Odd Little Waiters

Sonja Hannington

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I originally composed this for alto saxophone and marimba, but this arrangement uses various synthesizers and a percussion engine (PercX). I play alto saxophone and synths.

Sounds: The intro starts with multiple rack devices combined in a sound called “Drop Zone” since it loosely emulates a helicopter. This is layered with a sound called “Digital

I originally composed this for alto saxophone and marimba, but this arrangement uses various synthesizers and a percussion engine (PercX). I play alto saxophone and synths.

Sounds: The intro starts with multiple rack devices combined in a sound called “Drop Zone” since it loosely emulates a helicopter. This is layered with a sound called “Digital Rain” in a spectral synth using fourths in the harmony. The alto comes in and is processed through a multi-effects combinator that, among other things, pans delay right and left. There is then a (“Gtr. Trm Edge”) line added as well as another synth sound (“Dynamo”). There's a quirky synth (“Certifiably Insane”) for a segue with a few edgier chords. You'll then hear a “Cimematic Choir” in the background with a minimal pizzicato cello line. There's another spectral synth named “Neptune” that compliments a sparser section with percussive elements towards the end, and then less and less percussion to end.

The title imagines short waiters at a fancy restaurant wearing traditional white uniforms rushing around serving customers in more and more of a frenzy!

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Understand Now?

This is an original and I play alto saxophone, flute, alto flute and synths. Recorded by me at home.

Sounds: For the intro I used an ominous sound called "Alien Bell" along with PercX a virtual percussion engine that is used throughout. There are two main sections and the idea is to present a motive and then develop it by adding layers and building percussion elements. The first section uses a sound called "Amb Vox" and a pad called "Steel Pad" as well as a bass, "Yell O Jaquet". A "Fade in Bell" sound segues to the next section that has a busier melody. The layers continue with a chime type sound called "2 AM Revelation". Flute is added and a "Vibrano" sound for contrast. The outro is a minimal improvised line- just saxophone and the chime sound. 

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    Remembrancer 4:09
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Remembrancer

On this original I play alto, some flute lines and synths. 

Sounds: The verses use a retro drum loop, synth and vocal samples. The bridge starts with a minor ii-V and incorporates imbibaphone (tuned wine glasses) for contrast. There is an interlude that relies on what is called a "combinator" in my DAW (several rack devices together). These sounds are various distortions, stereo imagers, compressors, etc. and an arpeggiator. One percussive element in this section is the afoxe (gourd with beaded net) using a Celso Alberti loop. 

Lullaby of Birdland

My arrangement of Lullaby of Birdland written by George Shearing in 1952 for Morris Levy, the owner of Birdland. Shearing said he wrote it in ten minutes! I play alto saxophone, flute and synths and mixed/mastered.

Sounds: The A section uses drum loops played by Terrence Higgins. The loop is called “Swunk-Chill”. There is also a Hofner pick bass, and stage Rhodes with pedal board sounds. I played flute for a horn line harmonized to three parts for A2. At various times I added a pad in the Europa synth in my DAW called “Colours Pad”. There is also a guitar pad added in some parts. The B section changes to an up-tempo swing feel. 

 

 

you and the night and the music

This is my arrangement of  "You and the Night and the Music", composed by Arthur Schwartz, lyrics by Howard Dietz. It was debuted in the Broadway show 'Revenge with Music". I play alto saxophone, flute and synths. I use drum loops, and mixed and mastered. 

Sounds: For the intro and the A section, I used strings including chamber sounds and a specific solo cello. There is a timpani, a sound called "ethereal harp" and a synth called "Swans in Wales". The B section changes feel, using a Celso Alberti loop, (played by him!)- bossa nova brushes. I added a specific chorus effect on the alto in which I was trying to emulate an accordion sound somewhat. I also used acoustic guitar and jazz upright in this section. In the middle of the form I added a Paul McCartney tune called "My Valentine" on flute, with some dramatic voices, and then it goes back to the original tune. 

Crescent

Another version where I play alto on my arrangement of John Coltrane's "Crescent"

Ascent

Strasbourg-St.Denis

I Remember You