Performance Instructions for Elixir No. 7, “The Saxman Asshat”

The pianist plays as usual, however very discretely, not calling any unusual attention to himself/herself.  To the side of the piano, ranging from one to two feet any man or woman dressed preferably in a black suit will hold a saxophone up to their mouth.  Upon every note struck on the piano, the saxophone performer will not play one note, but pretend to play each note with exaggerated movement, preferably up and down and side to side motions.  The saxophone performer will not be given any sheet music, because not anticipating the timing of the notes from the piano will give the saxophone a desired delayed reaction in the movement.  That is it, once the performance is finished, the saxophone performer will bow and exit the stage.

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3 thoughts on “Performance Instructions for Elixir No. 7, “The Saxman Asshat”

  1. This reminds me of a conversation we had way back in the summer of 2003 (I think) when I started working at Home Depot again. We were talking about music, one of our many passionately discussed topics, and I was interested in what I called “environmental music” — that is to say, musical performances focused on a theme from which the music, the stage’s decorations, and the musicians attire would be influenced. You thought I was talking about elevator music or music that plays in the background of public places. I think we debated this point for more than one 8-hr shift. Do you remember this? My interests were rooted in early Oingo Boingo concerts when they were called the Mystic Nights of Oingo Boingo — http://www.youtube.com/watch?v=r7LHgYFR7f4 .

  2. Very nice!! I had no idea Ongoi Bongoi played the Gong Show. That rocked. Did you catch Danny Elfmann? He had a rocket attached to him. He was leaving contrails all over the stage.

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