There are partials (ON A, as well as NOT I and DO I, which I know are complete sentences, but they still feel like partials).
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I'm also becoming much more averse to partials and abbreviations in general.
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"The problem most people have is they think all or none: think partials," he said.
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You might give more weight to a grid unsullied by partials or an abundance of abbreviations.
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Constructors try their best to make these shorter crossings legitimate words, without too many partials or abbreviations.
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All four of the Across entries sparkle, and there are only two partials (A CAKE and AN IF).
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I doubt this puzzle would be accepted with Will's high standards these days, with two partials and one plural name.
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I agree with Mr. Perl's opinion below that there is a mix of decent fill and crosswordese/partials in his puzzle.
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I admire the cleanliness of his grid; it takes a lot of work to fill a grid with no partials or obscurities.
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And while there are some partials in the Downs that intersect the stacks, Mr. Ashwood-Smith does pretty well with those as well.
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In staggered fashion over the course of an hour, the members of the JACK brought this motif into successively higher partials of different fundamental notes.
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They're fine, I suppose, but below-average, almost-partials like that are going to get extra scrutiny from their prominence as the puzzle's 1-Across and 1-Down.
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A clean fill in which abbreviations, partials, obscurities, split entries and crosswordese are kept to a minimum, and without too many short words, to avoid frustrating solvers. 3.
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Beyond that, I have what I consider to be a fairly mainstream aversion to entries like unfamiliar abbreviations, partials, combining forms, Roman numerals, obscurities and less familiar foreign words.
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By using higher partials from the harmonic series — the 11th, the 13th and even the 31st — he requires players to listen for and perform ever more narrow pitch differences, some just a few cents apart.
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Mr. Ross's Friday puzzle gave me some resistance as a Friday puzzle should, but I ran into a few speed bumps in the form of partials and abbreviations, like A DOSE, ONE B and HGT.
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We time-stretched the sound of the woodblock and zoomed into the partials and spectra of a single woodblock stroke — just a millisecond of sound — and opened it up and basically unfolded the whole piece from there.
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The two Down theme entries cross two Across theme entries each, which is impressive, but I would have liked to have seen fewer theme entries and maybe less of the crosswordese and partials that resulted from his grid design.
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The more fingers you add to open the phone, the more tiny partials you produce, and the more at risk you become of someone randomly (or more likely purposely) finding the right tiny partial needed to get into the device.
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During the review period, and until further notice, Al-Shaheen crude oil loading from Qatar may not without mutual agreement between buyer and seller be nominated upon the convergence of crude partials contracts trading during its pricing process, the company said.
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There's not a lot that's new — although I liked seeing the debut of HEAR ME OUT — and there are some of the "old reliables" in there, like SRO, ETNA and EEO, as well as some partials and suffixes which bring down the quality of the fill.
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I also keep a list called "[Expletive, rhymes with 'Witty'] Word List," which is for entries that I am personally disinclined to use in a themeless (partials, prefixes, suffixes, most abbreviations) but which come in handy for themed puzzles, where the rules on these things are a little looser.
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According to some insiders who have seen tomorrow's puzzle and given some hints about it in some private puzzle-based chatrooms, it has a quintuple stack of 15s, is a double pangram, has 52 words with just 17 black squares, and all the answers are common with no partials, foreign words, or Roman numerals.
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Then, after thinking a few seconds, I remembered the short-sleeved seersucker shirts we used to wear, my twin brother, Dave, and I. I may have been about 4, about the age of the boy I can hear crying in the street as I write this — all those partials in his voice, all that open-mouthed speech, full of longing, you can't quite understand.
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He has refined a technique of using the piano's sustain pedal and his attack in order to bring out the upper partials of a note, so that when he strikes a key, he can control the "cross-talk" between two notes, throwing into relief what he calls "the entire shape and bloom of a note," from its inception to the moment when "it ceases to be audible and becomes imaginary" — ghostlike, you might say.
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Shockley partials and Frank partials can combine to form a Thompson tetrahedron, or a stacking fault tetrahedron.
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Wind instruments whose air column is open at only one end, such as trumpets and clarinets, also produce partials resembling harmonics. However they only produce partials matching the odd harmonics, at least in theory. The reality of acoustic instruments is such that none of them behaves as perfectly as the somewhat simplified theoretical models would predict. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials.
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The partials of a pseudo-Harmonic timbre are digitally mapped, as defined by a temperament, to specific notes of a pseudo-Just tuning. When the temperament's generator changes in width, the tuning of the temperament's notes changes, and the partials change along with those notes—yet their relative position remains invariant on the temperament-generated isomorphic keyboard. The frequencies of notes and partials change with the generator's width, but the relationships among the notes, partials, and note-controlling buttons remain the same: as defined by the temperament. The mapping of partials to the notes of the syntonic temperament is animated in Video 5.
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Retrieved 16 April 2015. Harmor’s engine differs in that it sums its component partials later in the signal chain than most additive synthesis engines, even past the filter stage. This creates a more particular sound when its partials are summed. This is especially true when its partials are altered through the filter stage or other effects.
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A vibrating string, a column or air, and the human voice all emit a specific pattern of partials called the Harmonic Series. ("Partials" are also called "harmonics" and/or "overtones.") Each musical instrument's unique sound is called its timbre, so we can call an instrument's timbre a "Harmonic timbre" if its partials are emitted as per the Harmonic Series.
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If presented as part of a complex tone comprising also the adjoining partials these partials would fuse together, and a congruency with the partial of another note could no longer be detected. It might be interesting to test whether it is possible to detect harmonic congruency for higher prime numbers for instruments with odd partials, as the distances between partials are higher in these instruments. With training it might be possible to detect consonance up to prime number 17 or even 19.
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It results in improved intonation and stronger harmonically related partials across the player's range.
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Video 5: Animates the mapping of partials to notes in accordance with the syntonic temperament.
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Most acoustic instruments emit complex tones containing many individual partials (component simple tones or sinusoidal waves), but the untrained human ear typically does not perceive those partials as separate phenomena. Rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Many acoustic oscillators, such as the human voice or a bowed violin string, produce complex tones that are more or less periodic, and thus are composed of partials that are near matches to integer multiples of the fundamental frequency and therefore resemble the ideal harmonics and are called "harmonic partials" or simply "harmonics" for convenience (although it's not strictly accurate to call a partial a harmonic, the first being real and the second being ideal). Oscillators that produce harmonic partials behave somewhat like one- dimensional resonators, and are often long and thin, such as a guitar string or a column of air open at both ends (as with the modern orchestral transverse flute).
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Other significant frequencies are called overtones of the fundamental frequency, which may include harmonics and partials. Harmonics are whole number multiples of the fundamental frequency, such as ×2, ×3, ×4, etc. Partials are other overtones. There are also sometimes subharmonics at whole number divisions of the fundamental frequency.
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Many pitched acoustic instruments are designed to have partials that are close to being whole-number ratios with very low inharmonicity; therefore, in music theory, and in instrument design, it is convenient, although not strictly accurate, to speak of the partials in those instruments' sounds as "harmonics", even though they may have some degree of inharmonicity. The piano, one of the most important instruments of western tradition, contains a certain degree of inharmonicity among the frequencies generated by each string. Other pitched instruments, especially certain percussion instruments, such as marimba, vibraphone, tubular bells, timpani, and singing bowls contain mostly inharmonic partials, yet may give the ear a good sense of pitch because of a few strong partials that resemble harmonics. Unpitched, or indefinite- pitched instruments, such as cymbals and tam-tams make sounds (produce spectra) that are rich in inharmonic partials and may give no impression of implying any particular pitch.
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The fundamental frequency is considered the first harmonic and the first partial. The numbering of the partials and harmonics is then usually the same; the second partial is the second harmonic, etc. But if there are inharmonic partials, the numbering no longer coincides. Overtones are numbered as they appear the fundamental.
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Harmonics may also be called "overtones", "partials" or "upper partials". The difference between "harmonic" and "overtone" is that the term "harmonic" includes all of the notes in a series, including the fundamental frequency (e.g., the open string of a guitar). The term "overtone" only includes the pitches above the fundamental.
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Chords are constructed from the repertoire of thirty-three partials [of the bell], and modulations from one area of the spectrum to another are achieved by means of glissandi."Manning, Peter (2004). Electronic and Computer Music, p.201. . The bell's spectrum, though on C, contains F harmonic series partials, "'to curiously thrilling and disturbing effect.
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Vibrational modes of an ideal string, dividing the string length into integer divisions, producing harmonic partials f, 2f, 3f, 4f, etc. (where f means fundamental frequency). An overtone is any frequency greater than the fundamental frequency of a sound. Using the model of Fourier analysis, the fundamental and the overtones together are called partials.
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On this basis, Terhardt proposed that spectral pitches - which are what the listener experiences when hearing out partials (as opposed to the physical partials themselves) - are the only information available to the brain for the purpose of extracting virtual pitches. The "pitch extraction" process then involves the recognition of incomplete harmonic patterns and happens in neural networks.
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A more evolving and changing sound can be achieved due to this delayed summation of partials. Harmor also uses subtractive synthesis equally as effectively as it does additive. It can produce up to 516 partials per note, per unison sound. They also can be modified in real time through Harmor’s additive synthesis engine as described before.
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Also, an open pipe produces a tone in which both the even-numbered and the odd-numbered partials are present, while a stopped pipe produces a tone with odd-numbered partials. The tone of a stopped pipe tends to be gentler and sweeter than that of an open pipe, though this is largely at the discretion of the voicer.
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Harmor offers the unique option of being able to draw one’s own envelopes for filters, along with LFOs. These envelopes and LFOs are applied to each individual partial simultaneously, rather than the final compilation of partials in a sound. This creates a much cleaner and more authentic modulation of a sound compared to envelopes within synthesizers that are not applied to individual partials.
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Other source separation methods rely on training or clustering of features in mono recording, such as tracking harmonically related partials for multiple pitch detection.
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Because "overtone" makes the upper partials seem like such a distinct phenomena, it leads to the mathematical problem where the first overtone is the second partial. Also, unlike discussion of "partials", the word "overtone" has connotations that have led people to wonder about the presence of "undertones" (a term sometimes confused with "difference tones" but also used in speculation about a hypothetical "undertone series").
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Central to this was an exploration of the harmonic spectrum, and by the invention of new playing techniques the aim to bringing out, and sometimes to isolate, the upper partials of complex sounds, on which new spectra could be built. The harmonic relationships in his music are based on these spectra and on the phenomena of sum and difference tones. The opening sonority of his fourth string quartet (1976–87), for example, is based on partials 21, 22 and 43 of a low C fundamental; this is an example of what Rădulescu referred to as "self- generating functions" in his music, as partials 21 and 22 give in sum 43 and in difference 1, the fundamental. (On a C fundamental, partials 21, 22 and 43 are all different, microtonally distinct kinds of F, the 21st partial being 29 cents lower than tempered F, partial 22 being 51 cents higher and partial 43 12 cents higher.) Much of his music for strings makes use of a "spectral scordatura", where the open strings are retuned, often to simulations of the partials of a single harmonic spectrum.
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Harmonics, or more precisely, harmonic partials, are partials whose frequencies are numerical integer multiples of the fundamental (including the fundamental, which is 1 times itself). These overlapping terms are variously used when discussing the acoustic behavior of musical instruments.Alexander J. Ellis (translating Hermann Helmholtz): On the Sensations of Tone as a Physiological Basis for the Theory of Music, pages 24 and 25. 1885, reprinted by Dover Publications, Inc.
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Group additive synthesis is a method to group partials into harmonic groups (having different fundamental frequencies) and synthesize each group separately with wavetable synthesis before mixing the results.
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The fifth through the ninth partials are particularly easy to hear and the louder passages feature higher partials.Erickson, Robert (1975). Sound Structure in Music. University of California Press. p.
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The concept of chord root is not the same as that of the fundamental of a complex vibration. When a harmonic sound, i. e. a sound with harmonic partials, lacks a component at the fundamental frequency itself, the pitch of this fundamental frequency may nevertheless be heard: this is the Missing fundamental. The effect is increased by the fact that the missing fundamental also is the difference tone of the harmonic partials.
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For instance, when tuning musical bells, this model displays several of the bell's partials (hum, second partial, tierce, quint and nominal/naming note) as well as the prime, and each of their partials, on separate displays. The unit is heavy and fragile, and requires a regular maintenance schedule. Each of the twelve displays requires periodic re-calibration. It can be used to teach students about note substructures, which show on the separate strobing displays.
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Most musical instruments generate a fairly complex waveform. It contains a number of harmonic partials, including the fundamental frequency (which a typical listener perceives as the pitch of the note) and additional "harmonics" (also called "partials" or "overtones"). Each instrument produces different ratios of harmonics, which is what makes notes of the same pitch played on different instruments (e.g., an A 440 Hz note played on oboe, violin or electric guitar) sound different.
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This breakthrough led to the creation of totally new sounds never done before on either purely analog synths or digital samplers. Each D-50 sound ("patch") was made up of 2 "tones" (Upper and Lower) and each tone was made up of 2 "partials". Each partial could be either a "analog waveform" (pulse, sawtooth or sine waveform) and a VCF or a digital PCM waveform (sampled attack transient or looped sustain waveform). The partials could be arranged following 1 of 7 possible "structures" (algorithms), with a combination of either a PCM waveform or synthesized waveform, with an option to ring-modulate the two partials together. The synthesized waveforms could be pulse-width modulated and passed through an analog 4-stage Low-Pass filter, allowing for subtractive synthesis.
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Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Acoustical Society of America – Large grand and small upright pianos by Alexander Galembo and Lola L. Cuddly Hanna Järveläinen et al. 1999. "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems" Other oscillators, such as cymbals, drum heads, and other percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.
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Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872.
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Low SFE materials twin and create partial dislocations. Partials form instead of screw dislocations. Screws which do exist cannot cross-slip across stacking faults, even under high stresses.Smallman, R., Green, D., (1964).
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The process of digitally tempering a pseudo-Harmonic timbre's partials to align with a tempered pseudo-Just tuning's notes is shown in Video 6 (Dynamic tuning & timbre). Video 6: Dynamic tuning & timbre.
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Dynamic Tonality enables two new kinds of real-time musical effects: those that require a change in tuning, and those that affect the distribution of energy among a pseudo-Harmonic timbre's partials.
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Blurring the top and bottom of a partial affects its frequencies, while blurring the left and right of a partial affect its attack and decay, respectively. Located directly below the blur, the prism knob is useful for creating a detuned or harsh sound. Partials are shifted from their original frequency to the fundamental frequency, causing quite a clash between them. Especially useful for creating a string-like sound, the pluck knob uses a filter to impact the decay rate of a sound's partials.
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Overtones tunings for guitar select their six open-notes from the initial nine partials (harmonics) of the overtones sequence. The first eight partials on C, namely (C,C,G,C,E,G,B,C), are pictured. Among alternative tunings for the guitar, an overtones tuning selects its open-string notes from the overtone sequence of a fundamental note. An example is the open tuning constituted by the first six overtones of the fundamental note C, namely C2-C3-G3-C4-E4-G4.
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First, the partials of complex tones in the environment may be physically mistuned relative to a harmonic series (e.g. piano tones). Second, the frequencies of partials may be known only approximately due to the uncertainty principle: the shorter is the effective time window, the less accurately can the frequency be known. The auditory system is physically unable to determine frequencies accurately in very short sound presentations, or in tones that are changing quickly in fundamental frequency, for example in speech.
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Fuel Tank: 16L (Ténéré), 11L (Lander), 4.9L reserve (both). Internal zinc coating. Display Panel: back-lit digital speedometer, odometer (with 2 partials and fuel reserve counter), fuel gauge and clock; analog (Ténéré)/digital (others) tachometer.
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Brass Tablature is a rather rare form of music notation that applies to all brass instruments, but is most commonly found written for trumpet. It consists of lines with partials, and numbers representing valve or slide positions.
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Just Intonation is a system of tuning that adjusts a tuning's notes to maximize their alignment with a Harmonic timbre's partials. This alignment maximizes the consonance of music's tonal intervals, and is, arguably, the source of tonality.
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"Musical Association (1902), p.31. Regarding their names: "When struck by its clapper, a bell vibrates in a complex way...In general, each normal mode of vibration contributes one partial to the sound of the bell. These partials are customarily given names such as hum, prime, minor third (or tierce), fifth (or quint), octave (or nominal), upper octave, etc. The strike note of the bell, which is determined by three partials (the octave, upper fifth, and the upper octave), is generally close to the pitch of the prime in a well-tuned bell.
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Keyword: Freies Integrales Hang (German) In the free tuning of a Hang, the focus is not about the precise mathematical frequency ratios of the partials of a tone field, but on the impact of the entire sound.Felix Rohner, Sabina Schärer: The call of iron. Trinidad's steelpan tuners already slightly detuned partial tones to attain the characteristic sound of their own instruments. In an acoustic-mathematical analysis, Anthony Achong substantiated that this detuning is the most important parameter in influencing the structure of a steelpan tone: the duration of the partials as well as the amplitude and frequency modulations.
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So strictly speaking, the first overtone is the second partial (and usually the second harmonic). As this can result in confusion, only harmonics are usually referred to by their numbers, and overtones and partials are described by their relationships to those harmonics.
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Gerhard Kubik notes that the use of a partials derived system, or a Bordon system can also lead to the use of scalar clusters as consonance. In addition communities, and ethnic groups that use pentatonic systems many times also employ hexatonic and heptatonic scalar systems.
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These were fixed to just below the tenor and treble bridges along the bridges profile. The idea of these were that this would create a larger vibrational mass and additional coincident partials (harmonics)—a complex endeavour to attempt a fuller and more colourful sound.
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Garden State Parkway Straight Line Diagram, New Jersey Department of Transportation, January 1997. Accessed July 22, 2014. It has four interchanges in the township. Interchanges 148 in the south of Bloomfield and 151 in the north are complete interchanges, while 149 and 150 are partials.
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For instance, C3 E3 G3 is a major triad, but the corresponding harmonic partials would be C3, G4 and E5. The root of the triad is an abstract C, while the (missing) fundamental of C3 E3 G3 is C1 – which would usually not be heard.
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Virtual pitch is an experimentally established phenomenon in humans that can be mathematically described. In its basic form, given a series of pure tones whose frequencies correspond to a harmonic series, one will hear a virtual pitch near the fundamental frequency, even if there is no pure tone at that frequency. The perceptual salience (clarity, probability of noticing) of the virtual pitch depends on how closely the audible partials match lower harmonics above the virtual pitch. In Terhardt's pitch algorithm, virtual pitches are predicted by looking for subharmonic coincidences between audible partials in a complex tone - in other words, by looking for missing fundamentals.
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In pseudocode, the pairwise summation algorithm for an array of length > 0 can be written: s = pairwise(x[1…n]) if n ≤ N base case: naive summation for a sufficiently small array s = x[1] for i = 2 to n s = s + x[i] else divide and conquer: recursively sum two halves of the array m = floor(n / 2) s = pairwise(x[1…m]) + pairwise(x[m+1…n]) end if The non-recursive version of the algorithm uses a stack to accumulate partial sums: partials = new Stack for i = 1 to n partials.push(x[i]) j = i while is_even(j) j = floor(j / 2) p = partials.pop() q = partials.pop() partials.
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Tempering a timbre's partials such that they align with the tuning's notes, as per Dynamic Tonality, maximizes consonance across the entire tuning range of the syntonic temperament. The meantone temperament's narrower range is an artifact of the Static Timbre Paradigm, in which Just tunings are tempered to be pseudo-Just, but the Harmonic timbres in which those tunings are played are untempered. This inevitably misaligns the tuning's notes and timbre's partials, making them less related and hence less consonant. The farther one tunes away from the meantone temperament's defined tuning subrange, the less related the tuning & timbre will be, and hence the less consonant, when using untempered Harmonic timbres.
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By altering any of several parameters (including the shape and volume of the resonator, as well as the thickness and shape of the reed), a reed pipe can produce a wide variety of tonal colors. This allows reed stops to imitate historical musical instruments, such as the krumhorn or the regal. Because the resonator is partially stopped/closed by the reed, odd-numbered partials/harmonics are dominant (in the hollow tones of Krumhorn and Clarinet stops, for example). If the resonator pipe expands outward to conical, the geometry allows the production of both even- and odd-numbered partials, resulting in the fuller tones of Trumpet and Oboe stops.
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Roughness is studied by examining how textures are perceived and encoded by an individual's somatosensory system. In an experiment to measure and compare the roughness of different sounds, listeners are presented with different sounds and asked to rate their roughness, for example on a rating scale. Recent research has displayed that there are two different codes, at least, for roughness: a vibrotactile code used for fine surfaces, and a spatial code used for coarse to medium surfaces. According to psychophysical theory, the roughness of a complex sound (a sound comprising many partials or pure tone components) depends on the distance between the partials measured in critical bandwidths.
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Therefore, a quantitative study of deformation twinning in TWIP steels is critical to understand their strain- hardening mechanisms and mechanical properties. Deformation twinning can be considered as a nucleation and growth process. Twin growth is assumed to proceed by co-operative movement of Shockley partials on subsequent {111} planes.
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5-limit otonality and utonality: overtone and "undertone" series, partials 1-5 numbered , , , and . 31-limit otonality 13-limit utonality Otonality and utonality are terms introduced by Harry Partch to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone (identity), respectively. For example: , , ,... or , , ,....
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If two glide dislocations that lie on different {111} planes split into Shockley partials and intersect, they will produce a stair-rod dislocation with a Lomer-Cottrell dislocation at its apex. It is called a stair-rod because it is analogous to the rod that keeps carpet in-place on a stair.
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There is, however, a wide range of notation used to designate multiphonics, with several individual composers preferring notations not in common use. Piano multiphonic notation can include, among other factors, the numbers of sounding partials or fingering distances on the string. Such notations have been developed in recent studies by C.J.Walter and J.Vesikkala.
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François and Pieter developed their ability to build and tune carillons in close cooperation with Jacob van Eyck (±1590-1657), a musician and composer who developed a method of precisely identifying the overtones of bells. Van Eyck, appointed city carillonneur of Utrecht in 1642, had drawn the attention of leading scientists of his day, such as Christiaan Huygens (his relative) and René Descartes, with his ability to isolate five partials of a bell by whistling to create sympathetic resonance. When struck, a bell produces a number of partials which, if imprecisely tuned, can create an unpleasant sound and which prevents it from harmonizing in accordance with other bells. To address this problem, the Hemony brothers gave their bells a particular profile and thickened it in certain places.
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The atoke, gankogui, and axatse sound the rhythmic foundation. The atoke is a high pitched gong played with an iron rod. The Gankogui is a clapperless double bell that is pounded in shape rather than cast. It produces much less audible high partials than western bells ("purer" fundamental) and is played with a stick.
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Anhemitonic pentatonic scale in descending order as conceptualized by African musicians Chords are constructed from scales. Pentatonic and hexatonic scales are very common scales across Africa. Nonetheless, heptatonic scales can be found in abundance. Anhemitonic scales, equal heptatonic scales, and scales based on the selected use of partials are used in Africa as well.
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Just major third. Pythagorean major third, i.e. a ditone Comparison, in cents, of intervals at or near a major third Harmonic series, partials 1–5 numbered . In classical music, a third is a musical interval encompassing three staff positions (see Interval number for more details), and the major third () is a third spanning four semitones.
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The reason a fundamental is also considered a harmonic is because it is 1 times itself. The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including the fundamental and the overtones, are called partials.
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The complex tones of acoustic instruments do not produce partials that resemble the subharmonic series. However, such tones can be produced artificially with audio software and electronics. Subharmonics can be contrasted with harmonics. While harmonics can "... occur in any linear system", there are "... only fairly restricted conditions" that will lead to the "nonlinear phenomenon known as subharmonic generation".
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The player usually adjusts her clothing so that the gourd opening faces, and comes into contact with the bare flesh on or above the breast. This is done to ensure that the full resonance of the amplified partials which would otherwise be compromised by clothing.Dargie, David John. 1988. Xhosa Music: Its Techniques and Instruments, with a Collection of Songs.
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A harmonic spectrum is a spectrum containing only frequency components whose frequencies are whole number multiples of the fundamental frequency; such frequencies are known as harmonics. "The individual partials are not heard separately but are blended together by the ear into a single tone."Benward, Bruce and Saker, Marilyn (1997/2003). Music: In Theory and Practice, Vol.
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It controlled up to 256 partials. As the user went higher into the octaves, these became grouped for control. For those who had used other VirSyn's software, Cantor was familiar grounds and bore many things in common with past synthesizers VirSyn had produced. Because of its design, it was more like a virtual instrument than a virtual singer.
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Split tone: Trumpeters can produce more than one tone simultaneously by vibrating the two lips at different speeds. The interval produced is usually an octave or a fifth. Lip- trill or shake: Also known as "lip-slurs". By rapidly varying air speed, but not changing the depressed valves, the pitch can vary quickly between adjacent harmonic partials.
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Shakes and lip-trills can vary in speed, and in the distance between the partials. However, lip-trills and shakes usually involve the next partial up from the written note. Multi-phonics: Playing a note and "humming" a different note simultaneously. For example, sustaining a middle C and humming a major 3rd "E" at the same time.
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Virtual strobe tuners are as accurate as standard mechanical disc strobe tuners. However, there are limitations to the virtual system compared to the disc strobes. Virtual strobes display fewer bands to read note information, and do not pick up harmonic partials like a disc strobe. Rather, each band on a virtual strobe represents octaves of the fundamental.
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Strobe tuners are used in the tuning of bells, which require accurate tuning of many partials. The removal of metal from various parts of the bell shape is by a tuning lathe, and once too much metal has been removed it cannot be reversed. Hence accurate approach to the desired tuning partial is essential to prevent overshoot.
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Schematic of a vibrating string, fixed at both ends, showing the first six normal modes or harmonics A stretched string can vibrate in different modes, or harmonics, and when a piano hammer strikes a string it excites multiple harmonics at the same time. The first harmonic (or fundamental frequency) is usually the loudest, and determines the pitch that is perceived. (The partials are usually much softer than the fundamental) In theory the higher harmonics (also called overtones or partials) vibrate at integer multiples of the fundamental frequency. (e.g. a string with a fundamental frequency of 100 Hz would have overtones at 200 Hz, 300 Hz, 400 Hz, etc.) In reality, the frequencies of the overtones are shifted up slightly, due to inharmonicity caused by the stiffness of the strings.
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The year 2011 is considered as his ATP Tournament and Grand Slam debut, also considered the best year for his performance in the French Open doubles with Argentine Eduardo Schwank making history for Colombian tennis, as they defeated the number-one ranked couple in the semifinals, brothers Mike Bryan and Bob Bryan with partials 7–6(4), 6–3 and losing the final to Daniel Nestor and Max Mirnyi. In his second Gram Slam tournament, Wimbledon, he debuted in First Round with fellow countryman Robert Farah. They defeated the pair consisting of Pakistani Aisam Qureshi (8 in doubles) and India's Rohan Bopanna (9 in the world), who were ranked No. 5 in the world, with partials 2–6, 6–2 and 21–19. in Second Round they lost in three sets to the couple formed by American Michael Russell and Mikhail Kukushkin Kazakhstan, with partials 6–4, 6–2, 6–3. He finished 2011 ranked 25 in the world largely thanks to his French Open run. In the 2013 Australian Open, he formed a couple with Robert Farah and reached the quarterfinals. In 2013, they also reached the final in an ATP250 event in Nice. He finished the year ranked 43 in the world.
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The bells were then tuned by hollowing ridges from specific parts of the inner wall until the first few partials were acceptably in tune. In 1657, the brothers parted ways. François moved to Amsterdam, at the invitation of the city government, to establish a foundry. He cast twenty carillons as well as statues for various sculptors, such as Artus I Quellinus.
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Daniel Andrew Wells (born March 4, 1977) is an American horror and science fiction author. He is noted for his John Cleaver series, Mirador series, and New York Times bestselling Partials Sequence. His first published novel I Am Not a Serial Killer became a major motion picture in 2016. He currently co- hosts Writing Excuses, a podcast that answers writing-related questions.
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The simplest harmonic additive synthesis can be mathematically expressed as: : where y(t)\, is the synthesis output, r_k\,, k f_0\,, and \phi_k\, are the amplitude, frequency, and the phase offset, respectively, of the k\,th harmonic partial of a total of K\, harmonic partials, and f_0\, is the fundamental frequency of the waveform and the frequency of the musical note.
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String pipes are the smallest-scaled (narrowest) flue pipes. They produce a bright sound that is low in fundamentals and rich in upper partials. String stops are generally named after bowed string instruments such as the Violoncelle, the Gamba, the Geigen (from the German , for violin), and the Viol. One of the most famous organs with a String Division is the Wanamaker Organ.
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In spectral music, the viola has been sought after because of its lower overtone partials that are more easily heard than on the violin. Spectral composers like Gérard Grisey, Tristan Murail, and Horațiu Rădulescu have written solo works for viola. Neo-Romantic, post-Modern composers have also written significant works for viola including Robin Holloway Viola Concerto op.56 and Sonata op.
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Russell began writing when her daughter was three years old. Prior to selling The Warrior Trainer to Dorchester Publishing, Russell wrote seven novels, several partials and sought publication for thirteen years. For the November 2009 issue of RT Book Reviews Magazine (issue #309), Russell interviewed Diana Gabaldon about her seventh book in the Outlander series, An Echo in the Bone.
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1, 5 & 10 (New World Records Cat. No. 80693), which is classical music that uses pitch ratios extended to higher partials beyond the standard Pythagorean tuning system. A modern playing technique used in experimental rock as well as contemporary classical music is 3rd bridge. This technique shares the same mechanism as used on the monochord, by dividing the string into two sections with an additional bridge.
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Together they form the harmonic series. Overtones which are perfect integer multiples of the fundamental are called harmonics. When an overtone is near to being harmonic, but not exact, it is sometimes called a harmonic partial, although they are often referred to simply as harmonics. Sometimes overtones are created that are not anywhere near a harmonic, and are just called partials or inharmonic overtones.
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The film continued to circulate as late as 1942, uncoincidentally the same period as when the first reports of the atrocities committed by Nazi Germany began to appear in the United States. The popularity of eugenics and The Black Stork both declined simultaneously with World War II. Most copies of the original film have been destroyed: fewer than four partials are known to exist today.
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Harmonic series, partials 1–5 numbered . In music, just intonation or pure intonation is the tuning of musical intervals as whole number ratios (such as 3:2 or 4:3) of frequencies. Any interval tuned in this way is called a just interval. Just intervals (and chords created by combining them) consist of members of a single harmonic series of a (lower) implied fundamental.
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The credit and partials downloads of eMule can be used by aMule and vice versa, making program substitution simple. aMule aims to be portable over multiple platforms and is doing this with the help of the wxWidgets library. Currently supported systems include Linux, macOS, various BSD-derived systems, Windows, Irix and Solaris. Beside the stable releases the project also offers SVN versions as an unstable release.
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There are sets of exercises for piano designed to stretch the connection between fourth and fifth fingers, making them more independent. Brass players practice lip slurs, which are unarticulated changes in embouchure between partials. Woodwind players (Saxophone, Clarinet, and Flute) have a multitude of exercises to help with tonguing techniques, finger dexterity, and tone development. Entire books of etudes have been written to this purpose.
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Harmonics are also called overtones or partials. They occur at whole-number multiples of the fundamental, which is called the first harmonic. The second harmonic is the first overtone (the octave above the open string), the third harmonic is the second overtone, and so on. The second harmonic is in the middle of the string and sounds an octave higher than the string's pitch.
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One is lack of perceptual roughness. Roughness happens when partials (frequency components) lie within a critical bandwidth, which is a measure of the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies. The roughness of two simultaneous harmonic complex tones depends on the amplitudes of the harmonics and the interval between the tones.
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Physiologically, each spectral pitch depends on both temporal and spectral aspects (i.e. periodicity of the waveform and position of excitation on the basilar membrane), but in Terhardt's approach the spectral pitch itself is a purely experiential parameter, not a physical parameter: it is the outcome of a psychoacoustical experiment in which the conscious listener plays an active role. Psychoacoustic measurements and models can predict which partials are "perceptually relevant" in a given complex tone; they are perceptually relevant if you can hear a difference in the whole sound if the frequency or amplitude of a partial is changed). The ear has evolved to separate spectral frequencies, because due to reflection and superposition in everyday environments spectral frequencies are more reliably carriers of environmental information than spectral amplitudes, which in turn are more reliable carriers of environmentally relevant information than phase relationships between partials (when perceived monoaurally).
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Harmor contains tools on its main GUI to modulate sound, different from the effects located under the FX tab. Two timbres, a saw and square wave, can be morphed or used independently when creating a sound. These are the default when Harmor is opened, but they can be edited or changed. Reverb and preverb effects can be created by using the blur knob to smear the partials horizontally.
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The specialized term perfect third is occasionally used to distinguish the 5:4 ratio from major thirds created using other tuning methods. 7-limit and higher systems use higher partials in the overtone series. A wolf interval is an interval whose tuning is too far from its just-tuned equivalent, usually perceived as discordant and undesirable. Commas are very small intervals that result from minute differences between pairs of just intervals.
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"Johnston, Ben and Gilmore, Bob (2006). "Maximum Clarity" and Other Writings on Music, p.xxxv. . "The piano is tuned to a selection of overtones from the fifth octave of the harmonic spectrum of C. All octaves are tuned in the same scale....The lowest C (33 Hz.) can be used to tune the scale by ear. In succession, touch the nodes producing the 3rd, 5th, 7th, 11th, 13th, 17th, [and] 19th partials.
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When adjacent harmonics in complex tones interfere with one another, they create the perception of what is known as "beating" or "roughness". These precepts are closely related to the perceived dissonance of chords. To interfere, partials must lie within a critical bandwidth, which is a measure of the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies.
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Overtone tunings that are open tunings have been used in songs by folk musician Joni Mitchell and by rock guitarist Mick Ralphs of Bad Company; these open overtones-tunings select their open notes from the first six partials of their overtone sequence on C or G. For open tunings, the open strings and the frets are each associated with a major-chord, which is played by strumming the open strings or the strings after they have been barred at one fret with one finger, greatly simplifying major-chord playing. For each such open or barred chord, the overtones reinforce the bass note, increasing the guitar's volume of sound and resonance. In an open overtones-tuning, adjacent strings that differ by a third interval can be tuned in just intonation, resulting in greater consonance than thirds in equal temperament. Music theorist William Sethares has discussed an overtones tuning that uses six higher partials, from fourth to ninth, of the overtone sequence; his tuning is not an open tuning.
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It's also suggested that the entire quartet would be tuned in scordaturas based on harmonic partials, akin to the violin and viola in Ligeti's Violin Concerto. The fourth quartet would be dedicated to the Kronos Quartet, and be inspired by melodic ideas from Burma, Cameroon, Romania and Hungary. The quartet was projected to have a pizzicato movement, uneven tremolo, and the harmony would also be very chromatic, but also spectral and with complex polyrhythms.
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It was the first public acknowledgement of Herzl as the leader of the world Zionist movement by a major European power. Photographs were taken of the event but poorly positioned so that only partials of the meeting were actually recorded. A composition of the images was made later for historical and world presentation. On 2 November 1898 Theodor Herzl and the Zionist delegation who accompanied him, formally went to Kaiser Wilhelm's encampment outside of Jerusalem.
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5-limit Otonality and Utonality: overtone and "undertone" series, Goes to partial nine, unnumbered. partials 1–5 numbered , , , and . The inversional symmetry of the two series is visible in notation Subharmonic frequencies are frequencies below the fundamental frequency of an oscillator in a ratio of 1/, with a positive integer. For example, if the fundamental frequency of an oscillator is 440 Hz, sub-harmonics include 220 Hz (), ~146.6 Hz () and 110 Hz ().
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The tone quality of brass multiphonics is influenced strongly by the voice of the player. Another method is referred to as "lip multiphonics", in which a brass player alters the airflow to blow between partials, in the harmonic series of the slide position/valve. The outcome is just as stable as any multiphonic and perfectly structured. When the frequencies add together or subtract from each other (essentially merge), the fundamental is recreated.
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In 2016, Wells told Deseret News that the fifth book in the series, Over Your Dead Body, was one of the most challenging to write. Some of Wells's novels feature main characters with mental health issues. In Serial Killer, John Cleaver is diagnosed with antisocial personality disorder, and the protagonist of The Hollow City suffers from schizophrenia. Wells at the 2017 254x254px Wells expanded into Young Adult Dystopia with his Partials Sequence in 2012.
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Sinusoidal analysis/synthesis system for Sinusoidal Modeling (based on ) It is possible to analyze the frequency components of a recorded sound giving a "sum of sinusoids" representation. This representation can be re-synthesized using additive synthesis. One method of decomposing a sound into time varying sinusoidal partials is short-time Fourier transform (STFT)-based McAulay-Quatieri Analysis. By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis.
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Evenkite was first described in 1953 by A. V. Shropyshev, as found in the Khavokiperskiye deposit, Lower Tunguska River, Evenkiysky District, Siberia, Russia, where it occurs inside geodes and vugs in a quartz vein in welded tuff. It was named after the district. It has also been reported from the Hautes-Alpes region in France and the Slanské and Vihorlat mountains of Slovakia. Evenkite appears as flaky wax partials on top of the quartz crystals.
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Chord notes, however, do not necessarily form a harmonic series. In addition, each of these notes has its own fundamental. The only case where the chord notes may seem to form a harmonic series is that of the major triad. However, the major triad may be formed of the intervals of a third and a fifth, while the corresponding harmonic partials are distant by the intervals of a 12th and a 17th.
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Forward and reverse accumulation are just two (extreme) ways of traversing the chain rule. The problem of computing a full Jacobian of with a minimum number of arithmetic operations is known as the optimal Jacobian accumulation (OJA) problem, which is NP-complete. Central to this proof is the idea that algebraic dependencies may exist between the local partials that label the edges of the graph. In particular, two or more edge labels may be recognized as equal.
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Bell plates are made of sheets of aluminum or bronze, ranging in size from and to and . The range of the instrument typically covers 4 octaves in the form of a C-major scale, totalling 29 total plates. However, different sets of may contain different combinations of plates according to the needs of the owner. The plates are typically suspended from a semicircular frame and are occasionally fitted with resonators to enhance volume and the sounding of low partials.
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Rameau had misunderstood Joseph Sauveur's experiments, intended to demonstrate the existence of overtones, and believed that the harmonic partials arose from a resonance within the fundamental note, to which he gave the name corps sonore,André Charrak, Raison et perception. Fonder l'harmonie au XVIIIe siecle, Paris, Vrin, 2002. often translated as Klang in German. As Henry Klumpenhouwer writes, Klang, he adds, Klang, therefore, should in most cases better be understood as "the fundamental sound", possibly "the sound of nature".
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Loren Rush (born August 23, 1935) is a U.S. composer. His works include the drone piece Hard Music (1970) for three amplified pianos. The piece features no melodic figuration but rather clouds created by only one note, the low D above cello C, repeated quickly enough by each player to be heard as nearly continuous. The surface results from the composite rhythms of percussive attacks and the interplay of partials brought out through the rhythms and fortissimo dynamics.
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The algorithm uses the ALU to directly operate on particular operand fragments and thus generate a corresponding fragment (a "partial") of the multi-precision result. Each partial, when generated, is written to an associated region of storage that has been designated for the multiple-precision result. This process is repeated for all operand fragments so as to generate a complete collection of partials, which is the result of the multiple-precision operation. In arithmetic operations (e.g.
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The analysis of tide measurements was done using James Thomson's integrating machine. The resulting Fourier coefficients were input into the synthesizer, which then used a system of cords and pulleys to generate and sum harmonic sinusoidal partials for prediction of future tides. In 1910, a similar machine was built for the analysis of periodic waveforms of sound. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis.
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The peninsula of Goajira (north of Venezuela) is occupied by the Goajires tribe, also Arawakan speakers. In 1890–95, De Brette estimated a population of 3,000 persons in the Goajires.Aikhenvald (1999), p. 73. C. H. de Goeje's published vocabulary of 1928 outlines the Lokono/Arawak (Dutch and Guiana) 1400 items, mostly morphemes (stems, affixes) and morpheme partials (single sounds) – rarely compounded, derived, or otherwise complex sequences; and from Nancy P. Hickerson's British Guiana manuscript vocabulary of 500 items.
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Pattern of a mechanical strobe tuner disc As the disc has multiple bands, each with different spacings, each band can be read for different partials within one note. As such, extremely fine tuning can be obtained, because the user can tune to a particular partial within a given note. This is impossible on regular needle, LCD or LED tuners. The strobe system is about 30 times more accurate than a quality electronic tuner, being accurate to of a cent.
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This generates the impression of sound at integer multiple frequencies of the fundamental known as harmonics, or more precisely, harmonic partials. For most string instruments and other long and thin instruments such as a bassoon, the first few overtones are quite close to integer multiples of the fundamental frequency, producing an approximation to a harmonic series. Thus, in music, overtones are often called harmonics. Depending upon how the string is plucked or bowed, different overtones can be emphasized.
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Additive synthesis is a sound synthesis technique that creates timbre by adding sine waves together. The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time due to modulation from an ADSR envelope or low frequency oscillator. Additive synthesis most directly generates sound by adding the output of multiple sine wave generators.
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Vogel considers the theoretically infinite four-dimensional space of tones of his Tonnetz as complete; no further dimensions are needed for higher prime numbers. According to his theory, consonance results from the congruency of harmonics. The prime number 11 and any other higher prime number can not lead to any perception of congruency, as the inner ear separates only the first eight to ten partials. The eleventh partial may be audible and discriminable from the tenth or twelfth partial if isolated via techniques such as flageolet.
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Some of the Mandarin syllables have been pitched-normalised in Praat. A modified version of these is used in Gradint's "synthesis from partials". cjkware.com used to ship a product called KeyTip Putonghua Reader which worked similarly; it contained 120 Megabytes of sound recordings (GSM-compressed to 40 Megabytes in the evaluation version), comprising 10,000 multi-syllable dictionary words plus single-syllable recordings in 6 different prosodies (4 tones, neutral tone, and an extra third-tone recording for use at the end of a phrase).
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A spectrogram of a violin playing a note and then a perfect fifth above it. The shared partials are highlighted by the white dashes. Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. Any repeating sound wave that is not a sine wave can be modeled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum).
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Not only do the performers produce partials from the overtone series in each note they sing, but all of the fundamental tones are also related by whole-number overtone ratios. In this way, overtones are composed upon overtones, generating a range of degrees of harmonic fusion . According to the 1986 Hyperion Singcircle liner notes: > In each section a new overtone melody or 'model' is introduced and repeated > several times. Each female voice leads a new section eight times, and each > male voice, nine times.
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Some musical VCFs offer a variable slope which determines the rate of attenuation outside the bandpass, often at 6dB/octave, 12dB/octave, 18dB/octave or 24dB/octave (one-, two-, three- and four-pole filters, respectively). In modular analog synthesizers, VCFs receive signal input from signal sources, including oscillators and noise, or the output of other processors. By varying the cutoff frequency, the filter passes or attenuates partials of the input signal. In some popular electronic music styles, "filter sweeps" have become a common effect.
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These sweeps are created by varying the cutoff frequency of the VCF (sometimes very slowly). Controlling the cutoff by means of a transient voltage control, such as an envelope generator, especially with relatively fast attack settings, may simulate the attack transients of natural or acoustic instruments. Historically, musical VCFs have included variable feedback which creates a response peak (Q) at the cutoff frequency. This peak can be quite prominent, and when the filter's frequency is swept by a control, partials present in the input signal resonate.
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The Laplacian is the sum of second partials with respect to all the variables, and is an invariant differential operator under the action of the orthogonal group viz the group of rotations. The standard separation of variables theorem states that every multivariate polynomial over a field can be decomposed as a finite sum of products of a radical polynomial and a harmonic polynomial. This is equivalent to the statement that the polynomial ring is a free module over the ring of radical polynomialsCf. Corollary 1.8 of .
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The Trio is in four movements: A performance of the piece lasts about 21 minutes. The composition explores the use of major and minor harmonies as free sonorities without following established patterns of common practice tonality. In addition, it explores the natural just intonation of the upper partials available on the horn, asymmetric Bulgarian rhythms in the second movement,Stephen Satory, "Colloquy: An Interview with György Ligeti in Hamburg", Canadian University Music Review//Revue de Musique des Universités Canadiennes 10 (1990): 101–17. Citation on 109.
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According to The New Grove Dictionary of Music and Musicians, a mute is a "device used on a musical instrument to modify its timbre by reducing the intensity of certain partials and amplifying others". More generally, it refers to "any of various devices used to muffle or soften the tone of an instrument". The act of using a mute is called "muting". Brass mutes are occasionally referred to as "dampers", but "dampening" usually means reducing or deadening the sound after it has been played.
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Tonal fusion contributes to the perceived consonance of a chord, describing the degree to which multiple pitches are heard as a single, unitary tone. Chords which have more coinciding partials (frequency components) are perceived as more consonant, such as the octave and perfect fifth. The spectra of these intervals resemble that of a uniform tone. According to this definition, a major triad fuses better than a minor triad and a major-minor seventh chord fuses better than a major-major seventh or minor-minor seventh.
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Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum. A sound or note of indefinite pitch is one that a listener finds impossible or relatively difficult to identify as to pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra—a characteristic known as inharmonicity. It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another.
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Extending the slide from one position to the next lowers the pitch by one semitone. Thus, each note in the harmonic series can be lowered by an interval of up to a tritone. The lowest note of the standard instrument is therefore an E – a tritone below B. Most experienced trombonists can play lower "falset" notes and much lower pedal notes (first partials or fundamentals, which have a peculiar metallic rumbling sound). Slide positions are subject to adjustment, compensating for imperfections in the tuning of different harmonics.
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To this end, Buzz agrees to let his tragedy and search for justice to be the next story in Rusty's Identity segment entitled The Long Shadow which they start by going back to the scene of the crime where Buzz describes what happened before explaining to Rusty's audience that the victims were his father and uncle. With the help of the squad, Buzz gets the ATM security tape cleaned up and focuses on his search on a partial fingerprint left behind on his father's ATM card. After a suggestion from Provenza, Buzz began searching through similar unsolved ATM robberies for matching partials to try to identify the man who left the partial and in The Long Shadow Part 6 has had some luck, finding another partial that matches the one on the ATM card. In "Family Law", through identifying a witness and not a suspect, Buzz is able to use his partials to identify one of the men from the robbery, Gene Hecht who is serving a life sentence and whose known crimes include an ATM robbery three miles from where Buzz's father and uncle were murdered.
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Terhardt rejected the idea of periodicity pitch, because it was not consistent with empirical data on pitch perception, e.g. measurements of the gradual shift of the virtual pitch of a complex tone with a missing fundamental when the partials were gradually shifted. Terhardt instead broke pitch perception into two steps: auditory frequency analysis in the inner ear, and harmonic pitch pattern recognition in the brain. The inner ear effectively performs a running frequency analysis of incoming sounds - otherwise we would not be able to hear out spectral pitches within a complex tone.
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In the Amarna letters, mid 1300's BC, letters written to the King (Pharaoh) of Egypt (or an official at the Egyptian court), many letters (numbered up to EA 382, about 300+ actual letters, or partials) are written by 'governors' of city-states in Canaan. 100x66px 100x66px Approximation of ud, ut, tam etc. The Canaanite letters are famous for various forms of a prostration formula, following a 'letter Introduction'. The introduction often states accolades such as: "...(of) My-God(s), My Sun-God,....", or continuing, "My Sun, from, Heaven"-(heaven),sa-me.
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By tuning these resonators in a very specific way (C, B♭, A♭, G♭) and making use of their strongest partials (corresponding to the octaves and fifths of the strings' fundamental tones), the bass strings of the guitar now resonate equally with any of the 12 tones of the chromatic octave. The guitar resonator is a device for driving guitar string harmonics by an electromagnetic field. This resonance effect is caused by a feedback loop and is applied to drive the fundamental tones, octaves, 5th, 3rd to an infinite sustain.
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The melody of "Taps" is composed entirely from the written notes of the C major triad (i.e., C, E, and G, with the G used in the lower and higher octaves). This is because the bugle, for which it is written, can play only the notes in the harmonic series of the instrument's fundamental tone; a B-flat bugle thus plays the notes B-flat, D, and F. "Taps" uses the third, fourth, fifth, and sixth partials. Taps in C "Taps" is a bugle call – a signal, not a song.
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In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones. When the original sound sources are perfectly periodic, the note consists of several related sine waves (which mathematically add to each other) called the fundamental and the harmonics, partials, or overtones. The sounds have harmonic frequency spectra.
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Jennifer Hudson guest stars as Veronica Moore, in her last episode of a three episode arc. Sheryl Lee Ralph, the original Deena Jones in Dreamgirls, guest stars in this episode as Veronica's mother, Cynthia. Five songs are featured in the episode, three originals (two partials) and two covers (Billy Joel's "Everybody Loves You Now" and "I Got Love" from the Purlie musical and also sung by Melba Moore). The show's in-house songwriters Marc Shaiman and Scott Wittman wrote the originals "I Can't Let Go", "I'm Not Lost", and "Chest of Broken Hearts".
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Harmonic and Individual Lines and Noise (HILN) is a parametric codec for audio. The basic premise of the encoder is that most audio, and particularly speech, can be synthesized from only sinusoids and noise. The encoder describes individual sinusoids with amplitude and frequency, harmonic tones by fundamental frequency, amplitude and the spectral envelope of the partials, and the noise by amplitude and spectral envelope. This type of encoder is capable of encoding audio to between 6 and 16 kilobits per second for a typical audio bandwidth of 8 kHz.
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This can begin from as little as three notes, with structure being built around referring back to elements of the units. He starts simply, using basic elements such as major and minor thirds, varies them in turn, and then continues to expand to create larger structures. He uses a combination of his attack and the piano's sustain pedal to draw attention to the upper partials of a note; this allows a heightened contrast between notes to be perceived. Taborn has commented on the similarities and differences in his playing on piano and electronic instruments.
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Consider a second order partial differential equation in three variables, such as the two-dimensional wave equation : u_{tt} = u_{xx} + u_{yy}. It is often profitable to think of such an equation as a rewrite rule allowing us to rewrite arbitrary partial derivatives of the function u(t,x,y) using fewer partials than would be needed for an arbitrary function. For example, if u satisfies the wave equation, we can rewrite : u_{tyt} = u_{tty} = u_{xxy} + u_{yyy} where in the first equality, we appealed to the fact that partial derivatives commute.
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Fullman studied sculpture at the Kansas City Art Institute before moving to New York in the early 1980s. In Kansas City she created and performed in an amplified metal sound-producing skirt and wrote art songs which she recorded in New York for a small cassette label. In 1981, she began developing the Long String Instrument at her studio in Brooklyn, consisting of dozens of metallic strings played with rosin-coated fingers and producing a chorus of organ-like partials. This instrument has been compared to the experience of standing inside an enormous grand piano.
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A disc strobe provides "one band correspondence"—each band displays a particular frequency of the note being played. On the virtual strobe system, each band combines a few close frequencies for easier reading on the LCD. This is still extremely accurate for intoning and tuning most instruments—but, as of this writing, no virtual strobe tuner provides detailed information on partials. Sonic Research and Planet Waves both released a true-strobe with a bank of LEDs arranged in a circle that gives a strobing effect based upon the frequency of the input note.
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The Gu hole was adjusted to a subtly oval shape to improve the tuning of the three partials D5, F5 and an F5 of the Gu neck. Significant changes were made to the Ding (center note on the top). A circular indentation in the dome was made and has a texture of brass applied, annealed, and then lacquered. Also changes to the shoulder area between the flattened area of the Ding and the notes in the tone circle were implemented so that the transition was more gradual than in the 2nd generation Hanghang.
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He reached out to dozens of academics in music theory asking "what deep property of music is exposed by this keyboard's invariant note-pattern?", but only Sethares and Milne dug into the problem, applying their knowledge of music and mathematics to publish a series of papers that solved the mystery. Sethares' previous work, showing that consonance arose solely from the alignment of notes and partials, was a key input to Dynamic Tonality. Milne & Sethares' grad students did much of the work in developing electronic synthesizers and sequencers for Dynamic Tonality.
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The innovation of the concept of mela and organization of the entirety of contemporary melodic material under its umbrella culminated in Venkatamakhin's Melakarta scheme, one which continues to influence greatly the theory and practice of Carnatic music to this day. New classificatory models emerged for ragas; svayambhusvara (upper partials), paryaya-svara (alternative svara denomination) and pratinidhi-svara (representative note) scales and intervals were tuned to be brought into alignment with contemporary musical practice. Various melodic and rhythmic structures found their way art music. All music became desi and marga music passed into oblivion as did the madhyamagrama and its paraphernalia.
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Several composers have begun to make resonance the subject of compositions. Alvin Lucier has used acoustic instruments and sine wave generators to explore the resonance of objects large and small in many of his compositions. The complex inharmonic partials of a swell shaped crescendo and decrescendo on a tamtam or other percussion instrument interact with room resonances in James Tenney's Koan: Having Never Written A Note For Percussion. Pauline Oliveros and Stuart Dempster regularly perform in large reverberant spaces such as the cistern at Fort Worden, WA, which has a reverb with a 45-second decay.
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Another way is to define a dynamic threshold for filtering noise, that is derived from the local signal, again with respect to a local time- frequency region. Everything below the threshold will be filtered, everything above the threshold, like partials of a voice or "wanted noise", will be untouched. The region is typically defined by the location of the signal Instantaneous Frequency, as most of the signal energy to be preserved is concentrated about it. Modern digital sound (and picture) recordings no longer need to worry about tape hiss so analog style noise reduction systems are not necessary.
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That is why so many instruments are constructed of skinny strings or thin columns of air. However, for high overtones with short wavelengths that approach the diameter of the string, the string behaves more like a thick metal bar: its mechanical resistance to bending becomes an additional force to the tension, which 'raises the pitch' of the overtones. Only when the bending force is much smaller than the tension of the string, are its wave-speed (and the overtones pitched as harmonics) unchanged. The frequency-raised overtones (above the harmonics), called 'partials', can produce an unpleasant effect called inharmonicity.
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However, even in the absence of a solution, it is possible to note that decay of the partials is connected with the merit factor (Q) of their resonance, and provokes a widening of the spectral line—always more marked the more the relative mode is damped. The internal frictions are proportional to the velocity of variation of the local curvature, which increases with the frequency. It can therefore be presumed that, similarly to stretched strings, damping of the modes increases with their frequency. Consequently, in the upper spectral areas, where the modes are close together and massed (see Figs.
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Similarly to the urine cytology, the renal cells are examined under light microscopy for polyomavirus inclusion of the nucleus, as well as cell lysis and viral partials in the extra cellular fluid. The viral load as before is also measure by PCR. Tissue staining using a monoclonal antibody against MCV T antigen shows utility in differentiating Merkel cell carcinoma from other small, round cell tumors. Blood tests to detect MCV antibodies have been developed and show that infection with the virus is widespread although Merkel cell carcinoma patients have exceptionally higher antibody responses than asymptomatically infected persons.
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In the Vajrayana tradition, chanting is also used as an invocative ritual in order to set one's mind on a deity, Tantric ceremony, mandala, or particular concept one wishes to further in themselves. For Vajrayana practitioners, the chant Om Mani Padme Hum is very popular around the world as both a praise of peace and the primary mantra of Avalokitesvara. Other popular chants include those of Tara, Bhaisajyaguru, and Amitabha. Tibetan monks are noted for their skill at throat-singing, a specialized form of chanting in which, by amplifying the voice's upper partials, the chanter can produce multiple distinct pitches simultaneously.
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Also, any note produced with 1–2 as its standard fingering can also be produced with valve 3 – each drops the pitch by steps. Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the fingerings 1–3 or 1-2-3 further lowers the pitch slightly to improve intonation. Some of the partials of the harmonic series that a modern Bb trumpet can play for each combination of valves pressed are in tune with 12-tone equal temperament and some are not.
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Advertisements for the Sonic Research LED strobe claim that it is calibrated to ± 0.0017 cents and guaranteed to maintain an accuracy of ± 0.02 cents or of a cent. Strobe units can often be calibrated for many tunings and preset temperaments and allow for custom temperament programming, stretched tuning, "sweetened" temperament tunings and Buzz Feiten tuning modifications. Due to their accuracy and ability to display partials even on instruments with a very short "voice" (e.g., notes of short duration), strobe tuners can perform tuning tasks that would be very difficult, if not impossible, for needle-type tuners.
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For instance, needle/LED display type tuners cannot track the signal to identify a tone of the Caribbean steelpan (often nicknamed the "steeldrum") due to its very short "voice". A tuner needs to be able to detect the first few partials for tuning such an instrument, which means that only a strobe tuner can be used for steelpan tuning. This is also true of the comb teeth used in mechanical musical instruments like Music Boxes and the like. In such cases a technician has to physically remove metal from the tooth to reach the desired note.
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High-end accordions often have a feature called a cassotto (Italian for "box"), also referred to as a "tone chamber", in the treble (right-hand) reed section. In this design, certain reed sets (usually one set of middle reeds, and the set of low reeds) are mounted at a 90° angle to the remaining reeds. The sound from these specially- mounted reeds must then travel farther, and along a different path, before leaving the instrument, muting its harmonics (partials) and creating a distinctively mellow, refined sound. The sound of cassotto bassoon (low) reeds is particularly favored by jazz accordionists.
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Throughout history, the pattern of notes in a tuning could be altered by humans but the pattern of partials sounded by an acoustic musical instrument was unalterably determined by the physics of the Harmonic Series. The resulting misalignment between pseudo-Just tempered tunings and fully-Harmonic untempered timbres made temperament "a battleground for the great minds of Western civilization." Barbour, J.M., 2004, Tuning and Temperament: A Historical SurveyDuffin, R.W., 2006, How Equal Temperament Ruined Harmony (and Why You Should Care) This misalignment, in any tuning that is not fully Just (and hence infinitely complex), is the defining characteristic of the Static Timbre Paradigm.
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Those individuals who do wear dentures can decrease the amount of bone loss by retaining some tooth roots in the form of overdenture abutments or have implants placed. Note that the depiction above shows a very excessive change and that this many take many years of denture wear to achieve. Ridge resorption may also alter the form of the ridges to less predictable shapes, such as bulbous ridges with undercuts or even sharp, thin, knife-edged ridges, depending of which of many possible factors influenced the resorption. Bone loss with missing teeth, partials and complete dentures is progressive.
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Most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band is played, the sound is a combination of 440 Hz, 880 Hz, 1320 Hz, 1760 Hz and so on. Each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, and the balance of these amplitudes is a major factor in the characteristic sound of each instrument.
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An overtone is any partial above the lowest partial. The term overtone does not imply harmonicity or inharmonicity and has no other special meaning other than to exclude the fundamental. It is mostly the relative strength of the different overtones that give an instrument its particular timbre, tone color, or character. When writing or speaking of overtones and partials numerically, care must be taken to designate each correctly to avoid any confusion of one for the other, so the second overtone may not be the third partial, because it is the second sound in a series.
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According to Mark Swed, "ultimately, what Johnston has done, more than any other composer with roots in the great American musical experiments of the '50s and '60s, is to translate those radical approaches to the nature of music into a music that is immediately apprehensible" (, quoted in ). Most of Johnston's later works use a large number of pitches, generated through just- intonation procedures. In these works, he forms melodies based on an "otonal" eight-note just-intonation scale made from the 8th through 15th partials of the harmonic series, or its "utonal" inversion. He then gains new pitches by using common-tone transpositions or inversions.
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For example, the trombone is played with a slide, making it one of the few wind instruments capable of glissando or sliding. However, pitches are different harmonics from the harmonic series on different slide positions. Thus, in the lower range, significant movement of the slide is required between positions, but for higher notes the player need only use the first four positions of the slide since the partials are closer together, allowing higher notes to be played in alternate positions. As an example, F4 (at the bottom of the treble clef) may be played in first, fourth or sixth position on a standard B trombone.
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In summary, his view is that universals in music are not a matter of specific musical structure or function—but of basic human cognitive and social processes construing and adapting to the real world. One aspect of music is tuning, and recent work has shown that many musical traditions' tuning's notes align with their dominant instrument's timbre's partials and fall on the tuning continuum of the syntonic temperament, suggesting that tunings of the syntonic temperament (and closely related temperaments) may be a potential universal, thus explaining some of the variation among musical cultures (specifically and exclusively with regard to tuning and timbre) and the limits on that variation.
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For example, in Lux Animae (1996/2000) for solo cello or viola, the open strings are retuned to the 3rd, 4th, 7th and 11th partials of a low E. Many of Rădulescu's later works derive their poetic inspiration from the Tao Te Ching of Lao-tzu, especially in the 1988 English version by Stephen Mitchell: the titles of his second, third, fourth, fifth and sixth piano sonatas, and of the fifth and sixth string quartets, are taken from this source. The piano sonatas, as well as his Piano Concerto The Quest (1996) and other later works, make use of folk melodies from his native Romania, integrating them with his spectral techniques.
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The sound produced with no key levers pressed is the nominal pitch of the instrument. If the player presses the lever for this normally open tone hole, that hole is closed and the now-longer air column extends past this hole up to the bell, lowering the pitch by one half step. In general, the player can obtain all the "partial" pitches available for a given air column length. To play a higher series of partials, he opens one of the normally closed tone holes, effectively making that hole the "bell" of the instrument, with a corresponding shorter air column and higher series of pitches.
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Initially Slavenski developed as an autodidact. The rich folk music of his native region, Medjimurje in north-western Croatia, left a decisive impact on him, and his youthful fascination with the sounds of church bells and the intricate combinations of their upper partials greatly contributed towards the formation of his harmonic idiom. His early compositions, dating from the time of his Budapest studies, show a blend of spontaneity with a strong desire for experiment. Polytonality and bold dissonances occurred in his piano pieces as early as 1913, at a time when many southern Slav composers were still treating material borrowed from folk tradition in a predominantly Romantic way.
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The material was not described until 2011, when the new species Spinops sternbergorum was erected. The material was probably collected from the upper part of the Oldman Formation or the lower part of the Dinosaur Park Formation, dating to the Campanian stage of the Late Cretaceous period. Two partials skulls of Spinops were found in 1916, in a large bone bed near the Red Deer River of southern Alberta, by American commercial fossil collector Charles Hazelius Sternberg and his son Levi Sternberg. The fossils were sent to the Natural History Museum in London (then called the British Museum (Natural History)), which had financed the expedition.
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Marching B horns do use a horn mouthpiece and have a more French horn-like sound but are more difficult to play accurately on the field. Another factor in the greater use of mellophones is its ease of use as compared to the difficulty of playing a French horn consistently well. In a French horn, the length of tubing (and the bore size) make the partials much closer together than other brass instruments in their normal range and, therefore, harder to play accurately. The F mellophone has tubing half the length of a French horn, which gives it an overtone series more similar to a trumpet and most other brass instruments.
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He made digital recordings of trumpets and studied their timbral composition using "pitch-synchronous" spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping. After the discrete Shepard scale Risset created a version of the scale where the steps between each tone are continuous, and it is appropriately called the continuous Risset scale or Shepard-Risset glissando. Risset has also created a similar effect with rhythm in which tempo seems to increase or decrease endlessly.
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Harmonics higher than the eighth were certainly feasible, but it is unlikely that military musicians would ever have been required to venture above the eighth harmonic.The ranges quoted by Berlioz (1856) imply that some of the saxhorns had compasses that extended as far as the ninth or tenth harmonic, but these upper partials were probably rarely if ever called for. The ninth harmonic is a whole tone above the eighth harmonic, while the tenth harmonic is a whole tone above the ninth. The seventh harmonic was too much out of tune to be lipped; this partial was generally avoided by trumpeters and cornet players after the introduction of valves.
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The euphonium, like the tenor trombone, is pitched in concert B. For a valved brass instrument like the euphonium, this means that when no valves are in use the instrument will produce partials of the B harmonic series. It is generally orchestrated as a non-transposing instrument like the trombone, written at concert pitch in the bass clef with higher passages in the tenor clef. Treble clef euphonium parts transposing down a major ninth are included in much concert band music:The major-ninth is transposition for the sake of trumpet players doubling on euphonium. in the British-style brass band tradition, euphonium music is always written this way.
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However, it is actually the sound of different harmonic components of same sound coming into dominance at different times. John W. Coltman, in a detailed analysis of flute acoustics, describes two types of warbles in Native American flutes: One "of the order of 20 Hz" caused by a "nonlinearity in the jet current", and a second type "in which amplitude modulation occurs in all partials but with different phases". The first type is analyzed by Coltman in a controlled setting, but he concluded that analysis of the second type of warble "is yet to be explained". The warble can be approximated by use of vibrato techniques.
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As a pipe's scale increases, more fundamental will be present, and fewer partials will be present in the tone. Thus, the tone becomes richer and fuller as the pipe's diameter widens from string scale to principal scale to flute scale. The material out of which the pipe is constructed also has much to do with the pipe's final sound. While recent scientific studies have shown that the nature of the metal used in making the pipe has little or no effect on the final sound, organ builders agree that a tin/lead alloy, for example, creates a very different tone than does zinc or copper metals or spotted or frosted alloys.
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In general, the harder the surface of the resonator, the more selective it will be, and the softer the surface, the more universal it will become. "[A] hard resonator will respond only when the vibrator contains an overtone that is exactly in tune with the resonator, while a soft resonator permits a wide range of fundamentals to pass through un-dampened but adds its own frequency as on overtone, harmonic or inharmonic as the case may be." Hardness carried to the extreme will result in a penetrating tone with a few very strong high partials. Softness carried to the extreme will result in a mushy, non-directional tone of little character.
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The biting force on the gum tissue irritates the bone and it melts away with a decrease in volume and density. Carlsson's 1967 study showed a dramatic bone loss during the first year after a tooth extraction which continues over the years, even without a denture or partial on it. Effects on jawline and facial structure due to complete edentulism The longer people are missing teeth, wear dentures or partials, the less bone they have in their jaws. This may result in decreased ability to chew food well, a decreased quality of life, social insecurity and decreasing esthetics because of a collapsing of the lower third of their face.
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A "complex tone" (the sound of a note with a timbre particular to the instrument playing the note) "can be described as a combination of many simple periodic waves (i.e., sine waves) or partials, each with its own frequency of vibration, amplitude, and phase." (See also, Fourier analysis.) A partial is any of the sine waves (or "simple tones", as Ellis calls them when translating Helmholtz) of which a complex tone is composed, not necessarily with an integer multiple of the lowest harmonic. A harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency.
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This process repeats until all operand fragments have been processed, resulting in a complete collection of partials in storage, which comprise the multi- precision arithmetic result. In multiple-precision shift operations, the order of operand fragment processing depends on the shift direction. In left-shift operations, fragments are processed LS first because the LS bit of each partial—which is conveyed via the stored carry bit—must be obtained from the MS bit of the previously left-shifted, less-significant operand. Conversely, operands are processed MS first in right-shift operations because the MS bit of each partial must be obtained from the LS bit of the previously right- shifted, more-significant operand.
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The classic equation of the membrane generally used for obtaining the modes is entirely conservative and does not take into account either dissipation due to internal friction or irradiation. The latter both being mechanisms that dampen the partials, causing their decay in the absence of an exciting force. A symbolical solution of the equation corresponding to the vibro-acoustic movement described is definitely impossible, even if greatly simplifying hypotheses are adopted. It is possible to solve it with numerical methods (such as FEM, BEM, etc.) but even in this case—if acoustic-elastic coupling and internal dissipations of the membrane are taken into account—the problem remains delicatem, and results must be verified experimentally.
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These mouthpieces give the instrument a brighter and edgier sound (more high partials) than the traditional shape as designed by Sax. One saxophonist and teacher, Sigurd Raschèr, spoke out against this change in mouthpiece design. He believed that when used in classical music, the saxophone should sound as its inventor, Adolphe Sax, had intended, and that the gradual change to narrower and "brighter" sounding mouthpieces was a distortion of Sax's tonal concept. His students and other disciples felt that the desirable tone for a classical saxophone was a softer, rounder sound—a sound that can only be produced by a mouthpiece with a large, rounded interior (often referred to as an "excavated chamber").
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The baritone is pitched in concert B, meaning that when no valves are actuated, the instrument will produce partials of the B harmonic series. Music for the baritone horn can be written in either the bass clef or the treble clef. When written in the bass clef, the baritone horn is a non-transposing instrument. However, when written in the treble clef, it is often used as transposing instrument, transposing downward a major ninth from the music as written, so that written middle C for the baritone is concert B below low C (B2 in scientific pitch notation), with the fingerings thus matching those of the trumpet but sounding an octave lower.
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The trill is frequently found in classical music for all instruments, although it is more easily executed on some than others. For example, while it is relatively easy to produce a trill on the flute, the proper execution on brass instruments requires higher skill and is produced by quickly alternating partials. While playing a trill on the piano the pianist may find that it becomes increasingly difficult to execute a trill including the weak fingers of the hand (3, 4 and 5), with a trill consisting of 4 and 5 being the hardest. On the guitar, a trill is a series of hammer-ons and pull- offs (generally executed using just the fingers of the fretting hand but can use both hands).
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A spectrogram of a violin playing a note and then a perfect fifth above it with the shared partials highlighted by the white dashes (harmonic spectra) Harmonic spectrum (containing only harmonic overtones) Inharmonic spectrum of a bell (dashed gray lines indicate harmonic overtones) Spectral music uses the acoustic properties of sound – or sound spectra – as a basis for composition. Defined in technical language, spectral music is an acoustic musical practice where compositional decisions are often informed by sonographic representations and mathematical analysis of sound spectra, or by mathematically generated spectra. The spectral approach focuses on manipulating the spectral features, interconnecting them, and transforming them. In this formulation, computer-based sound analysis and representations of audio signals are treated as being analogous to a timbral representation of sound.
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For these notes, the other fingers of the right hand can open a few more tone holes that are relatively closer to the mouthpiece than to the bell. Some instruments were made with between one and three extra right hand keys to provide better intonation for specific notes in this register. The right hand keys may also be used in the upper registers as alternate fingerings to facilitate faster passages or to improve intonation. With the exception of these special few pitches in the low octave, the combinations of partials on various sets of opened tone holes results in the left hand fingers going through something very similar to what they would be doing to manipulate the valves on a modern brass instrument.
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Likewise, the "cut" (referring to the depth of the shallot and the shape of the opening) and the closed-end shape (whether the closed end of the shallot is flat, domed, or Schiffschen) determine whether the tone is more Baroque or more Romantic. In addition, the type of block (whether a standard shape or a French "double-block") in which the reed assembly is set has an effect on the sound. Scaling is important when determining the final tone color of a reed pipe, though it is not of primary importance as it is in flue pipe construction. This is because reed pipe resonators simply reinforce certain partials of the sound wave; the air column inside the resonator is not the primary vibrator.
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Four-valve continental baritone horn (center) Although both baritone horn and euphonium produce partials of the B harmonic series in the same range, and both have a nine-foot-long main tube, the baritone horn tends to have a smaller and more cylindrical bore than the euphonium which is more conical. The baritone horn usually has a tighter wrap and a smaller bell, and is thus smaller and lighter overall, and produces a "lighter" and more direct sound versus the more solid, round timbre of the euphonium. There is a common misconception that three-valve instrument is a baritone and that the four-valve instrument is a euphonium. Euphoniums often have a fourth valve as an alternate fingering for 1&3 split fingering with improved intonation.
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The higher in the harmonic series any two successive notes are, the closer they tend to be (as evidenced by the progressively smaller intervals noted above). A byproduct of this is the relatively few motions needed to move between notes in the higher ranges of the trombone. In the lower range, significant movement of the slide is required between positions, which becomes more exaggerated on lower pitched trombones, but for higher notes the player need only use the first four positions of the slide since the partials are closer together, allowing higher notes in alternate positions. As an example, F4 (at the bottom of the treble clef) may be played in first, fourth or sixth position on a B trombone.
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Techniques and Materials of Music, p.191. . The harmonic series is built over a fundamental pitch, and the rest of the partials in the series are called overtones. The second partial is an octave above the fundamental and the third pitch is a fifth, so if C is the fundamental pitch the second note is C an octave higher and then the next pitch would be G. The harmonic series has more fifths than just this one, for example the fourth to the sixth, the sixth to the ninth and the seventh to the eleventh partial are all a fifth away from each other, though the latter is of a slightly different size than the former ones. Harmonic series with C as the fundamental.
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Any simultaneous pair of partials of about the same amplitude that is less than a critical bandwidth apart produces roughness associated with the inability of the basilar membrane to separate them clearly. Roughness is physiologically determined and therefore universal, but it is appraised differently in different musical styles. Some musical styles deliberately create large amounts of roughness for aesthetic effect (for example some polyphonic styles in the Balkans in which singers favor simultaneous second intervals) while others try to avoid roughness as much as possible or treat rough sounds in special ways (for example most tonal western music). In terms of psychophysics, several studies have been done involving a person’s ability to detect the differences between the weight and roughness of objects.
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Pitch detection is often the detection of individual notes that might make up a melody in music, or the notes in a chord. When a single key is pressed upon a piano, what we hear is not just one frequency of sound vibration, but a composite of multiple sound vibrations occurring at different mathematically related frequencies. The elements of this composite of vibrations at differing frequencies are referred to as harmonics or partials. For instance, if we press the Middle C key on the piano, the individual frequencies of the composite's harmonics will start at 261.6 Hz as the fundamental frequency, 523 Hz would be the 2nd Harmonic, 785 Hz would be the 3rd Harmonic, 1046 Hz would be the 4th Harmonic, etc.
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The inharmonic ringing of the instrument's metal resonator is even more prominent in the sounds of brass instruments. Human ears tend to group phase-coherent, harmonically-related frequency components into a single sensation. Rather than perceiving the individual partials–harmonic and inharmonic, of a musical tone, humans perceive them together as a tone color or timbre, and the overall pitch is heard as the fundamental of the harmonic series being experienced. If a sound is heard that is made up of even just a few simultaneous sine tones, and if the intervals among those tones form part of a harmonic series, the brain tends to group this input into a sensation of the pitch of the fundamental of that series, even if the fundamental is not present.
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Additionally the sound aesthetic of the baroque guitar (with its strong overtone presence) is very different from modern classical type guitars, as is shown below. Today's use of Torres and post-Torres type guitars for repertoire of all periods is sometimes critically viewed: Torres and post-Torres style modern guitars (with their fan-bracing and design) have a thick and strong tone, very suitable for modern-era repertoire. However, they are considered to emphasize the fundamental too heavily (at the expense of overtone partials) for earlier repertoire (Classical/Romantic: Carulli, Sor, Giuliani, Mertz, ...; Baroque: de Visee, ...; etc.). "Andrés Segovia presented the Spanish guitar as a versatile model for all playing styles" to the extent, that still today, "many guitarists have tunnel-vision of the world of the guitar, coming from the modern Segovia tradition".
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The left hand controls three such tone holes plus the normally open one below the bell. Pitches in the upper and middle range of the instrument can be obtained by using only the left hand's set of tone holes, and the right hand can hold and stabilize the instrument. At the point where the air column is shortened by opening all of the left hand tone holes, there comes a difficult couple of notes that can best be played by continuing to shorten the air column with two fingers of the right hand, before the series of partials "wraps" and the left hand is used again for another set of notes. In the lowest octave, some pitches cannot be obtained very well using the holes closer to the bell.
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Commenting on the nature of the conflict, Schlesinger is quoted as saying, “There are absolutely religious elements to the (Israeli-Arab) conflict. Those elements are often ignored by secular politicians who want to sweep them under a rock and think that if we ignore them, we could make peace between secular Jews and secular Palestinians. But we believe that religion is playing a role in the conflict and we believe it has to play a role and can play a role in the solution.” His own religiosity opened up the conversation with the Palestinian experience he once unwittingly ignored: “I had been blind to the story of Palestinians, so I began to develop the religious ideology that is based in the mysticism that sees God as the infinite collection of partials truths.
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While being held as a "guest" of the Hexamon, Vasquez learns more about their culture; she discovers that (if they choose to) its citizens are fitted with implants that can store, transmit and replicate part or of all their memories and personality. This technology confers many remarkable abilities. One is that they can create virtual replicas of themselves (known as "partials" or "ghosts") that contain functional parts of their full personality and are able to operate independently, on their behalf, and then reintegrate their experiences with their original later. Even more remarkably, in the event of major injury or even death, their implants (if recoverable and undamaged) can be used to "reload" their personalities into artificially reconstructed replicas of their old bodies, or even into entirely new forms.
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Although much of Western music has adopted the even-tempered scale, it has been the practice in Germany and Austria to play these notes in position, where they will have just intonation (see harmonic seventh as well for A4). The next higher partials—B4 (a major second higher), C5 (a major second higher), D5 (a major second higher)—do not require much adjustment for even-tempered intonation, but E5 (a minor second higher) is almost exactly a quarter tone higher than it would be in twelve-tone equal temperament. E5 and F5 (a major second higher) at the next partial are very high notes; a very skilled player with a highly developed facial musculature and diaphragm can go even higher to G5, A5, B5 and beyond. Trombone with F attachment slide position second harmonics.
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The concept of tristimulus originates in the world of color, describing the way three primary colors can be mixed together to create a given color. By analogy, the musical tristimulus measures the mixture of harmonics in a given sound, grouped into three sections. It is basically a proposal of reducing a huge number of sound partials, that can amount to dozens or hundreds in some cases, down to only three values. The first tristimulus measures the relative weight of the first harmonic; the second tristimulus measures the relative weight of the second, third, and fourth harmonics taken together; and the third tristimulus measures the relative weight of all the remaining harmonics (; , ): More evidences, studies and applications would be needed regarding this type of representation, in order to validate it.
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Constellations of Boötes and Coma Berenices, both used for proportions in Sternklang Sternklang creates a sense of "non-progressive or circular time by blurring complex relationships between pitch and rhythm based on the overtone series so that the structure is perceived as inexhaustible and thus appears static" . The entire composition is based on five just-intoned harmonic sounds, each containing eight tones corresponding to the second through ninth partials of the overtone series. One of these tones in each chord is the E above middle C, tuned to 330 Hz. In the first chord this functions as the ninth partial, in the second chord as the eighth partial, and so on to the fifth chord, where it is the fifth partial. Compositionally, the harmonic structure fluctuates between an extreme situation in which all five groups share the same chord and the opposite extreme where each group's chord is different .
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The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (). Starting on , the harmonic series is , , , , , , , , , , , , , , , ... The bold notes spell out an acoustic scale on . However, in the harmonic series, the notes marked with asterisks are out of tune: () is almost exactly halfway between and , () is closer to than , and is too flat to be generally accepted as part of an equal tempered scale. The acoustic scale may have formed from a major triad (C E G) with an added minor seventh and raised fourth (B and F, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, is contrasted with his use of the golden section.
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Catt developed and patented some ideas on Wafer scale integration (WSI) in 1972, and published his work in Wireless World in 1981, after his articles on the topic were rejected by academic journals. The technique, christened Catt Spiral, was designed to enable the use of partially faulty integrated chips (called partials), which were otherwise discarded by manufacturers. In mid-1980s, a British company Anamartic, funded by Tandem Computers and Sir Clive Sinclair among others, announced plans to manufacture microchips ("superchips") based on Catt's technology. The approach was reported to be revolutionary at the time, with predictions that it would enable construction of powerful super-computers from cheap, mass-produced components, and cheaper and faster replacements for magnetic disk memories. Anamartic introduced a solid-state memory, called the Wafer Stack, based on the technology in 1989 and the device won Electronic Product's ‘Product of the Year Award’.
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His 1993 paper On the relationship between timbre and scale formalized the relationships between a tuning's notes and a timbre's partials that control sensory consonance. A more accessible version also appeared in Experimental Musical Instruments as "Relating Tuning and Timbre" These papers were followed by two CDs, Xenotonality and Exomusicology (some songs from which can be freely downloaded here), which explored the application of these ideas to musical composition. In his 1998 book Tuning, Timbre, Spectrum, Scale, Sethares developed these ideas further, using them to expose the intimate relationship between the tunings and timbres of Indonesian and Thai indigenous music, and to explore other novel combinations of related tunings and timbres. Where microtonal music was previously either dissonant (due to being played with harmonic timbres to which it was not "related"), or restricted to the narrow range of harmonically related tunings (to retain sensory consonance), Sethares's mathematical and musical work showed how musicians might explore microtonality without sacrificing sensory consonance.
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The defining characteristic of Dynamic Tonality is that a given rank-2 temperament (as defined by a period α, a generator β, and a comma sequence) Alt URL is used to generate, in real time during performance, the same set of intervals among: # A pseudo-Just tuning's notes; # A pseudo-Harmonic timbre's partials; and # An isomorphic keyboard's note-controlling buttons. Generating all three from the same temperament solves two problems and creates (at least) three opportunities. # Dynamic Tonality solves the problem of maximizing the consonance of tempered tunings, and extends that solution across a much wider range of tunings than were previously considered to be consonant. # Dynamic Tonality solves the "cumbersome" problem cited by Isacoff by generating a keyboard that is (a) isomorphic with its temperament (in every octave, key, and tuning), and yet is (b) tiny (the size of the keyboards on squeezeboxes such as concertinas, bandoneons, and bayans). The creators of Dynamic Tonality could find no evidence that any of Isacoff's Great Minds knew about isomorphic keyboards or recognized the connection between the rank of a temperament and the dimensions of a keyboard (as described in Milne et al. 2007).
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