In the split column, C is the 15 overtone arrangement of the fundamental tone, what is the rule?

Yes c c g c1 e1 g1 b1 c2 d2 e2 f2 g2 a2 b2 c3 (the numbers are on the top right of the lowercase letter).

Summary..

Yes c c g c1 e1 g1 b1 c2 d2 e2 f2 g2 a2 b2 c3 (the numbers are on the top right of the lowercase letter).

With g as the fundamental sound, write a segmentation column composed of the fundamental sound and 15 overtones with the sound name.

It's talking about brother Hu c c g c1 e1 g1 b1 c2 d2 e2 f2 g2 a2 b2 b2 c3 (counting the dust so that the words are all in the upper right of the lowercase letters).

Kiss, please wait.

With g as the fundamental sound, write a segmentation column composed of the fundamental sound and 15 overtones with the sound name.

Kissing this can be solved.

Okay, kiss, please wait.

A certain sound that we usually hear is not just one sound, but a combination of many sounds, and this sound is called a compound sound.

Second part: Laughing wide refers to the sound produced by the movement of one of the two parts of the whole string.

2.Third part: The tone produced by the vibration of one-third of the string, called the third part.

Interval. It refers to the pitch relationship between two musical notes, which is represented by "degrees". For example, from 1 to 1, or from 2 to 2, from 1 to 1 is one degree, from 1 to 3 or 2 to 4 is a third, and from 1 to 5 is a fifth.

So the second to third parting is 3rd degree.

Summed up according to the formula.

Formula content: Pure Eight, Pure Five, Pure Four, Big Three, Small Three, Small Three, Big Two, Big Two, Big Two, Big Two, Big One, Small Two. This is mostly used for string instruments or brass instruments.

If C is the fundamental sound, they are C1, G1, C2, E2, G2, B2, C3, D3, E3, F3, G3, A3, B3, B3, B3, C4. There are four octaves.

bb1,bb,f,bb,d1,f1,ba1,bb1,c2,d2,e2,f2,g2,a2,a2,bb2。

The overtone column is formed by a simple integer ratio of frequency. That's 1:2:

9...Such. The natural scale, on the other hand, is formed according to the law of fifths, f-(c)-g-d-a-e-b-( f- c- g- d- a), and the frequency ratio of the two adjacent tones is 2:

3 (or 4:3).

This results in a complex frequency ratio of white and black keys, e.g. 512:729 for c and f.

This question is a bit verbose to explain.

First of all, we must start with the principle of sound vocalization, that is, the vibration frequency of the sound emitter determines the pitch. When the emitter vibrates as a whole, what we hear is the fundamental tone, and the local vibration, which in turn drives the overall resonance, we hear the overtones.

Let's take string oscillation as an example: we know that the length of the string is inversely proportional to the frequency of the vibration, that is, the longer the string length, the lower the frequency, and vice versa, the higher the frequency. When the treble audio is 2 than the bass audio, the two-tone string length ratio is the reciprocal, that is, the treble ratio and the bass are 1 2.

These two tones are the octave relationship, that is, the treble is exactly an octave higher than the bass. The overtones are consistent with the pitch of the fundamental notes pronounced in the same position.

If the fundamental pitch of the whole chord is C, then its second overtone is C (exactly half of the whole chord), and the two upper and lower case C's are written in terms of pitch grouping, from bass to treble as large character group, small character group, small character group, small character group 2 group, and so on. The higher the number followed by the uppercase letter, the lower the pitch, while the higher the number followed by the lowercase letter, the higher the pitch.

The third section is two-thirds of the way through the whole chord, and the chord length it sounds out of is one-third of the length of the string, which is the pure octave above the base of the whole chord (one-half of the length of two-thirds of the chord); So it has a pitch of g;

The fourth section is three-quarters of the way, and the vocal part is a quarter of the full length, two octaves (one-half of a half) higher than the fundamental tone of the whole chord, so it is C1;

The position of the fifth segment is four-fifths of the way, and the vocal part is one-fifth of the total length, and it is three degrees greater than the frequency at the quarter (4 to 5), so it is e1;

The sixth segment is exactly half of the third segment, and the pitch is an octave higher at the third segment, so it is G1;

The rest of the ones will not help you deduce and explain them one by one. In short, this requires you to have some knowledge of rhythm and know the simple ratio of audio between pitches (mainly the ratio of high and low tones to the various common intervals). Otherwise, you'll have to memorize by rote.

Our teacher said that you just need to memorize it, you don't need to figure out how it came about, you just need to figure out the degrees between them, and then memorize the degrees.

This refers to the use of a tone as the base tone (called the fundamental tone, which can be any tone) and upwards to form an overtone.

Column. Overtones are tones whose frequencies are integer multiples of the fundamental tones. The frequency of twice the fundamental tone is called the first overtone, the frequency of the basic tone is three times the second overtone, and so on.

For example, the first overtone of c is a c an octave higher than it, the second overtone is a g five octaves higher than the first overtone, the third overtone is a c two octaves higher than the keynote, and so on. It is important to note here that all of this is according to the law of five degrees of reciprocity.

It is not according to the law of twelve equals.

After all, overtones are based on the nature of physics when strings vibrate, so they can only be calculated using the law of fifths. If you calculate according to the twelfth equal temperament, you will find that the pitch of some overtones is not exactly the same as the pitch of that tone, such as the second overtone, when the second overtone is played on the piano, because the piano is tuned according to the twelfth equal temperament, the actual pitch will be slightly different from the theoretical second overtone, but because the deviation is very small, it is difficult for the human ear to hear. However, if you continue to write down the overtone column, in the later stages some of the overtones will deviate significantly from the pitch played on the instrument, even if you use the law of fifths, which is unavoidably normal, since the overtones are strictly based on the integer ratio of the frequency of the fundamental tone.

The base note is the basic tone, which is generally near the bass clef plus the second line. There are very few instruments with a fundamental tone, and many instruments do not have a fundamental tone. The basic sound is the part of the articulation body that vibrates completely, and the part of the articulation body that vibrates in segments is called overtones.