Transpose from Am to A

[Tone Deft]

It can sometimes take years of practice

[stringtapper]

what's that little symbol, I can barely see it?

It's an accidental.

[gjm]

It can sometimes take months of coaching

I'm ready!!

I'll work on something to better explain... I'll need some time though.

Small clarification for above quote... "It can sometimes take months of coaching to even get and take the first steps of improv..."

Tone Deft is more on point about taking much longer...

It is how ever 100% achievable in its basic forms in shorter rather than longer periods of time for those who want to work.

[crumhorn]

Might as well take the opportunity to post my chord calculator slide rule again -> http://www.sharehost.co.uk/Live/chordsliderule.html


And also this MIDI harmonizer rack -> http://www.sharehost.co.uk/Live/Harmonize.adg

Check them out.

[crumhorn]

Harmonizer instructions here -> viewtopic.php?f=1&t=177373&hilit=+harmonizer. Plus a useful diagram that 3dot posted to help visualize the modes.

I keep meaning to scale down the graphics in the chord calculator page because it tends to over fill the screen rather.

As for the OSX version it was made by photonal. I have no way to test it, but if you are sure it doesn't work then I will remove the link,

[pencilrocket]

I need help. TLTR this thread. I have to eat.

[pencilrocket]

Music theory 3 - sound, pitch, harmonics & waveforms

Though I may be missed the lines, about the pitch, is it right that you don't mention about the harmonics? Pitch is rather determined by the harmonics, not always fundamental freq.

[carrieres]

thanks you funken

[stringtapper]

Music theory 3 - sound, pitch, harmonics & waveforms

Though I may be missed the lines, about the pitch, is it right that you don't mention about the harmonics? Pitch is rather determined by the harmonics, not always fundamental freq.

No, timbre is determined by the harmonics above a fundamental. Our perception of pitch is based on the frequency of the fundamental, that is we tend to perceive even complex tones (sounds with many harmonics) as having a single definable "pitch," and that pitch is equivalent to the frequency of the fundamental.

Of course there are instances where the fundamental may not even be present but is still perceived because a series of overtones that are harmonically (as opposed to inharmonically) related to a particular fundamental are present, a phenomenon known as the missing fundamental.

[pencilrocket]

Music theory 3 - sound, pitch, harmonics & waveforms

Though I may be missed the lines, about the pitch, is it right that you don't mention about the harmonics? Pitch is rather determined by the harmonics, not always fundamental freq.

No, timbre is determined by the harmonics above a fundamental. Our perception of pitch is based on the frequency of the fundamental, that is we tend to perceive even complex tones (sounds with many harmonics) as having a single definable "pitch," and that pitch is equivalent to the frequency of the fundamental.

Of course there are instances where the fundamental may not even be present but is still perceived because a series of overtones that are harmonically (as opposed to inharmonically) related to a particular fundamental are present, a phenomenon known as the missing fundamental.

If my explanation of detail is bad you can read in your quote what I tried to tell.

pitch of a tone not only by its fundamental frequency, but also by the periodicity implied by the relationship between the higher harmonics,

The presence of fundamental frequency in the actual sound isn't necessary condition for pitch.

[fishmonkey]

Music theory 3 - sound, pitch, harmonics & waveforms

Though I may be missed the lines, about the pitch, is it right that you don't mention about the harmonics? Pitch is rather determined by the harmonics, not always fundamental freq.

No, timbre is determined by the harmonics above a fundamental. Our perception of pitch is based on the frequency of the fundamental, that is we tend to perceive even complex tones (sounds with many harmonics) as having a single definable "pitch," and that pitch is equivalent to the frequency of the fundamental.

Of course there are instances where the fundamental may not even be present but is still perceived because a series of overtones that are harmonically (as opposed to inharmonically) related to a particular fundamental are present, a phenomenon known as the missing fundamental.

to muddy the waters still further, there is no scientific consensus on how the the subjective experience of pitch occurs when the fundamental is not literally present...

[fishmonkey]

well, the brain fills in gaps with what it thinks should be there, or is likely to be there.

the phenomenon and its variations are fairly well documented now. how it works from cochlear to actual conscious perception is not clearly understood, although there are various theories of course...

[stringtapper]

What we do know at least is that it is a psychoacoustic phenomenon rather than a strictly acoustic one. In other words it's happening somewhere between your ear and your brain, as fishmonkey alluded, rather than as an actual disturbance of a physical medium outside the ear.

It seems heavily connected with the phenomena of combination tones, which involves the perception of a frequency that isn't physically sounding that results from the combination of two or more other frequencies that are physically sounded. So with an optimal monitoring situation you could play an oscillator at 100Hz, another at 200Hz, and another at 300Hz and hear a fundamental, it's octave, and 12th above it. But if you take take away the fundamental you may still hear the equivalent of a 100 Hz tone, the perceived 100 Hz tone being the difference between the 200 and 300 Hz tones.

[stringtapper]

Hmm.. I think we need a wav uploaded Str'apper.

Nah no .wavs needed. I have done combination tone experiments in Max in the past but it's simple to do it with Live and Operator.

Drop an Operator on a track. Change the routing algorithm to full additive (squares in a horizontal row). Tune the B oscillator to 2 and set its volume to -3dB. Tune the C oscillator to 3 and set its volume to -6dB. Drop a Spectrum on the track. Put a MIDI clip on the track and draw in a note for the fundamental. I used A2 (220Hz). Now play the clip, listen to the sound of all three oscillators, then deactivate the A oscillator. Depending on your monitoring situation you should be able to discern a low volume, slightly more "square wavey" version of the A oscillator's pitch. If you can hear it then look at the Spectrum and you'll see it's not actually happening from the machine. That's because it's happening in your ear.

Of course we can observe similar phenomena—and not psychoacoustic but rather acoustic—through inducing sympathetic vibrations in resonant bodies. The classic experiment can be done on a piano by slowly holding down one key so that it is not dampened but doesn't sound and then hitting the key an octave above, which will make the held key an octave below vibrate.

[stringtapper]

I've got some free time today so yeah.