Workshop Klangspuren / Soundtraces
Joachim Gies führt begleitend zu seiner Saxophonschule „Klangspuren / Soundtraces“ einen Workshop für Saxophonistinnen und Saxophonisten durch, die an einer Erweiterung ihrer klanglichen Ausdrucksmöglichkeiten auf dem Saxophon interessiert sind.
Teilnahmevoraussetzung ist ein „mittleres“ Spielniveau, d.h., die Teilnehmer sollten sich mit der von Sigurd Raschèr erläuterten Überblastechnik und dem Pianospiel beschäftigt haben. Die Dauer des Workshops ist flexibel und reicht von der Einführung (2 bis 3 Stunden) bis zum Wochenendseminar (2 mal 6 Stunden).
Themen des Workshops
Einführung und Vorübungen zum Erlernen neuer Spieltechniken
Vierteltonhöhen; Benutzung des Saxophondämpfers; Schlagzunge; Zirkularatmung; Pianissimo; Atemtechnik; Unterblasen; Überblasen; Üben von Mehrklängen; Pianissimo-Zweiklänge; Blasen und Singen; Erläuterungen zum Notenbild
Vorstellung und Erarbeitung der Kompositionen „Schritte“ und „Schatten“. Bildung von Arbeitsgruppen, die Teile der Kompositionen vorstellen. Themenschwerpunkte: einfach ansprechende Mehrklänge; Pianospiel mit dem Saxophondämpfer.
Gemeinsames Ausprobieren von Dämpfern, Schläuchen, Rohren und Analyse der klanglichen Resultate
Erläuterungen zur Sekundärliteratur
Entwurf eines Übungsplans, der das systematische Erlernen neuer Spieltechniken unter Einbeziehung vorhandener Übungsliteratur umfasst.
Schwebendes Blau (Joachim Gies)
Hörprobe im Flash-Format (1,6 MB)
aus der Partitur-Demo-CD: Klangspuren / Soundtraces
für Saxophon - Solo
Joachim Gies, Altsaxophon
Klangspuren / Soundtraces (Partitur)
www.rieserler.de
Recommendation of
Joachim Gies’ Soundtraces / Klangspuren
AUF DEUTSCH
Klangspuren is a pedagogical work of many qualities: Mastering the compositions improves and enhances breath-flow and embouchure and encourages a highly individual interpretation that transcends the written score into improvisation. The annotation in the foreword as well as the preliminary exercises provides an insight into physical aspects, i.e. why and how certain phenomena an alert command of the instrument.
Detlef Bensmann, teacher for classical saxophone at the Hochschule der Künste Berlin and the Hochschule für Musik Hanns Eisler Berlin
Up until well into the seventies of the last century, composers used the classical saxophone mainly within the limits of a very traditional sound language which does not actually reproduce the true expression of this wonderful instrument. The names of those who, up until the point time, had written “music with saxophone” are nevertheless known to any musician. Bartók, Bizet, Debussy, Hindemith, Kodály, Penderecki, Prokovief, Rachmaninow, Ravel, Schönberg and Schostakovitsch are just a few of those to use the instrument in their symphonic works or chamber music.
In the said seventies, more and more composers discovered what jazz had long recognised: the endless extents of the variety in the sound of this instrument its true nature - the instrument with the greatest range of sound and the most technical possibilities which are used in so-called “contemporary music”.
Composers such as Berio, Denisov, Hespos, Huber, Jolas, Kagel, Lauba, Rossé, Stockhausen and many others were finally writing “music for saxophone”.
Nowadays a serious student of the subject “Classical Saxophone” (a more accurate designation would really be “Concertante Saxophone”) cannot help intensive involvement with these numerous playing techniques if he wishes to assert himself in the “market” after his studies.
For this reason it is particularly welcome that Joachim Gies with his “Soundtraces” (Klangspuren) has written one of the few books that not only provide stimulating examples of sound which can be played by anyone but, through his methodical advice, contributed much towards more straightforward learning and performance of these unusual - and for many saxophonists still “new” and unfamiliar - sounds. Studying the exercises in this book and the enclosed CD can provide the motivation to concern oneself with these very own possibilities of the saxophone.
Günter Priesner, teacher for classical saxophone at the College for Music Nürnberg-Augsburg
Many of todays composers employ “special techniques” in their musical compositions and as a saxophonists one should not be without this knowledge. Joachim Gies’ Soundtraces introduce the saxophonist to a world of extended sound possibilities with the instrument. It should be added that, depending on the mouthpiece type and the make and size of the saxophone, some fingering will be adjusted. This book can give the player a good start in making discoveries and becoming acquainted with this world of sound.
Linda Bangs-Urban, member of the Raschèr Saxophone Quartet 1969 - 1992, teacher for classical saxophone at Akademie für Tonkunst, Darmstadt
Translation: Reimar Volker
