Three more trick licks for you.
The first one is actually
more of a fingering and
a tonguing combination
than it is an actual lick.
But you can use this on all kinds of
licks and I'll show you a few here.
So basically this is just
dealing with the note A.
it's going to be the same whether you're
playing alto or tenor or soprano or
baritone or whatever.
So the alternate or
you know well I don't know if it's
an alternate A fingering but
another way to play,
that note and kind of a tricky sort
of way is to play your A one and
two in the left hand and
I'm playing it up an octave.
Yeah, this wouldn't work down an octave,
you've got your octave key down as well.
And I'm bringing down my right hand,
just the front of the right hand,
just one, two, three.
On my right hand.
So, that's the basis
of our little trick lick here.
So, you can do all kinds of things,
you can do whatever you want to do,
you could play it in time
You can play it as a trill.
But what I like to do is incorporate
it with various articulations, okay?
So one idea would be to do this.
You can hear that when you put down
the right hand that's not an alternate
fingering because it's definitely high.
To say it's a quarter tone high might be
an exaggeration, but it's definitely high.
You notice a difference in, intonation but
when you play it in the heat of battle
You don't hear that so much.
And even if you do,
that's kind of actually a cool thing.
For the one I'm doing right there.
Okay so I'm tonguing the first note and
I'm slurring into the right hand
fingering note and then staccatoing,
letting go, and then staccatoing
the last two of those four As.
Another really cool one is, again
is to incorporate our muted tonguing.
We have endless uses for
that muted tongue, trust me.
So where you tongue the first note and
then on the long fingering
with the right hand down you mute the reed
and the way that you know already.
And then when you release the right hand
you release the mute of the read and
you go into a legato articulation for
that note and the fourth note as well.
So again recapping,
there's a whole lesson on muted tonguing
called, you guessed it, muted tonguing.
Where you take a side of your tongue and
mute the other side of the reed.
In my case,
I'm using the left side of my tongue.
And touching the right side of my reed.
So, that the left side is
left open to vibrate so
that the note does come out,
but it's muted.
So in time, one, two, three, four.
So you can combine those two ways and
still use the mute on
the long-fingering of A and
staccato the next two.
So, it's a cool like
rhythmic kind of thing.
Another little triplet-y lick that
people have commented on that
they've heard me play, hopefully
not too many times, but it's this.
And this one, too, is sort of key
sensitive where it's
in the key of A minor.
And basically, it's just E Flat to E to G,
and then E flat, D, C.
E flat, E, G, E flat, D, C.
And you could use over A minor,
you could use that over A dominant.
A lot of students
have liked that a lot.
But you can also incorporate
different articulations, certainly.
So, if I just, it's always good
with these kinds of rhythmic ideas,
like we talked about on
several lessons too,
especially all the articulation
lessons where when you're doing
something rhythmic you want it
to be more percussive and so
as horn players what adds percussiveness
to our playing is our articulation.
So incorporating articulation in this,
it refines it.
It makes it more percussive,
more rhythmic therefore and
it also makes it feel more in time.
Keeping that in mind you could tongue
all the first of each three notes.
So six notes total right?
you're tonguing each E flat because that's
the beginning of each of those triplets.
You can also tongue the first and
that the doodle dah doodle dah
doodle dah doodle dah doodle dah.
Do that with me.
You've got your horn right there.
Do that with me.
That's a little trickier.
I want to play that with you.
So you're tonguing the E flat, and
then you're slurring to the next
note which on the way up is the E.
Okay, you got your horn there?
E flat, slurring to the E, and then
tonguing the G, that's our first triplet.
And then on the way down,
back to the E flat, which you're tonguing,
slurring to the D and
then re-attacking the C.
So boo-da-nuh, doo-da-nuh,
do it with me, here we go.
One-a dun-a-la, one and dun two.
I'll keep it in tempo,
I keep speeding up.
Here we go.
You can also mute the middle
note of each of those two triplets.
So, we can mute the E on the way up and
mute the D.
So, on the way up you'd be
accenting the E flat putting
the mute down on the E and
then releasing the mute on the G.
So on that G on the last of the three
triplets, it sounds like I'm attacking.
All that is it's the opposite.
It's the release of my
tongue from the reed.
It's allowing the tongue,
the reed rather, to play completely.
and then the same thing on the way down.
Try that with me, okay?
Again, so on each of the three notes.
You're attacking, muting on the second
note, releasing on the third note.
Doo, doo, doo.
Doo, doo, doo.
Here we go, and
All right, so faster it sounds like.
[LAUGH] It's tricky.
It's a trick lick.
There you go.
All right, so I love to see you do those.
If you have any questions about them,
as always, you can write me on the forum.
But these are kind of the things where
I would need to see you do them and
hear you do them, so send me a video.
And let me check you out if
you're working on these and
I will give you the thumbs up or
the thumbs up with a constructive comment.
All right have fun.