{"id":7077295,"date":"2026-10-05T20:35:12","date_gmt":"2026-10-05T20:35:12","guid":{"rendered":"https:\/\/fivemor.com\/?p=7077295"},"modified":"2026-10-05T20:35:12","modified_gmt":"2026-10-05T20:35:12","slug":"what-is-the-overtone-series-harmonics-timbre-the-sasquatch-chord-mdecks-music","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=7077295","title":{"rendered":"What Is the Overtone Series? Harmonics, Timbre &#038; the \u201cSasquatch Chord\u201d \u2013 mDecks Music"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div style=\"font-size:clamp(14px, 0.875rem + ((1vw - 3.2px) * 0.938), 20px)\">\n<p class=\"wp-block-paragraph\">When you play a single note on a piano, you are not actually hearing just one frequency.<\/p>\n<p class=\"wp-block-paragraph\">You hear a\u00a0<strong>fundamental pitch<\/strong>\u00a0together with a series of higher frequencies called\u00a0<strong>overtones<\/strong>\u00a0or\u00a0<strong>partials<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">Those frequencies are one of the reasons a piano sounds like a piano, a flute sounds like a flute, and the same written note can have a completely different color depending on which instrument plays it.<\/p>\n<p class=\"wp-block-paragraph\">And, strangely enough, this is also how we ended up inventing the\u00a0<strong>Sasquatch chord<\/strong>.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"The 7susQuatch Chord. Bigfoot, Chord Symbols &amp; The Overtone Series. #musictheory #jazzpianolessons\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/WYJTGHAAatc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<h2 class=\"wp-block-heading\">One Note Contains Many Frequencies<\/h2>\n<p class=\"wp-block-paragraph\">Suppose we play a low\u00a0<strong>B\u266d<\/strong>\u00a0on the piano.<\/p>\n<p class=\"wp-block-paragraph\">The lowest and strongest pitch gives us the note we identify as B\u266d.<\/p>\n<p class=\"wp-block-paragraph\">But above that fundamental, the sound also contains higher-frequency components.<\/p>\n<p class=\"wp-block-paragraph\">The first few harmonic relationships are approximately:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2192 B\u266d \u2192 F \u2192 B\u266d \u2192 D \u2192 F \u2026<\/strong><\/p>\n<p class=\"wp-block-paragraph\">So very early in the harmonic series we encounter:<\/p>\n<ul class=\"wp-block-list\">\n<li>the root<\/li>\n<li>another root an octave higher<\/li>\n<li>the perfect fifth<\/li>\n<li>another octave<\/li>\n<li>the major third<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">That is why the overtone series has such an important relationship to harmony.<\/p>\n<p class=\"wp-block-paragraph\">Hidden inside the spectrum of a single musical tone are intervals that resemble the building blocks of chords.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">These terms are often used almost interchangeably, but technically there is a small distinction.<\/p>\n<p class=\"wp-block-paragraph\">The\u00a0<strong>harmonic series<\/strong>\u00a0usually includes the fundamental frequency itself.<\/p>\n<p class=\"wp-block-paragraph\">The\u00a0<strong>overtone series<\/strong>\u00a0refers to the frequencies above the fundamental.<\/p>\n<p class=\"wp-block-paragraph\">So if the fundamental is the first harmonic:<\/p>\n<ul class=\"wp-block-list\">\n<li>1st harmonic = fundamental<\/li>\n<li>2nd harmonic = 1st overtone<\/li>\n<li>3rd harmonic = 2nd overtone<\/li>\n<li>and so on<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">For practical musical discussion, the important idea is simply that a complex musical tone contains many related frequencies at the same time.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">If two instruments play the same pitch, why don\u2019t they sound identical?<\/p>\n<p class=\"wp-block-paragraph\">Because the overtones are not equally strong.<\/p>\n<p class=\"wp-block-paragraph\">Each instrument emphasizes the partials differently.<\/p>\n<p class=\"wp-block-paragraph\">A piano might have a particularly strong octave or fifth partial, while another instrument might emphasize a different part of the spectrum.<\/p>\n<p class=\"wp-block-paragraph\">That pattern of relative amplitudes contributes enormously to what we call\u00a0<strong>timbre<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">So timbre is not simply:<\/p>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThis is a piano.\u201d<\/p>\n<\/blockquote>\n<p class=\"wp-block-paragraph\">At the acoustic level, it is partly the result of\u00a0<strong>which frequencies are present and how strong they are relative to one another<\/strong>.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">One of the most interesting demonstrations in the lesson uses\u00a0<strong>sympathetic resonance<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">Hold down a higher B\u266d silently so its damper lifts from the strings.<\/p>\n<p class=\"wp-block-paragraph\">Then strike a lower B\u266d and release it.<\/p>\n<p class=\"wp-block-paragraph\">The higher B\u266d begins to resonate.<\/p>\n<p class=\"wp-block-paragraph\">Why?<\/p>\n<p class=\"wp-block-paragraph\">Because that higher pitch is strongly represented in the harmonic spectrum of the lower B\u266d.<\/p>\n<p class=\"wp-block-paragraph\">The same thing can be demonstrated with the F above it.<\/p>\n<p class=\"wp-block-paragraph\">But if you silently release the damper of a note that has little relationship to that particular part of the harmonic spectrum, it will not resonate nearly as strongly.<\/p>\n<p class=\"wp-block-paragraph\">This lets us experience the harmonic series physically rather than merely looking at a diagram.<\/p>\n<p class=\"wp-block-paragraph\">The piano itself becomes the experiment.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">We can also record the B\u266d and examine it with a spectral analyzer.<\/p>\n<p class=\"wp-block-paragraph\">Instead of seeing only one frequency, we see a stack of frequency bands.<\/p>\n<p class=\"wp-block-paragraph\">The fundamental is present, but so are higher partials corresponding approximately to the harmonic series.<\/p>\n<p class=\"wp-block-paragraph\">And the bands have different intensities.<\/p>\n<p class=\"wp-block-paragraph\">That visualizes the same phenomenon we heard through sympathetic resonance:<\/p>\n<p class=\"wp-block-paragraph\"><strong>one piano note is actually a composite sound.<\/strong><\/p>\n<p class=\"wp-block-paragraph\">This is also why saying that a note is \u201cjust B\u266d\u201d is useful musically but incomplete acoustically.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">The lesson makes a deliberately provocative observation:<\/p>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">In a sense, every time you play a note, you are already hearing the ingredients of a major triad.<\/p>\n<\/blockquote>\n<p class=\"wp-block-paragraph\">The early harmonic series contains the root, fifth, and eventually the major third.<\/p>\n<p class=\"wp-block-paragraph\">For B\u266d, those pitch classes are:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2013 D \u2013 F<\/strong><\/p>\n<p class=\"wp-block-paragraph\">So the spectrum begins to reveal something very close to a B\u266d major triad.<\/p>\n<p class=\"wp-block-paragraph\">That does\u00a0<strong>not<\/strong>\u00a0mean that every played note is literally a major chord in the normal harmonic sense.<\/p>\n<p class=\"wp-block-paragraph\">The partials have different amplitudes, occupy different octaves, and are properties of one complex tone rather than independent chord voices.<\/p>\n<p class=\"wp-block-paragraph\">But it does reveal something profound:<\/p>\n<p class=\"wp-block-paragraph\"><strong>many familiar consonant intervals are already embedded in the acoustics of musical sound.<\/strong><\/p>\n<p class=\"wp-block-paragraph\">That is the real theoretical insight hiding inside the joke.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">The\u00a0<em>Crypto Chords<\/em>\u00a0premise was intentionally ridiculous:<\/p>\n<p class=\"wp-block-paragraph\">take mysterious phenomena and search for hidden musical structures using music theory, numerology, spectral analysis, and whatever other questionable investigative techniques seemed entertaining.<\/p>\n<p class=\"wp-block-paragraph\">For Bigfoot, the chain of \u201cevidence\u201d goes something like this:<\/p>\n<ul class=\"wp-block-list\">\n<li>the creature is called\u00a0<strong>Bigfoot<\/strong><\/li>\n<li>the recorded cry seems to center around B\u266d<\/li>\n<li>\u201cBigfoot\u201d has seven letters, so obviously it must be a\u00a0<strong>seventh chord<\/strong><\/li>\n<li>Bigfoot is also called\u00a0<strong>Sasquatch<\/strong><\/li>\n<li>therefore the chord must somehow be a\u00a0<strong>sus-quatch<\/strong><\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">None of this is intended as scientific evidence.<\/p>\n<p class=\"wp-block-paragraph\">It\u2019s the comic framework that gets us to the actual theory.\u00a0<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">Before creating the mythical Sasquatch chord, we need a real chord.<\/p>\n<p class=\"wp-block-paragraph\">A\u00a0<strong>B\u266d7<\/strong>\u00a0chord is:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2013 D \u2013 F \u2013 A\u266d<\/strong><\/p>\n<p class=\"wp-block-paragraph\">or:<\/p>\n<p class=\"wp-block-paragraph\"><strong>1 \u2013 3 \u2013 5 \u2013 \u266d7<\/strong><\/p>\n<p class=\"wp-block-paragraph\">A\u00a0<strong>B\u266d7sus4<\/strong>\u00a0replaces the third with the fourth:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2013 E\u266d \u2013 F \u2013 A\u266d<\/strong><\/p>\n<p class=\"wp-block-paragraph\">or:<\/p>\n<p class=\"wp-block-paragraph\"><strong>1 \u2013 4 \u2013 5 \u2013 \u266d7<\/strong><\/p>\n<p class=\"wp-block-paragraph\">The word\u00a0<strong>suspended<\/strong>\u00a0comes from the traditional tendency of the fourth to resolve down toward the third.<\/p>\n<p class=\"wp-block-paragraph\">That gives us the perfectly respectable theoretical starting point for the completely disreputable Sasquatch chord.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">The lesson then analyzes the alleged Bigfoot recording spectrally.<\/p>\n<p class=\"wp-block-paragraph\">If the fundamental is B\u266d, we would normally expect strong early partials related to:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d and F<\/strong><\/p>\n<p class=\"wp-block-paragraph\">But the recording appears to contain a prominent\u00a0<strong>E natural<\/strong>\u00a0where F would have been the more expected relationship.<\/p>\n<p class=\"wp-block-paragraph\">Enharmonically, E can be spelled\u00a0<strong>F\u266d<\/strong>\u00a0relative to B\u266d.<\/p>\n<p class=\"wp-block-paragraph\">And F\u266d is:<\/p>\n<p class=\"wp-block-paragraph\"><strong>\u266d5<\/strong><\/p>\n<p class=\"wp-block-paragraph\">So the investigation turns the ordinary:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d7sus4<\/strong><\/p>\n<p class=\"wp-block-paragraph\">into:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d7sus4(\u266d5)<\/strong><\/p>\n<p class=\"wp-block-paragraph\">with:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2013 E\u266d \u2013 F\u266d \u2013 A\u266d<\/strong><\/p>\n<p class=\"wp-block-paragraph\">The acoustical analysis is real as a technique; using it to deduce Bigfoot\u2019s personal chord vocabulary is, obviously, the joke.\u00a0<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">At this point the lesson moves into another genuinely useful jazz-harmony concept:<\/p>\n<p class=\"wp-block-paragraph\"><strong>upper structures<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">Complex voicings can often be understood more easily as combinations of simpler chordal units.<\/p>\n<p class=\"wp-block-paragraph\">Instead of thinking:<\/p>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cI have to memorize nine unrelated notes,\u201d<\/p>\n<\/blockquote>\n<p class=\"wp-block-paragraph\">we can think:<\/p>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cHere is one lower structure, and here is another recognizable structure above it.\u201d<\/p>\n<\/blockquote>\n<p class=\"wp-block-paragraph\">The imaginary Sasquatch chord becomes an excuse to push this idea to an extreme.<\/p>\n<p class=\"wp-block-paragraph\">Its lower structure begins with the B\u266d7sus4(\u266d5) sound.<\/p>\n<p class=\"wp-block-paragraph\">Then additional upper structures are layered above it until the chord becomes deliberately enormous.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">On piano, the lesson constructs the full sonority from two hands.<\/p>\n<p class=\"wp-block-paragraph\">The lower structure contains the essential:<\/p>\n<p class=\"wp-block-paragraph\"><strong>B\u266d \u2013 E\u266d \u2013 F\u266d\/E \u2013 A\u266d<\/strong><\/p>\n<p class=\"wp-block-paragraph\">which gives us the:<\/p>\n<p class=\"wp-block-paragraph\"><strong>1 \u2013 4 \u2013 \u266d5 \u2013 \u266d7<\/strong><\/p>\n<p class=\"wp-block-paragraph\">sound.<\/p>\n<p class=\"wp-block-paragraph\">The upper structure then adds more color tones, including a G-based dominant structure and additional notes chosen partly through the Crypto Chords narrative.<\/p>\n<p class=\"wp-block-paragraph\">The result is not a standard chord symbol you are expected to encounter in a Real Book.<\/p>\n<p class=\"wp-block-paragraph\">It is an invented sonority.<\/p>\n<p class=\"wp-block-paragraph\">And that\u2019s precisely the point.<\/p>\n<p class=\"wp-block-paragraph\">Once you understand:<\/p>\n<ul class=\"wp-block-list\">\n<li>chord construction<\/li>\n<li>suspensions<\/li>\n<li>altered fifths<\/li>\n<li>overtones<\/li>\n<li>tritones<\/li>\n<li>upper structures<\/li>\n<li>voicing<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">you can begin\u00a0<strong>designing sounds<\/strong>, rather than merely identifying chords someone else already named.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">This is the part I would emphasize strongly in the article, because I think it explains why the video is more substantial than it initially appears.<\/p>\n<p class=\"wp-block-paragraph\">The ridiculous chain of reasoning is constantly moving through\u00a0<strong>real concepts<\/strong>:<\/p>\n<p class=\"wp-block-paragraph\"><strong>Bigfoot recording<\/strong><br \/>\u2193<br \/>pitch identification<br \/>\u2193<br \/>spectral analysis<br \/>\u2193<br \/>overtone series<br \/>\u2193<br \/>sympathetic resonance<br \/>\u2193<br \/>timbre<br \/>\u2193<br \/>major-triad relationships in the harmonic spectrum<br \/>\u2193<br \/>sus chords<br \/>\u2193<br \/>altered chord tones<br \/>\u2193<br \/>upper structures<br \/>\u2193<br \/>voicing<\/p>\n<p class=\"wp-block-paragraph\">So the bizarre narrative is doing something pedagogically clever:<\/p>\n<p class=\"wp-block-paragraph\"><strong>it gives unrelated-looking theoretical concepts one continuous problem to solve.<\/strong><\/p>\n<p class=\"wp-block-paragraph\">You keep asking \u201cWhat chord is Bigfoot?\u201d and accidentally learn acoustics and advanced harmony along the way.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">The most important takeaway has nothing to do with Bigfoot.<\/p>\n<p class=\"wp-block-paragraph\">A musical note is not an isolated frequency.<\/p>\n<p class=\"wp-block-paragraph\">It is a structured spectrum.<\/p>\n<p class=\"wp-block-paragraph\">That spectrum affects:<\/p>\n<ul class=\"wp-block-list\">\n<li><strong>timbre<\/strong><\/li>\n<li><strong>consonance<\/strong><\/li>\n<li><strong>instrument color<\/strong><\/li>\n<li><strong>resonance<\/strong><\/li>\n<li><strong>interval perception<\/strong><\/li>\n<li>and, indirectly, many of the harmonic relationships musicians use every day<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">The overtone series therefore sits at an interesting meeting point between:<\/p>\n<p class=\"wp-block-paragraph\"><strong>physics and harmony.<\/strong><\/p>\n<p class=\"wp-block-paragraph\">It explains something about both\u00a0<strong>what sound is<\/strong>\u00a0and\u00a0<strong>why certain collections of notes can feel so naturally related<\/strong>.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p class=\"wp-block-paragraph\">The\u00a0<strong>overtone series<\/strong>\u00a0is the collection of frequencies above a fundamental that contribute to a musical sound.<\/p>\n<p class=\"wp-block-paragraph\">Its early partials produce relationships such as:<\/p>\n<ul class=\"wp-block-list\">\n<li>octave<\/li>\n<li>perfect fifth<\/li>\n<li>another octave<\/li>\n<li>major third<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">The relative strength of those partials helps determine an instrument\u2019s\u00a0<strong>timbre<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">You can demonstrate them physically through\u00a0<strong>sympathetic resonance<\/strong>\u00a0or visually through\u00a0<strong>spectral analysis<\/strong>.<\/p>\n<p class=\"wp-block-paragraph\">And once you start treating those acoustic relationships as musical raw material, they can lead naturally into:<\/p>\n<ul class=\"wp-block-list\">\n<li>chord construction<\/li>\n<li>voicing<\/li>\n<li>upper structures<\/li>\n<li>altered harmony<\/li>\n<\/ul>\n<p class=\"wp-block-paragraph\">Or, if you are sufficiently irresponsible:<\/p>\n<p class=\"wp-block-paragraph\"><strong>a B\u266d7 Sasquatch chord.<\/strong><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>When you play a single note on a piano, you are not actually hearing just one frequency. You hear a\u00a0fundamental pitch\u00a0together with a series of higher frequencies called\u00a0overtones\u00a0or\u00a0partials. Those frequencies are one of the reasons a piano sounds like a piano, a flute sounds like a flute, and the same written note can have a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":7077296,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[237831],"tags":[66893,149352,130814,1238,237832,58974,1297,237833],"dealstore":[],"offerexpiration":[],"class_list":["post-7077295","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harmony-analysis","tag-chord","tag-harmonics","tag-mdecks","tag-music","tag-overtone","tag-sasquatch","tag-series","tag-timbre"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What Is the Overtone Series? Harmonics, Timbre &amp; the \u201cSasquatch Chord\u201d \u2013 mDecks Music - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=7077295\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Is the Overtone Series? Harmonics, Timbre &amp; the \u201cSasquatch Chord\u201d \u2013 mDecks Music - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"When you play a single note on a piano, you are not actually hearing just one frequency. You hear a\u00a0fundamental pitch\u00a0together with a series of higher frequencies called\u00a0overtones\u00a0or\u00a0partials. Those frequencies are one of the reasons a piano sounds like a piano, a flute sounds like a flute, and the same written note can have a [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fivemor.com\/?p=7077295\" \/>\n<meta property=\"og:site_name\" content=\"Som2ny Network\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-05T20:35:12+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/fivemor.com\/?p=7077295#article\",\"isPartOf\":{\"@id\":\"https:\/\/fivemor.com\/?p=7077295\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/fivemor.com\/#\/schema\/person\/b85e3c3dc0e1daea076524dc8810c371\"},\"headline\":\"What Is the Overtone Series? 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