another song for you.
Besides Happy Birthday,
this is probably one that every New Years
Eve you've either sung or heard or both.
And now, [SOUND] You are going to be
able to play this on your saxophone.
How cool is that?
So, just like all the rest of the songs,
I've written out both B flat charts and
E flat chats.
Again, E flat for alto and baritone and
B flat for tenor and soprano.
So, this one is in the same
key as happy birthday was.
So and it's you know,
in the key of F concert.
So that's D or two sharps for
us alto and baritone players and
the key of G or one sharp for
you tenor and soprano players.
So, in looking at my little chart here,
the only thing that is different
that is a new introduction
of something that I
haven't seen before is a dotted note.
In this case,
there are several dotted quarter notes.
A dotted note means you add another
half value to whatever the note is.
So if you see a half
note with a dot on it, or
a dotted half note,
half note without the dot gets 2 beats.
So a dotted half note gets 3 beats.
Another half value.
On a dotted quarter note,
a quarter note without a dot
would normally receive one beat.
So a dotted quarter note gets a beat and
So in this case,
it's pretty clear that the next note after
that dotted quarter note in bar one,
the bar after the double bar there,
just after the pickup bar,
pickup note rather, is a eighth note.
So when you're counting, so
now, again, I said this before, but
you want to make sure that you're
always subdividing to
the lowest common denominator.
So in this case, we're down to eighth
notes because we see eighth notes.
So one and two and three and
four, in our counting.
One and two and three and four and one and
two, so if we have a dotted quarter
note we're going to go one, so it's
going to last until the and after two.
From this case, bun-dun, da-dah.
So that first note lasted for
the first beat, and
then the half of the next beat as well.
Okay, so let me play this for you.
And, I can play it,
and encourage you to follow along,
or play along, whatever you like.
Here we go.
I'll count off three beats, and we'll
play that pickup note, and away we go.
One, two, three.
Happy New Year!
[LAUGH] So this song is pretty,
you know, it's not long, but
it's longer than, it's longer than
songs that are shorter than that.
And so, you have long phrases actually,
and we play wind instruments so
breathing is an issue, where to breath.
I mean, if you're a beginning player,
you breathe where you need to breathe.
We don't want to be passing out.
We want to make sure
all the notes come out.
But as you go, the breathing
within a phrase has a lot to do
with how that phrase comes across.
It's like a singer.
In fact I'm going to refer to that
a lot in a lot of these lessons,
where when we play, where we
breathe has to be in musical place.
It can't be random, wherever you think
just that you know, you need a breath.
So the obvious places in this
16 bar song are where those
quarter note rests occur in beat three and
bars four, eight, twelve and sixteen.
It would be a little much to ask not
to breathe at all prior to that.
There's a lot of obvious places to breathe
prior to that, and I can point them out.
It's probably smarter though,
for you to decide for yourself.
Music is not only music theory and
written notes, but it's art.
And so where you decide to breathe has
everything to do with how the phrase
should be played.
You don't want to be playing it like.
You know, you wouldn't
need that many anyway.
But it has to be logical.
One thing I always tell students is to
sing a song before you start playing it,
that it does sort of internalize
it a bit more when you sing it.
But also it does answer those kinds
of optional questions as far as where
to breathe because when you sing,
it's just this sixth sense.
You're just going to
do that automatically.
Breathe in the right place I mean,
So be aware of that, so there we go, let's
play the song one more time together.
So Auld Lang Syne.
[LAUGH] Get your noise makers out,
here we go.
All right, have fun practicing.