One of the great virtues of meditating on the inner sound is that it easily supports both aspects of samadhi (meditative concentration): samatha (“shamatha” in Sanskrit, meaning calmness or tranquillity) and vipassana (insight). Samadhi can be described as the fixing of the mind on a single object for a period of time. And this singleness of focus, or one-pointedness, can function in two distinct ways. The first, which is the basis of samatha, can be thought of as “the point that excludes.” It’s like using the spot-focus beam of an adjustable flashlight to lock onto a single object and block out everything else.
The second way, the basis of vipassana, can be described as “the point that includes.” The one-pointedness expands into an awareness that makes the whole experience of the present moment the object of meditation. Using the broad-focus beam of the same adjustable flashlight, all the various aspects of the present—not just a single, brightly lit spot—are encompassed in the light of awareness.
for a year now, i have been improvising electroacoustic soundscapes as a basis for deep listening. this series of live streams is called nada. and i have been thinking in those terms, that most approaches to buddhist meditation are contained in this pratice. coming across this excellent article gives nice feedback in that i was right in my thinking. those sound meditations have been a really rewarding output that combine both my spiritual pratice and my creative and technical work. i hope this benefits many people.
if you would like to listen to the series, please check out my bandcamp page. you can follow to receive updates of the coming live streams.
while working on brand new recordings for the series ‘sounding out’, i decided to look back in time, and review all the locations featured on the soundcloud page dedicated to the project:
so here is a sample selection of some of the best acoustics and inspiring spaces i have visited in the recent past. and guess what. YAS woz there.
1 – Ilam church. hidden gem. beautiful and intimate. my relationship and my playing have evolved with many visits.
2 – Dore Abbey. place of magic and history in the golden valley, gently spoken through the stone of its old walls.
3 – buxton dome. ex-hospital now university property with unique sonic magic. reverb + delay + whispering gallery.
4 – Clachan Church. plain chapel in the mist of remote applecross. energy like mountain streams wild raw beautiful.
5 – smoo cave. cascade and cathedral chamber. strong character, challenging response and inspiration in gentleness.
6 – stoney middleton. unusual architecture and shape. great for sound. subtle, bright and soft.
7 – St Catherine. out of this world experiences in this chapel at the top of a hill. plain, bare, expansive.
8 – Rydal cave. lifted out of this plane of existence into fluffy clouds. all is sound.
9 – Cathedral cave. exposed to elements. dark damp raw edges. the sound takes you to a different reality. soft suspension. pure bliss.
10 – St Sardos. surprisingly generous village church. plain dark appearance. sound gently-powerful and sophisticated, wide and brilliant.
this last track is a sneak preview…:
the new series of recordings i am currently working on are from the very recent trip to France. it features some outstanding locations. small village churches with surprising character and large abbeys, abbatiales, cathedrals… it has been a real treat and i am very excited to share all this with you. so keep your eyes peeled as some great sounds are coming your way here, on soundcloud or my website (visit field rec / sounding out).
here are some videos i made to go with saxophone recordings. i wanted to explore natural elements and landscapes, some of the things that inspire my playing and sound design. but in this case, the audio i used is completely acoustic using natural reverb. these are from my series sounding out.
some of the footage is slowed down to achieve a contemplative mood, to the extent that one is unsure whether it is a still or a moving image. on another piece, i layered water footage, experimenting with various combinations, with the idea of echoing the multiphonic techniques of the saxophone – nearly representing a visual interpretation of what sound could look like.
once again, the video pieces were edited separately and then sound (which was recorded previously) added to it. there is no intention to cut images to sound like a music video. the interaction between the two is down to chance and may appear random, if there is such a thing. however, i find such chance ‘encounters’ – moments of convergence and synchronicity – fascinating. but in the end, when bringing water and sound together, both waves, there is little risk. perhaps the mind searches for connections, recognisable patterns. and perhaps the result just happens to work…
I am very pleased to share a recent release recorded in Scotland.
As part of my Sounding Out project, i recorded over two days in Smoo Cave, situated in the north of Scotland.
Inside the cave, I knew this was very special. I first spent some time to get to know the place, walking around and checking sound from various angles. Waiting and listening.
As visits stopped and visitors left, I started to ‘hear’ the real place. From the first note, playing the first sound, the acoustics were stunning.
The first impulse was to just enjoy this grand sound. Driven by the excitement and sheer power of the place. It took a while to settle and feel really connected, to go past the first impression of raw explosive energy. And gradually as the playing became more peaceful and quieter, I felt more attuned to the real mood of the place. Accepted by its imposing presence. Sounds flowed to the rhythm of a nearby cascade.
this link will open a playlist from internet archive:
This album was recorded live, on location over two days on 26 and 27th August 2011.
This is not a studio recording, focus is not on perfection of technique or sound quality. All sound events that are part of the recording are kept as is, and reflect what happened at the location at that time.
Thank you to my friend Chrissie for supporting my sound explorations to the far reaches of unlikely locations.
Please do not copy or reproduce any part of this work without permission from the artist.
Sounding Out. An exploration of natural acoustics, architecture and sacred sites.
in situ improvisations, inspired by the spirit and the special characteristics of a location.
I visited several churches on that day. recorded in some of them. Some were closed. It was a bit of a strange day. And i never quite hit it. A bit too this or a bit too that. Cold and windy. Not quite the spring feeling we just had (just for a few days. and that’s it for this year. blew all records for temperature and sunshine and that’s the quota for this year. now, back to normal british weather, ta). Yeah. Blame it on the weather.
By the time i got to Ilam, it was seriously threatening to rain. No hood and a shaved skull. We’re not having this. For the church, and it just will have to be open.
The many cars and several coaches piled up on the street should have got some bells ringing and sure enough, as soon as i took the saxophone out of its case, a group of tourists piled in. I knew it just wasn’t the day. Me give up.
So i headed for the tea shop to get something warm inside me. A much more appropriate activity for this kind of weather than lurking in the dark corners of old churches, making weird noises. And so it was that i warmed by fingers on a hot cup, soon followed by the tourists. This is when i started to believe they were following me! But considering they mostly were the age of my granny, it did not quite occur to me they were fans of radical free improv noise squeals… Not quite.
And i guess it was the hot drink. But quite certainly, the spirit of surrender, which helped that when i chanced back into the church, it felt just right. Peaceful and quiet. I was alone and had no expectations. No idea of scale or mode, no idea of what to play of even if i could play. And once i had surrendered to the moment, it felt just right. And silently i placed the reed and started the recorder. And silently i contemplated the place. And, not so silently, i played.
I really like this place. The memorial which was erected inside (yet separate from) the church must have been built (for Pike Watts?) by a very loving soul. It is a very simple space but beautifully made and lit. The statue of pure white gives a sense of admiration and compassion. But also, the quality and the character of the sound here is just outstanding. Much love, care and attention has been put in designing the place.
And it is with much respect and reverence that i approach playing here. The first time, i hardly dared whispers and a few single, long notes. Indeed, the reverb (and the place) is so grand and humbling that one just cannot blare out the usual licks.
And today, humbled and having surrendered to whatever was going to happen, sounds just came out without having to even think.
This was a special moment for me. I am not sure how it will translate as a recording. But as an experience, i think this is one of my favourite church soundings. It felt that i was then ‘sounding out’ the right place and it was finally the right moment, once i had lost all expectations of if , where, when, how.
A shakuhachi master explains how, to play true music, one has to leave all thoughts for the world behind, all expectations, all sense of playing the ‘right’ note or even playing ‘in tune’ – if there is such a thing.
“If we study life today – in spite of the great progress of science, radio, telephone, phonograph, and all the wonders of this age – we find that the psychological aspect of music, poetry and art does not seem to develop as it should. On the contrary, it is going backward. And if we ask what is the reason, the answer will be that the whole progress of humanity today is in the first place a mechanical progress. This hinders in a way the progress of individualism.
It seems that we are restricted by uniformity, that there is no scope, you will find the same thing in the mechanical and scientific worlds. But in art especially, where the greatest freedom is necessary, one is restricted by uniformity, painters and musicians cannot get their work recognized. They must follow the crowd instead of following the great souls. All that is general is ordinary […] what is called uniformity has become a hindrance to individual development.” (p.98)
” When music has become commercial, its beauty is lost; it has lost much of its value.
There was a time in the East when every effort was made by the aristocracy of India to keep the art of music from being commercialised […] The musician was not restricted by his programme. He was left to feel by his intuition what the people wanted. He had to decide at the moment he saw them, and as he went on playing or singing he knew more. The chemical effect of the minds of the listeners told him what they wanted. So at the end it was a spiritual treat.
The secret of all magnetism, whether expressed through personality or through music, is life. It is life which charms, which is attractive. What we are always seeking for is life, and it is the lack of life which may be called lack of magnetism. If musical teaching is given on this principle it will be most successful in bringing about psychological results. It is on the health of the physical body, on thought, on imagination, and on the heart –which is often cold and frozen!– that the psychological power of music depends. It is this life which the musician puts through his fingertips when playing the violin, or through his voice when singing.
What the world is seeking, what human souls yearn for, is that life – whether it comes through music, colour and line, or through words. It is that life which everyone desires. It is life which is the real source of healing. Music can heal, if life is put into it. There is no great secret about it, if a person is able to understand the truth in its simplicity. When a person plays mechanically, the fingers running about the piano or violin almost automatically, it may create a temporary effect, but it soon passes.” (p. 100)
From:
Hazrat Inayat Khan.
“The mysticism of sound and music”. London: 1996, Shambala Dragon Editions
“Why is music called the divine art, while all other arts are not so called? We may certainly see God in all arts and in all sciences, but in music alone we see God free from all forms and thoughts. In every other art there is idolatry. Every thought, every word has its form. Sound alone is free from form. Every word of poetry forms a picture in our mind. Sound alone does not make any object appear before us. (p.2)
[…] for those who follow the path of the inner cult, music is most essential for their spiritual development. The reason is that the soul who is seeking for truth is in search of the formless God. (p.4)
Speaking of the harmony of music, I should like to say that the true harmony of music comes from the harmony of the soul. That music alone can be called real which comes from the harmony of the soul, its true source, and when it comes from there it must appeal to all souls […]
When a person learns music, [s]he need not necessarily learn to be a musician, or to become a source of pleasure and joy to his fellow-men. No! By playing, loving and hearing music [s]he should develop music in his [/her] personality. The true use of music is to become musical in one’s thoughts, words and actions […]
Why people like or dislike each other is owing to their different stages of evolution […] It is the same in religion. Some stick to certain beliefs and do not wish to evolve beyond. So it is possible that the lover of music may be tempted to keep to a certain sort of music and will not rise further. The true way of progressing through music is to evolve freely, to go forward, not caring what others think, and in this way, together with one’s development in music, to harmonise the life of one’s soul, one’s surroundings and one’s affairs. (pp. 7-8)
From: Hazrat Inayat Khan.
“The mysticism of sound and music”. London: 1996, Shambala Dragon Editions.
Sounding Out. An exploration of natural acoustics, architecture and sacred sites.
in situ improvisations, inspired by the spirit (and the acoustics) of a location, and by the now.
Being in the moment is possibly one of the most difficult things in modern times. Playing improvisation certainly helps develop a sense, an ear, a feeling for being present and bouncing off whatever comes your way. Hopefully, since we are talking music here, what comes your way is only sounds. If cans of beer and tomatoes (worse, rotten eggs…) start flying, then it’s best not to be there altogether…!
Presence, is of course, presence of mind, focus, and attention to details, to what one is doing. In a live context, as in life in general, this is really a hard task when so much is happening, on stage but also in the audience. Mixed energies, conflicts of personality, multiple melodic lines and cross rhythms… And as a musician, one has to be open, to listen out and respond to all this…
After many years of this exploratory activity, i have played in many types of locations, outdoor, and also inside churches, abbeys – which i still consider outdoors, to a certain extent. By this i mean that it is away from a controlled environment (home or studio), or from an out of control, environment for that matter (like on stage….!) and at best, are just as cold and damp as it is outside… in winter.
And Dovecote tunnel, in Derbyshire, is one of those special places where i like to return again and again. I cannot say it is a pleasant place, like many of the churches i have visited, aesthetically pleasing and peaceful energy. Still, the tunnel is located in a rural area amongst beautiful scenery. It is long enough to feel sheltered and yet in open air. But mostly, it has an outstanding character, built with stone (not concrete, which helps), and a reverb that lasts more than 6 seconds, with its own idiosyncratic tone and colour.
More than anywhere else, the architecture becomes another instrument one has to be aware of and interact with.
All the Sounding Out recordings are based on this very idea of playing with a space, in the moment. And every location imposes a certain mood, an approach to playing, and sometimes specific tones when they inhabit the environment, respond to its resonant frequency(ies).
But here is something special. A tunnel is simply a long tube. So i am blowing my soprano sax (a long tube) inside another one. And the tunnel as its own resonant frequency and strong character that you simply cannot escape. So much that if one plays a note near enough the formant frequency, the space bends the note until it blends and joins in the ‘correct’ tuning of the place.
The sustain is so long that what you have just played is still interacting with what you are now playing. This is beats paradise. The round shape carries sounds perfectly (so everything sounds clear even at a distance, in spite of the MASSIVE reverb) and all sounds are really amplified. Mega-reinforcement and beatings, immersed in sound, it’s better than a massage… this is brain loving cuddles and blowing sweet kisses into your ear lobe.
Even in the winter season, i just forget about fingers becoming blue and sax being cold and out of tune… i just can’t leave. It’s like walking into your favourite record shops. Which is bad news cos you are lost to the world for hours. Yet, being lost in sound, still implies complete focus on all waves. Like riding on the crest (yes, my surfer friends). Hearing both tiny details and the whole soundscape at the same time. It is like meditation.
Last time i got lost in sound, this happened:
returning home
swainsley tunnel
derbyshire
soprano saxophone, 08 march 2011
this is an edit of two short sections of a large screen projection.
video and surround sound installation ⓒ hervé perez 2004
the sound design is derived from the original water recording, kept in sync with image as shot.
modulations in sound correspond with changes in the flow of water as seen in the image.
rhythms and fluctuations of the stream (inner lines) as well as changes in the environment, light etc. (outer lines) unfold a narrative that one can read on the surface of water as in a book. the soundtrack reflects both modulations of outer and inner lines, constructing a complex narrative, inscribed in the memory of water.
‘moving lines’ refers to the behaviour of wave forms and particles, sound, light but also to hydrology. this is the story of cresbrook stream, miller’s dale.
the original installation had a further room with sound which one could access by walking through the screen, as if walking through a cascade to access an inner chamber.
nexttime studio 