Posted on Jan 18 2013 05:24 PM
SURFmole wrote:
Well, I'm sorry if I offended anyone (especially sax players) by contributing my 2 cents...FWIW though, it doesn't matter...just a personal opinion. Also, with my post (and I'm guessing Jake's as well) I was being somewhat sarcastic.
A certain amount of sarcastic humor is part and parcel of the debate. Anyone who likes the Cosmonauts can't be all bad. And Portland surf rocks. It took me a while to get used to trumpet in surf. I'm still not always happy with it.
There are different ways to use sax in surf music. There's lead sax and rhythm sax. And there are different styles of the lead approach at least, including at least some sort of genteel subordinate co-leads. I kind of like a wide variety of approaches including some that really annoy people who don't like saxophone much, but I definitely like sax-less surf music too. I don't mind people not liking sax so much as I dislike them suggesting that nobody should. I think anybody who likes surf music is going to eventually realize, maybe with a shock, that part of what they like about some song is the sax part. They may immediately wonder how to replace it with a guitar or keyboard version, either from necessity or from personal taste and inclination, but that's fine.
So, maybe we can return to the actual point of this thread, which is precisely what to do with songs that have prominent sax parts when you actually don't have a sax player. It doesn't really matter if you are replacing the sax part or doing without it out of necessity, or taste, and it doesn't really matter if you like the sax part or not either. The technical problem is what to replace it with. Because a song can be too short, or two repetitive, or to thin, or whatever, when you simply leave a part out or replace it with what a guitar can easily do.
In some cases you can use a keyboard. But I think the question was really the general one of what to do when you have a guitar-bass-drums combo and you have to handle a song that originally had more kinds of voices. If you are leaving out rhythm parts you have the general problem of how to augment a lead, hopefully not a busy one, with additional rhythm bits to fill the places where the rhythm carried things. This happens all the time in three piece approaches to four piece songs, or two guitar approaches to three guitar songs.
I've had the pleasure recently of listening to some Denver musicians trying to uncombine the parts in Astronauts songs as they are played now to play them with larger, more traditional (completely sax-less) ensembles.
If you are replacing a lead part, then you have to come up with something that fills the space without just being repetitive. Sometimes you can adapt the sax part. You may be hetter off trying to come up with something new. I think modern bands tend to be more nervous about that than the original bands were. It feels sacrilegious, perhaps, when you see the original song as a classic or canonical item.
People often suggest substituting a guitar with a different tonality - more distorted usually - but I think this tends not to work. Maybe the problem is that the sax parts are less distinguished by the tonal qualities of the instrument than by the phrasings that are natural and characteristic. For example, I believe you can slur smoothly across a series of notes that would be very awkward for a guitarist, but you can't generate guitar like glissandos easily, and the equivalent of double picking isn't easy either. And, of course, there are no real chords without multiple saxes.
Are there examples of bands using a distorted guitar in lieu of a sax? Could Planet Seven be seen as a case of this?