Subharmonic: Difference between revisions
~146.6 Hz (1/3) example, to fill in the series (1/2 -> 1/3 -> 1/4) |
Bell timbres comprise inharmonic partials whose frequency relationships resemble neither the harmonic nor subharmonic series. |
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</ref> They are naturally produced by [[bell (instrument)|bells]], giving them their distinct sound. |
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[[String quartet]]s by composers [[George Crumb]] and [[Daniel James Wolf]]{{fact|date=January 2012}} as well as works by violinist and composer [[Mari Kimura]] require string instrument players to bow with sufficient pressure that the strings vibrate <ref>{{cite web | url=http://homepage.mac.com/marikimura/MAIN/NYTimes1994.html | publisher=New York Times | title=A Violinist Tests Limits In Music Of Her Time | author=Edward Rothstein | date=April 21, 1994 | accessdate=2008-09-15 }}</ref>{{clarify|date=January 2012|that's what bowing strings does, makes them vibrate}} causing the sound waves to modulate and demodulate by the instruments resonating horn with frequencies corresponding to subharmonics. The [[tritare]], a guitar with Y shaped strings, cause subharmonics too. This can also be achieved by the [[extended technique]] of crossing two strings as some experimental jazz guitarists have developed. Also [[3rd bridge|third bridge]] preparations on guitars cause timbres consisting of sets of high pitched overtones combined with a subharmonic resonant tone of the unplugged part of the string. |
[[String quartet]]s by composers [[George Crumb]] and [[Daniel James Wolf]]{{fact|date=January 2012}} as well as works by violinist and composer [[Mari Kimura]] require string instrument players to bow with sufficient pressure that the strings vibrate <ref>{{cite web | url=http://homepage.mac.com/marikimura/MAIN/NYTimes1994.html | publisher=New York Times | title=A Violinist Tests Limits In Music Of Her Time | author=Edward Rothstein | date=April 21, 1994 | accessdate=2008-09-15 }}</ref>{{clarify|date=January 2012|that's what bowing strings does, makes them vibrate}} causing the sound waves to modulate and demodulate by the instruments resonating horn with frequencies corresponding to subharmonics. The [[tritare]], a guitar with Y shaped strings, cause subharmonics too. This can also be achieved by the [[extended technique]] of crossing two strings as some experimental jazz guitarists have developed. Also [[3rd bridge|third bridge]] preparations on guitars cause timbres consisting of sets of high pitched overtones combined with a subharmonic resonant tone of the unplugged part of the string. |
Revision as of 18:51, 5 June 2015
It has been suggested that this article be merged into Combination tone. (Discuss) Proposed since January 2012. |
In music and dynamics, subharmonic or undertone frequencies are frequencies below the main frequency of a signal.
Subharmonic frequencies are frequencies below the fundamental frequency of an oscillator in a ratio of 1/n, with n a positive integer number. For example, if the fundamental frequency of an oscillator is 440 Hz, sub-harmonics include 220 Hz (1/2), ~146.6 Hz (1/3) and 110 Hz (1/4). Thus, they are a mirror image of the harmonic series, the undertone series.
Subharmonics can be produced by signal amplification through loudspeakers.[2]
String quartets by composers George Crumb and Daniel James Wolf[citation needed] as well as works by violinist and composer Mari Kimura require string instrument players to bow with sufficient pressure that the strings vibrate [3][clarification needed] causing the sound waves to modulate and demodulate by the instruments resonating horn with frequencies corresponding to subharmonics. The tritare, a guitar with Y shaped strings, cause subharmonics too. This can also be achieved by the extended technique of crossing two strings as some experimental jazz guitarists have developed. Also third bridge preparations on guitars cause timbres consisting of sets of high pitched overtones combined with a subharmonic resonant tone of the unplugged part of the string.
See also
References
- ^ Rehding, Alexander (2003). Hugo Riemann and the Birth of Modern Musical Thought, p.16. ISBN 978-0-521-82073-8. Goes to partial nine, unnumbered.
- ^ Barry Truax, ed (1999). Handbook for Acoustic Ecology. World Soundscape Project, Simon Fraser University.
{{cite book}}
:|author=
has generic name (help) - ^ Edward Rothstein (April 21, 1994). "A Violinist Tests Limits In Music Of Her Time". New York Times. Retrieved 2008-09-15.
Further reading
- Gurewitsch, Matthew (May 13, 2011). "For a Violinist, Success Means a New Low Point". The New York Times. Retrieved January 23, 2012.