even more trick licks.
Here's three more ideas for
you to impress your friends.
So another tick idea.
Not a trick lick really, but
just minor third trills.
Those kinds of ideas,
it's hard to talk right
after you play like that.
Those kinds of ideas are fun.
Typically too, when you're using
them in a solo, it would be
between the 5th and the flat 7th,
if you're playing over a blues chord,
like a dominant chord or a minor chord,
where the 7th is flatted.
So to put that in a harmonic context,
that's where you would put it.
Hey, it's a trick lick so
if you think of other trick places to
put this lick, it'd be even trickier.
So if I were playing,
again, in the key of A.
try that with me.
Okay, we're gonna go between E and G.
And, again, for this trick lick,
I'm breaking all the rules and
I'm letting go of my left thumb so
that I can get way above the keys and
really trill all three of them.
Okay, so a half-step higher,
if I were playing in B, my, B flat minor,
my fifth to flat 7th would be F to,
So in this case I would just keep my,
A flat fingering down and
just be trilling my, F key.
If you want to get it super fast and you
haven't got anywhere else to go, you can
come way over it with your hand like that.
But you can even do it just
with the finger by itself and
keeping the right thumb down.
But you know, it's a little harder.
Same thing if you're playing in B,
you could trill from F sharp to A, right.
And in this case you'd just be,
it's gonna be trickier.
A trickier trick lick.
You're just gonna leave your F sharp
key down because it's a trill and
you're not gonna hear the pitchness
necessarily of that A totally clear.
And the whole point is
just the trill anyway.
But you'll be trilling the G key.
You're playing in C,
the trill between G and B flat.
You're playing in C sharp,
what would the notes be?
If you're playing in G sharp,
the notes the 5th, and
the flat 7th would be, and right.
G sharp and B.
So any trill between any minor
3rd interval is a cool trick lick.
Another idea is buzzing or growling.
So, you can either growl with
your voice using that err,
kind of speak and sing and
growl at the same time.
But, works better for me is just literally
releasing some air out of the side
of my mouth when I'm playing.
So, when you're doing this you're not
playing a beautiful romantic ballad
when you're playing this way.
Usually you're playing at full steam and
so you don't hear the [SOUND] so much.
And recorded, especially if I'm recording
with my mike on the bell like that you're
hearing the sound of the horn a whole lot
louder than you're hearing this, but
you're actually hearing the effect.
Plus you can go [SOUND] when you play.
[SOUND] In fact you kind of have to.
So when you play really hard your sound,
you don't wanna again play harder than
with in the control of your horn,
meaning that if you play as hard as
you possibly can, all that's gonna
happen is that your sound's gonna
become distorted in a bad way and
you're gonna play out of tune
which is always a bad thing.
And so you have to keep
the pressure within the acceptable
range of pressure in the horn if you will.
But anyway, this is kinda a cool
thing because as you do this,
you're releasing some
of that extra pressure.
So by sort of releasing, or buzzing,
from the side of your mouth,
I tend to do it on my left side.
I'm not so sure that it really matters,
but for me.
I'm over here.
It kind of allows me to play even hard and
I'm kind of staying,
I'm able to continue control my pitch.
Even though it's being
tricked out with that buzz.
The last little trick idea is just like
a four note downward run like this.
And it doesn't
It doesn't have to be four, but
four is kind of a nice, round number.
And for this I am making good use
of my minor pentatonic scale,
the last four notes of
my minor pentatonic.
Well, last four notes from going down.
First four notes if you're
thinking of it from down to up.
So, in this case I'm let's see.
I'm playing the key of D so
D, F natural, G, and A.
whatever ones are available to you.
If you were to play a half step higher.
So this would be E flat minor pentatonic.
And if you wanna do something
really tricky and play the first two,
and repeat those first two notes,
So pretty tricky but I guess it definitely
requires your fingers to
have to move quickly.
I incorporated that into the lesson
because as I was writing these lessons.
Somebody actually wrote me an email,
got my email address and
asked that very question about that,
so I thought, that was interesting
enough that I guess I should include it
in my artist works jazz saxophone school.
So there you go, and you're not limited to
sort of sheets of sound if you will,
harkening back to the John Coltrane days.
But you can use any scale
you think sounds good.
But it's just a rundown on those notes.
And the harmonic applications can
be whatever you think sounds good.
Again, it's kind of a one of
those trick kinds of things.
All right, so
there is three more trick licks for you.
And if you got any more questions
about those, let me know.
All right, take care.