There he is!!! Ollie’s lookin’ bad ass. Love it. Great video Wally - I literally found myself nodding along the whole time, silently saying “yes yes yes!” in my head. Mega bugle calling as well old bean! I gotta try the vowels thing now with my students. My TTM owners are gonna love this reinforcement, and it’s great to know it’s not just me saying this stuff! Awesome. 👏🏻👏🏻👏🏻
< I´m triPPing...the "i o u" work best for Me ! They are so sensitive...can´t even touch them ( you know where they´ll send you)!¡ I Owe You. I live in Nicaragua , Central America. It used to be a 3rd. world country. Today it´s about an 8th ! ....but still grows great cofee!¡! IIf you know anyone coming down , or me, someone going up , I´ll send you a couple of pounds!> Hasta La Vista Master Wally>
I'm going to say what everyone is thinking.....if you ditched that metal tube and went Full Time with your Ollie puppet comedy act you would be way more wealthier and famous. That puppetry act is your Goldmine! You can still play sax on the side as a cute hobbie. Ollie is your money maker!!!
Thanks for the vowel sound reminder. I make a better, more rounded sound when I practice overtones regularly and I haven't touch on them for ages, so thanks for the prod! Loved the appearance of Ollie, he is looking mighty fine.
uah! Grandissimo! Bravissimo! I love Ollie so much! Uah i want to marry him! uah Ollie my love! Bellissimo video! Long live Ollie & ciao from ancient Italia... 😋🤪😋🤪🐻🐻🐻👍
@@chuck4972 Higher tongue position (very individual) can be a good starting place. If I'm honest - a slightly firmer embouchure and stiffer reed is VERY helpful as well! Keep me updated, Charlie!
Hola, Saxterix! I speak southern American, I assure you, our vowels are strrraaaaannnge! Thanks for watching, and hope you have a great weekend my friend!
Great course and very helpful lesson on overtones - however - I'm really struggling keeping certain notes in tune, (it gets worse when I go into overtone mode). I use a tuner app and seem to be continually adjusting my embouchure to stay in tune (it's worse for certain notes eg middle D). I'm 6 months into playing so maybe this is normal, but right now I cannot see how I can stay in tune with a consistent embouchure - and without a tuner I'm all over the place (eg +/- 20 cents)
I would love to devote all of my time to music but over the past half of a century I already haven't. I do have a love for music that does surpass all other aspects of life and study for It is a release and outlet that calms my nerves from all else that I have had to do that surpasses the worth of music. That is the worth of music for it is a accessory that exalts all that mankind endeavors as expressions relate to significance of accomplishments as fervor .
Great video Dr. Wally. As always, you look extremely well presentable. I am always amazed with the sounds, with your talent and the excellent advice you give really helps out a tremendous amount and with much love and respect, I can not thank you enough for a wonderful job you do with every video and greatly appreciate you for all your hard work and generosity and may God continue to bless you throughout the year! I was blown away how well you made that sax sound like a bugle horn sound so clean and so smooth and I like the hilarious comment mentioned afterwards.. hahaha lmbo.. I did not think that was even a possibility to play that on a sax and now that I am completely astounded, dumbfounded and amazed and its also back to square one for me once again just when I thought i had this instrument of mine, down-pat, under control and succeeding in the 'Accomplishment in-a-short-period-of-time award', I feel the need... To start from from scratch and back to sq.1.. So recently, I did some homework & plenty of practicing and I managed to accomplish just 1 overtone on my cheap $80 Bundy piece of brass can. .. I can achieve the higher octave tone, it sounded more like a screech, concentrated, coming from a creature dying by steamroller at first, which now has has improved, thank God But I think I might have caused increased aging on the left side of my face by 4.5 years when I look in the mirror, my sunglasses don't seat level anymore either. So pretty much the fundamental note and its higher octave is all I can play. Could it possibly be my mouthpiece , neck, the saxophone's limitation, the reed I'm using? Not sure, or just me and I'm having major trouble finding those sweet spots, seems too difficult to fine tune my embrasure any more than I can.. I am hoping I can achieve these other tones w/o having to require lip surgery or a little botox shots in the cheeks first to help it. lol. This seems much harder of a task than expected ...worst than trying learn to play the beatstick for the first time, I betcha.. Soo Idk, I'll have to get back to ya on this one after practicing some more or I just might need some more advice Doc... Also I'm wondering, just how many overtones are there? (excluding fundamental of course) ..Umm...... 4? ..I think I heard like 7 there..wth?
@@drwallysax It's spreading all over - Dave Pollack has a copy, Adam Neely has a copy, and... uhh... well those are the only others I can think of right now.
Wow. This is so eye-opening. This is the best overtone video I’ve watched, and I really appreciate this video! Such interesting explanation that makes sense and provides a useful method for progression.
An amazing resemblance to the cookie monster! Related? Well done as alway Wally.....the saxophone community should be very happy to have your work at their finger tips. 👏👏
Thanks, Paula. I'm not the best, but maybe the top 50 saxophone you tubers who use puppets while wearing suits? Maybe top 75? Hope you have a great weekend! Is it warm in Poland? It's lovely here!
@@drwallysax Don't be so modest, when it comes to suits and puppets, you're definetly number 1. Actually it's cold and rainy and doesn't feel like spring at all. We only had a couple of warm days but it was only a teaser. Have a great weekend too, Dr Wally! :)
Even though I am 'just' a beginner, I love watching your lessons, you make me laugh and understand that all the strict linear information given by many is actually quite frightening. I have learned a lot just because of that, you have a great sense of humour. I am glad to hear that you are going to include a small amount of stuff for my level. Can I ask though is it possible when you are doing work on fingerings which aren't usually included on a general fingering chart, to include the fingering. I have seen it a couple of times and it made a lot of difference. Keep me laughing and understanding that people who play the saxophone are human like you and I'll keep watching even though it's over my head, I still learn.
This is an admission - and an interesting discovery. I was doing the overtone exercises with my tenor and I wanted to explore the difference of using two very different mouthpieces. One is a Selmer metal C* (which has a short facing curve, the other is a Berg Larsen metal 90-2-SMS with an almost twice as long facing curve. I will admit that I expected the overtone exercise to be easier with the longer facing curve. But I was wrong. The tongue positions are the same for both mouthpieces. So it is really only tongue positions that matter. However, I found it easier to "cheat" with jaw adjustments with the longer facing. And since I want to learn this technique as quickly as possible, I think I will stick to the Selmer mouthpiece for a time. The Berg Larsen is more powerful but that will have to wait for another chapter of the story.
First - don't stress! They're a rather advanced technique and there's tons of legendary players who don't even use them! But - to get another approach to voicing - you can try mouthpiece pitch bending exercises. I don't have a video yet - but lemme see if I can make one!
Or you might be reminded that a C on your saxophone is a Bb on the piano. Why it’s so, I have never understood. I’m playing in a small band. All my sheet music is written in concert keys. Nobody of my fellow musicians care about “what it is for me”.
First - that's incredibly kind, thanks for your support! I have no idea if that's a thing? I'll check - and seriously, thank you. Have a great weekend!
ALL HAIL OLLIE! That aside, time to give Overtones another shot! I mean, what could possibly go wrong? It's not like they will accidentally summon Cthulhu again or anything... I hope....
Heeeeyyyyy now! Are you British, Alan? Being a big Top Gear fan, that seems to be a James May favorite insult. Happy Tuesday! NOW GO PRACTICE YOU ABSOLUTE MUPPET.
What, no credits for "The Puppet Company Blue Monster Hand Puppet" on Amazon of $29.99? Is it time to invest in The Puppet Company? Will there be lots of 22" "big, bright, hairy and very scary" monsters in saxophonists' homes? Look what started!
Great video as always Wally!... 4th partial and above are a nightmare... you make it look so easy... yeah I know... "Go practice"... LOL.... My conclusion... If Ollie can, it can't be THAT hard... and finally we can buy you a coffee!!!
Isn’t overtone the same as timbre? Won’t you always have timbre never mind how you play? And what is meant by “improving” your tone? Two of my favorite saxophone players, Stan Getz and Paul Desmond sound great to me. Have they been working with overtones?
Timbre is defined by the strength of various overtones within the tone - bore shape and dimension of wind instruments create different overtone spectrums. It's like varying the amount of spices in a dish - alter the strength of one, you alter the dish. As for Getz and Desmond? No idea. But many great players do. It's just a tool, one of many, to help understanding shaping the airstream.
Ill just keep practicing, a little frustration but I'm determined. It might be my cheap sax and wrong reed and lack of i still have no clue what im doing
My tone has improve as you've promise! How much? Wait on it! 25% and counting! Much easier flow of air stream! Waiting on my 56 in black but if it's the real deal I'm definitely getting a white as well! Appreciate your teaching methodology! Like you always say.....off to practice! Thanks
This makes my heart very happy, Thomas, thank you for letting me know! Keep up the great work - and you're gonna love the 56 (just played mine this morning)!
Hello Dr. Wallace and thank you for sharing you knowledge with us.. I am using a Meyer 6 mouthpiece with a 2/12 or 3 reed. Is this ok for playing overtones or a 7 opening would be better? Also I find it very difficult to slur from one overtone to another. Should I tongue each one? Happy Easter!!
Hey Attilio! No need to change equipment, but do try a light "kuuu" syllable. More of a breath accent than tongue. Try it and keep me updated! Happy Easter to you as well!
What’s a good mouthpiece I should buy for my alto sax? Im lead alto and im looking for a mouthpiece that will give me the jazzy/projecting sound that I hear most lead altos play.
I'm biased - but I'd obviously recommend the mouthpiece I designed with Windy City Woodwinds: The 56! www.windycitywoodwinds.com/product-page/wcw-alto-saxophone-mouthpiece
Hi, dumb question: should I start the course with January and just be a few months off since it's already April or should I pick up the course at April? In other words, does the course build each month or is it cyclical?
Start wherever you please! It's not progressive (other than going through the circle of fifths) - just relates to that months RU-vid exercises. Jump in and have fun - and hit me up with questions!
I’m disappointed to hear that clarinet doesn’t have overtones. I learnt tenor sax for a couple of years 20 years ago but picked up a clarinet for $50 at the markets 6 months ago. I’m teaching myself how to play it and really want to have it sound as expressive and complex as a saxophone - it sounds like that is just not going to be possible - oh well, will have to rely on bends and scoops I guess. (But will keep trying to develop as expressively as I can on the clarinet - and I agree that it’s a torture stick, I’ve tried many instruments before and none of them were a tortuous and difficult as the clarinet)
Thanks Dr Wally. I have received my 56 two weeks ago! You were right it is just amazing ! I am looking forward to apply overtones on melodic study. Thanks again for your advices, energy and french wording! Et voilà merci !
Dr Wally. I love your classes. Your the only dude who also bothers to dress properly for a public forum. Everything is always relevant to a specific topic.
This just made me realize that I don't use the octave key at all apart from high d upward, I use overtones! Is that weird? Also thank you for introducing me to the Goldberg Variations by Glen Gould. It has become a very soothing yet focusing daily meditation for me. Much appreciated. I'm going to go and buy you a coffee.
Hi Dr! Improving I all the time with the new videos you upload. Thanks! The question: how frequently should we practice overtones in a regular practice week?
Once again, thanks for sharing your knowledge! I consider myself a somewhat advanced player, yet I learn new things every time from your vids. Will you or Ollie go into multiphonics later in the course? I think I may need something to keep the admirers (f/m) at bay if my sound keeps improving as it does lately (thanks to you). Also there's some new neighbors that I didn't meet yet 😉😀🤪
Great video! The only question I have is should I strive to keep each partial 100% in tune with the fundamental? The first overtone comes out quite sharp and when I try to bring it down the note simply falls back to the fundamental. Thanks for your help!
Hey Curtis, fantastic question! I DO NOT try to tune the overtones. I use them to find power and resonance in the voicing. When I play the normally fingered note, the intonation is quite different, but the focus remains. Some people focus on brining them in tune, that misses the point in my opinion. On my Yamaha, they're crazy out of tune - brining them in tune creates more change in the oral cavity than is useful. And that exaggerated motion is much larger than I use in normal playing! Great question!
That’s a variation of what a college Jazz teacher called the clarinet. He called it “the pain stick”. He was a Star Trek Trekkie. The Pain Stick is a Klingon torture devise.
Blake!! It's not a Mona, but I think the Lorier works with the retro-vibe? I was listening to an interview with Lorenzo and Lori (Lorier founders), and they were asked if they would ever use a Swiss movement. Lorenzo had a funny answer: "I grew up in Switzerland and took Karate lessons next to Rolex, they're not magical, they're just people....the Miyota is great." (gave me a good chuckle). Still jealous of your Monta, that thing is gorgeous! (happy weekend)
Great advice on playing the naturally fingered note using an overtone embouchure - Thanks Dr. Wally! Also, one question [2:06] "Is it 'Timbre' or 'Tamber''" (Seinfeld S03E16) y.yarn.co/bc60bf99-d881-4b44-aab8-46b8b280a4e2.mp4 I had to actually look it up thinking it was 'timber' sounding, but apparently from the french use it is 'pronounced 'tamber'. Not tambor as in tamborine)I learned something new :>D
Thanks, Bob! It is indeed tam-br! It's French, but with my neutral American accent. You had me paranoid I said Timber when I read your comment! Man, I love Seinfeld. Have you watched "Comedians in Cars"?
@@drwallysax Of course - all but the very latest episodes I think. I'm originally from New York so his show (and accent) always bring back memories. Sorry about the paranoia but like I said, you taught me something new there too. Cheers!
Thank you for all the knowledge you share. 👍🏾. I play by ear so it becomes fun for me to have many notes coming out of one note. But now I will try to get the same one out. 😊💚🎶🎷
Hello Dr. Wally, thanks for this great video. I'd like to ask you if you could make a video about subtone, explaining the correct way to do it (focusing on embochure, air path ecc...) and maybe some exercise to practice and improve it. Thanks in advance, have a good day.
@@EnlightenedRogue24 Oh man, that's very kind! VERY cheap stuff - with tie's and pocket squares my wife got me with a Sprezza box subscription. Seriously, thanks, made my day!
Q1: How important is intonation of the overtone? I'll play a note (ex. G2) followed by its overtone version (fingered as C1) and find the second one to be quite sharp. Should I spend time flattening the overtone to get it *exactly* in tune, or have I already done the important work by just getting it to sound? Q2: As I do experimental mouth gymnastics to get the higher overtones out, "hee" "haaa" "harr" "Kee" "Kaa" "Karr", I found that lifting my top teeth off the mp seemed to work in some extreme cases. I think this "double lipping" is much frowned upon, but obviously something in that mouth shape contributed to successful tone production. Any idea what that was?
Hey Bruce! First, happy Tuesday. Also, my friend Jamie sent me a video of you (I think it was you?) playing the Hitchcock etude - you sounded FANTASTIC. As for your questions: 1. intonation - I don't worry about it, I focus on resonance and clarity. There are some great players who DO tune them, I just don't agree. My Yamaha plays overtones SO out of tune, it's not useful for me to tune them (when the fingered pitch is so much closer to in tune) - I have my students "tune" the actual fingered notes. 2. I'n not entirely sure - but I would rather have a stable, consistent embouchure than hitting higher partials. I have some AMAZING students who can't really get above D3 in overtones- it's not a problem. Personally (given how long I've been playing) I can take overtones into the stratosphere - BUT I NEVER DO! I find the greatest value in focusing the tone of the natural range of the instrument. GREAT QUESTIONS! Does any of this make sense?
@@drwallysax Yes that video was me on jamie's site. Sadly I still have the same probs with achieving speed, but I'll keep working on that. I consider your advanced etudes as "apirational" as opposed to "achievable". :). I just go as far as *I* can and consider the incremental successes I make. As for your answers, thank you. That helps a lot. I was hoping you weren't going to demand that I tune them because the embouchure changes required (for me anyway) to get them in tune makes me lose the overtone altogether. I'm sure there is a happy medium in there, but as you pointed out, clarity (which I've got) is more important than intonation (which i don't got). As for the higher overtones I was struggling with, I'm slowly stumbling upon workable methods by trial and error. That double lip thing was a surprise to me. I have no real need to play ultra high notes (but I appreciate the theory). I sit next to an alto player who does it all the time. And i can do it easily on my "torture stick". I like the full dark and smokey sound of the bottom end on my tenor. Overtones is helping shape those too.
Great video, Dr Wally. I have to be honest I really struggle with overtones. I've a feeling my clarinet/bass clarinet background is somewhat behind this! Anyway, still loving my 56. I've also found that D'Addario select jazz reeds have worked best for me and not my trusted red javas.
Man your videos are very great! One question: is it better to practice loud? I'd really like to play smooth and quiet. Although I already made some progress, it's still hard to get controll over the sound. Is there a big benefit from practicing on full volume? Thanks!
Ideally, practice at a variety of dynamics. I suppose the benefit of playing at full(ish) volume is developing an airstream that lets you carry over a big band, small combo, etc?
@@drwallysax Thats great news! I'll practice quiet at home and loud in the shed and at sessions :) Just wanted to say thanks one more time, I watched almost all of your content by now and even took notes. There is so much great information and now you even made that call and response practice together video. I'm just overwhelmed how good and helpful your content is!! THANK YOU :D
Great video, well explained! I am doing these overtone matching exercise for quite a while now & and it really boosted my tone quality. However, I am still struggling to get the 4th overtone (e.g. high D on low Bb). Any recommendations.
Hey Kai! (cool name, by the way). Going higher than Bb3 *may* take a bit more embouchure pressure. Also, if I'm using a thinner reed, it's more difficult. Can you overshoot it and slur down? Or are you having trouble going any higher?
Hi Wally, thx for your quick reply. It‘s really the 4th and the 5th, the higher partials (like the Bb 3 octaves above the low Bb) are coming out again and from there I can even go higher to C and D etc. This holds true also for B, C, and C#! But I will try with a slightly harder reed and will let you know if it works. Thx Kai
