Neil Welch, Continuous Resonance Solo Saxophone Project
Date: 09/22/2015
Location: Choir Room at Chief Sealth International High School. Seattle, WA
Instrument: Tenor saxophone
Notes:
The image “Night Creatures” (1965) accompanying today’s post by Lee Krasner.
Neil Welch, Continuous Resonance Solo Saxophone Project
Date: 09/17/2015
Location: Practice Room B at SWHS
Instrument: Tenor saxophone
Notes:
The image “Ancient Tapestry” accompanying today’s post by Rich Doehring.
Neil Welch, Continuous Resonance Solo Saxophone Project
Date: 09/16/2015
Location: Practice Room C at SWHS
Instrument: Voice/Tenor saxophone
Notes:
The image accompanying today’s post by Shawn Kuruneru.
Neil Welch Continuous Resonance Solo Project
Date: 09/15/2015
Instrument: Tenor saxophone
Location: Thornton Creek House. Seattle, WA
Notes:
I was inspired to record this improvisation after hearing a beautiful drone created from my downstairs neighborâs bathroom fan. In this improvisation the drone acts as more of a passive harmonic platform for me while I played pointillist pitches and multiphonic chords above it. The drone acts passively in the sense that it is so quiet by comparison to my own playing that its audible influence is only apparent to me during brief lulls in my playing.
The image My neck is thinner than a (1996-2001) accompanying today’s post by Walid Raad.
Neil Welch Continuous Resonance Solo Project
Date: 09/10/2015
Location: Practice Room B at South Whidbey High School. Langley, WA (Whidbey Island)
Instrument: Tenor saxophone
Notes:
I used my “walking trill” technique during this piece, where I rapidly alternate trilling a key open and closed with my index and middle fingers, in this case on the G# key in the right hand. During this piece I explored the disparity between static, held pitches and fluttering tones above the static pitch. I then began incorporating key clacking into the landscape by essentially using an overly aggressive technique in my fingering patterns and striking the keys much harder than necessary. At various points during the improvisation I also explored the tones created by the key clacking alone, and moved my right and left hands at different tempos to achieve various polyrhythms.
The image September (2005) accompanying today’s post by Gerhard Richter.
