Overblowing:

[frank_johnson]

I've noticed that I can get clean sounds on the higher register without using the octave key. Is this a useful "technique" or should it be avoided? (alto)
Frank

 

[Rogerb]

I think the danger is what I've found, that I was tightening my embouchure to play upper reg, then, as a result having difficulty playing lower D-G.

So my guess is that it's better not to do it until one has a really 'stable' embouchure.... this, in my case, is still a way off 🙂
(just into my second year of playing).

 

[Linky Lee]

It's called harmonics, if you change your embouchure enough you can finger a low C and play C above it, then G above that, then C again and you can keep on going and different harmonics come out the higher you go.

This is because the note 'C' is made up of lots of notes, all coming together, The main harmonics are the C itself, then G and and E. Which so happens to be a C major chord!

I think the change in timbre or tone is the emphasis upon different harmonics. One player could therefore produce a brighter sound by naturally producing more of said harmonics or certain ones, than another player. Have I stumbled on something here?

Is a brighter tone made by increasing the amount of 2nd harmonic in the note? Is a darker tone made with increasing the amount of harmonics that don't fit into the major scale. Does a bright tone have a major emphasis? does a dark tone have a minor emphasis?

Food for thought, especially for scientists.

Got a bit off track, I don't think it's helpful at your stage, as Roger said it could cause you to 'pinch'. Not so helpful later on.

It's good you can do it though, I'd stick to using the octave key as again like Roger says it makes the shift between octaves a lot easier. A way you can check your intonation is that when you produce a harmonic, it is going to be in tune with the note you were previously playing (to a better extent than the saxophone). If you then play that harmonic with a correct fingering, you have a nice self created reference pitch to hit.

It could be too much to work on if your embouchure and throat isn't up to it yet, but I think it's quite important to have an awareness about pitching and the quirks of your saxophone from the beginning.

 

[frank_johnson]

Thanks Roger and thanks Linky, you've given me interesting things to think about both now and in the future. For now I'll stick to the octave key!
Frank

 

[Pete Thomas]

I would add that theoretically there is no harm in what you are doing, but you could be adjusting embouchure just to get the notes without octave key. You may not even realise you are doing it.

I would also imagine its practically impossible to slur up a octave without the octave key, so you might as well get used to using it.

Interesting question, something I would need to see/hear personally to comment with any more confidence I think.

 

[frank_johnson]

Thanks Pete. Cracking website by the way. I'm still browsing through the articles when not practising!
Frank

 

[Greywolf]

My teacher is constantly reminding me to finger low Bb (tenor) then without the octave key adjust my embouchure to get the octave above and then the fifth
up to B, do the same, up to c, do the same and so on. This is good for getting control of your embouchure and will pay dividends with respect to general control of the horn.

Needless to say I don't practise it as much as I should.

 

[tris]

Practising harmonics in the way Grey Wolf describes is an essential drill. The skills learnt by doing these drills are a precursor to learning to blow the altissimo register. You can hear harmonics in a lot of playing. They have a different tone quality to my ears...