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| undertone_series [2023/01/05 13:51] – mete | undertone_series [2023/01/05 13:56] (current) – [Methods to play an undertone series] mete | ||
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| ==on Lamells== | ==on Lamells== | ||
| - | The only example of this phenomena can be seen on is the terpodion, which is bowed lamellaphone that bows tongues with large flat pads at the ends on each tongue. The tongues are bowed against a rosined cylinder by the force of the tongues attempting to return to a resting position which is at tension against the cylinder, and when the cylinder spins the tongues are moved transversely and repeat the process based off the degree of mass at the end of the tongue. Much like the action of forced vibration on corrugated surfaces these tongues may not always return to position at the resonate pitch, and with the correct regulation the tongues can play an undertone or an overtone of the original pitch. | + | The only example of this phenomena can be seen on is the terpodion, which is bowed lamellaphone that bows tongues with large flat pads at the ends on each tongue. The tongues are bowed against a rosined cylinder by the force of the tongues attempting to return to a resting position which is at tension against the cylinder, and when the cylinder spins the tongues are moved transversely and repeat the process based off the degree of mass at the end of the tongue. Much like the action of forced vibration on corrugated surfaces these tongues may not always return to position at the resonate pitch, and with the correct regulation the tongues can play an undertone or an overtone of the original pitch. |
| - | {{https:// | + | {{https:// |
| ===Forced vibration instruments=== | ===Forced vibration instruments=== | ||
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| ===Notes=== | ===Notes=== | ||
| - | All of these techniques are only producible on large instruments. The highest starting pitch that is capable of generating this series is on the Terpodion, which is under high resistance with fast spinning, representing a degree of force difficult to make on most instruments that are directly played by a player. The undertone sequence has great potential to allow for instruments to play far lower pitches than are commonly available for a given length of instrument. I wonder if there is a relationship to stopped pipes and the undertone series (a cylinder like a clarinet is 1 octave lower than a conical instrument of the same length) and this may represent the first harmonic of the series. It is also ambiguous how the octave above a fundamental relates to the octave below it (is there a total of 3 octaves | + | All of these techniques are only producible on large instruments. The highest starting pitch that is capable of generating this series is on the Terpodion, which is under high resistance with fast spinning, representing a degree of force difficult to make on most instruments that are directly played by a player. The undertone sequence has great potential to allow for instruments to play far lower pitches than are commonly available for a given length of instrument. I wonder if there is a relationship to stopped pipes and the undertone series (a cylinder like a clarinet is 1 octave lower than a conical instrument of the same length) and this may represent the first harmonic of the series. It is also ambiguous how the octave above a fundamental relates to the octave below it and now those relate to both the undertone and overtone series |
| + | \\ | ||
| + | [[Harry Partch]] described it as 4 octaves in total in his theory of Otonality and Utonality \\ | ||
| + | {{https:// | ||
