"Tartini Tones" BEATBoX SAX Tutorials -

[@onesyphorus]

mannn the nostalgia 😭😭 i used to BINGE these videos in middle school this was my LIFEE back then

[@duskkazuno]

I got a Legere advertisement featuring you on this video. Coming full circle

[@beatboxsax]

Kevon, (for some reason I can't reply directly under your comment) Glad you appreciate the video! As far as the mouthpieces are concerned, I had that SR Tech piece for maybe 7 years and I was wanting more power and a bit more edge in my sound. The JodyJazz DV is a really powerful piece, while still having warmth and consistency in the lower register. For my beatbox stuff, I'm slap tonguing the lowest notes ALL the time. So having that support in the low register, while still offering the overall power and edge in the overall sound, made the DV an obvious choice for me. The CHI model is also very nice, but I prefer the brighter DV sound. It's just an opinion thing between the two.

[@Seifer_42]

Lol, I've been doing this for years! I didn't know it had a name or anything, I just sat down one day trying to hum notes while droning a low Bb on my tenor. I also like to sing thirds, fifths, and sixths while droning a low note. Same thing when I'm playing clarinet. (It's so much easier on clarinet in my opinion.)

[@CeramicSerpent]

im trying to do this on clarinet, but i cant make figure out how to sing while playing. do you have any advice?

[@allrockirwin23]

The Colin Stetson song i think he's talking about is To See More Light, from the eponymous album. That song inspired me to dedicate my life to this instrument and I've been wondering for the past five how the hell he got that sound. He plays the bass so I thought he switched to that. Thank you so much for this man, you're amazing. Everyone who hasn't checked out Colin do yourselves a favor and go listen to his music. I think he completely ( through a LOT of free jazz influence) redefined the instrument and its purposes and appliances in this age, his music is completely unique and devastatingly beautiful.

[@nanooo2077]

Imagine if you do this on a subcontrabass sax...

[@H2SO4pyro]

Just to clarify: the saxophone trick is not a psychological effect. It's the same cause but not acting in our ear. The emitted sound is actually lower. The note that is sang by the musician (and so is going through the mouthpiece, and especially the reed) is superposing to the played note. The played note is the loudest, but the other one makes the reed vibrates slightly differently: the two waves interacts in a way that the sound is slightly amplified one period in two, and softened one in two. The result is that the sound have twice longer periods than expected, which is equivalent to half frequency, or one octave lower.

[@H2SO4pyro]

Noah S It is the back pressure on the reed, no doubt on that. the voice could never be loud enough to interfere over the saxophone's sound. But the two effect are linked as it is the same mathematical wave interaction, and so the same frequency relation.

[@voidisyinyangvoidisyinyang885]

yes you can do this on the piano - Leonard Bernstein demonstrates this by silently holding a Perfect Fifth and striking the Fundamental tone below (or vice versa) and the overtone rings out.

[@JJTetelepta]

Not sure you're still around here, but just got amazed by the concept of tartini tones and I'm thankful to have found this demo, awesome stuff man! I would argue though, and I'm really interested to hear your take on it as I'm trying to understand the phenomenon, that it's not merely an auditory illusion. As far as I understand waves, the sum of two frequencies leads to a combined wave that has it's own peaks, creating the difference tone. That combination is physically present, although recording requipment may overlook this when using the fourier transform where the frequencies are split back to their origins. So far my take, I'm all ears to anyone who's more educated on this stuff

[@lmited880]

Ah yes, I have finally obtained the bari sax low g

[@trumpetplayerdude9838]

The low note is a resultant sub harmonic note (kinda like how a note has many overtones, but undertones instead) . It's really there no illusion.

[@the.spin.doctor]

would you be able to see the subharmonic note on a spectrogram, or only its overtones? Like, is this just a psychological thing or are these tones actually being produced by the instrument?

[@rolandsax2439]

crazy ! really great job !

[@darknawg63]

Amazing. I really hear three distinct notes.

[@markussther5326]

Who else came from Adam Neely?

[@aidanwoodford8195]

Me

[@brandonm7952]

Markus Sæther video?

[@cimmik]

Did Adam Neely mention this video?

[@slynemon894]

got me. LOL

[@dogwalk3]

cimmik kzbin.info/www/bejne/bWTCdJx3jr1jZs0

[@ryanrichter1076]

I'm a guy trying this on Alto and it is definitely harder bc of range

[@Blijdenstein]

Amazing, interesting video, thanks Derek!

[@seandennis3148]

Thank you so very much!

[@kauavictor5285]

OMG THAT'S FANTASTIC

[@gramursowanfaborden5820]

i'm pretty sure this isn't an auditory illusion and is actually an acoustic effect of the sax, where the fifth lowers the volume of half of the fundamental waves due to phase cancellation, creating that bassy sub octave harmonic.

[@TheAvgCommentator]

Nah. If you take the the audio track from this video and isolate the perceived fundamental you will not hear it.

[@saturnine.]

Nope combination tones are a very real thing, check out Sideways's video called "Invoking the Voice of God", he explains them really well. The gist is that perfect fifths create the illusion of a major 3rd above and an octave below

[@gramursowanfaborden5820]

i know about combination tones, and yeah, that video is really good, but i'm still sceptical that this is that, rather than acoustic phenomena.

[@hirokokueh3541]

I record it, and put into low-pass filler to cut out the real sound of sax, lower sound still there.

[@MartinPeim]

It's essentially a high frequency verision of the beat you get from two close frequencies. The freguency of the low note is the difference between the frequencies of the played and sung notes. The beat is so fast here that you hear it as a pitch.

[@ValirAmaril]

Thank you so much, this is amazing. Much easier than I expected, too.

[@tjohnathan68]

Nevermind rewatched the video thanks once again for these great videos!

[@beatboxsax]

Haha. Though definitely try it with the low Bb, like Colin Stetson does. (See comments below)

[@tjohnathan68]

Will definitely give it a try thank you!

[@nightfr09]

Adam Neely brought me here! Awesome video!

[@Ahkuji]

Dude. When the come out. It's crazy and insane..

[@BigSlappaman]

I use this on my alto for fun. Every teacher I ask about this though have never heard of it

[@112358miau]

Discovered this with voice subharmonics. Dont know how it really happens on voice. You just have to sing a note and let it relax into a fry while trying to keep the original pitch. At some point a low octave happens magically.

[@Levi-04]

Can it be done on baritone sax?

Hey Derek! Nice video! Have you tried using the overtone sounds on the sax, using a low note fingering, along with falsetto notes on the voice? Might be a way of connecting the octaves... Just thought I should share this with you! Keep up the good work!

[@jazmaan]

This effect is well known to harmonica players. We call them "ghost notes". But since a harmonica can play more than one note at a time, you don't have to sing the second note, you can play it. So you play two notes and a third ghost note appears below. And if you bend the upper note the ghost note bends in the opposite direction. Works best on Just Intonation harps with amplification. Check it out: kzbin.info/www/bejne/p5i6c52BmdF7bpo

[@Bluemayje]

Trying as hard as I can, but I can not sing a note and play at the same time. It feels like the airflow coming out of my throat just won't allow it. The only way I can even remotely accomplish this is if I start singing a really growling, throat destroying note and then force air out into the horn. It doesn't sound right, and my face goes cherry red trying to hold it.

[@profdavidedf]

If the recording equipament doesn`t catch this, how do you record it? Does it depend of some specific equipament? Wich one would be it?

[@SaxandRelax]

I can’t do it but in the process I learned how to growl

[@mdsaj6316]

Há possibilidade de postar vídeos com essa técnica no Sax Barítono ?? 🇧🇷💪🏻👍🏻👍🏻🎷

[@JaredPopowski]

Hi Derek! You mention that tartini tones can be done on trombone as well. Do you know of any specific players/videos that I could listen to as examples? I can do multiphonics, but figuring out the notes to sound out on trombone for a tartini tone is pretty difficult. Thanks!

[@beatboxsax]

Hey Jared! When you say you do multiphonics on trombone, are you talking about singing and playing simultaneously? The trombonist in the German trio "Three Fall" does a lot of this (almost the entire time he plays). Sometimes the Tartini tones are more apparent, and sometimes their not. I think he usually sings an octave plus a third above the note he's playing, which theoretically should bring out the tone 2 octaves below the lowest note. But it all depends on how well the two tones (the trombone tone and the voice) blend. Good luck!

[@JaredPopowski]

Beatbox Sax Thank you! This is just the type of thing I was looking for. That group is killer!

[@Merkman55]

any tips on recording rigs and techniques?

[@jonatanbecerra1071]

bro, siempre me pregunté como hacias ese sonido al final de "every breath you take" me parece increíble, llegaré a practicar a casa1

[@beatboxsax]

+Jonatan Becerra Yes, this is what I use. I play a Concert B (Tenor C#) and hum a Concert F# (Tenor G#).

[@NunoVH]

Colin Stetson is an amazing player! I discovered him a few months ago and can't get enough of him. Might I ask what song/video he used this technique in?

[@beatboxsax]

Yeah, he's definitely carved out his own niche. He uses this technique in a BIG way on his tune To See More Light. Halfway through when he nails the extreme low note, he's still playing an alto (low Bbs) while humming Fs. There may be a little bit of help from the recording as it sounds SO big, but very cool nonetheless.

[@NunoVH]

Thanks, I'll give that track another listen. He's certainly proved me wrong about several things I thought would be impossible on saxophone.

[@michaelfarjellah1218]

So isn’t this just the opposite of overblowing in altissimo register?

[@jipaix12]

Yesss! bravo

[@tjohnathan68]

Do you think you could do this on alto? Thanks in advance great video by the way keep up the fantastic work!

[@caps4465]

How do you hum while you play?

[@stridersgames6546]

Would this be applicable to Bass Clarinet?

[@WilliamSlaght]

I'm about to blow this shit out of the window with the paper I'm presently writing. Not telling any secrets until the paper's peer-reviewed and published. Why the hell am I writing this? Gimme attention. Time to push the standing theories on Tartini tones.

[@mr.astronuts3825]

Have you done it yet

[@lachlanmcgargill]

is this kind of like multiphonics?

[@alivevinnie2935]

so it’s pretty much multiphonics?

[@qdj252]

have been trying to do this on trumpet. if anyone manages this, I just want to know if it's possible.

[@NunoVH]

I was practicing this on bari earlier tonight with some success. However, I wanna make the low tones a bit more prominent. What's your approach to subtone? There are lots of different methods for doing it, so I was just curious about which method you use.

[@beatboxsax]

I use subtone a lot in my various playing styles, so this is definitely a good skill to get down. However it can take a long time (like so many of these techniques) to get the proper feel and embouchure strength. I'll probably do a tutorial someday on subtones, but basically it comes down to bringing your jaw way back on the reed while using extra support from the diaphragm (my abs usually get pretty firm while doing this!). Also, while dropping your jaw, the muscles around your mouth must remain firmly in place. I've also heard other people mentioning to take less of the mouthpiece into your mouth, although I think more about sliding my lower jaw back instead. And seriously I only learned to subtone below a low C on my tenor within the last couple of years (and I've been playing for almost 20!). Good luck!

[@Yubetcha]

When I do it I just get a growl, is there something im doing wrong?

[@Matthew-ll3fp]

Yubetcha not singing the right notes

[@pikasniper477]

How to you sing into a saxophone while you are playing it? I tried and I all I can do is growl on it but can’t hum! Any tips?

[@HD-hh7db]

I had the same issue at first. Make sure you are making the sound out of your MOUTH, not your nose as you would when you hum (so you are quite literally singing rather than humming). Also, you might have to do this really loudly at first. It's a lot harder to sing into the saxophone if you are doing it quietly.

[@Levi-04]

does it work on bari sax?

[@dremix9837]

Yes

[@hotkeys2230]

Can you please explain how to find the Faith's on a tenor

[@hotkeys2230]

Fiths

[@beatboxsax]

+thehumanswissarmyknife It definitely takes some ear training and some music theory knowledge. If you know what the interval of a perfect 5th is (such as a C and a G above), you can play the bottom one and sing the uppper one. If that's tough to do, play the upper note, then hum that outloud while then playing the lower note. If you don't know your intervals, just google something like, "music theory intervals." Good luck!

[@hotkeys2230]

+Beatbox Sax thank you so much I would also like to say that you are the best saxaphonests I've ever herd!

[@saturnine.]

oh hell yes

[@WrenchBreaker]

hi, what would the interval be for alto sax?

[@noodles3132]

Wrench Breaker if you mean the same note as he is doing it's played as Playing G on your alto and singing the D above it. To find a perfect 5th just count to five starting from the note you start on going up. Ex. 1st G, 2nd A, 3rd B, 4th C, and perfect 5th D

[@WrenchBreaker]

no i thought there would be a different interval because its a smaller sax

[@noodles3132]

Wrench Breaker ohhhhhhhhhhhh I'm sorry then. If you haven't found out since you asked a month ago, it is the same interval. Happy playing! :D

[@WrenchBreaker]

its fine! :)

[@demillethurman1006]

ITS POSSIBLE ON BARI SAX, I REPEAT IT IS POSSIBLE I didn't think it was but I started too low, and instead started on a low f. Jic any baris want to try

[@HD-hh7db]

Thanks so much!

[@HD-hh7db]

Thanks so much!

[@SammyNeverEver]

Imagine if you could combine tartini tones with slap tongue

[@israellearsy6636]

uouu toca muitoo 🎶🎷🔝👏👏🇧🇷🇧🇷🇧🇷🇧🇷🇧🇷

[@lucashoffses9019]

I don't even think a baritone sax can go that low.

[@benren10]

Bb Tenor tartini tone is equivalent to an low f on bari

[@Doostun]

Your voice would have to be very deep

[@demillethurman1006]

Tried it on bari and it just overtones the fingered note

[@tfang893]

hello i am 10,i play the tenor and i did it !

[@jaredkhan8743]

saxophoner 009 Why does your age matter

[@19tet]

1:43 ​@@jaredkhan8743

[@arifreeman]

I'm pretty sure that that's just a difference tone. Guitarists do this all the time when they play power chords. They get a bass frequency an octave below the root. If you have a 100Hz freq and you combine it with 150Hz you will get a difference tone of one minus the other or 50Hz.

[@reevo59]

arifreeman it's similar but I think it's actually something different. Adam Neely has a video called 'the third sound' that goes into depth on both

[@arifreeman]

I've looked into both and I think the fifth interval really does generate a difference tone an octave below the root, whereas Adam Neely was talking about sounds generated by the human ear itself. Adam's examples had a really different effect. They sound like they are coming from your ear, and they aren't represented on recordings. Whereas difference tones are. They can be EQ'd and measured. Difference tones are a big part of synthesis too.

[@alexcarter8807]

With trumpet/trombone it's called growling.

[@SlyHikari03]

Isn't this just growling?

[@typeOhh]

Who else came from Linus tech tips?.......guys?