2017年11月5日 · So "overtone" is an umbrella term, and there are two types of overtones: (1) "harmonic" overtones (which are integer multiples of the fundamental frequency) and (2) overtones that aren't integer multiples of the fundamental frequency (I'll call these disharmonious overtones). Everything I've discussed above has been about harmonic overtones.

2014年11月9日 · For a pitched instrument, in which all the overtones are harmonic partials, the numbering of overtones and harmonics will be off by one, because the fundamental is not an overtone. Thus you have: F = 1st harmonic = fundamental; 2F = 2nd harmonic = 1st overtone; 3F = 3rd harmonic = 2nd overtone, and so on... So in summary:

2011年4月27日 · For practicing overtones, first you need to get your embouchure used to the overtones. A simple way of doing it is to finger the higher register, start blowing, and letting go of the octave key. Repeat it several times until you can play the higher note from the attack, without using the octave key.

2024年10月31日 · Loosely speaking, one doesn't hear overtones, because the fundamental is too loud in comparison. There are exceptions, however. When singers, for example, produce a chord perfectly in tune, it's not unusual to hear overtones, as though there was one or more additional singers producing additional chord tones.

2018年2月23日 · Depends what's playing it. The harmonic series - the 2,3,4 etc. frequency ratios - are the overtones of a theoretical 'perfect' instrument. That's a simple string, of negligible mass, vibrating as a whole, as two halves, as three thirds etc. In real life, instruments are not perfect.

2018年12月14日 · There are three essentially different reasons why an instrument's overtones might be (more or less) harmonic, and at least two of them might be in play for stringed instruments. The vibrating element resonates at a harmonic set of frequencies (as a string does), as described in the other answers.

2016年5月11日 · Overtones that are only audible for short periods of time are usually called transients, and initial transients are important for instrument recognition. The important aspects of pitched instrument timbre recognition are the envelope and the full overtones spectrum, including partials and transients.

2024年2月27日 · Even some "unidimensional" objects produce non-harmonic overtones. For example, anything involving the vibration of a "stiff" object (e.g., xylophone, glockenspiel, tubular bells, kalimba) produce harmonics that are not in a strict harmonic series. –

2018年7月1日 · An interesting point is that the overtones are not integer multiples of the fundamental as with strings and air in pipes: these are ideal systems. The beam-bending equation that governs the fork's motion produces an interesting spectrum which depends on boundary conditions and other physical characteristics of the fork.

2023年1月6日 · The frequencies of harmonic overtones are an integer multiple of the fundamental frequency. If the fundamental is at f0 then these overtones will be at 2f0, 3f0 and so one. A periodic wave (which shape is repeating in time), only has harmonic overtones. Inharmonic ones are not integer multiple of the fundamental, for instance sqrt(2)*f0.