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overtone and series
In the 6th century BC, the ancient Greek philosopher Pythagoras wanted to know why some musical intervals seemed more beautiful than others, and he found answers in terms of numerical ratios representing the harmonic overtone series on a string.
* Trumpet: Early trumpets had no valves, and were limited to the tones present in the overtone series.
The natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series.
A trumpet becomes a closed tube when the player presses it to the lips ; therefore, the instrument only naturally produces every other overtone of the harmonic series.
In 1930 – 32, the spectacularly innovative and hard to use Rhythmicon was realized by Leon Theremin at the request of Henry Cowell, who wanted an instrument with which to play compositions whose multiple rhythmic patterns, based on the overtone series, were far too hard to perform on existing keyboard instruments.
They form the overtone series of the string, and they are the basis for musical acoustics.
Before valves became common about 1800, the horn could play only the notes of the overtone series from a single fundamental pitch.
Brass instruments, when played with no valves engaged ( or, for trombones, with the slide all the way in ), play a series of notes that form the overtone series based on some fundamental pitch, e. g., the B trumpet, when played with no valves engaged, can play the overtones based on B.
In Ireland Anúna have revived a technique of overtone chanting mentioned in the 8th century manuscript Cath Almaine, the technique uses one held drone with a shifting three or four note overtone series.
G Mellophones play much more like Flugelhorns and Trumpets and share the same overtone series.
The F mellophone has tubing half the length of a horn which gives it an overtone series more similar to a trumpet or most other brass instruments.
This unique type of singing involves the production of two distinctively audible pitches at the same time, including a low pedal note, or drone, derived from the fundamental frequency of the vocal cord vibrations, and higher melodic notes that result when the singer's mouth acts as a filter, selecting one note at a time from among the drone's natural overtone series pitches.
Tunings derived from the overtones of physical objects with an inharmonic overtone series such as rods, prongs, plates, discs, spheroids and rocks are sometimes used as the basis of xenharmonic exploration.
Ideally, the overtone series of a note consists of frequencies that are integer multiples of the note's fundamental frequency.
It does not induce the sounding reed to sound a higher overtone – free reed overtones do not even begin to approximate the harmonic series nor are they particularly musical – nor does it induce a higher vibrational mode in air in a pipe or other resonator – harmonicas generally have no such resonator.
It produces discrete notes in the overtone series like a valveless brass instrument.
Badings used unusual musical scales and harmonies ( e. g., the octatonic scale ); he also used the harmonic series scale from the eighth to the fifteenth overtone.
When this bridge is positioned in the noded positions of the harmonic series the volume of the instrument increases and the overtone becomes clear and has a consonant relation to the complementary opposed string part creating a harmonic multiphonic tone.
Vibration, standing wave s in a string, The fundamental and the first 6 overtone s which form a Harmonic series ( music ) | harmonic series
" Students then proceed through a process of discovery beginning with the overtone series and improvisations inside the piano.
As forms of the fifth and third are naturally present in the overtone series of harmonic resonators, this is a very simple process.

overtone and is
The second division, based on bore diameter in relation to length, determines whether the fundamental tone or the first overtone is the lowest partial practically available to the player:
The second partial ( first overtone ) is the lowest note of each tubing length practical to play on half-tube instruments.
When this technique is employed whilst playing chords, care must be taken in overtone selection as the overtones stemming from the non-root pitch can cause extreme dissonance.
There is also a sexual overtone that contributes to much of the community, players might sometimes " greet " each other with some sort of sexual act.
The reason for this is that the frequency of the first overtone is about 5 < sup > 2 </ sup >/ 2 < sup > 2 </ sup >
By comparison, the first overtone of a vibrating string or metal bar is only one octave above the fundamental.
So when the fork is struck, little of the energy goes into the overtone modes ; they also die out correspondingly faster, leaving the fundamental.
Some singers can isolate some of those harmonics in a way that is perceived as singing in more than one pitch at the same time — a technique called overtone singing.
Image: Drum vibration mode21. gif | A standing wave on a disk with two nodal lines crossing at the center ; this is an overtone.
Such a crystal is referred to as a 3rd, 5th, or even 7th overtone crystal.
A fundamental crystal oscillator circuit is simpler and more efficient and has more pullability than a third overtone circuit.
An overtone is any frequency higher than the fundamental frequency of a sound.
An example of an exception is a circular drum, whose first overtone is about 1. 6 times its fundamental resonance frequency.
F is the fundamental frequency ; the first overtone is the third harmonic, 3F, and the second overtone is the fifth harmonic, 5F for such a pipe, which is a good model for a panflute.
An overtone is a partial ( a " partial wave " or " constituent frequency ") that can be either a harmonic partial ( a harmonic ) other than the fundamental, or an inharmonic partial.
Inuit throat singing or katajjaq, also known as ( and commonly confused with ) the generic term overtone singing, is a form of musical performance uniquely found among the Inuit.

overtone and octave
In order to tune an octave, a piano technician must reduce the speed of beating between the first overtone of a lower note and a higher note until it disappears.
Because of inharmonicity, this first overtone will be sharper than a harmonic octave ( which has the ratio of 2 / 1 ), making either the lower note flatter, or the higher note sharper, depending on which one is being tuned to.
The overtones on an English handbell are a 12th ( an octave and a perfect fifth ) above the fundamental, while Dutch handbells — such as Petit & Fritsen — focus on the overtone a minor 10th ( an octave and a minor third ) or a major 10th ( an octave and a major third ) above the fundamental.
If the finger is placed at the midpoint of the string, the first overtone is heard, which is an octave above the fundamental note which would be played, had the harmonic not been sounded.
On its first appearance, the motif is a part of the first five notes of the natural overtone series: octave, octave and fifth, two octaves, two octaves and major third ( played as part of a C major chord with the third doubled ).

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