The Overtone Series A Method for Young Musicians

The Overtone Series A Method for Young Musicians

What is the Overtone Series? When you look at a beam of white light through a prism, you will see an entire spectrum of colors Even though it is a single beam of light, it has all the colors of the rainbow within it, arranged in a specific way to produce the white color.

The same can be said about a single pitch. Within one pitch, there is actually a spectrum of OVERTONES, a whole set of different pitches. All of them are evenly subdivided frequencies of the one your ear actually hears. These subdivisions are called: PARTIALS

It is especially important for brass musicians to know the OVERTONE SERIES Each fingering or position on a brass instrument can actually produce up to 16 pitches depending on the setting of the embouchure. Knowing the series enables the musician to use alternate fingerings, switch instruments, or plan for pitch adjustments.

The Overtone Series is made up of the FUNDAMENTAL plus 15 PARTIALS The lowest note in the overtone series is called the FUNDAMENTAL This pitch is often referred to as a PEDAL TONE 2 Fundamental 3 4 5 6 7 8 9 10 11 12 13 14 15 16

And Review An OVERTONE is. . . a PARTIAL is. . . The OVERTONE SERIES is made up of the _______ and ____ partials. The FUNDAMENTAL is also referred to as a _______

Constructing the Overtone Series Start with the FUNDAMENTAL, FUNDAMENTAL PARTIAL #1: C Multiply 1 by 2, and the 2 nd partial is exactly one octave higher. 2 x 2=4, the 4 th partial is one octave higher And so on, until you reach 16

Here it is demonstrated visually. . . Multiply 1 by 2 (1 x 2=2). The second partial is one octave higher than the first: 2 1 2 x 2=4. The 4 th partial is one octave higher than the 2 nd: 4 2 1

4 x 2=8, the 8 th partial is one octave higher than the 4 th: 8 4 2 1 8 x 2=16, the 16 th partial is one octave higher than the 8 th 16 8 4 2 1

RULES RULE #1 Partials 1, 2, 4, 8, and 16 are all octaves apart. We will refer to these as the “Fundamental Partials” Partials 16 8 4 2 1

The next partials are multiples of 3 3, 6, and 12 are all perfect fifths from fundamental partials 2, 4, and 8 P 5 P 5

RULES REVIEW RULE #1 Partials 1, 2, 4, 8, and 16 are all octaves apart based from the Fundamental Pitch Now. . . RULE #2 Partials 3, 6, and 12 are Perfect Fifths (P 5) from the Fundamental Partials 12 8 6 4 3 2

The next partials are multiples of 5 5 and 10 are all major thirds from Fundamental Partials 4 and 8 M 3

RULES REVIEW RULE #1 REVIEW RULE #2 Partials 1, 2, 4, 8, and 16 are all octaves apart based from the Fundamental Pitch Partials 3, 6, and 12 are Perfect Fifths (P 5) from the Fundamental Partials RULE #3 Partials 5 and 10 are Major 3 rds (M 3) from the Fundamental Partials 4 and 8 10 8 5 4 2

The next partials are multiples of 7. Partials Partial 7 and 14 are a minor 7 th above the Fundamental Partials - 4 and 8 Remember, “The 7 th is a minor 7 th” 14 8 7 4 2 m 7

RULES REVIEW RULE #1 REVIEW RULE #2 Partials 1, 2, 4, 8, and 16 are all octaves apart based from the Fundamental Pitch Partials 3, 6, and 12 are Perfect Fifths (P 5) from the Fundamental Partials REVIEW RULE #3 Partials 5 and 10 are Major 3 rds above Fundamental Partials 4 and 8 RULE #4 Partials 7 and 14 are minor 7 ths (m 7) above the Fundamental Partials 4 and 8 14 8 7 4 2 m 7

The next partials discussed are the 9 th and 11 th. This one’s easy. . The 9 th partial is one whole step above the Fundamental Partial - 8. 11 M 2 10 9 M 2 8 4 2

RULES REVIEW RULE #1 REVIEW RULE #2 Partials 1, 2, 4, 8, and 16 are all octaves apart based from the Fundamental Pitch Partials 3, 6, and 12 are Perfect Fifths (P 5) from the Fundamental Partials REVIEW RULE #3 REVIEW RULE #4 Partials 5 and 10 are Major 3 rds above Fundamental Partials 4 and 8 Partial 7 and 14 are minor 7 ths (m 7) above the Fundamental Partial 4 &8 RULE #5 Partials 9 and 11 are whole step (M 2) above the 8 th and 10 th, respectively. 11 M 2 10 9 M 2 8 4 2

What’s Left? PARTIALS 13, and 15 Easy. . . from partial 12, think M 2 for the 13 th From partial 14, think m 2 for the 15 th BIG. . small Here’s what that looks like: M 2 2 3 4 5 6 7 8 9 10 11 12 13 14 m 2 15

RULES REVIEW RULE #1 REVIEW RULE #2 Partials 1, 2, 4, 8, and 16 are all octaves apart based from the Fundamental Pitch Partials 3, 6, and 12 are Perfect Fifths (P 5) from the Fundamental Partials REVIEW RULE #3 REVIEW RULE #4 Partials 5 and 10 are Major 3 rds above Fundamental Partials 4 and 8 Partial 7 and 14 are minor 7 ths (m 7) above the Fundamental Partial 4 &8 Review RULE #5 Partials 9 and 11 are whole step (M 2) above the 8 th and 10 th, respectively. And the Last Rule. . .

RULES RULE #6 Partial 13 is a Major 2 nd (M 2) from 12 and Partial 15 is a minor 2 nd (m 2) from 14 M 2 2 3 4 5 6 7 8 9 10 11 12 13 14 m 2 15

Workbook Time In your workbooks, finish and review pages 3 and 4. We will review your answers before moving forward.

1 2 3 4 5 6 7 8 9 10 11 12 13 1 - Fill in Fundamental Partials 3 - P 5 Partials 5 - M 3 Partials 7 - m 7 Partials 9 - M 2 Partial What’s left? 13 and 15 - m 2, M 2 14 15 16

In your workbooks you will now construct the ENTIRE Harmonic Overtone Series (that’s right, there’s more. . ) The pattern of intervals is exactly the same, you just move down by half step. Here is an example of a completed series using partials 2 -10

Name That Partial! Can you tell which partial it is by looking at the note? The key to doing this is to think of the note as an interval. It’s either an octave, P 5, M 3, m 7, or M 2 from a fundamental. Once you decide which interval it is, you can guess the partial.

Name the Partial. . . • 5 th of C • 3 rd of A • 7 th of F# • 10 th of F# • 8 of Bb • 9 th of F# • 8 th of G# • 7 th of Bb • 5 th of A • 3 rd of F# • 7 th of C

Workbook Time Make sure you understand have completed page 6. Work through page 7. Take your time, and think it through. Remember it takes practice!

We have learned the intervals between the notes on the Overtone Series, Series but how is it applied? Each fingering or position on a brass instrument produces all 16 partials Let’s construct a trumpet fingering chart. . .

Trumpet Fingering Chart open 2 1 12 23 13 123 Memorize the valve combinations in the order above. The order is the same for all valved brass instruments and coincides with trombone positions.

How does this information relate to other brass instruments?

The French Horn The basic double horn is built as a Bb instrument. When the trigger is engaged, the horn shortens to become an F instrument. RULES #1 - Without the trigger, think up a P 5 and use trumpet fingerings. #2 - With a trigger, think up an octave and use trumpet fingerings

Workbook Time At this point, you should be able to complete the trumpet fingering chart on page 8 in your workbooks on your own from memory. Drill the French horn RULES, and complete the exercises on pg. 10

How does this information relate to other brass instruments? Continued. .

The Trombone The Fingering system for the trombone is exactly the same as for the trumpet, except the trombone is major ninth lower in pitch. Here is a side by side comparison. .

Trumpet Fingerings - 7 Combinations open 2 1 12 23 13 123 Trombone Slide Positions - 7 Positions 1 2 3 4 5 6 7

The Baritone and Tuba For Baritone fingering, think up a M 9 from the written note and use the trumpet fingering For Tuba, think up a M 9 + an octave and use the trumpet fingering.

Workbook Time There are some exercises on page 12 that will help you remember the rules for other brass instruments in comparison to the trumpet.

How can an in depth knowledge and understanding of the overtone series and brass instrument fingerings make you a better musician?

1 -Brass Family Knowledge The ability to substitute on, or transfer to another brass instrument with ease will not only help your band if needed, but it also opens up opportunities for you as a musician.

Alternate Fingerings for Ease If you are asked to play music that seems impossible, chances are, there is an easier way to finger it. Knowing where the notes lay in other overtone series, helps you decide an alternate route.

Alternate Fingerings for Pitch This is a big one. . . And there are rules. . . Some of the partials are naturally out of tune. Some of the fingering combinations are naturally out of tune Knowing your overtone series helps you avoid problems

RULES OF PITCH Partials of the 3 rd overtone are slightly sharp Partials of the 5 th overtone are slightly flat Partials of the 7 th overtone are very flat

More RULES OF PITCH Fingering valves 1 and 2 is slightly sharp Fingering valves 2 and 3 is slightly flat Fingerings valves 1 and 3 is sharp Fingerings valves 1, 2, and 3 is VERY sharp

Workbook Time At the end of the workbook, there are some exercises to practice writing in alternate fingerings. Outside of the workbook, what ways can you drill the rules and practice the formula so that the Overtone Series becomes an instinctual part of your music making?