Keeping a D above the staff that in-tune without even looking at the tuner is godly. Wish I could do that. Also, I’m working on vibrato and it’s mostly lining up with what you’re saying so I think I’m on the right track.
This is the same technique used by flutists and other classical woodwind. (Typical vibrato on brass or jazz reeds is done with the jaw, and changes pitch rather than volume.)
@@jazzbassoonpaul Interesting to hear! I'll have to listen for this now, since it seems I've made one assumption too many, and not really been paying attention.
Keeping a D above the staff that in-tune without even looking at the tuner is godly. Wish I could do that. Also, I’m working on vibrato and it’s mostly lining up with what you’re saying so I think I’m on the right track.
This is the same technique used by flutists and other classical woodwind. (Typical vibrato on brass or jazz reeds is done with the jaw, and changes pitch rather than volume.)
no-jazz sax players use this classical style of vibrato. Not all but most.
@@jazzbassoonpaul Interesting to hear! I'll have to listen for this now, since it seems I've made one assumption too many, and not really been paying attention.
Vibrato is easy,not need to talk~the most difficult is double tonguing