Overtone Exercise #2 - Matching Overtone to Regular Fingering

Transcript

Then finally the most important exercise is what I'm going to show you now. There's a whole bunch after this. Exaggerated, what I call exaggerated exercises. But for now, the most important exercise is what I call the matching exercise. And the matching exercise means we're going to now use the overtones to get the real notes to sound better.

I'm going to play the fundamental. Fundamental. First overtone in this case. Natural fingering. Real fingering for that note. B-flat. B-flat in my case, I use side key. Use the one that you use. Whichever one you're used to.

I want to go back and forth, repeat, 15, 20 times, whatever. As many times as I need for that day to get the real B-flat to sound like the overtone B-flat. What do I mean by sound like? Pitch. First of all. As much as possible, my real note should correspond in pitch to my overtone note. My overtone note is basically with little variations in tune.

Because I didn't change anything. Nothing acoustics, nothing to do with the horn. B-flat is still, I'm still covering everything. See, I'm still there, even though I'm playing a G. First is intonation and second is sonority, color. All those words which means timbre. Which means that the sound of the overtone note, can I get my real note to be like that. What do I mean by that?

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