A multiphonic is produced by isolating the individual harmonic overtones or frequencies in a note. When specific overtones are isolated and combined, chords can be formed. A basic multiphonic can be produced by sounding a low note on the saxophone, called the fundamental, and then altering the position of the embouchure around the mouthpiece and changing the air pressure to sound the first overtone. By manipulating the embouchure and relaxing the muscles in the oral cavity and throat, it is possible to make the fundamental and the first overtone sound simultaneously. Continuing this process it is possible for a saxophonist to sound other notes in the harmonic series over the root note or fundamental, creating a number of different chord voicings. This technique has been extended through the use of non-standard or false fingerings. A non-standard fingering is a finger position that a saxophonist would not normally use to play single notes. A non-standard fingering for a multiphonic will produce a false fundamental, which will have an effect on the range of simultaneous partials that are available above that note.X This effectively allows the saxophonist to customise his own multiphonic chords from the instrument, and is not hindered by the standard notes of the overtone series.

Multiphonics are rarely used in jazz, unlike contemporary classical music or free improvised music where they are given compositional or expressive consideration. In the jazz genre, multiphonics are traditionally used sparsely, and exclusively as a special effect. The pioneers of the technique would use a multiphonic to highlight or emphasise the climactic point of a phrase in an improvised solo. In the thirties, extrovert swing saxophonists would use extraneous growls and shouts in their solos to heighten the emotion

The next stage in the development of the multiphonic technique came in the 1960's, during the "out" or avant-garde period of jazz. As jazz improvisation became more concerned with expression rather than melody, players such as John Coltrane started looking for new techniques to enhance the textures and emotive nature of their playing. Coltrane consolidated several advanced saxophone techniques into his playing, including multiphonics. This extension to his musical vocabulary is evident in his 1965 album "Ascension". The sound world that Coltrane creates is dense and heavily textured; although on the surface seems chaotic. In his solo on "Ascension", Coltrane frequently utilises multiphonics and multiphonic language. This style was adopted by many of the saxophonists who played with, or were influenced by John Coltrane. In fact, two of the sidemen on "Ascension", Archie Shepp and Pharaoh Sanders, became important figures in the extension of the Coltrane style, or what is now known as the post-Coltrane style.

Although Coltrane extended the spectrum for the use of multiphonics in jazz music, they were still seen as special effects. The unique sound of a saxophone multiphonic, together with the different colours that can be created from this technique, were still only used for abstract expression and multi-timbral textures in an improvised solo. This is also true for many other advanced saxophone techniques or special effects. On Albert Ayler's 1964 recordings, the saxophonist frequently uses waves of overblown tones and multiphonics with no definite pitch. He called these waves of sound "contours", or "sound-spans".

The technique for producing leading notes or a melody line from a multiphonic is an extension of the general multiphonic technique. Once the player has isolated the required overtones for the chord, he or she can use extra manipulation from embouchure and precise breath control to cause the leading note to sound louder and clearer than the other notes. The result is a chord with a pronounced leading note. The simultaneous creation of melody and harmony is a new departure for multiphonics and saxophone technique, generating melodic coherence from an abstract technique.