Okay now we're gonna talk about how
to bend one note from one
note to the same note or
bending inside a note okay
this is what that sounds like.
The reason I wanted to make
this a lesson in of itself,
is because I want really to focus in
on the rule again that less is more.
Don't do that too much.
If you want to, any inflection so often is
just overdone, and it defeats the purpose.
The point of inflections is that you
want to get the emotion across but
it has to be subtle, okay?
So the way to do this is that basically
this is where our long tone exercises
are going to really come in handy because,
as we played our long tones
we've been working on keeping the air
moving forward throughout a note.
So with the scoops on the scoop
jazz inflection lesson
I talked I used a rubber band analogy.
This rubber band,
tight rubber band is our note, okay.
So on a scoop you would, it would be
as if you were pressing your finger
down at the beginning of the note, and
releasing it, and that creates the scoop.
The rubber band analogy is there so
you imagine that your air
is always moving forward.
That's what's keeping
the rubber band tight.
That's what's keeping your sound and
the quality of your sound there.
So now, with a bend inside of a note,
think about that same analogy, except now,
we're gonna put our finger in the middle
of that rubber band and let go.
[SOUND] The two key
things are don't let go
of your air, keep the air going throughout
the whole little bend inside that note.
And make sure that that note is,
not that the action
that you're doing is not overdone, okay?
[SOUND] So I'm, simply,
just bringing my lower lip down.
[SOUND] Don't do that.
So let's play one note.
I'm gonna play my B on my alto.
So if you've got your horn there,
if you want to play in unison,
if you're playing a B flat horn, play E.
And play one note without the bend.
[SOUND] And now, in the middle of that
note, just bring your embouchure down.
Don't change your air.
Do not change your air.
[SOUND] So don't let it do this.
[SOUND] All these actions with vibrato,
with scoops, with turns,
with whatever, are subtle.
Subtle motions here.
A little motion,
a little change in pressure with your
embouchure goes a very, very long way.
[SOUND] Obviously you can change
the degree of the bend.
It can be really extreme.
can make it as
extreme or not.
But always keep the quality of the sound
in the forefront of your mind.
Make sure it always sounds good.
Let's do a couple together.
Let's do four together.
Let's go up to F-sharp.
Let's use your F-sharp on your horns,
So I'll play one, and
then I'll look at you, and you play one.
Okay, make sure that's a good amount of
I'm feeling it here in my whole,
in my embouchure.
Everybody is built differently, so
I hate to say just use your lip and
than what feels better is to kind
of move your whole jaw subtly.
Sometimes that works better for
some people and not so well for others.
Or, if it's just working with your lip,
It's a subtle thing, it's hard for
me to know if you're doing
it right without seeing you so
shoot me a video if you'd like,
and let me check you out and make sure
you're doing it, but use your ear.
So often too, we just tend to you know,
not to see the forest for the trees,
we don't really hear the result, we're
thinking about all the things that go into
creating a sound, but because we're
thinking about all these things, we're not
actually listening to what our goal is,
what the end result is supposed to be.
So make sure you're
paying attention to that.
All right, hope to see your bends inside
your notes and have fun with that.
Got more inflections for you coming up.