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• Autor(a) principal: Ramos, Fernando Manuel Pereira
• Data de Publicação: 2020
• Tipo de documento: Relatório
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10400.22/22635
• topic: Saxophone playing; Filipe Vieira; War Why?; alto saxophone; microtonal exploration; extended techniques

The saxophone is a simple instrument that due to its relatively straightforward octave structure and conical bore becomes exponentially quite complex and demanding. The need to understand how intrinsic vocal processes shape the use of register changes, dynamic control, articulation and interval tuning in all registers is a natural part of learning the instrument’s mechanics in general. On a more complex level, many works written in recent years demand a further minute and finely detailed knowledge of distinct variations whether applied to multiphonics, top-tones, bisbigliando, flutter-tonguing, slaps, growl, glissandi, bends, portamenti and numerous other specifics labeled as extended techniques. Although these techniques are learned individually, when applied to each composer’s specific musical idiom, the correlation of these “tools” evolves into unique phrases (or cells) as a whole, solely intended to relate the idea (or gestures) imagined by the composer. Fused with both “normal” and “extended” techniques is the use of vocalisation. The way we produce vowels, consonants, syllables and subsequent phrases in spoken word, is exactly how we produce and shape sound on a saxophone. The work presented here is not in any way a specific in-depth look into how each aspect could be explored. I humbly intend to present a brief guideline depicting aspects pertinent to interpreting Filipe Vieira’s piece “War Why?” I for alto saxophone and bass clarinet as well as ¿War Why? II for solo alto saxophone. My idea is simply to present my process in which I break down the components that led me to further explore his microtonally-based musical idiom. I chose this topic to discuss because it covers quite a few aspects of saxophone playing as a whole, in my opinion. I briefly explain how I went about ways of taking microtonal exploration to new heights, contrary to only limiting myself to learning new fingerings that produce a quarter-tone instead of a half-tone. This glimpse into this world of sound scrutiny also served as a basis for my present doctoral studies.