Tag Info

Hot answers tagged

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 ...


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 ...


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 ...


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, ...


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 ...


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: ...


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 ...


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 ...


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 ...


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. ...


3

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

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 ...


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

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

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, ...


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

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 ...


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 ...



Only top voted, non community-wiki answers of a minimum length are eligible