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I've been teaching my daughter confirmation (tune, no improv.) and this is a video I've been using to inspire her:
https://www.youtube.com/watch?v=EAGgjgamS88
What are the good note choices for the downward gliss at 00:25? My guess is a minor pentatonic or something similar. Also any other tips for the gliss? It's something I've never got quite right on saxophone, something to do with the breath technique I think.
Maybe there are some videos out there about this?
Cheers
 

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Hard to say for certain (at least without slowing it way down and listening closely), but in that video it sounds to me like the gliss she does at 00:25 is a chromatic fall. Slurring down the chromatic scale, letting the sound die out at the end.
 

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Cheers. I'll have a listen at a slower speed later.

But what is the 'general rule' when selecting notes for something like this? If it were me I'd choose a group of notes from the scale related to the underlying harmony for that note of the tune - and choose a slection of notes that was easy to finger fast. I'd instinctively not do a chromatic run but perhaps that is preferable?
 

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The tunes in C and she is starting the fall on G so I would suspect she is just playing GFEDC and fading out as she goes down. I try to stay somewhat in the key when I do a fall. Chromatics usually have too many close notes that make it harder to get the full affect of the fall in my opinion........
 

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+1
 

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The tunes in C and she is starting the fall on G so I would suspect she is just playing GFEDC and fading out as she goes down. I try to stay somewhat in the key when I do a fall. Chromatics usually have too many close notes that make it harder to get the full affect of the fall in my opinion........
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Grafton alto | Martin Comm III tenor
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T I try to stay somewhat in the key when I do a fall. Chromatics usually have too many close notes that make it harder to get the full affect of the fall in my opinion........
Unless you are Earl Bostic

 

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I try to stay somewhat in the key when I do a fall. Chromatics usually have too many close notes that make it harder to get the full affect of the fall in my opinion........
I agree with that in general. And I also rarely use a chromatic gliss because it tends to be too many notes when I want to go well down the scale (in some cases for a short 'fall' I'll use a chromatic gliss). However, in this case it just sounded chromatic to my ear, but I could well be wrong. In any case the fact it is hard to tell means it's a well-executed gliss.
 

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Grafton alto | Martin Comm III tenor
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The tunes in C and she is starting the fall on G so I would suspect she is just playing GFEDC and fading out as she goes down. I try to stay somewhat in the key when I do a fall. Chromatics usually have too many close notes that make it harder to get the full affect of the fall in my opinion........
I agree with that in general. And I also rarely use a chromatic gliss because it tends to be too many notes when I want to go well down the scale (in some cases for a short 'fall' I'll use a chromatic gliss).



Unless you are Earl Bostic:

 

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Unless you are Earl Bostic:

Right, LOL, I wish I could play 1/10 of what Earl Bostic could.

Funny you should bring this tune up because it's exactly the tune that I was thinking of when I mentioned a gliss that is too long for me to pull off with a chromatic fall. I tend to use a "somewhat in the key" fall (as Steve mentioned) on Night Train. I've tried the chromatic run and so far can't pull it off as well as Earl. Then again, I play that tune more up-tempo, making the chromatic run more difficult, at least for me. Maybe someday....listening to that makes me really want to do it!
 
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