In this article I focus on one of the two all-time-favorites of mine: “The Christmas Song“. It turns out I am not the only one that feels like that about this song, it is a favorite among many saxophonists.
Below you can listen to various versions by various saxophonists, it is very nice to hear how they all have tried to make it their own.
Veel luister plezier en een fijne Kerst gewenst!
THE CHRISTMAS SONG
The Christmas Song (often subtitled “Chestnuts Roasting on an Open Fire” or “Merry Christmas to You”) is a Christmas classic from 1944 created by musicians, composers and singer Mel Tormé en Robert Wells.
The story goes these gentlemen wrote this song during an extremely hot summer, in an attempt to “stay cool” by thinking about things that keeps you cool, December being a great base for it.
This song is one of the all-time most popular Christmas songs and popular among saxophonists, as the many versions below show:
Edward (Sonny) Stitt (February 2, 1924, Boston, Massachusetts –July 22, 1982, Washington D.C.) was an American jazzsaxophonist. With over hundred albums he was one of the most productive Jazz musicians of his time.
I have not been able to figure out the recording/release dates for this song, nor who Stitt played with. The label “MET Records” does not exist anymore for a long time. My guess would be that his recording too place in the 60s.
Dexter Gorden (Los Angeles February 27, 1923 – Philadelphia April 25, 1990) is considered by most Jazz musicians as one of the masters of Hardbop on tenor saxophone.
Pharoah Sanders was born on the 13th of Oktober 1940 as Farrell Sanders in Little Rock, Arkansas. His nickname “Pharoah” was given to him by Sun Ra, whom Sanders performed with. Even though Sanders took a different direction in his development then John Coltrane, you can still clearly hear Sanders being inspired by Coltrane due to their musical collaborations.
This recording (from the album “A Prayer Before Dawn“) was made on September 1987 with Pharoah Sanders (tenor sax) being accompanied by John Hicks (piano) and William Henderson (Kurzweil synthesizer).
Joseph Salvatore “Joe” Lovano (born on the 29th of December 1952) is an American post bop Jazz saxophonist (clarinetist en flutist).
This song was recorded in A & R Studios, New York City, on 8/9 April, 1990. Joe Lovano features on a recording by trumpetist Tom Harrell and his trio Danilo Perez (piano), Charlie Haden (double bass) and Paul Motian (drums).
Kenneth Bruce Gorelick (born June 5th, 1956), better known as Kenny G is with a total of 75 million sold albums worldwide (and counting) the best selling instrumentalist in the world.
This version was recorded in 1994 for the album “Miracles: The Holiday Album“. G works on this album closely together with Walter Afanasieff who played all other instruments and took care of the production of the album.
Grover Washington (December 12, 1943, Buffalo (New York) – December 17, 1999, New York City) was an American Jazz-fusion, funk/soul en “Smooth Jazz” saxophonist.
For the saxophone lovers there are many X-mass songs online from known and less known saxophonists. Specially since the growing popularity of “Smooth Jazz” in the 80s and 90s using the saxophone as lead instrument for X-mass songs became increasingly popular. You could fill multiple blog article with a enormous amount of Smooth Jazz Christmas songs by artists like Kenny G en Dave Koz (they released multiple Christmas albums), but for these Sa-X-Mas articles I will try to provide a more diverse “picture”.
Enjoy reading and listening … and a very merry X-mas to you all!
Eugene “Jug” Ammons (14 April 1925 –23 July 1974), a.k.a. “The Boss”, was an American Jazz tenor saxophonist.
SWINGIN’ FOR XMAS This recording (a.k.a. “Jammin’ For Santa“) was recorded on Oktober 12th, 1948. Ammons played together with Tom Archia (tenor sax), Christine Chatman (piano), Leroy Jackson (double bass) and Wesley Landers (drums).
Charlie ‘Bird’ Parker, full name: Charles Christopher Parker junior (Kansas City, 29 of August 1920 – New York, 12th of March 1955), was an American composer and (mostly alt) saxophonist. Together with Dizzy Gillespie, Thelonious Monk and Bud Powell he is considered the “inventor” of bebop.
Coleman Randolph Hawkins (21st of November 1904, St. Joseph (Missouri) – 19th of May 1969, New York) – a.k.a. “Hawk” and “Bean” – was one of the pioneers of Jazz and considered by many as the first of the “masters of tenor”, the “father of the tenor saxophonists”.
CHRISTMAS IN THE VALLEY This recording was made in July 1957 in New York, with an important saxophone feature by “Hawk”. The sax-section of Don Redman‘s All-Stars featured:
Sidney Bechet (May 14, 1897 – May 14, 1959) was an American Jazz (sopraan) saxophonist, clarinetist en composer.
SILENT NIGHT This song was recorded on the 10th or 12th of December 1958 and released on the EP “Joue Noël“. Sidney Bechet is accompanied by Jean-Claude Pelletier (organ), Claude Gousset (trombone), Alix Bret (double bass) and Kansas Fields (drums).
Julian Edwin “Cannonball” Adderley (September 13th, 1928, Tampa, Florida – Augustus 8th, 1975, Gary, Indiana) was an American saxophonist. In the 1950s en 1960s he was a trendsetting hardbop-musician and participated at the #1 Jazz album of all time Kind of Blue (1959) by Miles Davis (featuring John Coltrane as well).
BLUES FOR CHRISTMAS (John Benson Brooks) This recording was made in 1958 and is the 8th track of the album “Alabama Concerto” of Jazz pianist en composer John Benson Brooks. Besides Cannonball on sax and Brooks on the piano the album features Art Farmer (trumpet), Barry Galbraith (guitar), Milt Hinton (double bass) and ??? (drums).
WHAT CHILD IS THIS? (1961)
In this live version (recorded in the Village Vanguard in 1961) Coltrane is accompanied by McCoy Tyner on piano, Jimmy Garrison at double bass and Elvin Jones at the drums.
John Coltrane (September 23th, 1926 – July 17th, 1967) was an American Jazz saxophonist and composer. He is seen as one of the most important and influencing innovators in Jazz.
WHAT CHILD IS THIS? “What Child Is This?” is a Christmas song, with lyrics written by William Chatterton Dix in 1865. When Dix became seriously ill he wrote various hymns, the lyrics of this song among them. This hymn was sang over the melody of “Greensleeves” (a traditional English folk song).
Paul Desmond (November 25th, 1924 – May 30th, 1977) was an American Jazz saxophonist and composor. He is most known from his participation in the Dave Brubeck Quartet and wrote the biggest Jazz hit of quartet: “Take Five“.
David Sanborn (born on the 30th of July 1945) is an American saxophonist mostly associated with Jazzrock, fusion and crossovermusic, has played with many great artists from the Jazz and pop music scenes..
This track was released on the album “As We Speak” from 1982.
Spyro Gyra is an American fusionband from Buffalo (New York). The group was formed mid 70s by saxophonist Jay Beckenstein (born May 14th, 1951, in New York).
Thomas Wright “Tom” Scott (born may 19th, 1948) is an American Jazzrock/Fusion saxophonist and composer.
FELIZ NAVIDAD (Jose Feliciano) Tom Scott was accompanied for this recording by Paul Jackson Jr. (guitar) Tom McMorran (piano), Neil Stubenhaus (bassguitaar) and Johnny Friday (Drums, Timbales).
George Howard (September 15, 1956 – March 22, 1998) was an American Jazz-Funk/Fusion/Smooth Jazz soprano saxophonist.
THE FIRST NOEL (Traditional) George Howord was accompanied by Kevin Chokan (guitar), Darryl Smith (keys), Rayford Griffin (drums), Dwayne Smith (bassguitar) and Munyungo Jackson (percussion).
Gerald Joseph ‘Gerry’ Mulligan (6 April 1927 – 20 January 1996) was an American Jazz saxophonist, clarinetist, composer and arranger. He was one of the leading baritone saxophonists in Jazz, specially during the cool jazz period.
SANTA CLAUS IS COMING TO TOWN This duo version of this song was recorded on the 29th of June 1994 at Carriage House Studio (Stamford, Connecticut), Mulligan is accompanied on piano by Dave Brubeck.
Michael Brecker (March 29th, 1949 – January 13th, 2007) was an American Jazz saxophonist and composer. He won 15 Grammy’s, in musician and composer categories.
The Christmas Waltz was recorded in 1995 by the Brecker Brothers for the Blue Note album “Jazz to the World“. Michael Brecker is for this recording accompanied by brother Randy (trumpet), Steve Kahn (guitar) and others.
Joshua Redman (born on the 1st of February 1969) is an American Jazz saxophonist.
This song was released in 1996 on the Blue Note album “World Christmas“. Redman playes here together with Marcus Miller (bassguitar, keys, arrangement), Lalah Hathaway (vocals) en Poogie Bell (drums).
Grover Washington (12 December 1943, Buffalo, New York – 17 December 1999, New York City) was an American Jazz-fusion, funk/soul en “Smooth Jazz” saxophonist.
THE LOVE IN HIS INFANT EYES (Donald Robinson / Grover Washington, Jr.) Washington is accompanied on this track by Donald Robinson (piano), Adam Holzman (synthesizer), Gerald Veasley (bassguitar), Steve Wolf (drums) and Pablo Batista (percussion). Besides this author piece there are various Christmas covers as well at his album “Breath Of Heaven ( A Holiday Collection)“.
Bob Mintzer (Born on the 27th of January 1953) is an American Jazz & Fusion saxophonist who worked with many great artists from the Jazz en Jazz-Fusion scene and is most know from his band Yellowjackets.
Gerald Albright (Augustus 30th, 1957) is an American Jazz saxophonist and multi-instrumentalist. On his own productions he often plays bassguitar, keyboards, flute as well, does drum programming and sings backing vocals.
Many people (who do not know much about instrument design and their history) think the saxophone is a so called “brass instrument“. And, perhaps at first sight that seems logical, the saxophone is made of brass (material) after all, right?
Yes, most saxophones are made from brass … BUT … they aren’t brass instruments! The saxophone belongs to an instrument group called “woodwind instruments “.
From left to right: Brass (Yamaha), Acrylic Plastic (Grafton), Plastic (Vibrato), Wood (by Sawad-Dejprakune).
When people are told the saxophone belongs to the woodwind instruments, many presume is must be because reeds (bamboo) are used to generate sound. Yet again, a misunderstanding. Bamboo isn’t wood, bamboo belongs to the “family” of grasses. Besides that, flutes (also members of the woodwind family) do not use reeds. So it’s not the usage of a reed that defines if an instrument belongs to the woodwind family or not either.
So … what then defines a woodwind instrument?
The early woodwind instruments (various types of flutes and reed instruments like the Clarinet and Oboe, to name a few) were all made from wood, at least their “bodies” were. This is why this “family” of instruments was given the name “woodwinds”. And just like with human families, you don’t change the name when other people marry “into the family”, right?
In fact, when you listen to the sound of a brass saxophone, the Grafton, the Vibrato or even the wooden build version of the saxophone, you clearly recognize them all as saxophones. The materials used do have an effect on the sound of the instrument, the material resonates and vibrates differently after all. The brass version sounds the loudest and brightest, the wooden version the softest and least bright and the plastic versions somewhere in between. But, what makes a saxophone sound like a saxophone is mostly the shape (design) of the instrument itself and the type of reed, ligature design and mouthpiece design.
Now, there might be some differences between the members of the woodwind family (some use reeds, others don’t … some are made of wood, others not), but there are a couple of characteristics (family trades) that they all have in common (and define them as members of the woodwind family):
All woodwind instruments have holes in their bodies through which the wind flowing through the instrument escapes. With other wind instruments (like those commonly called “brass” or “brasswind”), the air escapes only at the end (the bell) of the instrument (body/pipe/tube).
With woodwinds the pitch of the tone changes due to the number of tone holes you close (the length of the body of the instrument itself does not change), unlike with “brass” instruments where the length of the route (body/pipe/tube length) is changed in order to change pitch.
So … it’s not the usage of reeds … nor the material of the body that determines the instrument family they belong to, it’s their “design” (shape and mechanics) that makes it so.
WOODWIND INSTRUMENTS Below various examples of woodwind instruments and their wood, brass and “plastic” variants:
BRASSWIND INSTRUMENTS And just like there are woodwinds made from materials other then wood, so are also some “brass” instruments from other materials other them metal, take for example some Sousaphones made from fiberglass instead of brass (material).
Below various examples of brasswind instruments and their brass and “plastic” variants:
A short blog with images and bits of information about odd, arty and rare saxophones.
GRAFTON
The Grafton saxophone was an injection moulded, cream-coloured acrylic plastic alto saxophone with metal keys, manufactured in London, England by the Grafton company, and later by ‘John E. Dallas & Sons Ltd’. Only Grafton altos were ever made, due to the challenges in making larger models (i.e. the tenor) with 1950s plastic technology.
Linear Fingering System by Jim Smith. This saxophone design is simply amazing, really unique.
WOODSAX.NET
As the name suggests, saxophones made entirely out of wood. I downloaded these photos from www.woodsax.net several years ago. The site does no longer exist. I have no idea if these horns are still made.
There are two videos on Youtube with some fellows playing those wooden saxophones. As you might notice, they are off pitch. Perhaps the fellows playing on them need to practice more, but I’ll give them the benefit of the doubt and assume wood simply does not work well for a curved wind instrument as brass does.
“Juleez is proud to offer custom designed and hand painted Saxophones by artist Julie Borden, the most recognized artist in creating hand painted musical instruments. All of Juleez custom saxophones may also be ordered with your choice of designs, colors, themes and brand. Instruments are new, unless otherwise specified. We also are able to paint your own instrument, should you wish to send it to us, or drop it off at the gallery in Rehoboth Beach. Each instrument is finished with a poly, high gloss top coat. Each Painted Saxophone arrives ready for display with deluxe stand and padded case.
Juleez hand painted custom saxophones are playable, but many of our clients choose to simply add them to their music rooms or art collections. Each piece is a unique work of art and makes a great statement to any show, performance or room. Contact the gallery for a list of current inventory available or order your custom painted saxophone today!”
Text and images copied from www.paintedsax.com
LA SAX “PRESIDENTIAL MODEL LA-42T” TENOR SAXOPHONE
VARIOUS UNCOMMON FINISHES (LACQUER)
STILL IN THE RUNNING FOR THE UGLIEST SAX AROUND … Some weird looking “pimped” saxophones … I personally would not be found dead with them, but taste is a rather subjective thing, ain’t it?
In this article I will post some Youtube tracks and links to the sites of various sax players that might not be very known to the general (mainstream) audience, but are just as great as some of the well known saxophonists and I think deserve to be heard. I presume most Jazz saxophonists and real Jazz enthusiasts know about them, this article is not for them, but for those who are still relatively “new” to Jazz.
I won’t write reviews or something, just listen to the tracks, and visit their websites for more information if you like what you hear.
I will update this article every time I remember or come across another great sax player I really like …
Track: “What’s Your Beat?” from the album “Live at Smalls” with Kurt Rosenwinkel (guitar), Joe Martin (bass) and Otis Brown III (drums). Recorded on 28 February / 1 March 2011Live at SMALLS Jazz Club, Greenwich Village, NYC.
Track: “Namely You” (a composition by Gene de Paul & Johnny Mercer) from the album “Café Solo” with Ernst Glerum (Double bass) and Joost Patocka (Drums).
Track: “Silencio” from the album “Alma Adentro: The Puerto Rican Songbook” (2011) with Luis Perdomo (Piano) Hans Glawischnig (Bass), Henry Cole (Drums), Guillermo Klein (Conductor, Woodwind Arranger), Nathalie Joachim, Domenica Fossati, Julietta Curenton (Flute), Romie de Guise-Langlois, Carol McGonnell (Clarinet & Bass Clarinet), James Austin Smith (Oboe), Brad Balliett (Bassoon), Keve Wilson (English Horn), Jennifer Kessler, David Byrd-Marrow (French Horn).
Track: “Stadium Jazz” from the album “Casting for Gravity” with David Binney (vocals, synthesizer), Jason Lindner (piano, electric piano, synthesizer), Tim Lefebvre (electric bass) and Mark Guiliana (drums).
Track: “Beleza Que Vem” from the album “Bellwether” (2010), with Lage Lund (guitar) David Kikoski (piano) Matt Clohesy (bass) and Bill Stewart (drums).
Track: “317 East 32nd Street” composed by Lennie Tristano, from the album “Mark Turner“, withJoshua Redman (tenor sax), Edward Simon (piano), Christopher Thomas (bass) and Brian Blade (drums).
Track: “Slow” is a single track from Logan Richardson’s new Blue Note Records album release “Shift”, with guitarist Pat Metheny, pianist Jason Moran, bassist Harish Raghavan, and drummer Nasheet Waits.
128-TONE SCALE ON SAXOPHONE (by Philipp Gerschlauer)
Philipp Gerschlauer demonstrates the 128 tone scale in the video below. When I saw it, I was blown away!
Philipp Gerschlauer writes: “My quest was to explore microtonal possibilities on the alto saxophone. Johnny Reinhard introduced me to the eighth octave of the overtone series which divides it into 128 – unequally spaced – notes. The distance between each note at the bottom is around 13 Cents and at the top around 7 Cents. Read a more detailed essay I wrote for the “Clarinet and Saxophone Society of Great Britain” here: https://www.cassgb.org/features/post/128-note-octave/
Johnny Reinhard wrote an essay about this concept. Find „Eighth octave overtone tuning“ here: http://www.afmm.org/books.html.
Almost every of the 128 notes per octave has it’s own fingering. Nevertheless there is a „dead spot“ on the saxophone between the notes G and A. In this interval there is only a few possibilities for fingerings. It needs to be controlled by the embouchure. Indications of tones are transposed to Eb.
This video is the result of a technical exercise. Practicing the 128 notes per octave resulted in finding out a greater number of fingerings and listing them. I have made a workbook about it. You can order your copy of my „Microtonal Fingering Chart for Alto Saxophone“ including around 650 fingerings here: [email protected].”
Philipp Gerschlauer plays a regular Selmer Super Balanced Action alto saxophone from 1951 (no high F# key).
ABOUT PHILIPP GERSCHLAUER
Philipp saw “Zoot” (the saxophone guy in the muppet show) when he was seven. And so he wanted to play saxophone and has been playing ever since.
He studied saxophone first in Mainz (Steffen Weber, Thomas Bachmann), then in Berlin (Prof. Peter Weniger) and in New York City (Tony Moreno, Chris Potter). In his music he is dealing with microtonal possibilities in Jazz. (Watch “What I do” for further information). His main project is a band called “Besaxung” (www.besaxung.com). As a Sideman and leader he is playing with different bands in Germany and abroad.
Below a youtube of “Besaxung” where Philipp implements his 128-tone scale:
FOOTNOTE FOR THE 432Hz FANS VISITING ROEL’S WORLD: The „Microtonal Fingering Chart for Alto Saxophone“ by Philipp Gerschlauer might be a solution for those saxophone players who would like to play in “432Hz”. Some of the tones generated with those alternate fingering are pretty close to the tone-pitches of the 432Hz tuning concept.
My music is the spiritual expression of what I am: my faith, my knowledge, my being. – John Coltrane
FOREWORD
I do like to mention that I am no “authority” or “expert” when it comes to Coltrane’s work, or the music theory behind it and the compositions themselves. And as sax player, well, I’m still miles away from even standing in the giant shadow he cast … not to mention his giant footsteps. Anyway, as admirer of Coltrane’s work I could not resist to write this article. I wrote this article because I am fascinated by his music and have an interest in the relationship between music and math / geometry.
For an expert opinion on Coltrane you should listen to what musicians who played with him or extensively studied his work have/had to say about it.
This blog article is an addition to the article “Music and Geometry” and contains only the information about the Coltrane Tone Circle and the relationship between some of his music and geometry. Do read the mentioned article for general information about the relationship between music and geometry.
Thelonious Monk once said “All musicians are subconsciously mathematicians“. Musicians like John Coltrane though have been very much aware of the mathematics of music and consciously applied it to their works. The “Coltrane Circle” is (to me) proof of it in Coltrane’s case …
SHORT INTRODUCTION ABOUT 12-TONE CIRCLES
A Tone Circle is is a geometrical representation of relationships among the 12pitch classes (or pitch intervals) of the chromatic scale in pitch class space (circle). The most common tone circles in Western music are the “Chromatic Circle” and the “Circle of Fifths / Fourths“.
Note: If you are interested in a more esoteric-philosophical perspective on the intervals, then read the article: “The Function of the Intervals” on Roel’s World.
The year 1961 would “date” the Coltrane tone circle one year after the release of the groundbreaking album “Giant Steps” (1960), but in the same year as the release of the albums: “Coltrane Jazz”, “My Favorite Things”, “Olé Coltrane” and “Africa/Brass” and several years before unique albums like for example “A Love Supreme” (1965) and “Ascension” (1966).
According to Lucas Gonze Yusef Lateef mentioned: “Coltrane was always drawing things like this. This particular drawing was something Coltrane did between set breaks at a gig they did together. Coltrane gave it to Lateef at that gig.” This is an intriguing thought, if Coltrane was always drawing “things like that”, could that mean that there might be more versions of this tone circle (or other) somewhere in a box or folder in a museum, at the residence of one of his relatives or in the archive of musicians John Coltrane worked with as well?
Did John Coltrane drew it to work out a particular composition? Did he try to find a new approach for his solos in that period? I haven’t been able to find any clear sources that can provide a clear answer to those questions.
A Pentagram & Pentagon appears between the same tones in the Coltrane Circle” (in the original and reproduction with the tone C) when connected by a line.
Click on the Coltrane drawing to enlarge it.
CIRCLE VERSIONS
There are two versions of the circle shared online. A “detailed” version and a “clean” version with only the circled tones. What is good to point out is that these are two are separately drawn circles, as you can see in the “overlay” in the middle below. I have aligned the letter “C” of both drawings. The blue-overlay is the “clean” version (first one displayed below):
When you look closer, you can see two more differences:
(img.1): In both versions the [A] (tone center) has been “squared”. In the “clean” version A♭ is notated, in the “detailed” version G♯ is notated. The “detailed” version also shows a mistake. Instead of circling both tones siding the [A] chromatically, the tones siding the G♯ chromatically have been circled.
(img.2): In both versions the [E] has been “squared”. In the “clean” version E♭ is notated, in the “detailed” version D♯ is notated.
You might wonder, which circle was drawn first? Well, most logically is to presume the more “detailed” version was draw first. Why? It contains a mistake in the circling of the neighboring tones of tone center [A] and it seems logical that this mistake would have been corrected in a next version, thus the “clean” version (without the mistake) would have come second, only displaying the most important aspect of the circle, the 12 “tone centers” and circled neighbor tones. But, I am guessing here.
What about those numbers and lines? There has been some speculating going on about if the lines and numbers drawn in the Coltrane Circle “detailed” version were drawn by Coltrane himself or perhaps if they were added later by someone else?. We could compare the numbers drawn in the Coltrane Circle with those from copies of his scores. For this comparison I have used the score of Love Supreme and several scores displayed at recordmecca.com
Below you see the numbers found in various scores side by side with the numbers of the Coltrane Circle image:
Now, I’m no expert in graphoanalysis, so I will just describe what I noticed: In all scores as well in the tone circle we see a certain inconsistency in the writing of the numbers. The “1” is sometimes written as a single line, sometimes with additional horizontal lines. The 7 is sometimes written with a horizontal line in the center, sometimes without. The “4” is open sometimes and closed at the top at other times. The “2” has a little “loop” in some cases but others not. It seems though that the writing in the scores was done quicker, more like scribbling then seems to be the case with the Coltrane Circle. This is not a surprise though, specially with last minutes arrangements scores often look like scribbles.
Below links to the used scores to compare with the Coltrane Tone Circle:
One thought shared among musicians online is that the writing of the numbers (and lines) in the “detailed” version of the tone circle could perhaps have been drawn by someone else. Yusef Lateef seems to be the #1 “suspect”, after all, he shared the drawing in his book “Repository of Scales and Melodic Patterns“. I have not been able though to find any handwritten music sheets by Yusef Lateef to compare his handwriting.
In my search for answers I send a message to the Yusef Lateef Facebook page, hoping someone could shed some light on it. I am grateful I got a reply, Ayesha Lateef wrote:
“Brother John gifted the “circle” to Yusef Lateef while the content of both repositories is the result of Yusef’s own research.“
When I specifically asked if the numbers and lines in the circle might have been drawn by Yusef Lateef, she replied:
“From what I understand the whole thing is from Brother John.“
More about the numbers and their possible meaning/function later on in this article.
Below on the left you see a scanned copy of an original drawing of the “Coltrane Circle”. On the right an better readable (by Roel modified) image by Corey Mwamba from his article “Coltrane’s Way Of Seeing“:
In the drawing (on the left) there are a couple of sharps notated, they have been replaced by Corey Mwamba with their enharmonic equivalents (C♯ = D♭ and F♯ = G♭) in his drawings.
The circles above might seem a bit odd, but if we “simplify” the circle things become a lot clearer.
What we see is a circle with two concentric rings.
The outer ring displays the “Hexatonic” (6-Tone) or “Whole Tone” Scaleof C (C – D – E – G♭ – A♭ – B♭ – C).
The inner ring displays the Hexatonic scale of B (B – D♭ – E♭ – F – G – A – B).
When you “zig-zag” clockwisebetween the tones of these Hexatonic scales of the concentric rings (the 12 “Tone Centers”) it turns out to be the “Circle of Fourths” (and thus counterclockwise the “Circle of Fifths“).:
C – F – B♭ – E♭ – A♭ – D♭ – G♭ – B – E – A – D – G – C
WHAT ABOUT ALL THOSE TONES IN BETWEEN?
The smaller spaces (light grey) between the larger (“main”) “Tone Center” spaces (darker grey) of the Hexatonic scale of C (outer ring): C–D–E–G♭–A♭–B♭–C) and B (inner ring): B–D♭–E♭–F–G-A-B contain 4 tones that – when combined with the “Tone Center” spaces (pitch classes) – form 6x the same Hexatonic scale within the same ring, just each shifting a tone.
All Hexatonic scales within the same ring use exactly the same 6 tones but any of these tones could be used as the tonic of a hexatonic scale.
THE 6 HEXATONIC (6-TONE) SCALES OF THE OUTER RING
C
D
E
G♭
A♭
B♭
C
B♭
C
D
E
G♭
A♭
B♭
A♭
B♭
C
D
E
G♭
A♭
G♭
A♭
B♭
C
D
E
G♭
E
G♭
A♭
B♭
C
D
E
C
D
D
E
G♭
A♭
B♭
THE 6 HEXATONIC (6-TONE) SCALES OF THE INNER RING
B
D♭
E♭
F
G
A
B
A
B
D♭
E♭
F
G
A
G
A
B
D♭
E♭
F
G
F
G
A
B
D♭
E♭
F
E♭
F
G
A
B
D♭
E♭
B
D♭
D♭
E♭
F
G
A
“Double Power”
We know Coltrane had an investigative mind and a deep interest in mathematics, philosophy, the occult and religion.
Earlier in this article you probably noticed the Pentagram Coltrane drew in his circle. Now we have looked at the Hexatonic nature of the tone circle, we can also draw a Hexagram between the tones of the Hexatonic scale of the outer ring.
What appears when we combine the Pentagram and Hexagram, is the symbol of “Double Power“. As symbol of ‘double power’ or the unity of the Pentagram and Hexagram, it symbolizes the “mystical marriage” of the micro and macrocosms. The Inner and Outer Worlds. “As Above, So Below“.
Below you see on the left the Coltrane Circle. In this case instead of single tones I approach it as chords. Those of you familiar with Coltrane’s music will directly notice that the colored sections of the circle form the chord progressions of Giant Steps (in “concert pitch“).
When you merge the triangles formed with the Minor 7th and Dominant 7th chords (the II‘s and V‘s), a Hexagram is formed. The Hexagram can be seen as a 2D version of the 3DStar Tetrahedron, also known as “Merkaba“.
HEXAGRAM (GIANT STEPS)
HEXAGRAM
STAR TETRAHEDRON (MERKABA)
STAR TETRAHEDRON (MERKABA)
“Mer-ka-ba” means “light-spirit-body”. The Merkaba represent the innermost law of the physical world: the inseparable relationship between the two complementary halves – the positive and negative, the manifest and the unmanifest – which form a perfect equilibrium. In creation they rule as two opposite laws: the law of spirit and the law of matter. The Merkaba is also been called the “divine light vehicle” allegedly used by ascended masters to connect with and reach those in tune with the higher realms, the spirit/body surrounded by counter-rotating fields of light, (wheels within wheels).
I understand for those of you reading this with no interest in mathematics, philosophy, the occult and religion this might all seem a bit far-fetched. But, if you look at some of the titles of his compositions (“Ascension“, “Ascent“, “Sun Ship“, “Cosmos”, “Interstellar Space“, “Spiritual”, et cetera) then is seems more then clear that music, the occult / religion and geometry / math were all connected for Coltrane.
It’s not completely clear why Coltrane circled those tones, he never made note of it. The tones that have been circled are the Major 7th or “Leading Tone“, the Tonic and the Minor 2nd or “Supertonic” (see image below).
Perhaps Coltrane wanted to visualize how chromatic neighbor tones lead to adjacent neighbor tones / Tone Centers?
Every Major 7th (mentioned above) is the Major Third of the key (tone center) a Fifth higher (next tone center counterclockwise) as well. [suggestion by Mark Rossi]
Example: the B circled along with the C (tone center) is the Major Third of G (next tone center counterclockwise in the Coltrane Circle).
Every Minor 2nd is also the Major Third of the parallel Major of the Relative Minor key of the by circle connected tone center. [suggestion by Mark Rossi]
Example: the D♭ circled along with the C (tone center) is the Major Third of A Major, the parallel Major key of A Minor, the relative minor key of C Major (tone center). <- You might need to read that twice. 😉
The C Diminished 7th Chord is C – E♭ – G♭ – A. To turn this into a Diminished scale, you need to add another Diminished 7th Chord a semitone higher: D♭ – E – G – B♭ or lower: B – D – F – A♭. Results:
C – D♭ – E♭ – E – G♭ – G – A – B♭ – C & C – D – E♭ – F – G♭ – A♭ – A – B – C
It is commonly known that Coltrane did like using the Diminished Scale (or “Double Diminished” as it was called because it is build from two Diminished 7th Chords). An example of that is his solo in “Moment’s Notice” (in measure 74 where he plays a Bb7 diminished scale pattern). Another example is his solo in “Epistrophy” during the live perfomance at Carnegie Hall with Thelonious Monk.
ALTERED DOMINANT (ALT DOM) CHORDS
Jazz guitarist, composer and music theorist Mark Rossi shared another way of looking at the circled tones.
An Alt Dom chord is a dominant chord (centered around the 5th of the key) but with a minor 7th on top (hereby creating a Dominant 7th) and the 5th and 9th of the chord either lowered or raised by one half step. This in turn gives us either a b5 or a #5 instead of a natural 5 as well as a b9 and #9.
When you add the 3 Diminished 7th Chords to a table you get the following result:
G
A♭
A
B♭
B
C
D♭
D
Eb
E
F
G♭
B♭
B
C
D♭
D
E♭
E
F
G♭
G
A♭
A
D♭
D
E♭
E
F
G♭
G
A♭
A
B♭
B
C
E
F
G♭
G
A♭
A
B♭
B
C
D♭
D
E♭
5
←
♭6or7
→
8
3
←
4or2
→
♭3
B♭
←
B
→
C
B♭
←
B
→
C
D♭
←
D
→
E♭
D♭
←
D
→
E♭
E
←
F
→
Gb
E
←
F
→
G♭
G
←
A♭
→
A
G
←
A♭
→
A
NATABHAIRAVI-CHARUKESI (NATURAL MINOR + MELODIC MAJOR) “COMPOUND” SCALE
Corey Mwamba shared an alternative interpretation about the meaning of the circled tones, he thinks they might form what he calls a “compound scale”. This compound scale is formed my combining the “Natural Minor” scale (Natabhairavi) and the “Melodic Major” scale (Charukesi) a semitone lower, characteristic for North Indian music (something Coltrane developed an interest for in the 60s (see “John Coltrane and the integration of Indian concepts in Jazz improvisation” by Carl Clements).
Corey writes: “We can see that the two scales have two enharmonic points; one at the third degree of each scale, and one at the sixth. If we transliterate Natabhairavi to d♭ and combine it with Charukesi mapped from c, we can see an intersection that contains e and a♭. Natabhairavi is the top line, circled in blue; Charukesi is circled in red.“
He continues: “Arranged in chromatic order, the first, fourth and seventh degrees of Natabhairavi are aligned with the degrees from Charukesi in a way that matches the segment 3–4 on the original diagram.” With the “original diagram” Corey referes to the Coltrane Circle with the Pentagram drawn into it. In that version the Circle the 5 segments are numbered.
An all-interval tetrachord is a tetrachord, a collection of four pitch classes, containing all six interval classes.
There are only two possible all-interval tetrachords when expressed in prime form.
In set theory notation, these are {0146} and {0137} (their inversions: {0256} and {0467}).
From the Tonic C we would get: C-Db-E-Gb {0146} and C-Db-Eb-G {0137} (their inversions: C-D-F-Gb {0256} and C-E-Gb-G {0467}).
As you can see, the {0146} sets contain only tones circled on the Coltrane Circle (C-Db-E-Gb) if you follow the Circle clockwise from C.
ALL-TRICHORD HEXACHORD
This though made me wonder if another “tone-series” would align better with or include more tones of the series of circled tones: the All-Trichord Hexachord.
The all-trichord hexachord is a unique hexachord that contains all twelve trichords, or from which all twelve possible trichords may be derived. The prime form of this set class is {012478}
From the Tonic C we would get: C-Db-D-E-F-Gb. All but the 2nd pitch class (D) used in this All-Trichord Hexachord are circled at the Coltrane Circle if you follow the Circle clockwise from C.
WHAT DO THE NUMBERS IN THE DRAWING MEAN?
“What do those numbers mean?” is a question I have received via mail several times.
Well, the 5 numbers outside the circle 1-5 are the easiest to explain. They mark the 5 octaves this tone circle covers.
Not per say related or intended, but 5 octaves = 5 x 12 tones = 60 tones. There are 60 seconds in a minute and 60 minutes in an hour.
Perhaps that’s why some would refer to this circle as a “clock”. There is nothing in this drawing though that suggests this to be one of the reasons for the design of this circle.
Inside the circle you notice a sequence of numbers 7-6-5-4-3-2-1-2-3-4-5-6-7 and reversed 1-2-3-4-5-6-7-6-5-4-3-2-1, apparently showing you the chromatic (semitone) relationship between the tones listed in both inner and outer ring when combined in one. The 1’s (C) and 7’s (F#) are a Tritone (six “spaces” between the lines) apart from each other. This might suggest a so called “Tritone Substitution“.
A Tritone substitution is one of the most common chord substitutions used in Jazz and is the foundation for more complex substitution patterns like Coltrane changes. Other examples of the tritone substitution (known in the classical world as an augmented sixth chord) can be found in classical music since the Renaissance period. The Tritone substitution can be performed by exchanging a dominant seven chord for another dominant seven chord which is a Tritone away from it.
In the Coltrane Circle you see a sequence from 1-7 starting from C (top of the Circle) to F# both clockwise and counterclockwise. Could that suggest a substitution of C7 by F#7?
If you have another (perhaps better) idea about this sequence, please do contact me.
FLOWER OF LIFE (61)
As mentioned above, the Coltrane Circle covers 5 octaves = 5 x 12 tones = 60 tones within 1 circle. That number reminded met of (an extended version of) the Flower of Life, that contains 60 circles drawn around/over 1 circle in the center (61 in total).
The Flower of Life is a geometric pattern grid of repeating, overlapping circles of an equal radius in two-dimensional space. Commonly, designs are based on circles centered on triangles (with the simple, two circle form named vesica piscis) or on the square lattice pattern of points. The Flower Of Life symbol is one of the most known and recognized geometric Sacred Geometry symbols. This special symbol represents the cycle of life. It visualizes that all consciousness arises from one source (the first, center circle). The 5 platonic solids are found within Flower Of Life, as well as many others including the Seed Of Life, Tree Of Life, and Metatron’s Cube just to name a few. These shapes act as building blocks for all living things, starting with the very first circle. There are many variations of the Flower Of Life, some having as little as only seven circles.
When you place the Flower of Life over the Coltrane Circle you can see the fit nicely together. The outer circles and crossings of circles align with the trigons C-E-Ab & D-Db-Gb, als well as with the trigons G-B-Eb & F-A-Db, 12 tones that together form 2 Hexagons.
Perhaps it is “coincidence” that the 60 around 1 circle (61 circles) Flower of Life aligns with Coltrane’s tone circle with 5 x 12 = 60 tones within 1 circle (61 circles), but as mentioned before, Coltrane’s interest in mathematics, philosophy and the occult might have played a role here too … perhaps not, we will never know for sure.
Another funny coincidence is that Coltrane drew his tone circle in 1961 as mentioned earlier in this article.
JOHN COLTRANE’S MUSIC & GEOMETRY
If you find this article interesting, you might like to read the Roel’s World article “John Coltrane’s Music & Geometry” as well. In this article I write a bit more about the relationship between Coltrane’s music and it’s mathematical / geometrical interpretation.
To finish this article with I like to share a “music video” of Coltrane’s piece “11383” with the Coltrane Tone Circle used as base/inspiration for the visualization. Note: the visualization of the Coltrane Circle does not accurately follows the music – as becomes obvious later on in the video – but is nonetheless a nice ‘work of art’.
“We are very proud for our first Tenor Sax with pitch 432!” – Borgani USA
Photo: Enrico Marchioro with his brand new Borgani Tenor Sax Special Edition made on request with pitch 432.
I received a mail from one of the visitors of my blog, saxophonist Enrico Marchioro, who informed me he became the first owner of a Borgani 432 Saxophone.
For those of you who are unfamiliar with “432 Tuning” read this article for more info. For saxophonists, composers (that like to compose for saxophone) and 432-fans in general this is great news. Till now the Saxophone could not be used optimally when using 432Hz as Concert Pitch due to some intonation issues.
But, with the Borgani 432 Sax this might change!
ABOUT BORGANI
“In 1872 Augusto Borgani founded the Borgani Musical Instruments company in the town of Macerata, central Italy. With entrepreneurial spirit and strategic vision he sent his eldest son Arthur to the USA, where, in Elkhart Indiana, he learned the most innovative production techniques of the time, working for the CONN Industry. This valuable experience enabled the Borgani Company to rapidly exceed the production standards of the day.
The hand-made production was devoted exclusively to professional saxophones, successfully confirming the Borgani brand as being among the elite of world products. After years of research and experimentation, began the production of saxophones with various precious metals, mixed together, and on a brass base in 1990. Thus the Seven Borgani Sound Alloys were born, which is to this day the backbone of the Borgani production line.
To celebrate the 125th year since its foundation, Borgani officially presented to the market the innovative Jubilee Soprano Sax in 1997. This was, and still is, the only SOPRANO which permits the user to change the bell. The brand, which in 2012 celebrated its 140th anniversary, continues to be perceived by the market as having its very own and specific characteristics, while the entrepreneurial spirit of the founder Augusto Borgani continues to be passed down from generation to generation as an everlasting example of the creative capacity of an historic Italian factory.“
Visit their website for more information and product cataloge with photo gallery and audio fragments.
THE BORGANI 432 SAX
When Enrico Marchioro contacted Borgani the first time with his idea about making a 432Hz saxophone he was told they did not make saxophones for Concert Pitch 432Hz. This did not discourage Enrico, he contacted Borgani again, and an agreement was reached.
At the Borgani factory in Italy they worked out the required modifications. A new larger neck was designed with a modified position of the octave tone-hole (and consequently modifications made to the octave button mechanism). Various tone-holes in the body needed to be modified as well.
“For Our Company was an interesting challenge to achieve the building of a Sax 432 Hz. It shows that our Company is mainly focus on musicians’ needs. For a Family Company like us it is also an important and big economic effort but we hope that we could return of this investment with new Saxophone players that could be interested on 432 Hz Sax. About the Sax, we mainly change the tone holes on the body of the instrument and redesign the neck dimension.
Kind regards, Orfeo Borgani.“
Overall quite an undertaking that requires the expertise of skilled craftsmen that only companies like Borgani (specialized in handmade instruments) can provide. Thanks to the open-mindedness and willingness of the Borgani craftsmen (to go one step further then other companies) and Enrico Marchioro for chasing his dream, the first 432Hz sax came to “life” at the end of 2014. It’s only a matter of time before more Borgani 432 Saxophones will leave their workshop …
In case you are wondering how much a 432 Borgani sax would cost … well, that does depend a bit on the kind of finish and so, but you should think about a price between 4000 and 5000 Euro.
Perhaps I will become the proud owner of one myself some day in the future …
When browsing the web curious about inventions, improvements and variations of the mechanical work of the saxophone I came across the website onehandwinds.unk.edu. I wasn’t looking for one-handed saxes (it even feels a bit uncomfortable thinking and writing about it having two hands to work with), but I was really impressed with the creativity and resourcefulness that created this system and decided to make a shot blog article about it.
You can download a PDF with more photos and specs from the onehandwinds website.
Below a video with David Nabb playing a one-handed saxophone with the Troggle-Key System. If you don’t know he’s using only one hand, you would never guess, he plays better with one hand then many do with two. You can none but enormous respect for the determination of David Nabb to “learn to play” again with just one hand.
THE TROGGLE-KEY SYSTEM & TWO-HANDED SAXOPHONES?
I am just “speculating” here, but perhaps the Troggle-Key System could be more then a solution for sax players with hand and/or finger related disabilities. Perhaps the Troggle-Key System could also improve playability of standard (two-hand) saxophones, or could be made to work controlling different button combinations? In the blog article about the 24-tone scale on saxophone Tony Hicks tells about using alternate fingerings to be able to play quarter tones. Would it not be great is the Troggle-Key System could be made to work with quarter tones?
I came across video by Derek Brown in one of the Saxophone groups on facebook. Most techniques he uses are known by many sax players (although not always performed as well). Derek goes one step further, he adds additional beatbox sounds to it as well, and when all is put together you could really call it a “new way of playing”.
I decided to write this article not only because I like what Derek does, what I like perhaps even more is that he shares his “know-how” with everyone by providing Youtube instruction videos explaining what he does.
Below on the left the video I mentioned earlier, on the right one of the instruction videos: