Johnny Lippiett. Sax lesson VLOG #1/10: ghost tonguing articulation
Вставка
- Опубліковано 23 сер 2024
- Using doodle/dooden tonguing to help swallow notes and mute the reed to achieve variety in 1/8th note lines. PDF available @ www.johnnylippiett.com
johnnylippiett....
leave me any comments/questions and let me know what you'd like me to talk about next!
addendum to this video...vid#14
• Video
13:36 Johnny GRIFFIN, you sound great! lol Right here you unlocked a trick from the bag of countless cats who's technique I've never been able to figure out!! I have since wiped off my chin after my jaw up from the ground. Thanks Johnny!
Thx so much! Truly humbled and happy to share! 😊
The best jazz articulation explanation I´ve seen so far!
thanks so much!
This video about jazz/swing tonguing is excellent. A perfect example of the fact that: there are NOT too many and there can NEVER be too many saxaphone tutorials on the internet. Thankyou Mr. Lippiett.
thank you so much! glad you found it useful! :)
I´d wish You were my teacher when I was 10. No one did teach me that stuff. Beeing nearly 47 years old and playing for over 25 years that instrument, it is quite hard to incorporate that new way of tounquing into my playing. But Your lesson was quite helpful! Please continuing the good stuff! Cheers from Germany!
Your language is universal friend, even without speaking English I understand. Thank you, hug from Brazil
Thank you so much!! Happy to be of any help :)
Best explanation of doodn tonguing that I have seen, especially when you took the mouthpiece off and showed where you put your tongue and how it bends the reed on one side only. No-one else has done that. Thanks a lot
Thanks so much and glad you found it helpful! As i said, theres no right or wrong way its just what worked for me. :)
Love this so much. Best explanation plus best way to practice ghost tonguing
thanks! :)
Johnny Lipiett for president !!! I thank you so much for the explanations but I don't thank you for all the hard work I still have to do ! take care
Haha! I hear ya...the hard work never stops. Seems if we stop rowing we get carried back downstream! ;) no matter where we are, we're only ever in the middle...
Really excellent breakdown of this concept of dood-en or dude-n tonguing. This video is a great companion to Chad LB's 20 Approach Note Etudes video in which he, too, demonstrates this tonguing technique. Yours gives more detail and variations to woodshed -- very helpful! Thank you for your clear and patient walkthrough of this skill.
My pleasure! Glad it was helpful.. thanks for good vibes :)
No doubt, this is was the best class on this subject that I found on the internet. Congratulation!
Danke! Thank you from Germany. Yes, this video is one of the best examples for do dn do dn. Slowly played, good sound. Danke nochmal! :)
Danke! :)
What makes this the best explanation and demonstration of ghost tonguing is that you are an excellent teacher. You really have the gift of making a technique that is difficult and somewhat counter-intuitive, accessible to a learner.
Thank you so much, ur words are most humbling and uplifting! Glad it could help!! :)
thanks very much. I appreciate your "there's lots of ways to do it" philosophy.
Thank you!
Thanks Johnny - good lesson. A very helpful explanation - I look forward to more of your videos.
thank you! please enjoy my other videos :)
Great break-down of bebop line rhythm phonetics - much needed!
Greetings from Canada, Johnny. I've been watching various videos about ghost tonguing and yours is BY FAR the best. Thanks so much for your clear explanation of this concept. I like your hand-written notes as well. Please keep those.
Thx so much brother, appreciate your kind words - we're all learning together. Seems the further we wade into the ocean of musical discovery the deeper the water gets! Thanks God we never stop learning. best wishes from NY :)
Johnny, thank you. I asked my teacher before; ‘Where on the read do you tongue to ghost the sound? It seems to work for me if I tongue on a side of the reed, not its center like with regular tonguing.’ You know what, he said ‘that sounds wrong way to do it. You should tongue the center of the reed to mute it.’ It never worked for me and rather I kill the sound completely. Now, I know who is right.
Hey! thanks so much for kind comment :) i think its super important (imho) to try and avoid thinking about right or wrong. the 'right' way is the way that's right for you! perhaps for your teacher that was the way that worked for them, however you said they had mentioned 'tongue the center of the reed to mute it' - remember, we are not trying to 'mute' the reed, rather allow the air to still create the sound but essentially at a 'half volume'. some people are very good at doing this with the diaphragm, but for me using the tongue helped to get the effect i was hearing on the records. There was a great article on it by Jackie Mclean once in an article in 'sax journal' from the 80s...wish i could find it! if i do i'll post here. :)
@@johnnyjazz355 , yeah, 'mute' wasn't a right way to say it. I meant 'ghost' the note. I am certain tonguing the center of the reed must have worked for my teacher, but not for me. As you said, what works for somebody may not work for others. But, your demonstration affirmed to me that it is a way to do it. Thank you.
Great educator Johnny, Just groovy and interesting
Well, There's clearly someone who knows what's what! lol..watch this space...more coming V soon...big love! x x
Highly informative and entertaining. Thank you
thanks Michael! :)
Thank you for finally making this make more sense. Now let me go practice some Charlie Parker!
Thank you!! Glad it helped :)
Enjoyed seeing you video, great stuff, we can never have too many nerdy sax videos. It's interesting to see your take on the ghost tonging (or as others call it 'dodon dodon'). I'm surprised to see that you only tongue the side of the reed? I was taught (back at music college in the 90s) to place the tongue on the reed (sounds great) - part of a Micheal Brecker analysis session. As you say, the Stan Getz/Oscar Peterson trio really has plenty of amazing examples. Although, one place where I remember really becoming aware of it was in Brecker's solos where he lands on a note muted, and then takes his tongue off.
Thanks for sharing your knowledge Johnny, very helpful and appreciated!
My pleasure!
Very good! Continue the videos, greetings here from Brazil.
Thank you very much!
Always useful and very clear mate! Thank you. Here is BK too 🍁
Wow! Thank you. Hello from Russia)
Wonderful tutorial
Thank you Carlos! Hope it helps :)
THANK YOU! I have been scouring the internet for a tutorial on how to do this properly.
Glad I could help!
Great video and articulation exercise! After decades of fast single and double tonguing classical articulation, I find that the main challenge here is to deconstruct the built-in muscular reflex of the tongue immediately retracting after touching or brushing the reed. I took quite a few hours of practice to realize what was happening before being able to control the retraction reflex and leave the tongue in contact with the reed in order to mute the sound without stopping the vibration or retracting back to the optimum tone and intonation position. Thanks!
Thanks so much my friend! Great observations and really appreciate the informed comments and feedback. Peace n progress :)
Very helpful! Thanks a lot!
Very well explained, thanks a lot.
Thanks Johnny, Very well explained, great stuff!
I heard Mornington Lockett playing as I entered the jazz cafe to see the great Jimmy Smith. I spent the whole gig listening the brilliant tenor sax :-)
thanks! mornington is the best, helped me with so much :)
Thank you very much, I call myself late to the game…but I still really enjoy learning new ways, to me, to add, articulation to my playing. I have view many video’s on this subject, but yours is the first one that has actually shead some real light on how to produce this sound, and get the process under my fingers, and tongue.
Your explanation, is once again much appreciated.
Abs/pops(Tenor wanna be)
Thanks so much for good vibes! Keep going strong! :)
Fantastic vid mate. 👍🏻
Best explanation on the internet so far. Thank you so much. Great job 👏
Thanks so much!! :)
Terrific explanation of this. I'm thrilled that your pal suggested you go in this direction to share your take on this somewhat mysteriously executed articulation. I'll be to your website shortly, surely you're up to other excellent stuff over there. Thank you! Keep on keeping on!!
many thanks sir! glad you enjoyed it. best wishes!
Love this!
That is an excellent video Johnny. It answers a lot of questions for me. Thanks.
Thanks so much!! :) glad it helped
Great lesson! Thank you!
I was also never shown this when I was first learning. Through listening, transcribing and reading what I could find, I ended up approximating this effect using my diaphgram/breath....Unfortunately, I thinkmy approximation was good enough to slip past my teachers at college and since! I can hear the difference and it lacking in my playing. Trying to get this down now and feel natural isn't easy after so long!
Like you say, there isn't only one way to do things and there's no right and wrong, but if I end up not using ghost tonguing in my playing I want that to be the result of an artistic decision - not a lack of techinque! At at the moment it's definitely the latter! thanks again
Thanks so much Morph! appreciate the kind words and comments :)
thank you!
Thank-You so much Johnny, the needed Help at the right Time, (on Sam,they Indian say) You open up a world of possibilities
most welcome my friend!
Amazing man, I owe you a pint.
Thankyou for your videos. I like your direct style.
"There's no wrong, there's no right" is useful. The stories about particular famous sax players holding polar views about reeds or mouthpieces are great examples. Clicked with me. Play and experiment lots and aim to play lovely music, is what I say!!
so cool video, thank you so much!!
Thank you for watching! Stay tuned....lots more new exciting stuff coming soon!
Wow! Thanks so much for this! The examples really helped me a lot! I struggle with coordinating the ghosting with the right note. It's mostly as I speed up the tempo. It sounds like a train wreck lol Any who, I enjoyed the video! Watched all the way through and it certainly was not boring! And you're absolutely right about why we play sax because I can not sing for nothing! I definitely "liked" and "subscribed" !! *note: that is what your son meant! Definitely ask people to do this! :) Cheers!!
Thank you so much my friend! Appreciate the good vibes and encouragement greatly :)
Thanks Johnny. The best explanation. Very good.
Great teacher！
Thank you! 😃
It's going to be interesting to try this out on the horn. The thing I find so interesting about this aspect is the dynamics. It's like microdynamics, and it imitates the rhythm of speaking in a conversation.
Absolutely bro! Its what gives us all that unique thing. Its quite subtle but you can hear it for sure! Peace n progress!
excellent content thank you for sharing
Parabéns! Muito útil suas informações.
Gracias!
Thank You
Great lesson. Thank you!
Thanks for the lesson¡
My pleasure!
Thanks for getting this information out 😊aloha coach Mundo
Thank you!
Great lesson 👍🏽👍🏽
Thanks!!👍👍
excellent video. I play jazz flute. Obviously no reed. Can you do an equivalent thing other than not playing the note? As a sax player you may not know but perhaps you double on the flute?. Thanks again. Love the fact your London accent has not been Brooklynised yet.
hello, thx for kind words.. i dont play flute so cant really comment but im pretty certain if you listen to the flute work of roland kirk, james moody, yusef lateef, hubert laws and fathead newman you cant go wrong! lol... :)
thnx
Харош парень объяснил, открыто, лайк
Great lesson !!!!!
Thanks so much! Glad u enjoyed it :)
Really good lesson. I'm curious to know how other people ghost tongue. I just figured out I seem to be pressing the tip of my tongue against the back of my lip cushion, if that makes any sense..
i think whatever works best for you, your method sounds fantastic too...its a very personal thing and if it gets the desired effect thats all that matters! :)
Ok thanks Johnny.
Good job
Fino!!!
MUY BUENOOOOO !!! THANKS !1
Nice Video👍😊
Thanks from Germany Heidelberg.
Great explanation and video. Only thing I missed is the articulations on the"dude". Are you tonguing there, or no tonguing just air to start the note?
Thank you for this helpful instruction. I didn‘t understand the difference between ghosting and swallowing- or is there no one?
Super vid Johnny .. I'm converted
Thanks Nick! :)
Thanks Man :)
Great lesson Johnny! Love it! This articulation is used even on 16 notes, correct? Or is simplified with mostly random major accent on down or upbeat (especially when phrases changes profile)? This articulation must be the same on every tempo, correct? What about legato? In Parker articulation alternate D-T-legato and N, correct? Last: in some point seems you mute completely the note. I use to muting the 50% of the sound of the note, more or less, is that correct? Thank you a lot.
I generally practice it as 1/8th notes (the rails with which bop generally run on)..the faster the tempo becomes the more 'straightened out' it gets. it gets harder the faster the tempo..faster speeds= less tongue, less articulation.. only my way...no right or wrong!!) hope that makes sense - Listen to the records...all the answers lie there for us all :)
I have been playing for 30 years..I realize I suck.....but now after some much needed practice..I think I will suck a bit less...thanks.
thanks so much! little by little...we're only ever in the middle :)
Do I need to hit the tongue n not necessary? Did I understand correctly? just my English is not very good and I could have missed something
3:29
Can you explain exactly what you are doing with your tongue to stop the air flow? Where does it contact the reed? Middle? Sides? etc. Cheers
i think the whole concept of 'dude-n' tonguing is not to stop the airflow but rather to mute half the sound of the reed (hence ghosting). i think the explanation @ 7.25' is about the best I've got! -but as i said everyone is different and there is no right or wrong way. hope that helps! :)
Ooops""saxophone" is probably the correct spelling, isn't it? I'm a bit dislextic. Or am I dislecsic?
Hi if you were living close to me, I would love you to be my teacher
Thank you so much for kind words! happy to help if you have any questions :)
Nice tutorial but I can't understand why you write Da Da and when you sing I hear Ta Ta.
Thanks boss, i dont know really! Da,da...jst seems to be the shape my mouth is in. Theres no right or wrong way but im def concieving da,da...i wrote all that stuff out about 15 years ago and maybe teaching students dude,n, da,da was easier than dude,n, ta,ta at the time...
Its the 'N' that is the important part... (to me).. :)
Wrong wrote. You say "du-dn", wrote "dude-n". Sorry for my english