The saxophone warmups for March encompass several exercises that I learned from my studies with Joe Allard. Overtones/Undertones are important fundamentals for all saxophonists to master regardless of the style of music one performs. They help to improve the ability to connect what one hears in the inner ear to the larynx and ultimately to what comes out of the horn. The three examples offered reflect the most direct way to approach each area within a short span of time and are excellent if one only has a brief time to play before a gig.
- The Matching Overtone exercise has been cited by Dave Liebman as “the most important exercise because of the practical benefits in actual playing.” I find it to be the most beneficial for improving one’s tone, pitch, and producing a more resonant sound. Start by producing the first overtone (2nd partial) on the low Bb fingering. Then, while maintaining the same reed pressure, air speed, and pitch, switch to the standard Bb fingering. Try to maintain the same depth and width of sound as you attained on the overtone fingering. Because the overtone fingering makes use of a greater part of the bore of the entire horn than the standard Bb fingering, it will naturally have more resonance and overtone presence. By imitating the inner mouth cavity shape and feel in the laryngeal region that you had when playing the overtone, you will find that it is possible to create that sound and pitch utilizing the standard fingering. Move back and forth from overtone to standard fingering as indicated several times until the overtone and natural fingering are one and the same. Do this for low B, C, and C# as well.
- Undertones are not talked about as much as overtones but their value is equally important. In this exercise, you’re asked to do the polar opposite of an overtone exercise in that you will play the written descending chromatic scale with the octave key open BUT you will sound the pitches one octave lower than written. This will not be too difficult for the palm key notes but once you get into the upper left-hand notes, you will likely find that they will be more difficult to play one octave lower. It can take quite some time before one is able to actually get the lower register pitches to sound the full length of the exercise. Note that when you come to middle C# (open C# without the octave key), you need to use the 1st overtone fingering and then the subsequent overtone fingerings down to Bb. Play this exercise fortissimo and quickly in order to have enough air speed to get through the entire length of the scale. This may look easy but trust me–it is not easy! You will find that you really have to focus on discovering the feelings in the laryngeal region to be successful here. Achieving that alone will enhance your abilities to play throughout the registers of any saxophone.
- The Overtone exercise is fingered exactly the same as the Undertone exercise shown BUT you will not engage the octave key at all while sounding the written notes. Rather, you will play the scale with the appropriate fingerings to middle “D” as if the octave key was opened and then resort to the overtone fingerings, as in the Undertone exercise. This will create a different feeling than you might have experienced with the Undertone exercise but you will continue to gain sensitivity towards the sensations in the lower throat area. Remember that in all of these exercises, YOU MUST HEAR THE DESIRED PITCHES PRIOR TO THEM SOUNDING ON THE HORN.
*I highly recommend to continue this type of study with Sigurd Rascher’s essential publication: Top-Tones for the Saxophone.