Flute overtone intervals
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- KVRist
- 74 posts since 10 Sep, 2007
Do you mean the sounds one gets by overblowing? or an analysis of the harmonic spectra generated by each note played on a flute [which might depend on dynamics and attack], or what?
'harmonics in <n>' is a somewhat vague expression.
'harmonics in <n>' is a somewhat vague expression.
it's always something. if it's not one thing, it's another.
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- KVRist
- 126 posts since 16 Apr, 2004 from Adelaide, South Australia
Harmonics of open pipes generally run 8ve, +5th, +4th(ish), +3rd(ish) - intervals progessively becoming smaller and often out-of-tune. Closed pipes are similar but missing some harmonics, which is why clarinets for example don't overblow an octave. On a flute, you're doing quite well for control if you can play the 8ve, +5th, and +4th while sustaining embouchure (good exercise, btw...) Why would you want to know this stuff though? Music's always more fun if you don't get wrapped around the axles about the details...
- KVRAF
- 10286 posts since 17 Sep, 2004 from Austin, TX
Anyone got Bruno Bartolozzi's woodwind multiphonics oscilloscope data he used in New Sounds For Woodwinds? Thanks.
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- KVRist
- 74 posts since 10 Sep, 2007
he or she might wish to know in order to know (you appear to know something about it, what's up with that?XDVarenkor wrote:Why would you want to know this stuff though? Music's always more fun if you don't get wrapped around the axles about the details...
it's always something. if it's not one thing, it's another.
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- KVRAF
- Topic Starter
- 7879 posts since 16 Apr, 2003 from -on the outside looking in
this is what I meant, thanks.jcivil wrote:..an analysis of the harmonic spectra generated by each note played on a flute [which might depend on dynamics and attack], or what?
'harmonics in <n>' is a somewhat vague expression.
useful info, thanks. I appreciateyour advice not to get wrapped up in the details, tooXDVarenkor wrote:Harmonics of open pipes generally run 8ve, +5th, +4th(ish), +3rd(ish) - intervals progessively becoming smaller and often out-of-tune. Closed pipes are similar but missing some harmonics, which is why clarinets for example don't overblow an octave. On a flute, you're doing quite well for control if you can play the 8ve, +5th, and +4th while sustaining embouchure (good exercise, btw...) Why would you want to know this stuff though? Music's always more fun if you don't get wrapped around the axles about the details...
you never cease to amaze! I am now going to go burn out google's servers for this, thanksrunagate wrote:Anyone got Bruno Bartolozzi's woodwind multiphonics oscilloscope data he used in New Sounds For Woodwinds? Thanks.
- KVRAF
- 10286 posts since 17 Sep, 2004 from Austin, TX
Lemme know what you find out, tail-biter. Finding that book (and accompanying vinyl EP!) was quite the watershed in runagate-land when I had only just started playing multiphonics not knowing that other people purposefully had produced those sounds, including artists that I listened to.
I mean John Zorn produced (and played a little on) Mr. Bungle's first album for chrissakes. Thanks for the blasts of atonal noise, Bruno!
I mean John Zorn produced (and played a little on) Mr. Bungle's first album for chrissakes. Thanks for the blasts of atonal noise, Bruno!
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- KVRAF
- 2285 posts since 20 Dec, 2002 from The Benighted States of Trumpistan
F (fundamental frequency)
2F
3F
4F
5F
6F
7F
8F
and so forth, each successively much weaker. Basically a wussy sawtooth... The harmonics of a sawtooth have a strength in proportion to their order -- 2F is half as loud as F, 3F is one third -- but in a flute, it's much more rapid. (Anybody know the exact formula?)
(Then again, a triangle wave -- only the odd-ordered harmonics -- can nicely emulate a flute.)
Basically, the notes of the major scale are derived this way.
Anyway, because our scale is tempered and harmonics aren't, there's a bit of a clash. The C# harmonic of an A at 440 is 550 Hz, but the (dis)tempered concert pitch is 554.365 Hz; the F# harmonic is 733.333 Hz, contrasted to concert 739.989. Not much, but you can hear it. (Try using the harmonic and tempered notes in a system that can generate exact tones, like CSound -- lots of fun!)
2F
3F
4F
5F
6F
7F
8F
and so forth, each successively much weaker. Basically a wussy sawtooth... The harmonics of a sawtooth have a strength in proportion to their order -- 2F is half as loud as F, 3F is one third -- but in a flute, it's much more rapid. (Anybody know the exact formula?)
(Then again, a triangle wave -- only the odd-ordered harmonics -- can nicely emulate a flute.)
Basically, the notes of the major scale are derived this way.
Anyway, because our scale is tempered and harmonics aren't, there's a bit of a clash. The C# harmonic of an A at 440 is 550 Hz, but the (dis)tempered concert pitch is 554.365 Hz; the F# harmonic is 733.333 Hz, contrasted to concert 739.989. Not much, but you can hear it. (Try using the harmonic and tempered notes in a system that can generate exact tones, like CSound -- lots of fun!)
Wait... loot _then_ burn? D'oh!
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- KVRAF
- 2830 posts since 2 Mar, 2003 from The only civilized county in Texas
+4-ish? That should be an exact octave. Nothing ish-ish about it. Module problems with your embouchure.XDVarenkor wrote:Harmonics of open pipes generally run 8ve, +5th, +4th(ish),
Victor.
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- KVRAF
- 2285 posts since 20 Dec, 2002 from The Benighted States of Trumpistan
This looks kinda neat... too late tonight to look into it, but it may be of use. Or interest. Or something. lol
http://www.phys.unsw.edu.au/jw/fluteacoustics.html
http://www.phys.unsw.edu.au/jw/fluteacoustics.html
Wait... loot _then_ burn? D'oh!
- KVRAF
- 10286 posts since 17 Sep, 2004 from Austin, TX
Nice, Jafo!Jafo wrote:This looks kinda neat... too late tonight to look into it, but it may be of use. Or interest. Or something. lol
http://www.phys.unsw.edu.au/jw/fluteacoustics.html