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11

There is indeed a reason! The notes you play on a trumpet with a particular fingering come from the harmonic series, which is a series of tones based on the root, or fundamental frequency. The idea is that the harmonics (also called overtones) are whole-number multiples of the fundamental frequency. If the fundamental frequency of, say, your trumpet, is ...


11

(Just in case of any confusion, this answer was originally in response to a duplicate question about pinch harmonics used by Billy Gibbons of ZZTop - thanks for the merge, Dr Mayhem!) These are probably pinch harmonics. In which case, they are not produced by a particular amp or effects setting, but are produced by the picking hand while playing (although ...


10

Consonants are primarily just noise—largely high, semi-random frequencies. Vowels are generally the only part of speech that have harmonic content as opposed to the inharmonic content of consonants. Bright, forward vowels like EEEEEE have way more overtones than dark, back vowels like AHHHHHH. Most consonants other than the nasals are so brief that I'd ...


7

Technically speaking, the answer is infinity for all intervals. This is because for any resonant harmonic of a fundamental, a harmonic exists at twice the frequency. There is an order in which these intervals appear, and that is easily found by looking at the harmonic series. You do need to know, of course, that the 12-tone equal temperament that we use ...


7

We first need to categorize each interval, assign it a "consonance amount". That's the first problem we find. In the case of the fourth, for example, some consider it perfect consonance, and others consider it a dissonance, depending context (and who you ask). For simplicity, let's define ours based on Wikipedia's: 1: Perfect consonances: unison, octave, ...


6

It appears to be the 'fret' number, just as you'd find in the rest of the tab. Except open harmonics start out over frets - 1st is at the 12th fret, an octave, but as the string gets divided more and more, the nodes become out of line with the guitar frets. The 6th harmonic is found over 'fret 2.7' and the 5th over 'fret 3.2'.This is obviously very close to ...


4

For your specific points: 1) For most/all* instruments, the amplitude of the partials decreases as the partial number (i.e. frequency goes up). Thus, for almost all musical sounds there is "more of" the (first) octave and the fifth and less of the higher harmonics. So adding a second sound whose fundamental is at one of the lower harmonics reinforces ...


4

Izotope RX has a tool called de-construct, which is basically a mixer between the tonal and noisy parts of a sound, tonal being the partials that are related. To achieve what you want you set the tonal gain fader to -inf (the lowest). It is not a real time tool, though.


3

UPDATE: Based on your comment below: "For the purpose I am interested in the tonal qualities of silver apart from shape. If you strike ANY silver resonater it makes a peculiar ring that, as I said in the question, is unmistakable. This is the tone I am interested in capturing and studying. If you strike a pure silver coin you will hear what I am talking ...


3

Using a keyed instrument with Just Intonation creates a bunch of puzzles that need to be solved. You are either faced with observing limits on navigating from place to place, or doing "comma pumps" (equating near by intervals, or bend/vibrato between them because they are close enough). The problem isn't really Just Intonation though. It's caused by ...


2

I want to make an addition to all these excellent answers. With just intonation, it's not possible to make all the chords just. Not even in a single key. Let's look at the common just major scale based on I, IV and V just major triads: C 1:1 D 9:8 E 5:4 F 4:3 G 3:2 A 5:3 B 15:8 In this scale, I, IV, V major triads (4:5:6) and iii and vi minor triads ...


2

It depends on your way of quantifying matters. Normal speech converts airflow into energy somewhat efficiently so you have similar amounts of energy per time. Consonants fall into several different classes, voiced and unvoiced, and orthogonally nasal, fricatives, and plosives. Vowels are directed rather well, so they tend to carry better than most ...


2

JC's program goes through and counts, which is one approach to the problem that certainly gives an answer. But what it doesn't provide is insight into the pattern that causes notes repeat in the overtone sequence. I'm going to take the opposite approach, of showing the pattern, without necessarily giving an answer. :) The key, of course, is octaves, which ...


2

The harmonic series extends to infinity, so we need to limit the analysis to the first n harmonics. The results, then, will depend on how many harmonics you analyze and how much value you give to each harmonic (maybe weight each harmonic with its amplitude). I made a small program that analyses that relationship between harmonics and intervals. You can ...


1

I believe such a tool would first have to know how to determine what the un-noisy signal sounded like. I don't know of a tool that will do all of this together, but you might be able to cobble together a rudimentary version of such a tool from existing tools. I don't know how well it would work... For example, Reaper (and probably most DAWs) has a ...


1

Short Answer: Consonants Mostly Long Answer: The important point here is less the vowel/consonant definition, but more the phonetic sound that they represent. E for Example can be from eeeeeexample, or seeeee, which have a different set of overtones consonants work to punctuate the vowels and give shape to the language because they are mostly short ...


1

The foundations of existing music theory were build when scientific data about sound perception were absent and they were inclined to number mysticism which source was that consonant music intervals correspond division of string in ratios of small integers. Now the following facts are known: -the sound signal of basic existing music instruments may be ...


1

All these answers are great already. Just one thing to add: the higher the harmonic you want to play, the closer to the bridge you should pick. You get maximum volume from a harmonic when you play exactly midway between nodes (because this is where the string "wants" to vibrate the most); you get little or no response if you pick at another node-point ...



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