.jpg)
I forgot to take pictures of my notes today, I'll have to add them to this post tomorrow. I'm slowly documenting all of the possible notes that can be played above and below any feedback pitch. In that process, certain resonances and harmonic patterns reveal themselves, which inspire passages such as these:
It's hard to judge how loud the feedback is going to come out in a recording, listening to this example is going to sound better on headphones or on some half decent speakers. Certain long fingerings tend to disrupt the feedback pitch - you can sort of hear this on the low Eb that this pattern starts with, so I must has to play quietly and try and put very little pressure on the reed. You can hear I'm using subtone to achieve this. This compounds the issue of balance between acoustic and feedback tone.