Music & Geometry – Rhythm & Groove

Reading Time: 3 minutes

MUSIC & GEOMETRY – PART 3 – RHYTHM

GEOMETRY OF RHYTHM

So far in this article we have looked at the geometric relationships between tone (pitch) and geometric shapes (polygons and polygrams). Music though is more then tones alone. An important aspect of music is rhythm and just as with tones, polygons can be used to visualize rhythm.

How does this work?

Well a circle could be divided in any kind of time signatures. You could divide a circle into 4 (standard ‘4/4 time’) or into 3 (‘3/4 time’ – Waltz), into 5 (or ‘5/4 time’ – best known from Dave Brubeck’s “Take Five“), into 7 (‘7/8 time’ – Balkan rhythm), or what ever division you wish to use.

Above you see a division of a circle into 32 parts (4-8-16-32). This can be used for ‘4/4 time’ musical pieces.

You could draw various standard geometric shapes like for example squares, triangles, lines, hexagons, hexagrams, et cetera.

That though will “limit” the rhythmic options you have. Small adjustments in standard shapes could turn a “static” groove into something more irregular or a groove that swings or shuffles …

STANDARD ‘4/4 TIME’ MEASURE – EXAMPLE 1:

In this example on the left you see 3 geometric shapes:1 5-sided uneven polygon, 1 dodecagon and 1 line.

The blue uneven 5-sided polygon visualized the kick drum, the yellow dodecagon visualizes the closed hi-hat and the red line visualizes the snare on the 2 and 4.

STANDARD ‘4/4 TIME’ MEASURE – EXAMPLE 2:

In the example on the left you see 4 geometric shapes:1 line, 1 blue square, 1 green square and 1 polygon with 12 uneven sides.

The blue square visualizes the kick drum in a so called “Four on the Floor” pattern (common for Disco and House music), the green square visualizes the open hi-hat, the yellow uneven-sided polygon visualized the closed hi-hat and the red line visualizes the snare on the 2 and 4.

These were just two very simple examples, but you could make these patterns as complicated as you wish.

XRONOMORPH

The absolute coolest free software you can use for turning geometric shapes into rhythm is called “XronoMorph”.

“XronoMorph is a free OS X and Windows app for creating multilayered rhythmic and melodic loops (hockets). Each rhythmic layer is visualized as a polygon inscribed in a circle, and each polygon can be constructed according to two different mathematical principles: perfect balance and well-formedness (aka MOS). These principles generalize polyrhythms, additive, and Euclidean rhythms. Furthermore, rhythms can be smoothly morphed between, and irrational rhythms with no regular pulse can also be easily constructed.

Each polygon can play an independent sound, and XronoMorph comes with a useful selection of samples to play the rhythms. Alternatively, you can load your own VST or AU plugins, or send MIDI to an external software or hardware synth. The rhythmic loops can be saved as presets within XronoMorph; they can also be saved as Scala scale tuning files, which means XronoMorph can be used as a tool for designing well-formed (MOS) and perfectly balanced microtonal scales.”

Watch the following videos to get a better idea about what you can do with this amazing software:

You can download XronoMorph for free from: www.dynamictonality.com

Intervals &
Scales

Chords & Progressions

Rhythm &
Grooves

Various &
Related

Music & Geometry – Various & Related

Reading Time: 7 minutes

MUSIC & GEOMETRY – PART 4 – VARIOUS

In this part about music and geometry I like to share various related things.

“COUNTING CORNERS”

Another way to look at geometry and sound is angles (arc minutes) and the tones you could generate with them if you change the unit from degrees to Hertz:

The sum of the angles of these polygons could create the tone of F♯ at 180Hz, 360Hz, 720Hz and 1800Hz.

Other polygons – not found in the standard tone circles – would also create interesting tones. For example, the Pentagram (5 angles of 108°) would generate a C♯ a harmonic 5th at above 180Hz, a Septagon (7 angles of 128 4/7°) would generate an A♯ at 900Hz, the Octagon (8 angles of 135°) generating a C♯ at 1080Hz, et cetera …

With other words, the “series” of Polygons with increasing number of angles relates closely to the Harmonic Series in music.

Of course Hertz and Degrees is not the same thing. Most sound frequencies are ‘directional’ and/or ‘omni-directional’. No ‘sharp edges’ as with a triangle or square, but spherical and/or cone-shaped.

You can’t just “swap” units and say it’s all the same. But there does seem to be a lot of similarities between the math behind the units, as between many things in the universe. Some ‘laws’ seem to apply for a lot of things if not everything.

PLATONIC SOLIDS

We can’t call this geometry article “complete” without mentioning the Platonic Solids.

The reason to mention these is because of their obvious relation with a few of the shapes found earlier in this article, in particular the Trigon (triangle) and Quadragon (Square).

The Platonic Solid that is a direct “one-on-one” match with musical geometry is the Tetrahedron. You can create a Tetrahedron by connecting 4 Trigons (the Major Thirds / Minor Sixths relationships within one octave within the tone circle).

For the Octahedron you would need 2 2/3 octaves, and 5 octaves for the Icosahedron.

The 3 Squares that represent the Minor Thirds and Major Sixths relationship within the tone circle only forms half a Hexahedron. You would need to cover 2 octaves to generate 6 Squares to complete the Hexahedron.

The only Platonic Solid that does not relate to the polygons created within the standard tone circle is the Dodecahedron, only in the Coltrane circle we could draw a Pentagon (and Pentagram).

Also interesting are the Schäfli Symbols {corners of the polygon shape of a face, edges connected to the corners}. Their recursive definition (or inductive definition) look similar to several tone interval ratios:

Tetrahedron

{3, 3}

3:3 = 1:1

UNISON

Hexahedron

{4, 3}

4:3

PERFECT 4TH

Octahedron

{3, 4}

3:4 (3:2·2)

PERFECT 5TH

Dodecahedron

{5, 3}

5:3

JUST MAJOR SIXT

Icosahedron

{3, 5}

3:5 (2·3:5)

JUST MINOR THIRD

“For the Pythagoreans and later Greek philosophers, tetrachords were considered to be the auditory geometry of a “perfect” 4-sided, 4-pointed tetrahedron solid. As a geometrical model for music, the two tetrachords in a Greek mode could have been intended to represent two opposing and interlocking tetrahedrons balanced around a shared center, thereby creating the 8 vertices of a cube or hexahedron. Alternatively, the vertices (or points) of this cube could have also been intended to pinpoint the center of 8 triangular faces that form its geometric opposite, the octahedron.

In either case, the geometric perfection represented by two balanced tetrachords is the founding principle behind the Greek modes and thus even our present major and minor system of scales.

Greek geometers found that tetrahedrons could be used to construct more complex perfect shapes. For example, a pair of octahedrons can be balanced to form either the 12 vertices of an icosahedron or 12 pentagonal faces of a dodecahedron. Because of this, tetrachords, octaves and a stack of twelve perfect 5ths were associated with the geometrical shapes of the five perfect solids, which the Greeks considered integral to the structure of the universe.“

From: “Interference – A grand scientific Musical Theory” by Rich Merrick (www.interferencetheory.com)

For creating a 12-Tone Tetrahedron you need to combine 4 (2D) Trigons.

1 Trigon is formed by the (3) tones of an Augmented Triad (C-E-Ab, Eb-G-B, Gb-Bb-D and Db-F-A).

Each trigon shifts a semitone up or down at the corners with the neighboring trigons.

8-TONE (MAJOR SCALE) MERKABA

Merkaba is a combination of three different words. Mer is a light that rotates within itself; Kameant refers to the human spirit and Ba alludes to the physical human form (body).

A Merkaba is a star tetrahedron, a three dimensional 8 pointed star made from 2 tetrahedrons, one pointing up and the other down.

The Merkaba harmonizes male and female energy, much like a Yin/Yang symbol and is a representational invocation of “as above, so below”. The pyramid pointing upwards connects us to heavenly universal energy and represents yang, positive energy flows. The pyramid pointing downward connects to the earth and resonates with yin, negative energy flows.

The first “Tone Merkaba” I came across was the drawing below by Druvalo Melchizedek from his book “The Ancient Secret of the Flower of Life”. In his Tone-Merkaba Druvalo Melchizedek places the tones at the vertexes of the Merkaba based on the Major scale, connecting 2 groups of 4 tones (tetrachord) with 8 vertexes.

He starts at the female tetrahedron (point down) with Do (1) – whole tone to – Re (2) – whole tone to – Mi (3) – half tone to – Fa (4), scale degrees 1-2-3-4. At Fa he “crosses over” (with one whole tone) diagonally from one Tetrahedron to the other, the male tetrahedron (point up) and continues there with the same pattern of whole, whole, half tone: Sol (5) – whole tone to – La (6) – whole tone to – Si (7) – half tone to – Do (8), scale degrees 5-6-7-8.

In his concept the semitone leads to the vertex that changes the “polarity” (female to male and visa versa) when diagonally “crossing over”: Fa (4) to Sol (5) and Do (8) to Do (1).

Even though a very interesting concept, I wondered if there would be a different way to align the tones with the Merkaba. The “As Above, So Below” aspect of the Merkaba is not very clear with the way Melchizedek aligned the tones.

AS ABOVE, SO BELOW

If you haven’t read the Roel’s World article “The Functions of the Intervals” then that might be helpful to read first.

If we draw a line through the center located of the Merkaba, then 4 tones are located below the middle and 4 above (image left below).

Interesting is that when drawing lines from the vertexes through the center of the Merkaba, the opposing vertexes are each others inversions if you look at the scale degrees: 1↔8 (Tonic & Octave), 2↔7, (Seconds and Sevens), 3↔6 (Thirds and Sixes) and 4↔5. (Fourths and Fifths). And in all cases the degree of the connected vertexes combined generates the number 9 (number of completion).

Another interesting thing about this way of aligning the tones as displayed above, is that both horizontal planes of the tetrahedrons “rotate” in opposite direction 2→3→4 (clockwise) and 5→6→7 (counterclockwise).

If you would look at it from the point of the “Do’s” in 2D perspective, then the male “Do” (8) is grouped with 3 surrounding female tones: Re (2) – Mi (3) – Fa (4) and the female “Do” (1) is grouped with 3 surrounding male tones: Sol (5) – La (6) – Si (7).

This reminded me a little of the Yin-Yang symbol, where a dot of the opposite gender is located in the center of each half.

HUMAN VOCAL RANGE

There is yet another way to associate the 8 tones of the Major scale with the 8 vertexes of the Merkaba, this relationship is based on the human vocal ranges. The human vocal range is divided into 6 ranges, 3 female ranges, 3 male ranges, based on the everage vocal range of respectively women and men. From high (female) to low (male) these ranges are:

Female – Soprano: C4 – C6
Female – Mezz. Sopr: A3 – A5
Female – Cont. Alto: F3 – E5

Female: C-A-F (ascending 6ths / descending 3rds)
or inverted F-A-C (ascending 3rds)

Male – Tenor: B2 – A4
Male – Baritone: G2 – F4
Male – Bass: E2 – E4

Male: B-G-E (ascending 6ths / descending 3rds)
or inverted E-G-B (ascending 3rds).

To turn these 3-tone chords into 2 4-tone chords we have to add one tone to each group.

The Female group does have a C / Do (1) already, so the second Do (8 – Octave) has to be added to the Male group: D-F-A-C (a Dmin7 chord), scale degrees: 2-4-6-8 (even numbers).

The only tone of the C Major Scale that is missing, is the tone D / Re (2). When we add this tone to the Female group we get the following group (chord): C-E-G-B (a CMaj7 chord), scale degrees: 1-3-5-7 (uneven numbers).

What version of the Tone-Merkaba you should use (Druvalo Melchizedek’s Tone-Merkaba, the “As Above, So Below” Tone-Merkaba or the Tone-Merkaba based on the human vocal range) is up to you.

TONES, ASTROLOGY & GEOMETRY

If you know a little about astrology, then you must have recognized some of the geometric shapes used in the tone circles earlier in this article, in particular those of the intervals. The tone circles might have also reminded you of the way the Zodiac Circle is draw.

Chormatic Circle - Zodiac Circle - Circle of Fifths

Note: The Zodiac Signs in this article are placed clockwise and with Aries “on top”. Traditionally the Zodiac Signs are drawn counterclockwise with Aries on the left. Another difference is that the “cusps” (the line in between the signs) traditionally align with North, South, East and West.

Both tone circles though are drawn as traditionally used, thus turning the Zodiac Circle to match both tone circles (music is the main subject of this article after all) seemed to be more convenient reading and comparing the tone circles with the Zodiac Circle.

The degrees listed above relate to the angles of 2 dots relatively to each other from the center point of the geometric shapes..

Read more about music, astrology and “Tone Zodiacs” in the article “Zodiac Signs & Tonality (Music)“.

Intervals &
Scales

Chords & Progressions

Rhythm &
Grooves

Various &
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Music & Geometry – Harmony – Chord Progression

Reading Time: 12 minutes

MUSIC & GEOMETRY – PART 2 – HARMONY

Before we continue exploring geometric shapes of harmony first some additional information about tone circles and harmony … Tone Circles are a very important tool when it comes to harmonic progression (or chord progression) in music.

RELATIVE MAJOR / MINOR TONALITIES

You see here the Circle of ascending Fifths/Fourths with both Major and minor tonalities. The relationship between the Major and minor tonalities is of course the same in the Chromatic Circle.

Even though the relative Major and minor are on the same side of the circle they do not automatically “replace” each other musically.

For example: the geometric relationship C Major and G♭ Major is the same as the geometric relationship between A minor and E♭ minor. The relationship between C Major and E♭ minor might look the same geometrically within the circle but is a different one! The tonic of C Major is a Tritone apart from G♭ Major, but only a minor 3rd apart from E♭ minor.

In these articles about music and geometry I have chosen to only us the circles with Major tonalities to have more space for drawing lines between the tones of the circle that form the geometric shapes (polygons and polygrams).

DIFFERENCES BETWEEN THE CHROMATIC CIRCLE AND THE CIRCLE OF FIFTHS:

You might have noticed that the tone circles above have different “shades of grey” for their tones. This is done for a reason. From a “philosophical” point of view you could say that – when you look at the “movement” around the circles – the Chromatic Circle represents ‘Polarity‘ and/or ‘Dualism‘ and the Circle of Fifths represents ‘Unity‘ and/or ‘Nondualism‘.

Of course the Circle of Fifths can be read counterclockwise as well, but than it would not longer be the Circle of Fifths but the Circle of Fourths instead. In other words, the Chromatic Circle is bidirectional (same interval size in both directions) and the Circle of Fifths (clockwise) unidirectional, as is the Circle of Fourths (counterclockwise).

CHROMATIC CIRCLE

When we look at the Chromatic Circle, then we can see two “poles”, C and F♯/G♭. From these “poles” we move around the circle in both directions. Now, imagine placing a “mirror” from C to F♯/G♭, then:

B is “mirrored” by C♯ | D♭ → (5♯/7♭ | 7♯\5♭),
A♯ | B♭ is “mirrored” by D → (10♯/2♭ | 2♯\10♭),
A is “mirrored” by D♯ | E♭ → (3♯/9♭ | 9♯\3♭),
G is “mirrored” by F → (1♯/11♭ | 11♯\1♭),
G♯ | E♭ is “mirrored” by E → (8♯/4♭ | 4♯\8♭).
F♯ | G♭ “mirrors” itself within → (6♯ | 6♭),
as does C → (0♯ | 0♭).

The numbers of ‘accidentals’ stays the same but the “polarity” has changed (sharp to flat, positive to negative, “male” to “female”).

The two opposites of Yin and Yang (the image on the right, turned 90 degrees to align with the tone circle) attract and complement each other and, each side has at its core an element of the other (represented by the small dots). Neither pole is superior to the other and, a correct balance between the two poles must be reached in order to achieve harmony.

To me the Yin and Yang symbol (circle) represents Octave (complete scale), the Tritone interval (geometric mean) “splits” the octave in half: black half (Yin), white half (Yang). The dots represent the two most important intervals in music, the white dot = 5th (3:2, arithmetic mean – Yang, the sun) and the black dot = 4rd (4:3, harmonic mean – Yin, the moon). Both “lead” to the opposite half, across the “border” (the Tritone), the white dot to the white half (down, 5th to the Tonic) and the black dot to the black half (up, 4th to the Octave).

CIRCLE OF FIFTHS

When going around the Circle of Fifths the build-up and decrease of the number of sharp and flats is constant. The sharps going up 0-11 while the flats go down simultaneously 11-0. And another pattern to be seen: 0 – 1 – 2 – 3 – 4 – 5 – 6 – 5 – 4 – 3 – 2 – 1 (- 0).

As you can go around this circle endlessly An natural gradualness with no beginning, no end. Ouroboros, (the tail-devouring snake). A unbroken circle, a cross-cultural symbol often representing completeness which encompasses all space and Time, “infinity” or “unity“.

GEOMETRY OF CHORDS

Just like with scales also chords form geometric shapes. For this article I will only share the shapes and Polygons for C Major and C Minor. These shapes are the same though for all 12 tonalities.

TRIGON (triangle)
The clockwise “connected” tones are a Major Third (400 cents) apart from one another: The triad formed by playing all 3 tones of the trigon together is called “Augmented Triad“. C-E-A♭ & A♭-C / G-B-E♭ / D-G♭-B♭ / D♭-F-A.

SQUARE
All 4 tones (C-G♭-E♭-A / D-A♭-F-B / E-B♭-D♭-G ) together forms a “Diminished 7th Chord“, containing two simultaneous played TriTones a Minor Third apart.

Every first image bellow visualizes the Chromatic Circle (CC), every second the Circle of Fifths (CoF).

C MAJOR (CM)

C MINOR (Cm)

SUPERIMPOSED MIRRORED

12 TONALITIES

Other common chords in all 12 tonalities superimposed (the colored polygons are C chords). Every first image bellow visualizes the Chromatic Circle (CC), every second the Circle of Fifths (CoF).

C dim

C Aug

Cm7

CM7

As you might have noticed, there are various chords that “generate” the same image when all 12 tonalities have been superimposed, no matter if you use the polygons of the Circle of Fifths or the Chromatic Circle.

There are of course many more chord variations with additional tones such as a 4, 6, 9, 11 and others.

HARMONIC PROGRESSIONS

When you draw a square around the Circle of Fifths and draw lines between the corners of the square, 4 triangles appear. In each triangle we see the chord progressions that belong to the Major tonality in the center of the outer ring, highlighted by the green triangle. Diminished chords are usually not drawn into the tone circle, but to complete the picture I have added it into a 3rd ring in the center.

This concept only works with the Circle of Fifths. It does not work this way with the Chromatic Circle.

The example below is based on C Major, but you could turn the Circle of Fifths in any direction to see the chord progressions for any other Major tonality.

DEG.	TONE	FUNCTION	CHORD
1	C	TONIC	C MAJOR
2	D	SUPERTONIC	D MINOR
3	E	MEDIANT	E MINOR
4	F	SUBDOMINANT	F MAJOR
5	G	DOMINANT	G MAJOR
6	A	SUBMEDIANT	A MINOR
7	B	LEADING TONE	B DIMINISHED

Two examples below of the ‘movement’ created by chord progressions:

BLUES PROGRESSION

A standard Blues uses the 1st, 4rd and 5th degrees:
I → IV → I → V → (IV) → I

See how the movement between the chords of a standard Blues takes place in the outer ring (chords with a Major 3rds).

TURNAROUND

Standard turnaround uses the 1st, 2nd, 3rd, 5th and 6th degrees:
III → VI → II → V → I

A turnaround creates a “z-like” patern, from the inner ring (minor 3rds) to the outer ring (Major 3rds).

THE “SEQUENCE OF FALLING FIFTHS”

The purple Septagram displayed earlier also visualizes another aspect in music as well: the “harmonic progression” or “chord progression“, a succession of musical chords. This chord progression is the foundation of harmony in the Western musical tradition.

The numeral sequence of the falling (descending) Fifths goes as follows:
(4 -) 7 – 3 – 6 – 2 – 5 – 1

Musicians and composers generally prefer using the Roman numerals instead though:
(IV -) VII – III – VI – II – V – I

In C Major we get the following chord sequence:
(F Major -) B diminished – E minor – A minor – D minor – G Major – C Major.

All “steps” in the sequence “lead” to the tonic, the root of the tonality a composition is written in. I’ve put the (IV) in the sequence above between brackets, because the interval between F and B is not a Fifth but a Tritone.

“THE SEQUENCE OF FALLING FOURTHS”

If you place the 4 on the other side of the reversed sequence then we get a perfect sequence of descending Fourths”: 4 – 1 – 5 – 2 – 6 – 3 – 7:
F Major – C Major – G Major – D minor – A minor – E minor – B diminished.

This “Sequence of Falling Fourths” actually appears when you use the RADIAN measure of 57.29577951 degrees when going ’round the Circle of Fourths (or Circle of Fifths in clockwise movement), as Zachary G Covell demonstrates (see image on the right).

Zack writes: “After 7 times around the circle all four of the 90 degree lines are filled in. The 11th, 22nd, 33rd, and 44th step in the lines placing each one at a new radian of 57.29577951 degrees becomes the axes of the directions at 90 degrees to one another. Only a musician or someone who knows some music theory will see the 4152637 locations. The 4152637 are Harmonic Progression in Music.“

Going around the Circle in 7 times isn’t a “coincidence” either. When stacking (slightly tempered) Fourths / Fifths you will rise 7 octaves before you come across the “same” tone as you started with (but 7 octaves higher) and “close” the circle. I talk about “tempered” Fourths / Fifths in this case, because if you stack Just (perfect) Fourths / Fifths you would slightly ‘overshoot’ the circle with approx. a quartertone (this difference between 12 stacked Perfect 5ths and 7 stacked Octaves is also called the “Pythagorean comma“) and would thus generate a spiral and not close the circle, as demonstrated by Zach.

The 11th, 22th and 44th are Tritones. The 33rd is not (it’s a “Quartertone“), nor are the 55th, 66th, and 77th. But the 88th is, as is the 176th … This is because there are some “doubling sequences” within the harmonic series as well. The most obvious is that of the 1st harmonic (fundamental): 1-2-4-8-16-32-64-et cetera. But, so does the “Tritone” in the harmonic series: 11-22-44-88-176-352-et cetera. The 33rd harmonic (a “Quartertone”) “doubles” as follows: 33-66-132-et cetera, as does the 55th harmonic: 55-110-220-et cetera … you see the “system of doubles” within the harmonic series, right?

For the “number fetishists” and philosophers among us:

The numerologists among you might have noticed the 11, 22, 33 and 44 series, the so called “Master Numbers” (although not all numerologists use 44).

These numbers are also the first 4 double digit palindromic numbers, numbers that remains the same when its digits are reversed. The Circle of Fifths can be used both ways, the interval stays the same only the direction changes, ascending (clockwise) vs. descending (counterclockwise) 5th.

In the Bible the numbers 11 and 22 symbolize disorder, chaos and judgment. The Tritone is commonly experienced as the most “dissonant” or “tensionful” in the 12-Tone system. 33 represents “God’s Judgement”.

If you count from the 1st line drawn in the circle, the 33rd Harmonic becomes the last “leg” of the cross and the beginning of the last “sequence” (of 4) to close the circle/cycle.
In the Bible a 44 day period began on the day Jesus was crucified and ended with his resurrection. When you look at the circle, the 44th harmonic completes / ends the circle/cycle. It “ends” the “period” between “crucifixion” (33rd Harmonic) and 44th Harmonic.

I know these things don’t have much to do with math or geometry, but are fun nonetheless. *wink*

“AUTUMN LEAVES” PROGRESSION & THE GEOMETRY OF THE AUTUMN EQUINOX

When you “map” the chord progressions of some compositions using the Circle of Fifths, geometric shapes may appear as well. Robert Aguirre discovered a very interesting one, relating the Jazz standard “Autumn Leaves” with the Autumn Equinox:

“Since you went away the days grow long … And soon I’ll hear old winter’s song …“

THE COLTRANE CIRCLE

An interesting variant to the “Circle of Fifths” is the “Coltrane Circle”, created by saxophonist John Coltrane (perhaps based on Nicolas Slominksy’s Thesaurus of scales and musical patterns?) and was used by Yusef Lateef for his work “Repository of Scales and Melodic Patterns“.

Being a saxophonist myself and a fan of Coltrane’s work I had no choice then to write something about this tone circle in this article as well.

Below on the left you see a scanned copy of an original drawing of the “Coltrane Circle”. I have modified an image made Corey Mwamba from his article “Coltrane’s Way Of Seeing” that clarifies the scanned image (right image).

A Pentagram & Pentagon appear when you draw lines between the same tones in the Coltrane Circle” (in this example with the tone C).

In the original drawing Coltrane had “circled”. specific tones. If you connect the circled tones a dodecagram is formed.

NOTE: There is a lot more that can be said about the Coltrane Circle as well as the geometric relationships between chords and chord progressions in some of his music, in particular the album Giant Steps. If you like to know more about this, then read this Roel’s World article: “The Coltrane Tone Circle“.

POLAR HARMONY – CHANGING “POLARITY” (“NEGATIVE HARMONY”)

The following images are based on a concept shared by Ernest Levy (writer of “A Theory of Harmony“) where every chord has a “reflection”, a “polar opposite” chord within that key center, created by rotating every single tone around the axes of that key center. With other words, with this concept you can substitute a chord by changing it’s “polarity”. Some musicians refer to this method as “Negative Harmony”. The mirror “reflection” is representative of the reflective qualities between the harmonic and subharmonic series, (“otonality & utonality“).

In this concept the axes between the tonal center (root) and Fifth (the interval between the second and third harmonics, generally considered as the most important and consonant interval) is used to “mirror” chords and scales.

A simple way to visualize it is to “mirror” the chord in the Tone Circle.

In the first image you see the polygon of G7 and the the tonic of C. In order to create the “mirror” in the Chromatic Circle (1^st images) you need to draw a line between the tonics of the G7 and C chords and add perpendicular to this G – C axis the “mirror” (image 2). In image 3 you see the mirrored polygram of G7, that turns out to be a F Minor 6 (as noted in the 4th image). The process is pretty much the same with the Circle of Fifths (2^nd images), except that you add the “mirror” directly in between the tonic and fifth of the tone center.

AXIS & MIRROR

MIRROR G7

Fm6 (AXIS)

Substituting G7 with Fm6 is changing the direction of approach to resolve at C. G to C is a Descending Fifth, F to C an Ascending Fifth. The F Minor 6 chord could also be seen / notated as a D7^b5 chord, but it will not “accentuate” the dominant function as traditionally with G7 or alternatively it’s “reflection” Fm6.

Famous musicians like saxophonist Steve Coleman (interesting read: Symmetrical Movement Concept) and Herbie Hancock have used “Negative Harmony” in their music. This subject gained most “exposure” and “popularity” recently due to Youtube videos by/with Jacob Collier.

TONNETZ GRID

Another way to visualize (and perhaps easier way to “map” the “polar conversion” of) a chord, is by using the Tonnetz Grid. In musical tuning and harmony, the Tonnetz Grid (German for tone-network) is a conceptual lattice diagram representing tonal space first described by Leonhard Euler in 1739.

This way of visualizing “negative harmony” can be found in detail at this imgur post. For this Roel’s World article I will only show you the example as described above with G7 and C. I’ll use a Tonnetz Grid image by Jan Ott for it:

Polar or Negative Harmonics – Tonnetz Grid

As you might have noticed, the in the Tonnetz Grid “connected” tones on the horizontal lines are a 5th apart. The tones connected diagonally from left-top to right-bottom are a Minor 3rd apart, the tones connected diagonally from bottom-left to top-right are a Major 3rd apart.

3 DIMENSIONAL REPRESENTATION

Some authors have taking mapping tone relationships one step further, turning the more “traditional” 2D Polygons into 3D shapes. At the website www.cosmometry.net for example Marshall Lefferts converted the 2D Circle of Fifths into a 3D Vector Equilibrium.

Circle of Fifths - tritones - by cosmometry.net

vector equilibrium - tritones by cosmometry.net

Marshall Lefferts writes: “This illustration shows that the tri-tone intervals are exactly opposite each other in the circle of fifths”. [left]
“In this way we can easily see the six pairs of opposite notes that comprise the basic 12-tone system of music.”

“Extending this into the 3-dimensional space of the vector equilibrium, one of the primary components of cosmometry, we can map these pairs like this (notice that the circle of fifths is maintained in the sequence of notes as they are arrayed visually around the center).” [image right]

“Buckminster Fuller stated that the vector equilibrium is composed of six-pairs of equal and opposite vectors radiating from its center point. The music system aligns with that model conceptually, though of course the frequency differences of the actual tri-tone notes are not equal.”

Instead of blogging more about the 3 dimensional representations of musical harmony and tone-relationships it might be more useful to share some very interesting videos made by others with you:

NEO-RIEMANNIAN TONNETZ TORUS

An interesting variation of the Tonnetz Grid shown above, is the Torus (or Donut-) shaped Neo-Riemannian Tonnetz Torus.

The red lines connect notes that are a Major Third (and Minor Sixth) apart. The green lines connect notes that are a Minor Third (and Major Sixth) apart. The blue lines connect notes that are a Perfect Fifth / Perfect Fourth apart.

With those 3 lines (one of each color) triangles can be formed. These triangles represent either Major (red–green–blue / RGB) or Minor (green–red–blue) Triad (3-tone) Chords.

Intervals &
Scales

Chords & Progressions

Rhythm &
Grooves

Various &
Related

Music and Esotericism

Reading Time: < 1 minuteJuly 29, 2023

Music and Esotericism

Esotericism is a term scholars use to categorise a wide range of loosely related ideas and movements that developed within Western society. Esotericism is about (secret) knowledge for a small group of people (initiates). Esotericism also describes mystical, spiritual or occult viewpoints. Among the Esotericism studies and/or movements are Hermetism, Alchemy, Astrology, Numerology, Anthroposophy, Freemasonry and other … Esotericism can also be about understanding symbolism and hidden meanings.

Now, to be clear, in this part of my blog I am not revealing any real secrets or things shared with me in confidence.

When it comes to esotericism, those ‘secrets’ do not exist because of conspiracies or other foul play. The reason why not everything is shared with ‘the world’ is because it requires a certain level of understanding to interpret the knowledge correctly and to prevent misunderstandings. This is nowadays even more important then in the past. The internet is a marvelous system that gives us all a huge amount of freedom to gather and share information and knowledge. BUT, with this freedom comes a responsibility equally great. You might be responsibly using your freedom, but others might not be ready for that … If this is a topic you are interested in, you might enjoy reading this article on Roel’s World.

“It does not matter if what I think differs from what the other person thinks. What matters is that, as a result of what I can contribute to the conversation, the other discovers what is right out of themselves.”
Rudolf Steiner, How to Know Higher Worlds: A Modern Path of Initiation

Famous Saxophone Solos & Riffs (Part 4 – 2000-2015)

Reading Time: 4 minutesFebruary 25, 2022

FAMOUS SAXOPHONE SOLOS & RIFFS (PART IV – 2000-2015)

FOREWORD ON PART 4: Except for “Lazarus” by Bowie I do not like any of the tracks listed below. I added them to create a more complete picture for this blog article, some of the visitors might like them.

Get Right (2005)

#2 (Top 40), #3 (NL Single Top 100), #1 (US Billboard Dance Club Songs), #8 (US Billboard Pop Songs), #1 (UK Singles OCC)

Saxophonist: MACEO PARKER, sampled from “Soul Power 74” (Maceo and the Macks).

“Get Right” is the 1st single of the 5th album “Rebirth”, by Jennifer Lopez.

Maceo Parker (born in 1943) is an American Funk, Soul and Jazz saxophonist. He gained fame by working with James Brown and Prince (New Power Generation). He is the most influential Funk and Soul alto saxophonist due to his unique sound and timing.

Mr. Saxobeat (2010)

#2 (Top 40), #4 (NL Single Top 100), #11 (US Billboard Hot Latin Songs), #21 (US Billboard Hot 100), #3 (UK Singles OCC), #1 (UK Dance OCC)

Saxophonist: ?

“Mr. Saxobeat” is a single by Romanian singer Alexandra Stan. It was her first single with international succes and reached hitlists.

It is unclear if the saxophone in this track is a synthesizer or actually played by someone. No name is mentioned anywhere.

The Edge Of Glory (2011)

#36 (Top 40), #9 (NL Single Top 100), #1 (US Billboard Dance Club Songs), #2 (US Billboard Adult Top 40), #3 (US Billboard Mainstream Top 40), #6 (UK Singles OCC)

Saxophonist: CLARENCE CLEMONS

“The Edge of Glory” is a song of the American singer Lady Gaga.

Clarence Anicholas Clemons jr. (1942 – 2011) was an American saxophonist en actor. Clemons was a leading member of the E Street Band (de band of Bruce Springsteen – zie Deel 1). He worked with many artists and bands, like: Grateful Dead, Ringo Starr, Roy Orbison, Jackson Browne and Twisted Sister.

Midnight City (2011)

#11 (US Billboard Hot Latin Songs), #5 (US Billboard Alternative Songs), #7 (US Billboard Hot Rock Songs), #34 (UK Singles OCC), #2 (UK Indie OCC)

Saxophonist: JAMES KING

“Midnight City“is a song by the French band M83 with Anthony Gonzalez as frontman. The band was named after the spiral shaped starcluster Messier 83.

James King is an American multi-instrumentalist and co-founder of the band “Fitz and The Tantrums“.

Last Friday Night (T.G.I.F.) (2011)

#7 (Top 40), #24 (NL Single Top 100), #1 (US Billboard Dance Club Songs), #1 (US Billboard Hot 100), #1 (US Billboard Mainstream Top 40), #9 (UK Singles OCC)

Saxophonist: KENNY G

“Last Friday Night (Thank God It’s Friday)” is the 5th single from Katy Perry‘s album “Teenage Dream“.

Kenneth Bruce Gorelick (born in 1956 in Amerika) is with a total of 75 million sold albums the best selling instrumental pop artist ever. He has played with: Barry White‘s Love Unlimited Orchestra, Jeff Lorber, Kashif, George Benson, Patti LaBelle, and Aretha Franklin, Michael Bolton, Celine Dion, Bebel Gilberto, and others.

Just for visitors of Roel’s World unfamiliar with saxophonists: Kenny G and Kenny Garrett are two totally different saxophonists!

One Day (Vandaag) (2012)

#2 (Top 40), #2 (NL Single Top 100), #15 (UK Singles OCC)

Saxophonist: BEN RODENBURG

“One Day” is a track by DJ/Producer Bakermat from 2012. Untill 2014 the number was known under the name “Vandaag” (Dutch for “Today”).

Ben Rodenburg (born in 1988 in Rotterdam) has studied at Codarts (Conservatory) in Rotterdam. He has worked with: Waylon, Edsilia Rombley, Alain Clark, Sam Feldt, De Hofnar, Roog, Erick E, Shermanology, Thomas Jack, Lucien Foort and Federico Scavo and others.

Talk Dirty – feat. “2 Chainz” (2013)

#5 (Top 40), #5 (NL Single Top 100), #1 (US Billboard Mainstream Top 40), #3 (US Billboard Hot 100), #2 (US Billboard R&B/Hiphop), #1 (UK Singles OCC), #1 (UK R&B OCC)

Saxophonist: ORI KAPLAN

“Talk Dirty” is the 2nd single of Jason Derülo‘s 3rd album.

Ori Kaplan (born in 1969 in Israel) is a saxophonist and producer also known as “DJ Shotnez“. He has worked with: Tom Abbs, Firewater, Gogol Bordello, en Balkan Beat Box.

Ori Kaplan also played similar ethnic motives in the track “Worth It – feat. Kid Ink” by “Fifth Harmony” in 2015.

Jubel (2013)

#9 (Top 40), #9 (NL Single Top 100)#24 (US Billboard Hot Dance/Electronic Songs), #3 (UK Singles OCC), #2 (UK Dance OCC)

Saxophonist: SNAKE DAVIS

“Jubel” is a song by Klingande, a Deephouse formation from Frankrijk.

Christopher McFarland Davis (artiest name Snake Davis) is a British saxophonist and flutist. He worked with: Lisa Stanfield, Ray Charles, Tom Jones, Culture Club, George Michael, Tina Turner, Paul Hardcastle, Take That, Cher, Kylie Minogue, Paul McCartney, Dave Stewart, Paul Young, Pet Shop Boys, Robert Palmer, Motörhead, Primal Scream, Spice Girls, Cliff Richard, Dionne Warwick, Amy Winehouse and others.

Problem ft. Iggy Azalea (2014)

#5 (Top 40), #10 (NL Single Top 100), #1 (US Billboard Mainstream Top 40), #2 (US Billboard Hot 100), #2 (US Billboard Dance), #1 (UK Singles OCC)

Saxophonist: LEON SILVA

“Problem” is a song by the American singer Ariana Grande together with Australian rapper Iggy Azalea.

Leon Silva is an American saxophonist. He has worked with: Andra Day, Bruno Mars, Lady Gaga, Jennifer Lopez, Aloe Blacc, Mary J. Blidge, Jill Scott, Coldplay, Justin Timberlake, and Michael Jackson.

Lazarus (2015)

#32 (Top 40), #32 (NL Single Top 100), #3 (US Billboard Hot Rock Songs), #40 (US Billboard Hot 100), #45 (UK Singles OCC)

Saxophonist: DONNY MCCASLIN

“Lazarus” is a single from the last album Blackstar by David Bowie. The song was written for the musical Lazarus.

Donny McCaslin is an in 1966 born American Jazz saxophonist. He played with Steps Ahead, the Gil Evans Orchestra, John Medeski, David Binney, and others.

Part I : the 70s

Part II: the 80s

Part III: the 90s

Part IV: 2000-2015

Famous Saxophone Solos & Riffs (Part 3 – The 90s)

Reading Time: 2 minutesFebruary 25, 2022

FAMOUS SAXOPHONE SOLOS & RIFFS (PART III – The 90s)

Lily Was Here (1989/1990)

#1 (Top 40), #11 (US Billboard Hot 100), #6 (UK Singles OCC)

Saxophonist: CANDY DULFER

In ’89/’90 Dave Stewart (Eurythmics) scored together with Dutch saxophonist Candy Dulfer an international hit, that reached #1 in Nederland with the song “Lily was here“.

Candy Dulfer (born in 1969 in Amsterdam) is a Dutch saxophonist, daughter of Hans Dulfer (also saxophonist). Candy has worked with many famous artists, such as: Prince, Pink Floyd, Van Morrison, The Metropole Orkest, Printz Board (The Black Eyed Peas) and the “Ladies of Soul“.

Infinity (1990’s … Time For The Guru)

#3 (Top 40), #5 (UK Singles OCC)

Saxophonist: MAD MICK

Paul Walden, (1964 – 2015) was an English dance producer. Onder the name ‘Guru Josh‘ he released in 1990 his debut single “Infinity (1990’s … Time for the Guru). It reached 3rd place at the Nederlandse Top 40.

Mad Mick is a British saxophonist. He also worked with “Black Box” and “Stevie V“.

Something Got Me Started (1991)

#5 (Top 40), #13 (US Billboard Hot Dance Club Play)

Saxophonist: IAN KIRKHAM

“Something Got Me Started” is a song by Simply Red, a British Pop band.

One of the band members was the English saxophonist Ian Kirkham. He also worked with other known artists, like Tom Jones, Kylie Minogue.

I will always love you (1992)

#1 (Top 40), #1 (US Billboard Hot 100), #1 (UK Singles OCC)

Saxophonist: KIRK WHALUM

“I Will Always Love You” was a single (from 1974) by American singer Dolly Parton. In 1992 Whitney Houston covered the song for the movie The Bodyguard and is the “best-selling single” by a single in the music history.

Kirk Whalum (born in 1958) is an American (Smooth) Jazz saxophonist and songwriter.

He worked with famous artists, like Luther Vandross.

He was nominated for 12 Grammy Awards and won his first Grammy in 2011 for Best Gospel Song “It’s What I Do” with singer Lalah Hathaway.

A Million Love Songs (1992)

#7 (UK Singles OCC), #50 (NL Mega Single Top 100), 4 Weken in de “Tipparade”.

Saxophonist: SNAKE DAVIS

“A Million Love Songs” is a single by the English boy band Take That from their debut album “Take That & Party”.

Christopher McFarland Davis (“Snake Davis“) is a British saxophonist and flutist. He has worked together with: Ray Charles, Culture Club, George Michael, Tina Turner, Cher, Kylie Minogue, Paul McCartney, Pet Shop Boys, Spice Girls, Amy Winehouse and others.

During live concerts of Take That Mike Stevens plays the saxophone.

Another Day (1997)

#4 (Top 40), #5 (NL Single Top 100)

Saxophonist: BRANFORD MARSALIS

Buckshot LeFonque is an American music project by saxophonist Branford Marsalis. The single “Another day” was listed 27 weeks in the Single Top 100 in the Netherlands, the album Music evolution was listed 26 weeks in the Album Top 100 in the Netherlands.

Branford Marsalis (born 1960 in America) is mostly known from the Jazz scene, he worked with many Jazz musicians, such as: Art Blakey and Clark Terry. In Pop music he worked with Sting (“Englishman In New York – zie Deel 2), Tina Turner (“Break Every Rule”, 1986) and Grateful Dead (“Without a Net”, 1990).

Someone loves you honey (1998)

#77 (NL Single Top 100), 4 Weken in de “Tipparade”.

Saxophonist: NIGEL HITCHCOCK

“Someone Loves You Honey” is a song written by Don Devaney and performed by Charley Pride in 1978. In 1980 British June Carol Lodge together with Prince Mohammed covered this song and made it “the hit of the year 1982” in The Netherlands. American R&B-, soul- and pop singer Lutricia McNeal turned it in 1998 into an uptempo version.

British saxophonist Nigel Hitchcock (born in 1971) worked with many known artists: Tom Jones, Wet Wet Wet, Ray Charles, Robbie Williams, and Mark Knopfler.

Part I: the 70s

Part II: the 80s

Part III: the 90s

Part IV: 2000-2015

Famous Saxophone Solos & Riffs (Part 2 – The 80s)

Reading Time: 6 minutesFebruary 24, 2022

FAMOUS SAXOPHONE SOLOS & RIFFS (PART II – The 80s)

Just the Two of Us (1980)

#11 (Top 40), #16 (NL Single Top 100), #2 (US Billboard Hot 100)

Saxophonist: GROVER WASHINGTON JR.

In 1980 “Winelight” was released, an album that received 2 Grammy Awards: “Best Jazz Fusion Opname” and “Best R & B Song” for “Just The Two Of Us“, with vocals by Bill Withers.

Grover Washington Jr. (1943 – 1999) was an American Jazzrock / Jazz-fusion / Funk / Soul saxophonist. He worked with many famous musicians an bands: Bob James, Steve Gadd, Marcus Miller, Patti Labelle, B.B. King, Tommy Flanagan, Herbie Hancock, Ron Carter, The Four Tops en Lalah Hathaway.

Urgent (1981)

#1 (Billboard Rock Tracks), #4 (US Billboard Hot 100)

Saxophonist: JUNIOR WALKER

“Urgent” is a song by British-American rock band Foreigner.

Autry DeWalt Mixon Jr. (1931 – 1995) better known as “Junior Walker” was an American “Motown” saxophonist. His own band was known as: “Jr. Walker & the All Stars“.

Who Can It Be Now? (1981)

#49 (NL Single Top 100), #1 (US Billboard Hot 100), #45 (UK Singles OCC)

Saxophonist: GREG HAM

Men At Work was an Australian pop band. In 1981 they released their first single: “Who can it be now?“. In 1982 “Who can it be now?” reched the number 1 chart position in America. In 1982 they received a Grammy for “Best new Artist“.

Greg Ham (1953 – 2012) was an Australian songwriter, actor en multi-instrumentalist (sax, flute, organ, piano & synthesizer) and is mostly known from his work with Men At Work.

Forget Me Nots (1982)

#23 (Top 40), #24 (NL Single Top 100), #2 (US Billboard Hot Dance Music), #4 (US Billboard Hot R&B), #8 (UK Singles OCC)

Saxophonist: GERALD ALBRIGHT

“Forget Me Nots” is a song of American singer-songwriter Patrice Rushen.

Gerald Albright (born in 1957) is an American Jazz saxophonist and multi-instrumentalist. He worked with many famous bands and artists, such as: The Temptations, Quincy Jones, Whitney Houston, Phil Collins, Chaka Khan, Rachelle Ferrell and many others.

Waiting On A Friend (1982)

#9 (Top 40), #17 (NL Single Top 100), #13 (US Billboard Hot 100), #50 (UK Singles OCC)

Saxophonist: SONNY ROLLINS

Born in 1930 in New York, Rollins is one of the most legendary and influential saxophonists that had a great impact on younger generation saxophonists. Hij started with piano, but switched via alto sax in 1946 over on tenor sax. In the 70s and 80s Sonny Rollins played – besides “mainstream Jazz” also R&B, Pop and Funk. It is during that period he worked with the Rolling Stones where he played on tracks as: “Slave“, “Neighbours” and “Waiting on a Friend“, all on the album “Tattoo You“.

Maneater (1982)

#17 (Top 40), #18 (NL Single Top 100), #1 (US Billboard Hot 100), #6 (UK Singles OCC)

Saxophonist: CHARLES DECHANT

“Maneater” is a hit song of the American duo Hall & Oates with a 4-week long #1 positie in the “Billbord Hot 100“.

Charles “Mr. Casual” DeChant is a Amerikacan multi-instrumentalist you can here on “Maneater” as well as in Hall & Oates’ tracks “One on One”, “Say It Isn’t So” (extended versie) and “I Can’t Go for That (No Can Do)”. DeChant did also work with: Mick Jagger, The Temptations, Tina Turner, Billy Joel, Bonnie Raitt, and The Average White Band.

True (1983)

#4 (Top 40), #5 (NL Single Top 100), #4 (US Billboard Hot 100), #1 (UK Singles OCC)

Saxophonist: STEVE NORMAN

“True” is a song of the English band Spandau Ballet.

Steven Antony Norman (born in 1960) is an English multi-instrumentalist. In the 80s he is member of Spandau Ballet, but in the 90s the band stops to exist. He emigrates to Ibiza where he works as percussionist en songwriter with various artists like: Ten City and DJ Frankie Knuckles.

Careless Whisper (1984)

#9 (Top 40), #17 (NL Single Top 100), #13 (US Billboard Hot 100), #50 (UK Singles OCC)

Saxophonist: STEVE GREGORY

“Careless Whisper” is the debute of George Michael als solo-artiest in 1984, later reissued on Wham!‘s album “Make It Big“.

The catchy sax riff played by Brit Steve Gregory (born in Londen in 1945) is characteristic for this track. Steve plays besides alto sax (in Careless Whisper) also soprano, tenor en baritone saxophone.

Smooth Operator (1984)

#19 (Top 40), #12 (NL Single Top 100), #1 (US Billboard Adult Contemporary), #5 (US Billboard Hot 100), #19 (UK Singles OCC)

Saxophonist: STUART MATTHEWMAN

“Smooth Operator” is a song by Nigerian-British singer Sade. The song was composed by Raymond St. John (bassist/guitarist) and originally was named “Diamond Life“.

Stuart Colin Matthewman (born in 1960) is a English songwriter, multi-instrumentalist en record producer.

Freeway Of Love (1985)

#31 (Top 40), #27 (NL Single Top 100), #1 (US Billboard Hot Black Singles), #3 (US Billboard Hot 100)

Unchain My Heart (1987)

#27 (Top 40), #27 (NL Single Top 100), #17 (UK Singles OCC)

Saxophonist: CLARENCE CLEMONS

“Freedom of Love” is a Grammy-Award winnend song from the platinum album “Who’s Zoomin’ Who?” by the American singer Aretha Franklin.

Clarence Anicholas Clemons jr. (1942 – 2011) was an American saxophonist and actor.

Clemons was a leading member of the E Street Band (de band of Bruce Springsteen – zie Deel 1). He worked with many artists and bands, like: Grateful Dead, Ringo Starr, Roy Orbison, Jackson Browne, Twisted Sister, and Lady Gaga (zie Deel 4).

“Unchain My Heart” is a song written by Bobby Sharp and was for the first time recorded in 1961 by Ray Charles. In 1987 Joe Cocker covered this song and named his album the same.

When the Going Gets Tough, the Tough Get Going (1985)

#1 (Top 40), #1 (NL Single Top 100), #1 (UK Singles OCC)

Saxophonist: VERNON JEFFREY SMITH

“When the Going Gets Tough, the Tough Get Going” was a single from 1985 by British singer Billy Ocean.

Vernon Jeffrey Smith is an American saxophonist from New York. He worked with many different known artists, like: Daryl Hall (Hall and Oates), Corey Glover (Living Color), Paula Abdul, Heather Headley, Tamia and he is co-founder of the band The Family Stand.

We Don’t Need Another Hero (1985)

#7 (Top 40), #27 (NL Single Top 100), #2 (US Billboard Hot 100), #2 (UK Singles OCC)

Saxophonist: TIM CAPPELLO

“We Don’t Need Another Hero” is part of the movie soundtrack Mad Max (3) Beyond Thunderdome.

The in 1955 in America born Tim Capello is a multi-instrumentalist, composer and vocalist and got world fame due to his work with Tina Turner. He also worked with other known artists, such as Peter Gabriel, Ringo Starr, Bob Dylan and others.

One More Night (1985)

#8 (Top 40), #8 (NL Single Top 100), #1 (US Billboard Hot 100), #4 (UK Singles OCC)

Saxophonist: DON MYRICK

“One More Night” is a song from the 3rd solo album “No Jacket Required” by British drummer, singer en composer Phil Collins.

The in 1940 in Amerika born Don Myrick payed soprano, alto en tenor sax with Earth, Wind & Fire (zie deel 1), Grover Washington jr. and Santana. At the age of 53 (1993) he was accidentally shot by a police officer. Phil Collins released the track “For A Friend” in 1993 as tribute.

Your Latest Trick (1986)

#26 (UK Singles OCC)

“Your Latest Trick” is a single from 1986 by British band Dire Straits from the album “Brothers in Arms“.

Michael Brecker played sax on the studio version, Chris White played live on world tours (live videos).

Saxophonist: MICHAEL BRECKER

Michael Leonard Brecker (1949 – 2007) was an American Jazz saxofonist en composer. He played in famous Jazz bands, such as Brecker Brothers en Steps Ahead and worked with many famous Jazz musicians, such as: Horace Silver, Herbie Hancock, Chick Corea, Chet Baker, Quincy Jones, Charles Mingus, Jaco Pastorius, McCoy Tyner, Pat Metheny, Elvin Jones, Frank Sinatra, Diana Krall and many more. He also worked with many know Pop musicians, like: Steely Dan / Donald Fagen, Lou Reed, Joni Mitchell, Eric Clapton, Billy Joel, John Lennon, Aerosmith, Frank Zappa, Bruce Springsteen, Roger Daltrey (The Who), Parliament-Funkadelic, Al Jerreau, and many others.

Saxophonist: CHRIS WHITE

Chris White (born in 1955) is a English Jazzrock saxophonist. He was on tour with Dire Straits from 1985 to 1995. He also played with: Robbie Williams, Paul McCartney, Chris De Burgh, Tom Jones, Bryan Ferry and Mick Jagger.

Englishman In New York (1987)

#9 (Top 40), #32 (US Billboard Mainstream Rock), #84 (US Billboard Hot 100), #51 (UK Singles OCC)

Saxophonist: BRANFORD MARSALIS

“Englishman in New York” is a single by British singer Sting, from his 2nd solo-album “…Nothing Like the Sun“.

Branford Marsalis (born in 1960 in Amerika) is mostly known in the Jazz scene, he played with: Art Blakey and Clark Terry. As Buckshot LeFonque (zie deel 3) he founded his own Jazz-Hop project. He also worked with Pop artists, such as Tina Turner (“Break Every Rule”, 1986) and Grateful Dead (“Without a Net”, 1990).

Never Tear Us Apart (1987)

#7 (Top 40), #9 (NL Single Top 100), #5 (US Billboard Mainstream Rock), #7 (US Billboard Hot 100), #24 (UK Singles OCC)

Saxophonist: KIRK PENGILLY

“Never Tear Us Apart” is a song of the Australische rockband INXS.

Kirk Pengilly (born in 1958) is an Australian musician, primarily known as member of INXS. Kirk plays saxophone and guitar and did backing vocals.

Small World (1988)

#19 (US Billboard Adult Contemporary), #25 (US Billboard Hot 100)

Saxophonist: STAN GETZ

“Small World” is a track by Huey Lewis and the News, an American band from San Francisco. Their most know sings are “Power of Love”, “Stuck with you” and “Hip to be Square”.

Stan Getz, (Stanley Gayetsky, 1927 – 1991) was an American tenor saxophonist, mostly remembered from is fusion between jazz and latin / bossa nova in the 60s, working together with Astrud Gilberto, João Gilberto, Antonio Carlos Jobim, Jan Johansson and Charlie Byrd.

Part I: the 70s

Part II: the 80s

Part III: the 90s

Part IV: 2000-2015

Famous Saxophone Solos & Riffs

Reading Time: < 1 minuteFebruary 24, 2022

FAMOUS SAXOPHONE SOLOS & RIFFS

Many of the big Pop hits (approx. 1 out of 3) between 1978 and the late 80s have saxophone riffs and/or solos. This had an enormous impact on the popularity of the instrument during that period, resulting in a large increase of sales. No wind instrument was – and still is – as popular in Pop music as the saxophone. For this article I have listed some of the best ranking hits with saxophone between 1972 and 2015.

Most listeners have often no idea who it is they hear play saxophone on those hit songs. Often credits were missing from the release info and radio and TV hosts generally didn’t bother to mention their name. What many average listeners – and even some Jazz fans – don’t know is that there were a handful of top level Jazz saxophonists (like Sonny Rollins, Stan Getz, Michael Brecker, Phil Woods, David Sanborn and Branford Marsalis) that featured on many known Pop hits. Obviously in these articles I will make sure the credits aren’t missing.

Since I am from The Netherlands – and thus have particular memories from those years – the tracks I have selected are mostly hits listed at the Dutch Top 40, the Dutch single Top 100 / Dutch Mega Top 100, as well as the US Billboard and UK Singles OCC. I would not be surprised if you think some tracks are “missing” … there are hundreds, if not thousands of known Pop songs with sax licks and/or solos, to many to mention all and blog about.

Enjoy this short stroll down “memory lane” …

I will “divide” the tracks I like to share with you – into 4 parts:

Part I: the 70s

Part II: the 80s

Part III: the 90s

Part IV: 2000-2015

Famous Saxophone Solos & Riffs (Part 1 – The 70s)

Reading Time: 3 minutesFebruary 24, 2022

FAMOUS SAXOPHONE SOLOS & RIFFS (PART I – The 70s)

Walk On The Wild Side (1972)

#21 (Top 40), #16 (US Billboard Hot 100), #10 (UK Singles OCC)

Saxophonist: RONNIE ROSS

“Walk on the Wild Side” is een song by Lou R e ed from his 2nd album “Transformer” (1972), produced by David Bowie.

It might not have been a bg hit, but what makes this song interesting nonetheless is that the (in 1933 born) British saxophonist Ronnie Ross plays his solo on baritone sax, a saxophone less common for Pop music.

Money (1973)

#13 (US Billboard Hot 100)

Saxophonist: DICK PARRY

“Money” is a song of the Britisch progressive Rock band Pink Floyd and the 6th song on the album “The Dark Side of the Moon“. What makes it a rather special track the uncommin 7/4 time signature.

Dick Parry is a in 1942 in Engeland born saxophonist. He played – besides on “Money” – also on several other tracks by Pink Floyd, like: “Us and Them“, “Shine On You Crazy Diamond” en “Wearing the Inside Out“. He also worked with other famous musicians, like Jimmy Witherspoon, the band Bloodstone e.a.

Born To Run (1975)

#91 (NL Single Top 100), #23 (US Billboard Hot 100)

Saxophonist: CLARENCE CLEMONS

“Born to Run” is the title song from an album of Bruce Springsteen released in 1975.

Clarence Anicholas Clemons jr. (1942 – 2011) was an American saxophonist en actor. Clemons was a key-member of the E Street Band (de band of Bruce Springsteen) and has worked with various famous artists, like Aretha Franklin (see part 2), Grateful Dead, Ringo Starr, Roy Orbison en Lady Gaga (see part 4).

Young Americans (1975)

#25 (US Billboard Rock Songs), #18 (UK Singles OCC)

How Sweet It Is (1975)

#1 (US Adult Contemporary Chart), #5 (US Billboard Hot 100)

Saxophonist: DAVID SANBORN

“Young Americans” is the title song of an albums by British Pop legend David Bowie.

David Sanborn (born in 1945 in America), known for his characteristic sound and “Jazzrock” albums, has worked with various Pop artists.

David Sanborn did not only play with the here mentioned David Bowie and James Taylor, but also with: Stevie Wonder (on “Talking book” 1972), Elton John (“Boogie Pilgrim” and “Idol”, 1976), The Eagles (“The Sad Cafe”, 1979), Billy Joel (“Easy Money”, 1983), The Rolling Stones (“Undercover”, 1983) and many others. He was 5 years a member of the Paul Butterfield Blues Band.

Sanborn has received 3 Grammy Awards (2 albums, 1 single).

James Taylor‘s 1975 cover of “How Sweet It Is (To Be Loved by You)” – originally released in 1964 by Marvin Gaye – is the most successful version of this song.

Just The Way You Are (1977)

#1 (US Billboard Adult Contemporary), #3 (US Billboard Hot 100), 4 weeks in the “Tipparade”.

Saxophonist: PHIL WOODS

Billy Joel‘s “Just the Way You Are“, won the 1979 Grammy Awards for “Record of the Year” and “Song of the Year“.

Phil Wells Woods (1931 – 2015) was an American Jazz alto saxophonist and clarinetist. He worked with many big names from the Jazz scene: Donald Byrd, Kenny Dorham, Sarah Vaughan, Dizzy Gillespie Big Band and others.

Baker Street (1978)

#9 (Top 40), #16 (NL Single Top 100), #2 (US Billboard Hot 100), #3 (UK Singles OCC)

Saxophonist: RAPHAEL RAVENSCROFT

“Baker Street” is a single by Gerry Rafferty.

Raphael Ravenscroft (an in 1954 born Brit) has – besides his solo on “Baker Street” – worked with many famous musicians and bands, such as: Pink Floyd (“The Final Cut“), ABBA, Marv i n Gaye, Mike Oldfield, Chris Rea, Vangelis, Robert Plant, Tina Turner, Bonnie Tyler, and others.

Too Hot (1979)

#3 (Billboard R&B), #5 (US Billboard Hot 100), #23 (UK Singles OCC)

Saxophonist: RONALD BELL

“Too Hot” is a R&B/Soul song from the American band Kool & The Gang from the album “Ladies Night“.

Ronald Nathan Bell (born in 1951 in America) is a saxophonist, composer, arranger, producer, singer and co-founder of Kool & the Gang.

After The Love Has Gone (1979)

#20 (Top 40), #28 (NL Single Top 100), #2 (US Billboard Hot 100), #2 (US Billboard R&B), #4 (UK Singles OCC)

Saxophonist: DON MYRICK

“After The Love Has Gone” is a Grammy Award winning hit of “Earth, Wind & Fire” from the album “I Am”.

The in 1940 in America born Don Myrick played soprano, alto and tenor sax with various know artists, like: Santana, Grover Washington jr. and Phil Collins (see part 2). At the age of 53 (1993) he was accidentally shot by a police officer.

The Logical Song (1979)

#20 (Top 40), #13 (NL Single Top 100), #6 (US Billboard Hot 100), #7 (UK Singles OCC)

Saxophonist: JOHN HELLIWELL

“The Logical Song” is a single by the British rockband Supertramp. The song was released on the album “Breakfast in America“, written and sung by Roger Hodgson.

John Anthony Helliwell (born in 1945) is a Britsh saxophonist (and clarinetist), mostly known for his memberschip of Supertramp.

Street Life (1979)

#13 (Top 40), #20 (NL Single Top 100), #17 (US Billboard R&B), #5 (UK Singles OCC)

Saxophonist: WILTON FELDER

“Steet Life” was the biggest hit by The Crusaders with featuring vocalist Randy Crawford, this would become her “break through” internationally.

Wilton Lewis Felder (1940 – 2015) was an American saxophonist and bassist. Wilton Felder played with: The Jackson Five, Marvin Gaye, Grant Green, Billy Joel, Randy Newman, Joni Mitchell, Michael Franks, Bobby Womack, e.a.

Part I: the 70s

Part II: the 80s

Part III: the 90s

Part IV: 2000-2015

Classical music and Jazz … a perfect match!

Reading Time: 5 minutesSeptember 9, 2021

Classical music and Jazz … a perfect match!

There are quite some musicians in both the Classical music and Jazz music scenes who frown when you mention you like both music genres, especially when you also mention you find them less different than people might think. Some Jazz musicians would say: “Well, but Classical musicians only ‘reproduce’, they can’t improvise.” Some Classical musicians would then reply: “Well, Jazz musicians just play too many random notes and call it a solo.” Obviously all who utter such cliches are very wrong and might not have spend enough time listening and exploring both musical genres.

I will not go into the preconception some Classical musicians have about Jazz improvisation, you could write a whole book about it and still have more to say, but I would like to comment shortly in this article about the presumption by Jazz musicians about Classical musicians improvising, before proceeding with what this short article is mostly about, how Classical music and Jazz are connected.

A Facebook friend of mine shared an amusing story about Beethoven on her wall, originally shared by by another member of the “Ludwig van Beethoven” Facebook group, that “illustrates” that the preconceptions by some Jazz musicians mentioned above is wrong … the story goes as follows:

Here’s what happens when you challenge one of history’s greatest composers and pianists to a musical battle. It didn’t go too well for Mr Steibelt …

WHO WAS DANIEL STEIBELT?
A native of Berlin, Daniel Steibelt was one of Europe’s most renowned piano virtuosos. He was a typical Prussian – formal, correct, proper. In 1800 he came to Vienna, no doubt with the aim of advancing his musical reputation. It was quickly agreed among the city’s musical patrons that Steibelt should compete against Beethoven in an improvisation contest.

WHAT IS AN IMPROVISATION CONTEST?
These improvisation contests were a popular form of entertainment among Vienna’s aristocracy. One nobleman would support one virtuoso pianist, another would support the other. In the salon of one of the noblemen, the two pianists would compete with each other, each setting the other a tune to improvise on. The playing would go back and forth, increasing in intensity, until a winner was declared. In his early years in Vienna, Beethoven was made to take on the city’s best talent and he quickly saw them off. It was agreed that Prince Lobkowitz would sponsor Steibelt and Prince Lichnowsky sponsor Beethoven, the improvisation contest to take place in Lobkowitz’s palace.

THE CONTEST BETWEEN BEETHOVEN AND STEIBELT
As the challenger, Steibelt was to play first. He walked to the piano, tossing a piece of his own music on the side, and played. Steibelt was renowned for conjuring up a “storm” on the piano, and this he did to great effect, the “thunder” growling in the bass. He rose to great applause, and all eyes turned to Beethoven, who took a deep breath, slowly exhaled, and reluctantly – to the collective relief of everyone present – trudged to the piano.

BEETHOVEN’S TURN TO PLAY
When he got there he picked up the piece of music Steibelt had tossed on the side, looked at it, showed it the audience ….. and turned it upside down! He sat at the piano and played the four notes in the opening bar of Steibelt’s music. He began to vary them, embellish them ….. improvise on them. He played on, imitated a Steibelt “storm”, unpicked Steibelt’s playing and put it together again, parodied it and mocked it. Steibelt said he would leave Vienna and never return again whilst Beethoven lived there.

Pretty amusing, isn’t it? Some of the most virtuoso pianists were improvising and “jamming” to proof their level of skills already back then, much like what still happens in today’s Jazz scene at jam sessions.

And this amusing anecdote isn’t the only example of improvisations in Classical music. Some other examples in Classical music where improvisation played a role were “Cantus firmus” and “Basso Continuo” and the Classical term “Variations” clearly suggests what one could expect. There are more examples, but I will not go deeper into that (others have written about that before already) and I would rather like to use this blog article to let you actually hear the link between Classical music and Jazz music.

If you listen to some of the compositions of two of the greatest composers in Classical music history Bach and Beethoven and you are familiar with Jazz music as well, you might hear some similarities in the melodies and phrasing. Obviously the “feel” (timing and articulation) is very different with Classical music, it doesn’t have that clear syncopated “feel” of Swing and Bop we know so well from Jazz.

The “link” though between Classical music and Jazz becomes very clear when we compare some of Beethovens work (Youtube on the left) with Ragtime (Youtube on the right), a music genre many music and Jazz enthusiasts consider to be the first real Jazz style and predecessor of Boogie Woogie and Swing.

You could say that composers like Beethoven and Bach can be considered to have been the very first Jazz composers, how about that?

This also becomes very clear with an example of Bach’s Goldberg Variations and how relatively “easy” it is to turn a Classical composition of Bach into Jazz, primarily by changing the “straight feel” of Classical music (Youtube on the left) to the more syncopated feel of Jazz (Youtube on the right).

It isn’t that strange to imagine that some of the greatest Jazz musicians loved listening to the work of the great Classical composers and were inspired by it, musicians like Charlie Parker and Miles Davis, just to name a few, were well known listeners of Classical music. And if you listen to pianists like Michel Petrucciani and Chick Corea (both personal favorites of mine, whom I fortunately have seen perform live several times) you can even hear it in their playing.

Funny enough, there is also a surprisingly large list of Classical composers who were inspired by Jazz, naturally composers like George Gershwin (Rhapsody In Blue perhaps one of the most iconic pieces of this “genre”) and Leonard Bernstein directly come to mind. You might like to check that complete list if you like to “explore” those Jazz inspired Classical works.

Personally I am a big fan of recordings where Jazz and Classical music is fused. One of my absolute favorites is the “Cityscape” collaboration between Michael Brecker (my all time favorite saxophonist) and composer and conductor Claus Ogerman. Another recording I really enjoy listening to is Charlie Haden‘s “Now is the Hour” with Ernie Watts on saxophone. I have seen this lovely music performed life as well, many years ago at the North Sea Jazz Festival (then still in The Hague). Last (but not least) I also like to mention the album “Hot House Flowers” of trumpetist and composer Wynton Marsalis.

I consider these 3 albums as perfect examples of a “perfect marriage” between Classical music and Jazz … where they are no longer separate music genres, but a unified musical experience.