Saxophone - ANSWERS to QUIZ 5

Lesson 5 - Quiz 5 - Links

1. The physical manipulation of the body resonator shape.

2. The tongue.

3. The mind imagines the tone, the body resonator manipulates its shape, the ear listens to the results.

4. Improved tone projection, wider pitch range, depth of feeling and colour.

1. Overtones are the acoustic ingredients of a single tone. They are an infinite number of pitches with ever decreasing wavelength. The wavelength of each Overtone is a fraction of the Fundamental wavelength.

2. The Fundamental is the lowest and most prominent tone (the 'mother tone') of an Overtone series.

3. It indicates its wavelength as a fraction of the Fundamental wavelength. For example Overtone No.7 has a wavelength equal to 1/7 of the Fundamental wavelength.

4. As the timbre characteristic of the sound (e.g. a note on the piano, flute, the sound of a car, etc.).

1. To play an Overtone on the sax the body resonator must decisively shape itself for that Overtone and over rule the tone preferred by the instrument resonator.

2. No, the purpose is purely to develop greater mobility of the body resonator shape. In 'real playing' this will improve the tone quality and pitch control.

1. The Overtone Number doubles each successive octave. If the fundamental C is No.1, then the C one octave higher is No.2, the next C is No.4, next No.8, then No.16, No.32, etc.

2. 4 = C, 5 = E, 6 = G. Together they form the C major triad chord.

3. 4 = C, 5 = E, 6 = G, 7 = Bb. Together they form the C7 (dominant 7th) chord.

4. Each odd numbered Overtone represents the first appearance of a new pitch name in the series. E.g. For the Fundamental C the first new pitch name is Overtone No.3, G. The next new pitch is E as No.5.

5. Each even numbered Overtone has already a namesake lower in the series. E.g. Overtone No.6 is another G, Overtone No.10 is another E. (See also answer D.1 above.)

Lesson 5 - Quiz 5 - Top - Links

Copyright © 2002 Michael Furstner (Jazclass). All rights reserved.