How to hear overtones?

[kehaulani]

This is an honest question. Is all this really necessary? Can't concentrated hearing and then subtle chop adjustment be all that's necessary? It eventually depends on a direct relationship with the chops and ear, anyway.

Maybe we're just wired differently, but I just don't understand all the additional (and to me, unnecessary) time and concentration spent on microanalysis, not just here but elsewhere, also. "Let the mind lead and the body will follow". Thanks.
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[Manuel de los Campos]

[kalijah]

Manuel de los Campos wrote:

[mm55]

[Vin DiBona]

The production of overtones shouldn't be a mystery, but it is.

First, an individual's sound is determined by that person's palate. We all have a different sound and we can often recognize a performer within a few notes.

There must be a continuous, clean airflow. Without that, nothing happens.

One's lips must be free, supple, and be able to make the true vibrations to set the center of the pitch.

The player, mouthpiece, and horn must make a synergistic whole unit. Should the mouthpiece not fit either, you don't sound right.

A poor instrument will not allow the overtones to be produced, even in the hands of a fine, experienced player.

Mouthpiece safaris do not allow the embouchure to react and "learn" what the player is trying to accomplish. The result is a lack of pitch center and incomplete overtone production.

One does not have to hear the overtones produced. They can be felt (sensed) and in a good room the sound will come alive. A good quality recording of yourself is a very good tool.

Some of you may know of the great percussionist Dame Evelyn Glennie. She is deaf, but can feel exactly what is occurring. True, her instruments produce vibrations, but so does a good trumpet.

Above all, one must know what sound they can produce the best. Chasing sound, accomplishes little. You are who you are.

Listen to players you admire. Plant that sound in your memory. Those sounds can help you find your own sound.

Practice and use a tuner to find the resonant center of the sound. Don't stare at a tuner. That does nothing but make a bad habit. Keep it to the side and when you hear something good, check the pitch.

Remember what you hear and what the audience hears are two different things. You want to sound good to them and we often are our own worst judge of what we wound like.

Books have been written on this subject, but try to keep it simple.

R. Tomasek

[cgaiii]

This thread reminds me of Bernstein's lecture on Musical Phonology, particularly his demonstration of the harmonic series, which may also help the OP in his quest.

Here is the lecture starting at the part on the harmonic series. The whole lecture is worth a listen, but this is the part germane to this discussion.

https://youtu.be/MB7ZOdp__gQ?t=1748
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[JayKosta]

I think it's an interesting point that the 'harmonics' that can be played with the same valve setting IS NOT the same as the harmonics that are created when a note (the tonic) is played.

e.g. open valves can play: low C, G in staff, C in staff, E in staff, etc.
but the harmonics that RESULT from playing a low C are the C in the staff, G above the staff, etc.

Am I understanding this correctly?
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Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.

[kalijah]

[Beyond16]