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Saw nonet for 8-channels saw orchestra and live saw soloist.

First performance on Fylkingen, the 15th of October 1999 during the concert of the EAM-composition class, 12'12.

Hal Rammel, the US musician and inventor, introduced me to the musical saw in 1987, and from 1990 on, we got the chance to experience this magic together. In musical saw ensembles, a special acoustic phenomenon easily appears: combination notes. They can be experienced as a confusing disturbance, as if the volume is louder than it actually is, as if the ears are blocked. The sum of two frequenzes create an audible interference, a lower tone that appears in the air.
This became clear in another saw duo, with Catherine Christer Hennix, who explained about this phenomenon which she had specialized in since decades. I have noticed that this phenomenon also easily appears in other ensembles of high-pitched instruments or soprano voices.
In 1994, I recorded a saw quartet on a porta studio, performed it in 1997 with some norwegian saw players, and in 1998 recorded this octet on eight channels which should make the appearance more easy of the combination notes in the air, preferrably performed with myself live.
It is the same instructions for every voice. The more saws, the better. It starts in a shocking manner and goes on with a "beautiful" section, open for the soloist’s improvised cadenza with many techniques - e.g. flagolets, double tones and mouth resonances.
The piece is released on a re-mastered stereo version on the collective cd "Eight Times Falling" on Elektron Records.

Review on Sonoloco.

Here is a description about how to play the saw and other interesting facts about saw playing.

Updated the 16th of March, 2015.
[Bergmark with his saw]