My name is Hayden Chisholm. I'm a saxophone player from New Zealand. I've been living in Europe, mainly in Germany for 26 years. Mainly playing jazz music, but also many other different kinds of music, which is a beautiful thing about the saxophone. You can do pretty much anything with it. My paternalty for me means everything and nothing. That might sound a bit strange, but it's a question of definition, micro as in small. It's a small, paternalty relating to tones, the tones we play, but I would ask smaller than what. That's really a question of relativity. What are we talking about here? Generally, now we're talking about small tones or small divisions of the octave. But this could mean anything. So I can't really tell you much. Really about that. Sorry. The Obertoen series or the harmonic series is a huge part of my life as a musician. It doesn't just relate strongly to micro-tunality, it relates to everything in music, I would say. It is number, which comes alive. One or one-ness, the root of the tonic, two, the octave, the doubling, three, the fifth, trinity. It could be approached from many different levels. As we get higher up the Obertoen series, as we ascend the ladder and the intervals become smaller, we go into a world of what we could term micro-tunality in which the intervals become very, very small, but always relating to the one or the tonic. For this reason, the prime number of the tones are extremely interesting notes. So there's a very strong link between the two. I guess my interest in micro-tunality went hand in hand with my interest in music. My first love was my first favorite records were blues records and jazz records. And inherently in this music, there was micro-tunality. There are notes which are blended and slided and shift, which all serve to help us express as humans and musicians who we are. And as I traveled the world and as I came to Germany to study, I was exposed to all kinds of different types of music which were either termed micro-tunality or just simply micro-tunality as they were performed or played. And there was Tito and Taiova. And this was of course a huge influence on me as a musician. And as a saxophonist, someone who was always looking to extend and refine the language of my instrument. I used micro-tunality as an improvisation because I was a natural part of how I play and how I listen to sound and how I express myself through sound. Over the years I've studied them obviously. I know a little bit about the very small divisions of the octave. Though it's always important to remember that the octave can be divided up into infinite parts. It's up to us to choose how many parts we use, which ones we use and what they mean to us. And for me some of these smaller intervals have a very special meaning. For example the eleventh overtone which I call the Premordial Blue Note is the first naturally occurring quarter tone or almost exactly quarter tone. It has a very special quality in the color which I would use on special occasions if I want to express something which I cannot really put into words but they all have very special colors which we all use in our own musical language sometimes consciously and sometimes by accident. I would use micro-tunality compositions which would be very similar to how I would use them in improvisation. Again there's an inextricable link between improvisation and composition at least in my world. When I talk about form structures in the music and whether I sit down I have the time to write it down, whether I have to do that in the moment of playing. There's a strong link between those two. When I compose something, when I have the time to write, of course I have more time to think about maybe some new ways to work with these extra tones. Whereas in the moment of improvisation I have less time to approach it that way. I could be more formal, I could use rows, I could use inversions and other compositional devices that might be of interest later on. So it just gives me a little bit more time but the basic fundamental story of the music and what I want to say is unchanged. It's the same thing. Whether I improvise or whether I sit down or write. Thank you.