Transcript

Well, the last one, of course, in the end, everything comes down to this.

Without the overtones, from note to note, the way I will actually play in the real world and real life, how much flexibility can I attain on the sound to get it to be what I want it to be?

Now, what do I want it to be? I'm going to play two notes. I'm going to take the first note as the supreme god of notes. I want my other note to sound like that.

Now, what can I do? I can do half steps, I can do whole steps, I can do thirds. Obviously, the wider the interval is, the more difficult it is to get the sound to be the same. But what I'm trying to do here is use the first note as the sound I want, and no matter what other note I play, to get the same color. Obviously, the pitch is changing, but the same color.

So let's do it in minor thirds. So first, I'm going to start with F. Now, that has a certain color, call it pink, whatever you want to do, shape or sound, it's up to you. In your ear, you hear a color. I want A flat to sound color-wise like that.

Now, to me, the F has a little more body, a little more bottom, which it would being lower. So, can I get that in the A flat?

See how different the color is with the A?

Now, of course, I could adjust the first one. Kind of cheating. But, one way or the other, I want them to come together.

Now, again, if I do, let's say I do a fourth. I'll do G. Let's do a...

You hear the C has more of a focus, the G is a little more spread, which would be right acoustically.

So, I'm going to try to get that spread on the C. So, this is an imagination exercise.