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A string can support multiple independent vibrational modes simultaneously at multiples of its fundamental frequency; generally, only the brain will focus on the lowest one it hears and regard the others as subsidiary to it. Brushing one's finger against part of a string will absorb energy from all vibrational modes which would require that part of the ...


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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 ...


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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 ...


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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. ...


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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, ...


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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: ...


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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.


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(N.B. It is not a "fretboard", the cello has no frets; it is a fingerboard.) An alternative would be to swap from a solo cello piece to a piece for two cellos. I would not necessarily call this a duet since one cellist would just be playing the first harmonic on the G string for the duration of the piece. This would also give you the option to change the ...



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