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Sing free/Great Gate of Kyiv (ear training) // Sing free/Physics of music

Harmonic seventh

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Circular membrane

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When you strike a bell it oscillates at a variety of frequencies associated with what are called normal modes. Vibrations of a circular membrane explains how all normal mode frequencies can all be expressed in terms of . Here, is the diameter and is the speed of surface waves on a drum of infinite extent. The structures of the five modes with the lowest frequencies are shown below:

  • A website that magically combines readability and rigor "The Well-Tempered Timpani" by Richard Jone, at https://wtt.pauken.org. In particular, a far superior rendition of the images that follow can be found here.
  • See also "Pseudo-Degeneracy in Handbell Modes," by Cha, Sungdo, John Buschert, and Daniel King. arXiv preprint arXiv:1004.0491 (2010).

Three of the five modes shown above exhibit two-fold degeneracy. All involve the presence of symmetry lines (nodes) that pass through the center of the circular drumheads. The subscripts in the labels of mode frequency, identify how many node lines are present. Here a The symmetry lines of only on are marked. The other two degenerate modes can be identified by the presence of a node line that crosses the center.[1]

beware the simple explanation

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Shown below are the top five hits from a Google search using the words: wave and speed

  1. flexbooks.ck12.org: Misleading☒N "Wave speed is the distance a wave travels in a given amount of time."
  2. physicsclassroom.com: checkYCorrect "In the case of a wave, the speed is the distance traveled by a given point on the wave (such as a crest) in a given interval of time."
  3. en.wikipedia.org: checkYCorrect & complete: "Wave speed is a wave property, which may refer to (...)"
  4. compadre.org: Misleading☒N "The wave speed, v, is how fast the wave travels..."
  5. omnicalculator: Misleading☒N "Wave speed is the speed at which the wave propagates. We can also define it as the distance traveled by the wave in a given time interval."

Air modes in a closed tube (harmonic)

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This discussion was lifted from the Wikipedia article Acoustic resonance[2]. That article also presents the case for a semi-open tube, which can serve a highly simplified model of how a horn works. See phys.unsw.edu.au/jw/brassacoustics models that are more accurate but far more complicated.

The table below shows the displacement waves in a cylinder closed at both ends. Note that the air molecules near the closed ends cannot move, whereas the molecules near the center of the pipe move freely. In the first harmonic, the closed tube contains exactly half of a standing wave (node-w:antinode-node). Considering the pressure wave in this setup, the two closed ends are the antinodes for the change in pressure Δp; Therefore, at both ends, the change in pressure Δp must have the maximal amplitude (or satisfy ∂(Δp)/∂x = 0 in the form of the Sturm–Liouville formulation), which gives the equation for the pressure wave: . The intuition for this boundary condition ∂(Δp)/∂x = 0 at x = 0 and x = L is that the pressure of the closed ends will follow that of the point next to them. Applying the boundary condition ∂(Δp)/∂x = 0 at x = L gives the wavelengths of the standing waves:

And the resonant frequencies are

Frequency Order Name 1 Name 2 Name 3 Wave representation Molecular representation
1 · f =   440 Hz n = 1 1st partial fundamental tone 1st harmonic
2 · f =   880 Hz n = 2 2nd partial 1st overtone 2nd harmonic
3 · f = 1320 Hz n = 3 3rd partial 2nd overtone 3rd harmonic
4 · f = 1760 Hz n = 4 4th partial 3rd overtone 4th harmonic

Subpages

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  • /LilyPond to Audacity documents an awkward effort to link wikimedia's LilyPond to Audacity. I had to create spreadsheets and manually create the Audacity files. We need a better way to do this because it would be helpful for people learning to sing if they could "see" their voice through Audacity.
  • /Piano versus orchestral compares both version of the piece.

Algebra of beat measurement

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https://docs.google.com/spreadsheets/d/14hSwf9v3Yw8u5910LVBVZgX2WLhUjTO50nPl_VKXvJ8/edit#gid=0

Averaging over "power"

For a passage of duration plot:

where, is the time-averaged "power", with the average taken over the entire duration, , or the interval (or chord). The factor in this definition of ensures that the has the dimensions of "power". If the roughness of a mild or severe dissonance is associated with fluctuations in power, then it is reasonable to define a different kind of "power", , that averages over many cycles of musical note, but is shorter than any amplitude fluctuation (beat) that a person might note. A typical musical note might have a frequency of , and a badly out of tune pair of notes might create a beat frequency of . We wish to compare with , or more specifically with,

since both and have long-term time averages of zero.

Since our interval is finite, we do a discrete Fourier series on "power". For simplicity we inc\lude only sine waves:

Lilypond

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Simplify to show just chords

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{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>           %ef
<ef' g' c'' ef''>          %c:m
<f'  bf' d'' f''>            %bf
} 
\new Staff  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
<g, bf, ef g>1           %ef
<f, bf, d f>             %bf
<ef, g, bf, ef>         %ef
<c, ef, g, c>            %c:m
<d, f, bf, d>            %bf
}         >>      }
place caption here

Creating Mussorgsky's score in Audacity is time consuming. Instead just settle for the first 5 chords (as he wrote them.)

Expand to see code for score
<score sound="1"> 
{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>           %ef
<ef' g' c'' ef''>          %c:m
<f'  bf' d'' f''>            %bf
} 
\new Staff  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
<g, bf, ef g>1           %ef
<f, bf, d f>             %bf
<ef, g, bf, ef>         %ef
<c, ef, g, c>            %c:m
<d, f, bf, d>            %bf
}         >>      }</score>

Useful Lilypond scripts

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This logs a sequence of Lilipond scores I used to learn the system. This sequences uses absolute notation for pitch, which renders it useful for constructing audicity sound files.

Create Lilipond "Score" extension

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{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>2            %ef
<ef' g' c'' ef''>4 (<g' g''>) %c:m
<f'  bf' d'' f''>2            %bf
<bf bf'>                      %"bf*
} 
\new Staff  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
<g, bf, ef g>1           %ef
<f, bf, d f>             %bf
<ef, g, bf, ef>2         %ef
<c, ef, g, c>            %c:m
<d, f, bf, d>            %bf
<bf,>                    %bf*
}      >> }
Create Lilipond "Score" extension

This shows how to use \new PianoStaff << \new Staff ... \new Staff ...> to create a piano score.

Expand to see code for score
<score sound="1"> 
{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>2            %ef
<ef' g' c'' ef''>4 (<g' g''>) %c:m
<f'  bf' d'' f''>2            %bf
<bf bf'>                      %"bf*
} 
\new Staff  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
<g, bf, ef g>1           %ef
<f, bf, d f>             %bf
<ef, g, bf, ef>2         %ef
<c, ef, g, c>            %c:m
<d, f, bf, d>            %bf
<bf,>                    %bf*
}      >> }</score>

Add gracenotes

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{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major \partial 8
r8
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>2            %ef
<ef' g' c'' ef''>4 (<g' g''>) %c:m
<f'  bf' d'' f''>2            %bf
<bf bf'>                      %"bf*
} 
\new Staff  { \set Staff.midiInstrument = #"piano" \partial 8
\clef bass \key ef \major
r8 \grace{g,8}
<g, bf, ef g>1 \grace{f,8}          %ef
<f, bf, d f>1  \grace{ef,8}            %bf
<ef, g, bf, ef>2 \grace{c,8}        %ef
<c, ef, g, c>2  \grace{d,8}          %c:m
<d, f, bf, d>2            %bf
<bf,>2                    %bf*
}      
>> }
Simplify using LilyPond \chord

comments go here

Expand to see code for score
<score sound="1"> 
{\language "english" 
\new PianoStaff << \new Staff 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major \partial 8
r8
<ef' g' bf' ef''>1            %ef
<f'  bf' d'' f''>             %bf
<g' bf' ef'' g''>2            %ef
<ef' g' c'' ef''>4 (<g' g''>) %c:m
<f'  bf' d'' f''>2            %bf
<bf bf'>                      %"bf*
} 
\new Staff  { \set Staff.midiInstrument = #"piano" \partial 8
\clef bass \key ef \major
r8 \grace{g,8}
<g, bf, ef g>1 \grace{f,8}          %ef
<f, bf, d f>1  \grace{ef,8}            %bf
<ef, g, bf, ef>2 \grace{c,8}        %ef
<c, ef, g, c>2  \grace{d,8}          %c:m
<d, f, bf, d>2            %bf
<bf,>2                    %bf*
}      
>> }</score>

Using LilyPond \chord

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{\language "english" 
\new PianoStaff << \new Staff\chordmode 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major 
ef1            %ef
bf1           %bf
ef2            %ef
c2:m           %c:m
bf2           %bf
r2                  %"bf*
} 
\new Staff \chordmode  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
ef,,1          %ef
bf,,1            %bf
ef,,2         %ef
c,,2:m           %c:m
bf,,2          %bf
r2                   %bf*
}      >> }
Simplify using LilyPond \chord

comments go here

Expand to see code for score
<score sound="1"> 
{\language "english" 
\new PianoStaff << \new Staff\chordmode 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major 
ef1            %ef
bf1           %bf
ef2            %ef
c2:m           %c:m
bf2           %bf
r2                  %"bf*
} 
\new Staff \chordmode  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
ef,,1          %ef
bf,,1            %bf
ef,,2         %ef
c,,2:m           %c:m
bf,,2          %bf
r2                   %bf*
}      >> }</score>

Add melody to chords

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{\language "english" 
\new PianoStaff << 
\new Staff{\set Staff.midiInstrument = #"piano" 
\clef treble\tempo 4 = 120 \time 4/4  \key ef \major 
% Top notes to complete the melody
ef''1     
r1
g''2
ef''4
g''4
r2
bf'2
}
\new Staff\chordmode 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major 
ef1            %ef
bf1           %bf
ef2            %ef
c2:m           %c:m
bf2           %bf
r2                  %"bf*
} 

\new Staff \chordmode  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
ef,,1          %ef
bf,,1            %bf
ef,,2         %ef
c,,2:m           %c:m
bf,,2          %bf
r2                   %bf*
}      >> }
Add melody to 2

comments go here

Expand to see code for score
<score sound="1"> 
{\language "english" 
\new PianoStaff << 
\new Staff{\set Staff.midiInstrument = #"piano" 
\clef treble\tempo 4 = 120 \time 4/4  \key ef \major 
% Top notes to complete the melody
ef''1     
r1
g''2
ef''4
g''4
r2 
bf'2
}
\new Staff\chordmode 
{\set Staff.midiInstrument = #"piano" 
\clef treble \tempo 4 = 120 \time 4/4  \key ef \major 
ef1            %ef
bf1           %bf
ef2            %ef
c2:m           %c:m
bf2           %bf
r2                  %"bf*
} 

\new Staff \chordmode  { \set Staff.midiInstrument = #"piano" 
\clef bass \key ef \major
ef,,1          %ef
bf,,1            %bf
ef,,2         %ef
c,,2:m           %c:m
bf,,2          %bf
r2                   %bf*
}      >> }</score>

Alto clef

[edit | edit source]
 
{\language "english" 
\set Staff.midiInstrument = #"piano" 
\clef alto \tempo 4 = 120 \time 4/4  \key ef \major 
<g, bf, ef g ef' g' bf' ef''>1_"Eb"
<f, bf, d f f'  bf' d'' f''>1_"Bb"
<ef, g, bf, ef g' bf' ef'' g''>2_"Eb"
<c, ef, g, c ef' g' c'' ef''>2_"Cm"
<d, f, bf, d f'  bf' d'' f''>2_"Bb"}
Use alto clef on 1

comments go here

Expand to see code for score
<score sound="1"> 
{\language "english" 
\set Staff.midiInstrument = #"piano" 
\clef alto \tempo 4 = 120 \time 4/4  \key ef \major 
<g, bf, ef g ef' g' bf' ef''>1_"Eb"
<f, bf, d f f'  bf' d'' f''>1_"Bb"
<ef, g, bf, ef g' bf' ef'' g''>2_"Eb"
<c, ef, g, c ef' g' c'' ef''>2_"Cm"
<d, f, bf, d f'  bf' d'' f''>2_"Bb"}</score>
|}

Spreadsheets

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These spreadsheets were created on Google Chrome and exported online to wikitext

Large spreadsheet

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Copy of original spreadsheet showing intermediary calculations

Extended content
ratio ef just equal cent * ratio bf just equal cent * ratio ef just equal cent * ratio c:m just equal cent * ratio bf just equal cent
0.6250 g, 97.2272 97.9989 -14 * 0.5625 f, 87.5045 87.3071 4 * 0.5000 ef, 77.7817 77.7817 0 * 0.4167 c, 64.8181 65.4064 -16 * 0.4688 d, 72.9204 73.4162 -12
0.7500 bf, 116.6726 116.5409 2 * 0.7500 bf, 116.6726 116.5409 2 * 0.6250 g, 97.2272 97.9989 -14 * 0.5000 ef, 77.7817 77.7817 0 * 0.5625 f, 87.5045 87.3071 4
1.0000 ef 155.5635 155.5635 0 * 0.9375 d 145.8408 146.8324 -12 * 0.7500 bf, 116.6726 116.5409 2 * 0.6250 g, 97.2272 97.9989 -14 * 0.7500 bf, 116.6726 116.5409 2
1.2500 g 194.4544 195.9977 -14 * 1.1250 f 175.0089 174.6141 4 * 1.0000 ef 155.5635 155.5635 0 * 0.8333 c 129.6362 130.8128 -16 * 0.9375 d 145.8408 146.8324 -12
* * * *
2.0000 ef^ 311.1270 311.1270 0 * 2.2500 f^ 350.0179 349.2282 4 * 2.5000 g^ 388.9087 391.9954 -14 * 2.0000 ef^ 311.1270 311.1270 0 * 2.2500 f^ 350.0179 349.2282 4
2.5000 g^ 388.9087 391.9954 -14 * 3.0000 bf^ 466.6905 466.1638 2 * 3.0000 bf^ 466.6905 466.1638 2 * 2.5000 g^ 388.9087 391.9954 -14 * 3.0000 bf^ 466.6905 466.1638 2
3.0000 bf^ 466.6905 466.1638 2 * 3.7500 d^^ 583.3631 587.3295 -12 * 4.0000 ef^^ 622.2540 622.2540 0 * 3.3333 c^^ 518.5450 523.2511 -16 * 3.7500 d^^ 583.3631 587.3295 -12
4.0000 ef^^ 622.2540 622.2540 0 * 4.5000 f^^ 700.0357 698.4565 4 * 5.0000 g^^ 777.8175 783.9909 -14 * 4.0000 ef^^ 622.2540 622.2540 0 * 4.5000 f^^ 700.0357 698.4565 4

Equal temperament

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116.5409 233.0819 466.1638 are the b-flats in the extra quarter note

Extended content
ef equal * bf equal * ef equal * c:m equal * bf equal
g, 97.9989 * f, 87.3071 * ef, 77.7817 * c, 65.4064 * d, 73.4162
bf, 116.5409 * bf, 116.5409 * g, 97.9989 * ef, 77.7817 * f, 87.3071
ef 155.5635 * d 146.8324 * bf, 116.5409 * g, 97.9989 * bf, 116.5409
g 195.9977 * f 174.6141 * ef 155.5635 * c 130.8128 * d 146.8324
* * * *
ef^ 311.1270 * f^ 349.2282 * g^ 391.9954 * ef^ 311.1270 * f^ 349.2282
g^ 391.9954 * bf^ 466.1638 * bf^ 466.1638 * g^ 391.9954 * bf^ 466.1638
bf^ 466.1638 * d^^ 587.3295 * ef^^ 622.2540 * c^^ 523.2511 * d^^ 587.3295
ef^^ 622.2540 * f^^ 698.4565 * g^^ 783.9909 * ef^^ 622.2540 * f^^ 698.4565

Just temperament

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116.6726 233.3452 466.6905 are the b-flats in that extra quarternote

Extended content
ef just * bf just * ef just * c:m just * bf just
g, 97.2272 * f, 87.5045 * ef, 77.7817 * c, 64.8181 * d, 72.9204
bf, 116.6726 * bf, 116.6726 * g, 97.2272 * ef, 77.7817 * f, 87.5045
ef 155.5635 * d 145.8408 * bf, 116.6726 * g, 97.2272 * bf, 116.6726
g 194.4544 * f 175.0089 * ef 155.5635 * c 129.6362 * d 145.8408
* * * *
ef^ 311.1270 * f^ 350.0179 * g^ 388.9087 * ef^ 311.1270 * f^ 350.0179
g^ 388.9087 * bf^ 466.6905 * bf^ 466.6905 * g^ 388.9087 * bf^ 466.6905
bf^ 466.6905 * d^^ 583.3631 * ef^^ 622.2540 * c^^ 518.5450 * d^^ 583.3631
ef^^ 622.2540 * f^^ 700.0357 * g^^ 777.8175 * ef^^ 622.2540 * f^^ 700.0357
[edit | edit source]
See also User:Guy vandegrift/sandbox/01, w:Consonance and dissonance, w:Interval (music) (discussion), and:J. R. Soc. Interface (2008) 5, 1429–1434 (challenges Hemholtz)


  1. Thomas D. Rossing and Robert Perrin, “Vibrations of bells,” Appl. Acoust. 20, 41-70 (1987).
  2. T. D. Rossing “Acoustics of Bells” American Scientist, 72, 440-447 (1984)
  3. Kristen Menou, Benjamin Audit, Xavier Boutillon, and Holger Vach, “Holographic study of a vibrating bell: An undergraduate laboratory experiment” Am. J. Phys. 66 380 (1998)
  4. N McLachlan, BK Nigjeh, A Hasell, “The design of bells with harmonic overtones,” J. Acoust. Soc. Am. Volume 114, Issue 1, pp. 505-511 (July 2003)
  5. Ralph T. Muehleisen and Anthony A. Atchley, “Fundamental azimuthal modes of a constricted annular resonator: Theory and measurement,” J. Acoust. Soc. Am. 109, 480–487 (2001).
  6. R. Perrin, G. M. Swallowe, T. Charnley and C. Marshall, “On the debossing, Annealing and Mounting of bells,” J. Sound Vib. 227, 409-425 (1999).
  7. Seock-Hyun Kim, Chi-Wook Lee and Jang-Moo Lee, “Beat characteristics and beat maps of the King Seong-deok Divine Bell, ” J. Sound Vib. 281, 21-44 (2005).
  8. https://arxiv.org/ftp/arxiv/papers/1004/1004.0491.pdf
  9. https://www.tablesgenerator.com/mediawiki_tables
  1. Physical and Chemistry Textbook Maps (chem.libretext.org)
  2. w:special:permalink/1109685946#Closed_at_both_ends
  3. Cha, Sungdo & Buschert, John & King, Daniel. (2010). Pseudo-Degeneracy in Handbell Modes. The Journal of the Acoustical Society of America. 117. 10.1121/1.4788550.