Here's another song for you,
another one you've heard a lot of times,
one of my personal favorites,
So, before I play this one,
let's see if there's anything you
should look for in this chart.
Make sure, again, you download the PDFs,
whether you're playing a B flat horn or
an E flat horn.
The two things I notice right away,
that I want you to be aware of,
are those ties or slurs.
If you're playing on the E flat
chart it's that A above the staff.
The dotted half note in, what is that,
the 7th bar, tied into the half
note at the beginning of the 8th bar,
and also tied across from bar 15 to 16.
And then it'll be your D if you're
reading off the B flat chart.
So, that simply means that it's
tied together, slurred together.
And you don't reattack the second note.
You don't reattack the note
that it's tied to.
So, it's one long note.
So, the tricky thing is
almost playing one long note,
is almost like counting rests.
In that you're not actively doing
something to help you stay in time,
again following the bouncing ball,
so to speak.
So whenever we're reading anything,
you always want to be thinking
about the key signature.
Always be thinking in this case
where again, in the key of D for
us E flat folks, and
the key of G for you B flat folks.
So you're always thinking about that,
so you don't miss any accidentals.
But you always wanna be counting.
You always thinking one, two, three.
In this case it's a three, four song.
So, one, two, three.
One, two, three, one.
And it's this linear process
where you just always, it's this.
And it never stops.
And so if you're playing quarter notes,
bam, bam, bam, bam.
If you're playing eighth notes,
bam and bam and bam and bam and bam.
And if you're playing a slur,
like this would be,
again referring to bars seven and
eight, it's that half note.
So one, two, three, one, two,
three and your next attack.
Next new note isn't until beat
three of that next bar, bar eight.
So, I'm gonna play it, and I encourage
you as always to play along with me,
and we'll play it at
a nice comfortable tempo.
Here we go, I'm gonna give you two
beats into that first pick up note.
Here we go.
Love that song.
So, what else can I say about that?
Make sure that, I talked about it while
I was playing another lesson too,
about where to decide to breath if it's
not obvious, if you don't have a rest and
actually, look at that.
The rest of the entire song
is the very last beat.
You don't really need to worry about
breathing there because you're done.
So, it's up to you to decide where
the most logical places are to breathe.
you've heard this song a thousand times,
and you know the obvious break points are,
just that they're obvious.
In written music.
I didn't write it here.
I've got it written in other lessons,
but whenever you see a little comma
above a note, a little ,comma,
it wouldn't be above one note,
it would actually be between notes.
That's a breath mark and so
you'd always wanna breath right
there where that comma is.
And in those cases the composer or
arranger had an exact idea,
of where you should breathe.
And usually that's written in the case
of music where you're playing
in a band with other people,
other horn players.
If you're playing in a saxophone section
for instance, it's important for
everybody to breathe in
the same exact place.
And start the breath exactly together.
And if you're,
hopefully if you're just starting off,
you've got the idea of playing
in bands in your mind.
And so, don't be unfamiliar with the idea
that, as you're playing with music,
if when you see that little comma,
you know what to do.
But if you don't, and
there's breath marks, if you,
hopefully you'll end up
being the lead player,
at some point you'll be the one deciding
where to put those breath marks.
Where everybody should breathe,
where the logical places are.
And if not,
it's the lead player's responsibility for
everybody to decide that.
It's so much more fun when
everybody's playing together, and
everything sounds nice and
clean and cohesive.
When you hear an orchestra, or
a big band or whatever, and
everything's nice and tight.
One of the main reasons
is because of that.
Everybody's phrasing together.
Everyone's breathing together.
Let's play this tune one
more time together okay.
Here we go, Amazing Grace.
So I'm adding little bits of inflection.
I'm intentionally trying
to be pretty cool so far.
But in my curriculum,
you'll be able to learn a lot
about every kind of
inflection i can think of.
Which, is quite a few in terms of vibrato,
all kinds of different things.
So you'll be able to
take advantage of that in
all the lessons that you
see those titles on.
So anyway, enjoy practicing this great
song and we'll see you on the next part.