Chords for Candy Dulfer talks about her Free Wind alto saxophone

_ _ _ _ _ _ [Fm] _ _
_ _ _ _ _ _ [C] _ _
[F] _ _ _ [Fm] I've been playing Selmer all my life.
I did play Inderbinden, which is also a great handmade saxophone,
but this one came into my life where I really didn't think I needed another saxophone.
But I just fell in love with it.
_ _ [Ab] _ _ _ [F] I put my [Cm] Selmer to rest.
And [Abm] that's a big thing for a Selmer addict, [C] because I had a Selmer Mark VI,
and that's considered the Stradivarius of saxophone.
But this really gives me the same warmth.
But the Selmer Mark VI is an old instrument,
and all the technical improvements that are there on the saxophone are on this one.
So tuning is much easier.
The high notes are a little bit louder, which is really important for music today.
So I get the same soul and depth of Selmer, but now it's easier to play.
[C] _
I'm _ _ _ _ _ _ _
_ [F] _ _ [C] _ _ _ a [E] jazz player, but I also like [Am] to rock.
I want the saxophone to be soft and [Gb] have a big sound,
and at the same time it has to be really piercing and cut through really heavy pop music.
[F] And this saxophone sort of both has it in it.
It's so incredible.
It can be really loud and funky,
and at the same time it does have the bottom and the warmth that you really need
to make this scary in jazz music, for instance, or to play a beautiful [C] ballad.
_ _ [F] _ _ _ _
_ _ _ And if you play swing or jazz or rock even, you can_
_ _ [Bb] _ _ [G] _ _
[Fm] _ _ [F] _ It does that, but at the same time, if you want to do real melodic [E] sax playing,
like people like David Sammore do with the high top tones, _ _ _ _ _
[C] _ _ _ _ [G] the Amsterdam Wind just sings.
It's very important for notes like this.
[F] _ _ _ _ _
_ _ _ [G] I call it singing.
You don't play the tone and then it's finished.
It has this little life of its own that really brings it towards getting a more personal sound,
because that's what every saxophone player wants.
You want to be able to put your personality into the [F] sax playing. _
_ [C] _ _ _ _ _ _ _
_ [F] _ _ _ _ _ _ _
_ _ _ _ [D] _ _ [F] _ _
[D] _ _ _ _ _ _ _ _
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[F] _ _ _ _ _ _ [G] _ _
_ _ _ _ What I [A] like about Friso, who made this instrument, is that he's basically crazy.
And that's what a good instrument maker should be.
At one point I had to stop him from [Ab] _ modifying the instrument,
because he's a perfectionist, but I'm a perfectionist too,
so I know exactly where that's going.
And it was really nice to just say at one point to him,
and I think it also made him happy,
to say, like, why do you want to change?
It's [D] perfect now.
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