In article , Jim Lux
wrote:

Jon Teske wrote:

If you touch one note above that (B natural on the E string) the
result is a not an octave and a fifth (or high B) above the
fundamental frequency, because lightly stopping the B and causing
it to vibrate on both side of the stop divides the string into thirds.


Jon Teske, W3JT and concert violinist.

And this is why pianos are arranged to strike the string at a point
which suppresses a harmonic which is dissonant. (I think it's the 7th
harmonic which is suppressed)


Hello, and acoustic dissonance is defined by the production of
"unacceptable" beats between the partials (overtones (harmonics)) that
can, but are not generally, exact multiples of the fundamental) generated
by two or more fundamentals. Dissonance can also be defined when two
fundamentals are in close proximity as to produce a kind of "roughness".
Dissonance has no relevance for one fundamental (and its partials). It is
the partials that give a pitch on a particular instrument its quality or
timbre.

There is also a "contextual" dissonance associated with particular
intervals/ chord structures in Western classical music that, due to
accepted practice in a particular era, in many cases bears no relation to
the acoustic dissonance (sounding the chord in isolation (out of
context)). If you want more enlightenment in this area pop on over to
rec.music.theory or rec.music.makers.piano. Sincerely, and 73s from
N4GGO,

John Wood (Code 5550) e-mail:
Naval Research Laboratory
4555 Overlook Avenue, SW
Washington, DC 20375-5337

On Mar 19, 5:44*am, (J. B. Wood) wrote:
In article , Jim Lux

wrote:
Jon Teske wrote:

If you touch one note above that (B natural on the E string) the
result is a not an octave and a fifth (or high B) above the
fundamental frequency, because lightly stopping the B and causing
it to vibrate on both side of the stop divides the string into thirds..

Jon Teske, W3JT *and concert violinist.

And this is why pianos are arranged to strike the string at a point
which suppresses a harmonic which is dissonant. (I think it's the 7th
harmonic which is suppressed)

Hello, and acoustic dissonance is defined by the production of
"unacceptable" beats between the partials (overtones (harmonics)) that
can, but are not generally, exact multiples of the fundamental) generated
by two or more fundamentals. *Dissonance can also be defined when two
fundamentals are in close proximity as to produce a kind of "roughness".
Dissonance has no relevance for one fundamental (and its partials). *It is
the partials that give a pitch on a particular instrument its quality or
timbre.

There is also a "contextual" dissonance associated with particular
intervals/ chord structures in Western classical music that, due to
accepted practice in a particular era, in many cases bears no relation to
the acoustic dissonance (sounding the chord in isolation (out of
context)). *If you want more enlightenment in this area pop on over to
rec.music.theory or rec.music.makers.piano. *Sincerely, and 73s from
N4GGO,

John Wood (Code 5550) * * * *e-mail: * * * * * * * * * *
Naval Research Laboratory
4555 Overlook Avenue, SW
Washington, DC 20375-5337

Hmm, I seem to differ tho I am not a player of violins
With respect to the movement of violin wires and physics
ALL vibrations of a lever or wire is three dimensional unless the ends
are secured encastre where it is damped to a two dimensional swing. An
example is a pendulum where the lever or "bob" is of a short distance
as with a clock where the "hinge" restricts oscillation to two
dimensions. In the case of a pendulum such as seen in certain museums
that are pivoted some 100 feet or more high the oscillations take up a
three dimensional pattern such that it takes many many oscillations
before it can arrive at its starting point. The same analogy can be
applied to a radiator or antenna or any other oscillation as it
follows the same action of a tank circuit which is universal in the
sciences of nature ie the standard model and the conservation of
energy format.