Round one of the second level

Dear friends,

I am at home right now. Watching the worst movie ever probably 'Ghost in a shell'. I figured while I have the time I might as well watch some movies and catch up. I wasn't going to write. I wanted to share my thoughts when I had something positive. A new reason for all of this. But this movie is just so bad that I wanted to do something worthwhile.

The first time I got lymphoma I used this period of chemo and recovery to go into new directions, to think about what I had been doing and if I wanted to continue on this path.

Last Wednesday I started immunotherapy, and until Saturday I had chemotherapy. Now I am recovering and waiting for my body to get into a good enough shape for the next chemo. In the mean time I have been on the look out for a new reason. But I can't find one. I have to wait until this is all finished and keep an open mind. Even more than before. Because my body might change too much because of the chemo. Or not... I can't tell.

All I know is that I have to deal with this treatment day by day. Deal with the nerve and ear damage that might take place. Deal with the overwhelming nausea, the muscle loss and cramps. Trying to exercise, eat and sleep.

I will try to keep playing the saxophone. But at the same time, I am not sure whether I will still play sax in one year.

To be continued....

All the best,
Ties

Intonation, how?

Dear saxophone lover,

I have been trying out some tenor saxes today. I was looking for a new one. I say 'was', because I concluded I gave priority to intonation over sound. I tried two mark VII's, an early Mark VI, my own Series II and a Reference.

The Mark VI was incredible. The intonation was absolutely perfect. I could hardly believe it. The octave between B and B with octave key was right in the middle. Perfect. And the sound was so warm, powerful and above all, flexible. I tried all of the saxes with a C* (classical music) and a Robusto by 10Mfan. The intonation reacted the same on the two mouthpieces, which I didn't expect. On the Robusto the sound was warm, soulful and flexible. On the C* the sound was slender, varied and dynamic.

The Mark VI is an early one, and has a mature price tag. But this horn is not for me. I cannot deal with perfect intonation. If the middle b is the standard, then the high one should be a bit too high so I can drop the intonation when I press the octave key. This way I can give more body to the high notes. This is not possible on this Mark VI. Because the high notes are perfect. Jazz players tune their saxes too high and always drop the intonation on all notes, on some notes a bit more than others.

The Mark VII were terrific as well. Also with a very soulful and warm sound. With a much bigger sonority than the VI. Especially for classical music this sonority works extremely well. This may be why so many classical saxophonists play VII's, like Arno Bornkamp (Aurelia Saxophone Quartet) and Bas Apswoude (Amstel Quartet). The VII can sing like no other. But the intonation on both VII was way out there. Between the middle B and B with octave key there was a difference of almost 25 cents, a quarter tone. The saxophone shop (Saxomania) told me that this typical for VII's. Probably students can study and learn how to play on a horn like this. But I have learned to play tenor on a Series II, with the ideal intonation. The difference between the two B's is a little less than10 cents. Enough to drop the intonation with octave key and give a bit more body to the sound. Especially when playing the C* the sound has something warm and deep. Although it definitely lacks 'soul', whatever it may mean.

Because jazz music speaks more an it sings, it's a bit more problematic. The Mark VI was the best for jazz music, because the sound is more slender and more sensitive to colour differences.

The Reference was nice. But it did not give me a 'click'. This sax lacked 'soul', the sound seemed superficial. It's hard to explain, but it just didn't challenge me...

In the end I chose my own sax from the five in total. Although three of the five sounded much better than the sax I play, I could not justify a change of sax because of the intonation. And thus also because of the effect of intonation on the sound.