310:; however, if a vibrating string is examined, it will be seen that the string does not vibrate flush to the bridge and nut, but it instead has a small âdead lengthâ of string at each end. This dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings. This means that halving the physical string length does not halve the actual string vibration length, and, hence, the overtones will not be exact multiples of a fundamental frequency. The effect is so pronounced that properly set up guitars will angle the bridge such that the thinner strings will progressively have a length up to few millimeters shorter than the thicker strings. Not doing so would result in inharmonious chords made up of two or more strings. Similar considerations apply to tube instruments.
514:'s classic "On The Sensations Of Tone" he used the German "Obertöne" which was a contraction of "Oberpartialtöne", or in English: "upper partial tones". According to Alexander Ellis (in pages 24â25 of his English translation of Helmholtz), the similarity of German "ober" to English "over" caused a Prof. Tyndall to mistranslate Helmholtz' term, thus creating "overtone". Ellis disparages the term "overtone" for its awkward implications. Because "overtone" makes the upper partials seem like such a distinct phenomena, it leads to the mathematical problem where the first overtone is the second partial. Also, unlike discussion of "partials", the word "overtone" has connotations that have led people to wonder about the presence of "
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lowers minor 2nd, 3rd valve-lowers minor 3rd, 4th valve-lowers perfect 4th (found on piccolo trumpet, certain euphoniums, and many tubas). The French horn has a trigger key that opens other tubing and is pitched a perfect fourth higher; this allows for greater ease between different registers of the instrument. Valves allow brass instruments to play chromatic notes, as well as notes within the overtone series (open valve = C overtone series, 2nd valve = B overtone series on the C Trumpet) by changing air speed and lip vibrations.
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273:"tone" of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note. Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This is why the timbre of a note may be perceived differently when played
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303:. "High quality" instruments are usually built in such a manner that their individual notes do not create disharmonious overtones. In fact, the flared end of a brass instrument is not to make the instrument sound louder, but to correct for tube length âend effectsâ that would otherwise make the overtones significantly different from integer harmonics. This is illustrated by the following:
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266:, while the higher frequencies are called overtones. Often, when an oscillator is excited â for example, by plucking a guitar string â it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies (overtones) above the lowest frequency (the fundamental).
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of a sound. (An overtone may or may not be a harmonic) In other words, overtones are all pitches higher than the lowest pitch within an individual sound; the fundamental is the lowest pitch. While the fundamental is usually heard most prominently, overtones are actually present in any pitch except a
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is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes. That is to say, the relative volumes of these overtones to each other determines the specific "flavor", "color" or
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typically has 4 valves. Each instrument can play (within their respective ranges) the notes of the overtone series in different keys with each fingering combination (open, 1, 2, 12, 123, etc). The role of each valve or rotor (excluding trombone) is as follows: 1st valve lowers major 2nd, 2nd valve
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Singers should not be asked to change the fundamental pitch while overtone singing and changing partials should always be to an adjacent partial. When a particular partial is to be specified, time should be allowed (a beat or so) for the singers to get the harmonics to "speak" and find the correct
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may also be used to bring out the overtones, as well as using string nodes to produce natural harmonics. On violin family instruments, overtones can be played with the bow or by plucking. Scores and parts for
Western violin family instruments indicate where the performer is to play harmonics. The
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effect in which a listener hears an audible pitch that is higher than, and different from, the fundamentals of the four pitches being sung by the quartet. The barbershop singer's "overtone" is created by the interactions of the upper partial tones in each singer's note (and by sum and difference
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Also, the overtone is very important in singing to take care of vocal tract shaping, to improve color, resonance, and text declamation. During practice overtone singing, it helps the singer to remove unnecessary pressure on the muscle, especially around the throat. So if one can "find" a single
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Musical instruments that can create notes of any desired duration and definite pitch have harmonic partials. A tuning fork, provided it is sounded with a mallet (or equivalent) that is reasonably soft, has a tone that consists very nearly of the fundamental, alone; it has a sinusoidal waveform.
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which bring out the overtones of the instrument. On many woodwind instruments, alternate fingerings are used. "Overblowing", or adding intensely exaggerated air pressure, can also cause notes to split into their overtones. In brass instruments, multiphonics may be produced by singing into the
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The first step in composing choral music with overtone singing is to discover what the singers can be expected to do successfully without extensive practice. The second step is to find a musical context in which those techniques could be effective, not mere special effects. It was initially
179:, or more precisely, harmonic partials, are partials whose frequencies are numerical integer multiples of the fundamental (including the fundamental, which is 1 times itself). These overlapping terms are variously used when discussing the acoustic behavior of musical instruments. (See
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above the fundamental, but equal temperament flattens it by two cents. The difference is only barely perceptible, and allows both for the illusion of the scale being in-tune with itself across multiple octaves, and for tonalities based on all 12 chromatic notes to sound in-tune.
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than true harmonics. The sharpness or flatness of their overtones is one of the elements that contributes to their sound. Due to phase inconsistencies between the fundamental and the partial harmonic, this also has the effect of making their waveforms not perfectly periodic.
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292:, or more precisely, harmonic partials. For most string instruments and other long and thin instruments such as a bassoon, the first few overtones are quite close to integer multiples of the fundamental frequency, producing an approximation to a
288:, a blown wind instrument, or a bowed violin string (but not a struck guitar string or bell) will oscillate in a periodic, non-sinusoidal manner. This generates the impression of sound at integer multiple frequencies of the fundamental known as
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instrument while playing a note at the same time, causing the two pitches to interact - if the sung pitch is at specific harmonic intervals with the played pitch, the two sounds will blend and produce additional notes by the phenomenon of
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says the overtone series "may serve as a guide to the orchestral arrangement of chords". Rimsky-Korsakov then demonstrates how to voice a C major triad according to the overtone series, using partials 1, 2, 3, 4, 5, 6, 8, 10, 12, and 16.
572:, originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being the loudest vocal overtones, it is one explanation of the development of the
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can be played by 16 to 80 musicians and are separated into their own groups. The piece is set on sixteen "harmonic clouds" that are grounded on the first sixteen overtones of low B-flat. Another example is John Luther Adam's piece
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is known for his extensive use of the overtone series, as well as his tendency to allow musicians to make their own groupings and play at their own pace to alter the sonic experience. For example, his piece
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When a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments, the
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are highly dependent on the interaction and manipulation of overtones achieved by the performer changing their mouth shape while playing, or singing and playing simultaneously. Likewise, when playing a
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below.) The model of
Fourier analysis provides for the inclusion of inharmonic partials, which are partials whose frequencies are not whole-number ratios of the fundamental (such as 1.1 or 2.14179).
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for orchestra. This work begins with a spectral analysis of a bell, and gradually transforms it into the spectral analysis of a brass instrument. Other spectralists and post-spectralists include
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overtone, then one will know where the sensation needs to be in order to bring out vocal resonance in general, helping to find the resonance in one's own voice on any vowel and in any register.
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Playing a harmonic on a string. Here, "+7" indicates that the string is held down at the position for raising the pitch by 7 half notes, that is, at the seventh fret for a fretted instrument.
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Consider a guitar string. Its idealized 1st overtone would be exactly twice its fundamental if its length were shortened by œ, perhaps by lightly pressing a guitar string at the 12th
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When this scale is rendered as a chord, it is called the lydian dominant thirteenth chord. This chord appears throughout
Western music, but is notably used as the basis of
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to analyze the true sonic characteristics of the lowest note on a tenor trombone (E2). The analysis revealed which overtones were most prominent from that sound, and
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In the 20th century, exposure to non-Western music and further scientific acoustical discoveries led some
Western composers to explore alternate tuning systems.
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sounds notes in a higher octave of the overtone series, so the partials are closer together and make it more difficult to play the correct pitches and partials.
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Western classical composers have also made use of the overtone series through orchestration. In his treatise "Principles of
Orchestration," Russian composer
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819:, which is produced by different means. There is also the possibility to create the overtone out of fundamental tones without any stress on the throat.
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Wind instruments manipulate the overtone series significantly in the normal production of sound, but various playing techniques may be used to produce
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729:, one may alter the shape of their mouth to amplify specific overtones. Though not a wind instrument, a similar technique is used for playing the
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in
Western harmony comes from the first four partials of the overtone series. The eighth through fourteenth partials resemble the equal tempered
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Non-western wind instruments also exploit overtones in playing, and some may highlight the overtone sound exceptionally. Instruments like the
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However, some overtones in some instruments may not be of a close integer multiplication of the fundamental frequency, thus causing a small
659:" or "am Steg") which causes the note to split into overtones while attaining a distinctive glassy, metallic sound. Various techniques of
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use vowels/text for relative pitch gestures on indeterminate partials specifying the given shape without specifying particular partials
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for example designed a tuning system that divides the octave into 43 tones, with each tone based on the overtone series. The music of
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scale was designed to create synchronicity between different octaves. This was achieved by de-tuning certain intervals, such as the
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String instruments can also produce multiphonic tones when strings are divided in two pieces or the sound is somehow distorted. The
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has sympathetic strings which help to bring out the overtones while one is playing. The overtones are also highly important in the
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946:. Broadly, spectral music deals with resonance and acoustics as compositional elements. For example, in Grisey's seminal work
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Rimsky-Korsakov's voicing of a C major triad, consisting of the fundamental and partials 1, 2, 3, 4, 5, 6, 8, 10, 12, and 16.
258:, from a plucked guitar string to a flute that is blown, will naturally vibrate at a series of distinct frequencies known as
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of various overtone partials is one of the key identifying features of timbre, or the individual characteristic of a sound.
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uses many different tuning systems, including his String
Quartet No. 5 which divides the octave into more than 100 tones.
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Brass instruments originally had no valves, and could only play the notes in the natural overtone, or harmonic series.
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Don, Gary W. (April 2001). "Brilliant Colors
Provocatively Mixed: Overtone Structures in the Music of Debussy".
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An overtone is a partial (a "partial wave" or "constituent frequency") that can be either a harmonic partial (a
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is a piece for string quartet that has sixteen harmonic clouds that are built off of the fundamental tone (C0)
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Because the overtone series rises infinitely from the fundamental with no periodicity, in
Western music the
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Nevertheless, music consisting of pure sinusoids was found to be unsatisfactory in the early 20th century.
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play notes within the first few octaves of the overtone series, where the partials are farther apart. The
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of these tones are the same as (or close to) the harmonics. Examples of exceptions include the circular
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frequencies created by nonlinear interactions within the ear). Similar effects can be found in other
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Vibrational modes of an ideal string, dividing the string length into integer divisions, producing
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Shepard, Roger N. (1982), "Structural
Representations of Musical Pitch", in Deutsch, Diana (ed.),
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Hinds, Stuart (September 2005). "Argument for the Investigation and Use of Overtone Singing".
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let it be understood, the second overtone is not the third tone of the series, but the second.
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1771:(doctoral dissertation). Amherst, Massachusetts: University of Massachusetts. p. vi.
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was then composed around the analysis. Another seminal spectral work is Tristan Murail's
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The Lydian Chromatic Concept of Tonal Organization: The Art and Science of Tonal Gravity
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by extension, move to an adjacent partial, above or below, and alternate between the two
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Peacock, Kenneth (1985). "Synesthetic Perception: Alexander Scriabin's Color Hearing".
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Harmony, Voice Leading, and Microtonal Syntax in Ben Johnston's String Quartet No. 5
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through the partials of a given fundamental, ascending or descending, fast, or slow
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Brass instruments still rely heavily on the overtone series to produce notes: the
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1289:. Translated by John South Shedlock. London: Augener. p. 143 – via
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Hinds, Stuart (October 2010). "How to Teach Overtone Singing to Your Choir".
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contains a scale based on the knotted positions of overtones. The Vietnamese
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whose first overtone is about 1.6 times its fundamental resonance frequency,
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Hinds, Stuart (April 2007). "New Music for chorus with Overtone Singing".
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On the Sensations of Tone as a Physiological Basis for the Theory of Music
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is the fundamental frequency; the third overtone is the third harmonic, 3
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Main tone (110 Hz) and first 15 overtones (16 harmonic partials) (listen)
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is able to produce highly variable amplitudes of the overtones, called
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find and sustain a particular partial (requires interval recognition)
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Tone with a frequency higher than the frequency of the reference tone
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The Evolution of Applied Harmonic Analysis: Models of the Real World
1198:, pp. 24, 25. 1885, reprinted by Dover Publications, New York, 1954.
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partials f, 2f, 3f, 4f, etc. (where f means fundamental frequency).
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frequency is an integer multiple of the fundamental frequency. An
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26:"Superharmonic" redirects here. For functions in mathematics, see
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is often used in a related but particular manner. It refers to a
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frequency is a non-integer multiple of a fundamental frequency.
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1103:"Guide to the Basic Concepts and Techniques of Spectral Music"
32:
1555:. Brookline, MA: Concept Publishing Company. pp. 95â96.
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Some musical instruments produce overtones that are slightly
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Overtones, partials and harmonics from fundamental frequency
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A Stylistic Analysis of the Piano Works of Debussy and Ravel
1702:(2nd ed.). New York: Dover Publications. p. 67.
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1585:. Denton, Texas: University of North Texas. p. 158.
1318:
Psychology of Music, A volume in Cognition and Perception
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Audio playback is not supported in your browser. You can
655:, may be played close to the bridge (a technique called "
1799:"A Breath of Inspiration: John Luther Adams' New 'Sila'"
1372:
The Contemporary Violin: Extended Performance Techniques
171:, the fundamental and the overtones together are called
1320:, Amsterdam: Elsevier, p. 346, citing H. J. Watt,
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is a traditional form of singing in many parts of the
1735:"Off the Rails: A rare performance of Harry Partch's
522:" but also used in speculation about a hypothetical "
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An example of harmonic overtones: (absolute harmony)
336:) overtones of a cylindrical pipe closed at one end.
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2172:
2101:
1998:
1956:
1891:
262:. The lowest normal mode frequency is known as the
63:. Unsourced material may be challenged and removed.
664:most well-known technique on a guitar is playing
344:, and the fifth overtone is the fifth harmonic, 5
680:functions on flageolet tones. Other multiphonic
597:improvise on partials of the given fundamental,
19:"Overtones" redirects here. For other uses, see
1424:. CreateSpace Independent Publishing Platform.
584:hypothesized that beginners would be able to:
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1869:
348:for such a pipe, which is a good model for a
8:
1486:. California: Sher Music Co. pp. ixâx.
942:in the 1970s and 80s, under the auspices of
672:effects. The ancient Chinese instrument the
284:A driven non-linear oscillator, such as the
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551:polyphonic music such as the music of the
538:, a style of four-part singing, the word
123:Learn how and when to remove this message
815:, though it should not be confused with
651:Western string instruments, such as the
377:
1324:p. 63 (Cambridge University Press, 1917
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865:, features prominently in the music of
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1433:
1431:
1415:
1413:
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644:, the drone instrument in traditional
603:, freely, or in giving style or manner
1797:Tsioulcas, Anastasia (30 July 2014).
1348:American Choral Directors Association
1275:
1273:
7:
1642:"Scales: Just vs. Equal Temperament"
756:typically has 3-4 valves, the tenor
360:) other than the fundamental, or an
151:is any resonant frequency above the
61:adding citations to reliable sources
1648:. Michigan Technological University
518:" (a term sometimes confused with "
1369:Allen, Strange (21 January 2003).
322:Physical representation of third (
14:
1438:Weidner, Brian (24 August 2020).
1420:Schmidt-Jones, Catherine (2015).
2225:
2224:
1937:
1592:from the original on 2022-10-09.
568:in Europe holds that singers of
37:
1440:"Brass Techniques and Pedagogy"
1139:from the original on 2022-10-09
48:needs additional citations for
992:, which grew out of his piece
904:. A true perfect fifth is 702
827:Overtones in music composition
180:
1:
1398:hyperphysics.phy-astr.gsu.edu
1234:hyperphysics.phy-astr.gsu.edu
1075:hyperphysics.phy-astr.gsu.edu
1032:(in vibrational spectroscopy)
994:Sila: The Breath of the World
985:Sila: The Breath of the World
846:
646:North and South Indian music
1765:Huey, Daniel (March 2017).
1699:Principles of Orchestration
1576:Jameson, Elizabeth (1942).
1382:– via www.amazon.com.
760:has 7 slide positions, the
530:"Overtones" in choral music
2770:
1849:Timbre: The Color of Music
621:
425:= 880 Hz
401:= 440 Hz
25:
21:Overtones (disambiguation)
18:
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2398:Music On A Long Thin Wire
2301:
2287:
2220:
1932:
1422:Sound, Physics, and Music
1122:10.1080/07494460000640271
1110:Contemporary Music Review
1101:Fineberg, Joshua (2000).
1071:"Overtones and Harmonics"
242:, which define different
160:. The relative volume or
2294:HornbostelâSachs numbers
1694:Rimsky-Korsakov, Nikolai
1551:Russell, George (2001).
1530:10.1525/mts.2001.23.1.61
1322:The Psychology of Sound,
934:is a genre developed by
711:sum and difference tones
1901:Architectural acoustics
1823:"Everything That Rises"
1254:"Natural Harmonics Map"
914:Nikolai Rimsky-Korsakov
851:download the audio file
2375:Long-string instrument
1988:FletcherâMunson curves
1983:Equal-loudness contour
1893:Acoustical engineering
952:, the composer used a
893:
764:has 3 valves, and the
633:
353:
206:
201:Allowed and forbidden
194:
144:
28:Superharmonic function
2664:Fundamental frequency
2124:Hermann von Helmholtz
2022:Fundamental frequency
1926:Sympathetic resonance
1669:"The Harmonic Series"
1517:Music Theory Spectrum
1480:Levine, Mark (1995).
1192:Hermann von Helmholtz
998:Everything That Rises
990:Everything That Rises
891:
877:, and appears as the
631:
512:Hermann von Helmholtz
321:
264:fundamental frequency
200:
192:
153:fundamental frequency
138:
1483:The Jazz Theory Book
974:Georg Friedrich Haas
817:Inuit throat singing
205:, and thus harmonics
57:improve this article
2144:Werner Meyer-Eppler
2054:Missing fundamental
1821:(4 February 2018).
1306:James Patrick, DS14
1286:Dictionary of Music
831:The primacy of the
682:extended techniques
553:Republic of Georgia
167:Using the model of
2718:Sympathetic string
2382:Melde's experiment
2027:Frequency spectrum
1819:Adams, John Luther
1733:(April 18, 2005).
1459:Journal of Singing
1340:The Choral Journal
1188:Alexander J. Ellis
1160:The Choral Journal
1036:Scale of harmonics
894:
883:Alexander Scriabin
634:
618:String instruments
354:
314:Musical usage term
207:
195:
145:
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2735:
2713:Spectral envelope
2614:
2613:
2370:Longitudinal wave
2238:
2237:
2200:Musical acoustics
2032:harmonic spectrum
1827:John Luther Adams
1777:10.7275/9470759.0
1375:. Scarecrow Press
1051:Xenharmonic music
980:John Luther Adams
898:equal temperament
855:
745:Brass Instruments
487:
486:
232:brass instruments
190:
133:
132:
125:
107:
2761:
2641:
2634:
2627:
2618:
2434:String vibration
2265:
2258:
2251:
2242:
2228:
2227:
2129:Carleen Hutchins
2061:Combination tone
1948:
1941:
1921:String vibration
1878:
1871:
1864:
1855:
1831:
1830:
1815:
1809:
1808:
1794:
1788:
1787:
1785:
1783:
1762:
1756:
1755:
1753:
1751:
1727:
1721:
1720:
1718:
1716:
1690:
1684:
1683:
1681:
1679:
1667:Saus, Wolfgang.
1664:
1658:
1657:
1655:
1653:
1646:Physics of Music
1637:
1631:
1630:
1619:10.2307/40285315
1606:Music Perception
1600:
1594:
1593:
1591:
1584:
1573:
1567:
1566:
1548:
1542:
1541:
1511:
1505:
1504:
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1500:
1477:
1471:
1470:
1454:
1448:
1447:
1435:
1426:
1425:
1417:
1408:
1407:
1405:
1404:
1390:
1384:
1383:
1381:
1380:
1366:
1360:
1359:
1335:
1326:
1325:
1313:
1307:
1304:
1298:
1297:
1277:
1268:
1267:
1265:
1264:
1250:
1244:
1243:
1241:
1240:
1226:
1220:
1207:Elena Prestini,
1205:
1199:
1185:
1176:
1175:
1155:
1149:
1148:
1146:
1144:
1138:
1107:
1098:
1085:
1084:
1082:
1081:
1067:
1046:Undertone series
1041:Stretched octave
1010:Combination tone
881:in the music of
797:Overtone singing
792:Overtone singing
700:Wind instruments
576:and the idea of
536:barbershop music
524:undertone series
520:difference tones
410:fundamental tone
378:
191:
169:Fourier analysis
128:
121:
117:
114:
108:
106:
65:
41:
33:
2769:
2768:
2764:
2763:
2762:
2760:
2759:
2758:
2739:
2738:
2737:
2732:
2681:Microinflection
2659:Colors of noise
2650:
2645:
2615:
2610:
2519:Japanese fiddle
2457:
2448:
2439:Transverse wave
2387:Mersenne's laws
2365:String harmonic
2297:
2283:
2269:
2239:
2234:
2216:
2168:
2159:D. Van Holliday
2097:
2066:Mersenne's laws
2000:Audio frequency
1994:
1958:Psychoacoustics
1952:
1951:
1944:
1930:
1887:
1882:
1840:
1835:
1834:
1817:
1816:
1812:
1796:
1795:
1791:
1781:
1779:
1764:
1763:
1759:
1749:
1747:
1729:
1728:
1724:
1714:
1712:
1710:
1692:
1691:
1687:
1677:
1675:
1666:
1665:
1661:
1651:
1649:
1639:
1638:
1634:
1602:
1601:
1597:
1589:
1582:
1575:
1574:
1570:
1563:
1550:
1549:
1545:
1513:
1512:
1508:
1498:
1496:
1494:
1479:
1478:
1474:
1456:
1455:
1451:
1437:
1436:
1429:
1419:
1418:
1411:
1402:
1400:
1392:
1391:
1387:
1378:
1376:
1368:
1367:
1363:
1337:
1336:
1329:
1315:
1314:
1310:
1305:
1301:
1279:
1278:
1271:
1262:
1260:
1252:
1251:
1247:
1238:
1236:
1228:
1227:
1223:
1206:
1202:
1186:
1179:
1157:
1156:
1152:
1142:
1140:
1136:
1105:
1100:
1099:
1088:
1079:
1077:
1069:
1068:
1064:
1059:
1025:Mersenne's laws
1020:Just intonation
1006:
966:Jonathan Harvey
857:
856:
854:
829:
794:
747:
702:
690:prepared guitar
666:flageolet tones
626:
624:String harmonic
620:
570:Gregorian chant
532:
508:
469:= 1760 Hz
447:= 1320 Hz
335:
328:
316:
294:harmonic series
252:
186:
129:
118:
112:
109:
66:
64:
54:
42:
31:
24:
17:
12:
11:
5:
2767:
2765:
2757:
2756:
2751:
2749:Musical tuning
2741:
2740:
2734:
2733:
2731:
2730:
2725:
2720:
2715:
2710:
2703:
2698:
2693:
2688:
2683:
2678:
2673:
2666:
2661:
2655:
2652:
2651:
2646:
2644:
2643:
2636:
2629:
2621:
2612:
2611:
2609:
2608:
2603:
2598:
2593:
2588:
2583:
2578:
2573:
2568:
2563:
2558:
2557:
2556:
2551:
2546:
2541:
2536:
2531:
2521:
2516:
2511:
2506:
2501:
2496:
2491:
2486:
2485:
2484:
2477:Bladder fiddle
2474:
2469:
2463:
2461:
2450:
2449:
2447:
2446:
2441:
2436:
2431:
2426:
2421:
2416:
2411:
2406:
2401:
2394:
2389:
2384:
2379:
2378:
2377:
2367:
2350:
2345:
2340:
2335:
2330:
2325:
2320:
2319:
2318:
2308:
2302:
2299:
2298:
2288:
2285:
2284:
2270:
2268:
2267:
2260:
2253:
2245:
2236:
2235:
2233:
2232:
2221:
2218:
2217:
2215:
2214:
2213:
2212:
2207:
2197:
2192:
2187:
2182:
2176:
2174:
2173:Related topics
2170:
2169:
2167:
2166:
2161:
2156:
2154:Joseph Sauveur
2151:
2146:
2141:
2139:Marin Mersenne
2136:
2131:
2126:
2121:
2116:
2111:
2105:
2103:
2099:
2098:
2096:
2095:
2090:
2089:
2088:
2078:
2073:
2068:
2063:
2058:
2057:
2056:
2051:
2046:
2036:
2035:
2034:
2024:
2019:
2014:
2008:
2006:
1996:
1995:
1993:
1992:
1991:
1990:
1980:
1979:
1978:
1973:
1962:
1960:
1954:
1953:
1950:
1949:
1942:
1934:
1933:
1931:
1929:
1928:
1923:
1918:
1913:
1908:
1903:
1897:
1895:
1889:
1888:
1883:
1881:
1880:
1873:
1866:
1858:
1852:
1851:
1846:
1839:
1838:External links
1836:
1833:
1832:
1810:
1789:
1757:
1744:The New Yorker
1722:
1708:
1685:
1659:
1640:Suits, Bryan.
1632:
1595:
1568:
1562:978-0970373908
1561:
1543:
1506:
1492:
1472:
1449:
1427:
1409:
1385:
1361:
1327:
1308:
1299:
1269:
1245:
1230:"Vowel Sounds"
1221:
1200:
1177:
1150:
1086:
1061:
1060:
1058:
1055:
1054:
1053:
1048:
1043:
1038:
1033:
1027:
1022:
1017:
1012:
1005:
1002:
970:Kaija Saariaho
940:Tristan Murail
932:Spectral music
871:Claude Debussy
859:
858:
848:
845:
843:
837:acoustic scale
828:
825:
809:throat singing
793:
790:
746:
743:
701:
698:
686:prepared piano
657:sul ponticello
622:Main article:
619:
616:
611:
610:
607:
604:
595:
592:
561:cantu a tenore
544:psychoacoustic
531:
528:
507:
504:
485:
484:
481:
478:
475:
470:
463:
462:
459:
456:
453:
448:
441:
440:
437:
434:
431:
426:
419:
418:
415:
412:
407:
402:
395:
394:
391:
388:
385:
382:
333:
326:
315:
312:
251:
248:
203:standing waves
131:
130:
45:
43:
36:
15:
13:
10:
9:
6:
4:
3:
2:
2766:
2755:
2752:
2750:
2747:
2746:
2744:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2709:
2708:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2671:
2667:
2665:
2662:
2660:
2657:
2656:
2653:
2649:
2642:
2637:
2635:
2630:
2628:
2623:
2622:
2619:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2586:Tromba marina
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2555:
2552:
2550:
2547:
2545:
2542:
2540:
2537:
2535:
2532:
2530:
2527:
2526:
2525:
2522:
2520:
2517:
2515:
2512:
2510:
2507:
2505:
2502:
2500:
2497:
2495:
2492:
2490:
2487:
2483:
2480:
2479:
2478:
2475:
2473:
2470:
2468:
2465:
2464:
2462:
2460:
2455:
2451:
2445:
2442:
2440:
2437:
2435:
2432:
2430:
2429:Standing wave
2427:
2425:
2422:
2420:
2417:
2415:
2412:
2410:
2407:
2405:
2402:
2400:
2399:
2395:
2393:
2390:
2388:
2385:
2383:
2380:
2376:
2373:
2372:
2371:
2368:
2366:
2362:
2358:
2354:
2351:
2349:
2346:
2344:
2341:
2339:
2336:
2334:
2331:
2329:
2326:
2324:
2321:
2317:
2314:
2313:
2312:
2309:
2307:
2304:
2303:
2300:
2295:
2291:
2286:
2282:
2278:
2274:
2266:
2261:
2259:
2254:
2252:
2247:
2246:
2243:
2231:
2223:
2222:
2219:
2211:
2208:
2206:
2203:
2202:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2177:
2175:
2171:
2165:
2162:
2160:
2157:
2155:
2152:
2150:
2149:Lord Rayleigh
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2125:
2122:
2120:
2119:Ernst Chladni
2117:
2115:
2112:
2110:
2107:
2106:
2104:
2100:
2094:
2091:
2087:
2084:
2083:
2082:
2081:Standing wave
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2055:
2052:
2050:
2049:Inharmonicity
2047:
2045:
2042:
2041:
2040:
2037:
2033:
2030:
2029:
2028:
2025:
2023:
2020:
2018:
2015:
2013:
2010:
2009:
2007:
2005:
2001:
1997:
1989:
1986:
1985:
1984:
1981:
1977:
1974:
1972:
1969:
1968:
1967:
1964:
1963:
1961:
1959:
1955:
1947:
1943:
1940:
1936:
1935:
1927:
1924:
1922:
1919:
1917:
1916:Soundproofing
1914:
1912:
1911:Reverberation
1909:
1907:
1904:
1902:
1899:
1898:
1896:
1894:
1890:
1886:
1879:
1874:
1872:
1867:
1865:
1860:
1859:
1856:
1850:
1847:
1845:
1842:
1841:
1837:
1828:
1824:
1820:
1814:
1811:
1806:
1805:
1800:
1793:
1790:
1778:
1774:
1770:
1769:
1761:
1758:
1746:
1745:
1740:
1738:
1732:
1726:
1723:
1711:
1709:0-486-21266-1
1705:
1701:
1700:
1695:
1689:
1686:
1674:
1670:
1663:
1660:
1647:
1643:
1636:
1633:
1628:
1624:
1620:
1616:
1612:
1608:
1607:
1599:
1596:
1588:
1581:
1580:
1572:
1569:
1564:
1558:
1554:
1547:
1544:
1539:
1535:
1531:
1527:
1523:
1519:
1518:
1510:
1507:
1495:
1489:
1485:
1484:
1476:
1473:
1468:
1464:
1460:
1453:
1450:
1445:
1441:
1434:
1432:
1428:
1423:
1416:
1414:
1410:
1399:
1395:
1389:
1386:
1374:
1373:
1365:
1362:
1357:
1353:
1349:
1345:
1341:
1334:
1332:
1328:
1323:
1319:
1312:
1309:
1303:
1300:
1296:
1292:
1288:
1287:
1282:
1276:
1274:
1270:
1259:
1255:
1249:
1246:
1235:
1231:
1225:
1222:
1218:
1217:0-8176-4125-4
1214:
1210:
1204:
1201:
1197:
1193:
1190:(translating
1189:
1184:
1182:
1178:
1173:
1169:
1165:
1161:
1154:
1151:
1135:
1131:
1127:
1123:
1119:
1116:(2): 81â113.
1115:
1111:
1104:
1097:
1095:
1093:
1091:
1087:
1076:
1072:
1066:
1063:
1056:
1052:
1049:
1047:
1044:
1042:
1039:
1037:
1034:
1031:
1030:Overtone band
1028:
1026:
1023:
1021:
1018:
1016:
1013:
1011:
1008:
1007:
1003:
1001:
999:
995:
991:
986:
981:
977:
975:
971:
967:
963:
959:
955:
951:
950:
945:
941:
937:
936:GĂ©rard Grisey
933:
929:
927:
923:
918:
915:
910:
907:
903:
902:perfect fifth
899:
890:
886:
884:
880:
876:
875:Maurice Ravel
872:
868:
864:
852:
842:
841:
840:
838:
834:
826:
824:
820:
818:
814:
810:
806:
802:
798:
791:
789:
787:
783:
779:
775:
770:
767:
763:
759:
755:
750:
744:
742:
740:
736:
732:
728:
724:
719:
714:
712:
707:
699:
697:
695:
691:
687:
683:
679:
675:
671:
667:
662:
658:
654:
649:
647:
643:
639:
630:
625:
617:
615:
608:
605:
602:
601:
596:
593:
590:
587:
586:
585:
581:
579:
575:
571:
567:
563:
562:
558:
554:
550:
545:
541:
537:
529:
527:
525:
521:
517:
513:
505:
503:
499:
496:
492:
482:
480:4th harmonic
479:
477:4th overtone
476:
474:
471:
468:
465:
464:
460:
458:3rd harmonic
457:
455:3rd overtone
454:
452:
449:
446:
443:
442:
438:
436:2nd harmonic
435:
433:2nd overtone
432:
430:
427:
424:
421:
420:
416:
414:1st harmonic
413:
411:
408:
406:
403:
400:
397:
396:
392:
389:
386:
383:
380:
376:
373:
371:
367:
363:
359:
351:
347:
343:
339:
332:
329:) and fifth (
325:
320:
313:
311:
309:
304:
302:
297:
295:
291:
287:
282:
280:
276:
271:
267:
265:
261:
257:
249:
247:
245:
241:
237:
233:
229:
225:
221:
217:
213:
204:
199:
184:
182:
178:
174:
170:
165:
163:
159:
154:
150:
142:
137:
127:
124:
116:
113:December 2013
105:
102:
98:
95:
91:
88:
84:
81:
77:
74: â
73:
69:
68:Find sources:
62:
58:
52:
51:
46:This article
44:
40:
35:
34:
29:
22:
2705:
2701:Rustle noise
2690:
2668:
2606:Washtub bass
2459:musical bows
2419:Scale length
2396:
2360:
2316:Third bridge
2164:Thomas Young
2114:Jens Blauert
2102:Acousticians
2070:
1826:
1813:
1802:
1792:
1782:10 September
1780:. Retrieved
1767:
1760:
1748:. Retrieved
1742:
1736:
1725:
1713:. Retrieved
1698:
1688:
1676:. Retrieved
1672:
1662:
1650:. Retrieved
1645:
1635:
1610:
1604:
1598:
1578:
1571:
1552:
1546:
1524:(1): 61â73.
1521:
1515:
1509:
1497:. Retrieved
1482:
1475:
1458:
1452:
1443:
1421:
1401:. Retrieved
1397:
1388:
1377:. Retrieved
1371:
1364:
1343:
1339:
1321:
1317:
1311:
1302:
1294:
1285:
1281:Hugo Riemann
1261:. Retrieved
1257:
1248:
1237:. Retrieved
1233:
1224:
1208:
1203:
1195:
1166:(3): 34â43.
1163:
1159:
1153:
1141:. Retrieved
1113:
1109:
1078:. Retrieved
1074:
1065:
997:
993:
989:
984:
978:
961:
957:
947:
930:
926:Ben Johnston
922:Harry Partch
919:
911:
895:
879:Mystic chord
863:jazz harmony
860:
830:
821:
795:
771:
751:
748:
715:
706:multiphonics
703:
661:bow pressure
650:
635:
612:
599:
582:
559:
548:
539:
533:
509:
500:
488:
483:4th partial
472:
466:
461:3rd partial
450:
444:
439:2nd partial
428:
422:
417:1st partial
404:
398:
374:
355:
345:
341:
337:
330:
323:
305:
298:
283:
268:
260:normal modes
253:
234:. The human
208:
166:
148:
146:
119:
110:
100:
93:
86:
79:
67:
55:Please help
50:verification
47:
2581:Psalmodicon
2494:Diddley bow
2353:Fundamental
2343:Fingerboard
2323:Chordophone
2281:instruments
2134:Franz Melde
2109:John Backus
2093:Subharmonic
1946:Spectrogram
1750:28 February
1715:28 February
1678:28 February
1652:28 February
1499:28 February
1143:28 February
867:Franz Liszt
786:French horn
766:French horn
739:vocal tract
737:, of their
364:partial. A
286:vocal folds
256:oscillators
250:Explanation
236:vocal tract
212:frequencies
2743:Categories
2514:Ichigenkin
2509:Ground bow
2454:Monochords
2444:Tuning peg
2424:Soundboard
2338:Enharmonic
2195:Ultrasound
2185:Infrasound
1971:Bark scale
1731:Ross, Alex
1613:(4): 496.
1493:1883217040
1444:PalniPress
1403:2021-02-27
1379:2021-02-27
1263:2021-02-27
1258:Fretsource
1239:2021-02-28
1080:2020-10-26
1057:References
727:pitch pipe
718:didgeridoo
694:3rd bridge
670:distortion
580:in music.
578:consonance
549:a cappella
516:undertones
381:Frequency
370:inharmonic
362:inharmonic
301:dissonance
83:newspapers
72:"Overtone"
2754:Acoustics
2561:Langeleik
2499:Duxianqin
2392:Monochord
2361:Overtones
2357:Harmonics
2076:Resonance
1976:Mel scale
1906:Monochord
1885:Acoustics
1538:0195-6167
1350:: 20â31.
1130:191456235
801:Himalayas
735:resonance
723:harmonica
684:used are
668:or using
589:glissando
566:polyphony
557:Sardinian
506:Etymology
350:pan flute
290:harmonics
181:etymology
177:Harmonics
162:amplitude
158:sine wave
2728:Waveform
2723:Tonality
2691:Overtone
2676:Loudness
2576:Onavillu
2529:Genggong
2524:Jaw harp
2472:Berimbau
2414:Re-entry
2271:Musical
2230:Category
2071:Overtone
2039:Harmonic
1696:(1922).
1627:40285315
1587:Archived
1463:ProQuest
1356:23557310
1283:(1876).
1172:23560424
1134:Archived
1015:Harmonic
1004:See also
962:Gondwana
958:Partiels
954:sonogram
949:Partiels
778:trombone
758:trombone
731:jaw harp
555:and the
540:overtone
366:harmonic
358:harmonic
275:staccato
240:formants
173:partials
149:overtone
141:harmonic
2596:Umuduri
2571:Masenqo
2554:Mukkuri
2549:Morsing
2489:ÄĂ n báș§u
2482:Boom-ba
2467:Ahardin
2273:strings
2017:Formant
1737:Oedipus
1673:Oberton
1467:1402609
1394:"Flute"
813:khoomei
782:trumpet
762:trumpet
678:ÄĂ n báș§u
642:tanpura
600:ad lib.
495:flatter
491:sharper
393:Name 3
390:Name 2
387:Name 1
228:cymbals
220:timpani
97:scholar
2707:Sawari
2670:Jivari
2648:Timbre
2601:Unitar
2566:Lesiba
2544:Kubing
2539:Khomuz
2534:Gogona
2504:Ektara
2328:Course
2311:Bridge
2279:, and
2210:Violin
2044:Series
1706:
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1559:
1536:
1490:
1465:
1354:
1346:(10).
1219:(p140)
1215:
1170:
1128:
972:, and
780:, and
653:violin
467:4 · f
445:3 · f
423:2 · f
399:1 · f
384:Order
279:legato
270:Timbre
244:vowels
230:, and
99:
92:
85:
78:
70:
2696:Pitch
2686:Noise
2591:Tumbi
2333:Drone
2277:wires
2205:Piano
2190:Sound
2004:pitch
1966:Pitch
1623:JSTOR
1590:(PDF)
1583:(PDF)
1352:JSTOR
1291:IMSLP
1168:JSTOR
1137:(PDF)
1126:S2CID
1106:(PDF)
944:IRCAM
906:cents
833:triad
805:Altay
674:guqin
638:sitar
614:one.
574:triad
473:n = 4
451:n = 3
429:n = 2
405:n = 1
254:Most
224:gongs
156:true
104:JSTOR
90:books
2404:Node
2348:Fret
2290:List
2180:Echo
2086:Node
2012:Beat
2002:and
1784:2021
1752:2021
1717:2021
1704:ISBN
1680:2021
1654:2021
1557:ISBN
1534:ISSN
1501:2021
1488:ISBN
1213:ISBN
1145:2021
938:and
803:and
774:tuba
772:The
754:tuba
692:and
526:").
308:fret
226:and
218:â a
216:drum
76:news
2456:and
2409:Nut
2306:Bow
1804:NPR
1773:doi
1615:doi
1526:doi
1194:):
1118:doi
811:or
725:or
534:In
510:In
493:or
277:or
147:An
59:by
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