1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
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295 Posts
So, as a senior in high school I've been trying to become more advanced in my skills, and started really working overtones. I've been at overtones for a year but not really any altissimo. My question is more overtone related, since I know I need more time on those first before I really hit altissimo hard.
So, I play tenor the vast majority of the time, and currently have two: A Kessler Custom Handmade Red Brass tenor that I use for my "indoor" bands, and a Series V King Super 20 the local music store rented me for the marching season (funny how little that shop knows). Anyway, If I use the same mpc/reed combo (Rousseau w/ plasticover 3.5, Kessler modern classical mpc w/ rico reserve 3, or Kessler OL7Pro jazz mpc w/ Vandoren V16 2.5) on either horn, I can get some overtones. However, the King lets me just up to D3 occasionally off of Bb1, whereas the Kessler can't get to Bb3. This holds true to all of the lower notes on both horns. I can get the octave+ fifth on the Kessler, but the King gets at least 2 octaves.
I'm guessing it must just be that the older king was better designed for overtones, but I wouldn't think that such a gorgeous sounding horn like the Kessler would inhibit the overtones. Is it just more work on finding the embouchure for the Kessler? I've taken my buddy's YTS-62 and had a decent time with overtones on it too, so I'm not sure why the Kessler is so resistant to overtones...or is it me doing something wrong?
So, I play tenor the vast majority of the time, and currently have two: A Kessler Custom Handmade Red Brass tenor that I use for my "indoor" bands, and a Series V King Super 20 the local music store rented me for the marching season (funny how little that shop knows). Anyway, If I use the same mpc/reed combo (Rousseau w/ plasticover 3.5, Kessler modern classical mpc w/ rico reserve 3, or Kessler OL7Pro jazz mpc w/ Vandoren V16 2.5) on either horn, I can get some overtones. However, the King lets me just up to D3 occasionally off of Bb1, whereas the Kessler can't get to Bb3. This holds true to all of the lower notes on both horns. I can get the octave+ fifth on the Kessler, but the King gets at least 2 octaves.
I'm guessing it must just be that the older king was better designed for overtones, but I wouldn't think that such a gorgeous sounding horn like the Kessler would inhibit the overtones. Is it just more work on finding the embouchure for the Kessler? I've taken my buddy's YTS-62 and had a decent time with overtones on it too, so I'm not sure why the Kessler is so resistant to overtones...or is it me doing something wrong?
