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22

It is not true in general that the higher you go on the fret board, the lower your harmonic is. Actually, if your were to play an harmonic at the 24th fret, you would hear a note sounding an octave higher than the harmonic at the 12th. Still, however, the harmonics behave differently than fretted notes. Now, let’s get physical and explain why. On perfect ...


12

You might be actually playing A 110, two octaves below A 440. The open A string on a standard tuned guitar is actually two octaves below the A that is normally tuned to 440. To play the A that should be at 440 Hz, you have to play the 5th fret on the high E string, or the 10th on the B string, or the 14th on the G string, etc. Why? The 440 A is the A above ...


8

Use flats. In fact, write the bass of the 3rd chord as D♭. You're not only running parallel second inversion diminished chords downwards, you're doing so in a key that already uses flats in the key signature. I'd even be tempted to write the soprano and bass of the second chord as C♭ and E♭♭ respectively, but leaving them be might be a little easier to read. ...


7

In the context of acoustic analysis: Overtone: any resonant frequency above the fundamental frequency. Harmonic: resonant frequency that is an integer multiple of the fundamental frequency. For almost any^* musical instrument, any time you play a sound, you get a whole series of overtones. The feature of pitched instruments that makes them pitched is ...


6

We hear harmonics because they are physically produced by the instrument; they are not "invented" as some sort of illusion. In fact, we often aren't consciously aware of them, though we can hear their effect on an instrument's timbre, or tone quality. They are caused because when an instrument such a string vibrates, it actually does so at more than one ...


6

The difference is quite simple, and we might be over-complicating it in other answers. Overtone: any resonant frequency above the fundamental frequency. Harmonic: resonant frequency that is an integer multiple of the fundamental frequency. A harmonic is a type of overtone. All resonant frequencies above the fundamental are overtones, but only the ones ...


6

The spectral effect of hard sync is incredibly varied and not as systematic as AM or FM. However, it is definitely capable of producing inharmonic spectra. Here's an excellent article explaining how hard sync can make synthesis of an acoustic piano more realistic by creating inharmonic sounds reminiscent of the striking of the string by the hammer and such: ...


3

Although I definitely see what you're saying, it's not strictly true that harmonics closer to the nut will be higher. What's happening with natural harmonics is you are dividing the string into to equal parts. An open string will not only vibrate at its fundamental frequency but also at integer multiples of that frequency, each getting higher and quieter. ...


2

To add to Patrx2's answer, you will call the note Ab (for the key Bb). The reason why is because you're referring to the seventh scale degree when you label the pitch "ta" (we called it "te" but that's not the subject of the question :) ). Ti, Te, or Ta all refer to a pitch of the seventh scale degree. And so it must be a note that starts with the letter ...


2

My friend, you have just stumbled onto the Harmonic Series. This was something Pythagoras tinkered around with using the monochord, and is primarily responsible for much of how Western music sounds, is written, is analyzed, and is perceived. Very basically, all sound travels through vibration. Since vibrations are made up of waves, each wave has a crest, ...


2

After all the technical answers, try this. Play , say, the 7th fret harmonic, then press down on the EIGHTH fret. Pluck the string BEHIND - as in closer to the nut. You'll find that the note is the same. If there were more, smaller fretwires, you could do this for all the harmonics. You have been fooled into thinking the harmonic nodes only work going DOWN ...


2

The fun thing about working in the frequency domain is that the maths are really simple. For example, the effect of an equalizer is completely independent of the signal you're feeding it, it's just a simple multiplication of the signal (in frequency domain) with the equalizer frequency response. What I'm getting at is that any visual equalizer already ...


1

I think the basic of harmonization will do you good. I think the better way of approaching harmony especially when it is for four voices is to think of it as two melody written together with the middle voices giving substance to the thing. So lets consider the following. Your melody voices need a good width. Aim for an octave. Your melodies need to be ...


1

Use something hard pushing the string away from the fingerboard. Hard, just like the objects in John Cage's compositions for prepared piano: screws, clothespins, very hard rubber, etc. Of course cellists don't want to damage their fingerboards or strings, so some compromise must be made.


1

When you use a pure sinusoidal excitation (at reasonably low levels) you will only excite the basilar membrane at a relatively small area and only the neurons associated with that area will be active. At higher levels the middle ear can become non-linear by itself so you will see some harmonics and the according neural activity as well. Establishing a one ...


1

In general, whenever there is a sound, there is more than one frequency occurring simultaneously (exception: A pure sine wave tone has a single frequency). But any periodic function, such as a sound wave, can be written (via a Fourier transform) as a sum of individual sine waves, each with their own frequency and amplitude. If you plot the amplitude of each ...


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

Just intonation does produce harmonic sounds; perhaps the most harmonic sounds possible. You are correct that for a Justly tuned system to work, then each of the tones that you use will need to be adjusted relative to the current tonic. Because of this, you are correct to think that there will need to be many different 'flavors' of each note, depending on ...


1

You can strike a natural harmonic, like a nice G at the octave fret across the D,G,B strings, then play fret 2 on D and 1 on B string to turn it into a C afterwards. If you fret them quickly & decisively, the harmonic of the G still rings and it sounds like harmonics in C - but a chord. I do this sometimes and if I get it right, it can sound really ...


1

If you play the C or F harmonics with your fingernail on the side of the string instead of your fingertip on top of the string, you can bend them into tune (or bend many other harmonics). There is also a C just above the 11th fret of the E strings and an F on the 11th fret of the A string. They're pretty fuzzy sounding and take a lot of pressure. They ...



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