. Sound will fade to niente. Then begin Section 3 material.


6

SaxMax

Section 3

Guidelines for this section: 1) Create this shape: start in silence 2) This section should be performed more or less in the order shown, from top of the page to the bottom. 3) Computer will be set to record continuously and granulate continuously. Therefore, footswitch is not used. 4) Both saxophonist and computer performer are able to change behavior of the patch. Saxophonist uses the footpedal. Computer performer has numerous control devices, affecting a variety of parameters. Saxophonist’s footpedal controls amount of transpose and harmonization. 5) There are no pre-loaded samples in the computer patch for this section. The only sound will be live saxophone and manipulated (granularized) saxophone based on the live input. 6) The footpedal may be used while playing and during G.P.’s (double barlines). 7) Generally, the breaks between phrases should get progressively shorter, building momentum. Begin here: Noises, active but 1) wind cresc.

, growing to 2) wind/key noise and pad pops

3) wind/key noise/pads/trills/tremolos

Gradually work into notated section that follows. Noises may or may not be recalled later on, as appropriate.

= ca. 100, Ballad rests may (should) be inserted at the double barlines. phrasing: supple, espressivo, tempo may vary

= ca. 112

= ca. 100 5

3

= ca. 100

= ca. 112

(

rit.

=

)

Profile for Mark Engebretson

Saxmax 01 excerpt  

Mark Engebretson for soprano or alto saxophone with computer operator (MaxMSP)

Saxmax 01 excerpt  

Mark Engebretson for soprano or alto saxophone with computer operator (MaxMSP)

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