Just a guy who plays saxophone.
No problem…I didn’t realize when I just laid out the notes early on in the thread that you didn’t understand the connection to the actual notes sounding off the base fingering. It’s a strange concept to grasp if you’re new to it. Like, what’s an overtone series, right?Perfect, this is what I needed to see…..Grrrrrrrrreat…Thanks
anyway, I really can’t stress enough how helpful (IMHO important) it is to stay on the lower notes for an extra long time and not really worry about getting up to the level 4 partials (the palm key notes) until you have some flexibility going between the fundamental and the first three (C, C, G, C) pretty fluently. Matching the full tone of the partials when you’re using the standard fingerings opens up your sound a ton…by matching I mean alternating between the long/ fundamental fingering and the traditional/ regular fingering from the chart we all know.
Like play F with the octave key, then play F using the low Bb fingering…now make the standard fingering match the longer/ closed Bb fingering and alternate between the two seamlessly until you can’t hear a difference. Matching F’s is easy and the pitch should be the closest match, so pay attention to the rich and full tone quality and make them sing the same. Other tones will be more pitchy, but things will work out as you progress. When you start matching at the two octaves up level (the 3rd partial…octave Bb-C#) you should really start to notice a “filling in” of your sound/ overall tone. When people sound thin in the palm keys you know they aren’t opened up and probably aren’t getting anything out of their overtone/ long tone work if they’re doing it at all.