Okay, so now the jazz inflection
we're going to talk about are fall offs.
Okay, so the ones I just played for
you are a little extreme, I wanna make
sure you're hearing
what I'm talking about.
So let's go back to our rubber
band analogy that we used for
the scoop-up to a note and
then the bend inside of a note.
So again, if you haven't seen those yet,
we're using a rubber band,
a tight rubber band,
as an analogy to our note.
And what keeps that rubber band nice and
tight is your air moving forward.
So with a scoop-up we want.
I talked about making sure that from
the very beginning of the scoop
that your air is just as supportive of
the scoop as it is of the target note.
So that the scoop doesn't sound like
a foreign sound, a foreign approach
to the note you're targeting.
Same thing with a bend inside the note.
So I'm affecting the sound with my
embouchure, and in some cases the top of
my throat, but never releasing the air.
Same thing now with a fall off.
When you're falling off a note.
I'm simply just letting go of the pressure
of my lip, but not releasing the pressure
of the air until the note goes away.
I mean I'm feeling that pressure always,
that moving forward of the air,
that projecting the air all the way to
the wall if you want to use that analogy,
but I'm always feeling
the tension in my diaphragm.
Not to the point that it's gonna
give you a stomach-ache but
enough pressure moving forward, okay.
So that you've got that support.
Otherwise you're gonna get this.
you've got this weird foreign sound.
So to make sure that the fall off
of a note sounds like the note
that you're falling off of, and it just
sounds like one cohesive nice thing.
Again, you want to move that air forward
and keep that pressure point going.
So again, the bending down of the back
part now of that rubber band,
you're pushing down and in order
to push that down, you're actually
just releasing the pressure on the reed,
essentially, and letting go here.
And again, let me remind you,
as with all these inflections be subtle,
if you, you know,
if the actions are really drastic,
it's not going to sound right,
it's not going to sound good at all.
So, it's amazing, you know as you would
know by now in playing to the level that
you're that small microscopic actions
with regards to the embouchure,
make a giant difference in your tone and
your intonation, for starters.
Good, so let's do some fall offs together.
I'm going to fall off on,
what would be a good note?
I am going to fall off on my G,
you can use whatever note you like that
feels good but I like falling off on G.
Its a good little practice one.
So if you want to play
in unison with me and
you got your tenor or
soprano you can play at C.
So I'll play one and you play one and
we'll do four together.
Okay, is that
working good for you?
So in practice.
so work on
It's a simple thing,
keep that air moving forward,
keep the sound quality good and chase that
drop in your embouchure with your air.
Let that fall be part of the note,
and there you go,
you're gonna have some great fall offs.
If you would record yourself,
film yourself doing those and
ship those off to me and I'll check
it out and give you that thumbs up or
a creative or constructive criticism
as to how to improve them.
All righty, Happy falling.