Moving through the rest of the series, the intervals are Perfect 5th, Perfect 4th, Major 3rd, Minor 3rd, Minor 3rd, Major 2nd, Major 2nd, Major 2nd, Major 2nd, Minor 2nd. As seen in Example 2, the second partial is an octave above the fundamental. A full harmonic series will always contain the same patterns of partials. In comparison, overtones comprise only the resonating frequencies above the fundamental, so the first overtone is actually the second partial. A harmonic or partial describes each of these pitches, so if we count, the fundamental would be “1” (the first partial) the next frequency or partial above that would be “2” and so on. Before the advent of valves, brass players (trombonists excepted) were limited to playing the notes of a single harmonic series-not a lot of flexibility or choice unless playing in the extreme upper registers, which is at least one reason why Bach’s trumpet parts are so high! To clarify terminology, a harmonic series comprises the fundamental pitch and all of its resonant frequencies that follow a particular pattern. Using embouchure and air to change pitches, a player has access to all of the notes in a particular harmonic series. In essence, each valve combination or slide change represents a different harmonic series. Each valve combination or slide position offers a fundamental pitch that has a unique series of resonant frequencies, or harmonics, above it. A player is obviously not limited to just seven notes on a brass instrument.
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