|WikiProject Music theory||(Rated Start-class)|
|WikiProject Percussion||(Rated C-class, Top-importance)|
Stretched tuning & Moving inharmonic to inharmonicity
I'm considering moving this page to "Inharmonicity" and incorporating into its heavily edited -- yet, oddly, almost unchanging -- content the information on inharmonicity I've recently added to stretched tuning. Is anyone watching this "Inharmonic" page? If so, please read the inharmonicity part of stretched tuning and register any objections to my incorporating that somehow into "Inharmonic" and then moving the page to "Inharmonicity". Veg0matic 05:18, 13 August 2005 (UTC)
- The stretched tuning article is certainly better written and generally more coherent than this one!
White noise graph
The article includes a graph of the spectrum of white noise. White noise has nothing to do with inharmonicity, and there's no other mention of white noise in the article. I've removed image. Omc (talk) 01:03, 26 February 2015 (UTC)
"pleasing the math"
From the article: If pleasing the ear is the goal of an aural tuning, then pleasing the math is the goal of a machine tuning.
List of instruments
This section doesn't say much, other than paraphrasing a bullet list at the end of this UNSW page on sound spectra. I am thinking of removing the section entirely. The issue that drew my attention to it is the assertion that brass instruments are "perfectly harmonic", whatever that is supposed to mean.
Brasses are a strange beast: being pipes closed at one end, their overtones correspond only to odd-numbered harmonics. The bell, with its flare, affects the length of tubing "seen" by waves of various lengths, so that the pitches of the odd overtone series resemble a complete set of even and odd harmonics from the second one upwards. The intonation of the set of partials for an individual horn, at a given valve combination or slide position, depends on the shape of the bell, with upper partials also being affected by the shape and dimensions of the mouthpiece: "Provided the instrument is well designed, their playing frequencies will be close to those of a complete harmonic series (provided we accept the pedal note with its nonexistent fundamental)."
That seems to say that a horn with a poorly shaped bell, or one that has become dented and distorted, may depart significantly from being "perfectly harmonic." Even brand-new horns from different manufacturers are said to have distinctive sounds. Does some part of that come from how well the partials line up with an ideal harmonic series?