The physics of musical instruments Frequency range of music Synthesis of musical sounds Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. Any repeating sound wave that is not a sine wave can be modeled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). When the original sound sources are perfectly periodic, the note consists of several related sine waves (which mathematically add to each other) called the fundamental and the harmonics, partials, or overtones. The sounds have harmonic frequency spectra. The lowest frequency present is the fundamental, and is the frequency at which the entire wave vibrates. The overtones vibrate faster than the fundamental, but must vibrate at integer multiples of the fundamental frequency for the total wave to be exactly the same each cycle. Real instruments are close to periodic, but the frequencies of the overtones are slightly imperfect, so the shape of the wave changes slightly over time.
The transmission of these variations through air is via a sound wave. The rate at which the air pressure oscillates is the frequency of the tone, which is measured in oscillations per second, called hertz. Frequency is the primary determinant of the perceived pitch. Frequency of musical instruments can change with altitude due to changes in air pressure.
Also, the fundamental frequency of the subcontrabass tuba is B♭.
The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including the fundamental and the overtones, are called partials. Together they form the harmonic series. Overtones that are perfect integer multiples of the fundamental are called harmonics. When an overtone is near to being harmonic, but not exact, it is sometimes called a harmonic partial, although they are often referred to simply as harmonics. Sometimes overtones are created that are not anywhere near a harmonic, and are just called partials or inharmonic overtones. The fundamental frequency is considered the first harmonic and the first partial. The numbering of the partials and harmonics is then usually the same; the second partial is the second harmonic, etc. Overtones are numbered as they appear above the fundamental. So strictly speaking, the first overtone is the second partial (and usually the second harmonic). As this can result in confusion, only harmonics are usually referred to by their numbers, and overtones and partials are described by their relationships to those harmonics.
When a periodic wave is composed of a fundamental and only odd harmonics (f, 3f, 5f, 7f, ...), the summed wave is half-wave symmetric; it can be inverted and phase shifted and be exactly the same. Conversely, a system that changes the shape of the wave (beyond simple scaling or shifting) creates additional harmonics (harmonic distortion). If it affects the wave symmetrically, the harmonics produced are all odd. If it affects the harmonics asymmetrically, at least one even harmonic is produced (and probably also odd harmonics).
If two notes are simultaneously played, with frequency ratios that are simple fractions (e.g. 2/1, 3/2 or 5/4), the composite wave is still periodic, with a short period—and the combination sounds consonant. For instance, a note vibrating at 200 Hz and a note vibrating at 300 Hz (a perfect fifth, or 3/2 ratio, above 200 Hz) add together to make a wave that repeats at 100 Hz: every 1/100 of a second, the 300 Hz wave repeats three times and the 200 Hz wave repeats twice. Note that the total wave repeats at 100 Hz, but there is no actual 100 Hz sinusoidal component. For instance, a note with a fundamental frequency of 200 Hz has harmonics at: :(200,) 400, 600, 800, 1000, 1200, … A note with fundamental frequency of 300 Hz has harmonics at: :The two notes share harmonics at 600 and 1200 Hz, and more coincide further up the series. The combination of composite waves with short fundamental frequencies and shared or closely related partials is what causes the sensation of harmony. When two frequencies are near to a simple fraction, but not exact, the composite wave cycles slowly enough to hear the cancellation of the waves as a steady pulsing instead of a tone. The frequency of beating is calculated as the difference between the frequencies of the two notes. For the example above, |200 Hz - 300 Hz| = 100 Hz. |3425 Hz - 3426 Hz| = 1 Hz). Because most people cannot adequately determine absolute frequencies, the identity of a scale lies in the ratios of frequencies between its tones (known as intervals).
The following table shows the ratios between the frequencies of all the notes of the just major scale and the fixed frequency of the first note of the scale.
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