Contrabass Digest |
| To subscribe or unsubscribe, email gdgreen@contrabass.com |
From: "David Neubauer" <dnmagic@earthlink.net>
Subject: re:subharmonics
Date: Sat, 7 Aug 1999 15:42:24 -0700
Reply-To: contrabass@contrabass.comMats, I played Violin since I was a kid and have never heard of that.
Harmonics, yes, but subharmonics? I'll copy this to my brother, if
anyone knows, he does.David Neubauer
www.dnmagic.com>From: "Mats 0ljare" <oljare@hotmail.com>
>Subject: Subharmonics
>Date: Sat, 07 Aug 1999 15:26:38 PDT
>Reply-To: contrabass@contrabass.com
>I´ve heard about a technique on violin and cello that enables the player to
>play subharmonics one octave below the fundamental note of a string,thus
>virtually extending the range of the instrument by an entire octave as well
>as for special effects.Anybody know how this is achieved or how it sounds?
>
>Mats Öljare
---------------------------------------------------------
From: Fmmck@aol.com
Date: Sat, 7 Aug 1999 21:21:27 EDT
Subject: Re: re:subharmonics
Reply-To: contrabass@contrabass.comIn a message dated 8/7/99 6:44:38 PM, dnmagic@earthlink.net writes:
<< Mats, I played Violin since I was a kid and have never heard of that.
Harmonics, yes, but subharmonics? >>David-
Is it possible to play two strings at the same time, so that the difference
in pitch is the frequency of a much lower note?Fred McKenzie
(Bass Clarinet)
---------------------------------------------------------From: Heliconman@aol.com
Date: Sat, 7 Aug 1999 23:40:16 EDT
Subject: Re: subharmonics
Reply-To: contrabass@contrabass.comIn a message dated 8/7/99 9:21:57 PM Eastern Daylight Time, Fmmck@aol.com
writes:> David-
>
> Is it possible to play two strings at the same time, so that the difference
> in pitch is the frequency of a much lower note?Well, when you play two notes a halftone apart you hear a beat frequency that
is pretty low and when you play one note only very slightly flat or sharp,
that beat frequency gets slower. This can be done on a horn by singing and
playing two different notes such as is done by trombonist Albert Manglesdorf.
I do a little bit once in a while on my trombone when the band gets quiet
enough to hear it. It's not a very loud effect. My second line brass band has
no problem drowning it out.
---------------------------------------------------------Date: Sun, 08 Aug 1999 03:12:14 -0500
From: Gregg Bailey <greggbailey@hotmail.com>
Subject: String Suboctaves
Reply-To: contrabass@contrabass.comSince the strings on violins, violas, and cellos are pitched fifths
apart, any two adjacent strings bowed simultaneously with the same
finger position would give a faint suboctave because they'd be sounding
the 2nd and 3rd harmonics of a tone one octave lower (difference tone--3
minus 2 =1). Maybe if the bowing pressure were concentrated on the
lower string, so that the string a fifth higher doesn't vibrate as
loudly as the lower string, you'd have a more effective suboctave. It
is a proven fact that if you play a note along with a note a fifth
higher that's not as loud as the main note, you get a much more
effective *resultant* than you do if you play both notes with equal
volume. I think this is because most tones consist of harmonics whose
relative amplitudes diminish up the harmonic series. In other words,
the higher the harmonic, the less volume it has.
-Gregg
---------------------------------------------------------
From: Heliconman@aol.com
Date: Sun, 8 Aug 1999 11:50:51 EDT
Subject: Re: String Suboctaves
Reply-To: contrabass@contrabass.comIn a message dated 8/8/99 3:55:09 AM Eastern Daylight Time,
greggbailey@hotmail.com writes:> Since the strings on violins, violas, and cellos are pitched fifths
> apart, any two adjacent strings bowed simultaneously with the same
> finger position would give a faint suboctave because they'd be sounding
> the 2nd and 3rd harmonics of a tone one octave lower (difference tone--3
> minus 2 =1). Maybe if the bowing pressure were concentrated on the
> lower string, so that the string a fifth higher doesn't vibrate as
> loudly as the lower string, you'd have a more effective suboctave. It
> is a proven fact that if you play a note along with a note a fifth
> higher that's not as loud as the main note, you get a much more
> effective *resultant* than you do if you play both notes with equal
> volume. I think this is because most tones consist of harmonics whose
> relative amplitudes diminish up the harmonic series. In other words,
> the higher the harmonic, the less volume it has.
> -Gregg
>
I gotta say this works with my experience on trombone too. The best sounding
harmonics are when I sing a fifth above. My voice is not as strong a sound as
the bone too.
---------------------------------------------------------Date: Sun, 8 Aug 1999 16:40:54 -0500
From: John Howell <John.Howell@vt.edu>
Subject: Subharmonics
Reply-To: contrabass@contrabass.com>From: "Mats 0ljare" <oljare@hotmail.com>
>I¥ve heard about a technique on violin and cello that enables the player to
>play subharmonics one octave below the fundamental note of a string,thus
>virtually extending the range of the instrument by an entire octave as well
>as for special effects.Anybody know how this is achieved or how it sounds?
>
>Mats ÷ljareDoesn't happen. Or if it does, I've never heard it or even heard OF it.
The only mechanism I can think of is the one used by organ makers to create
a "virtual" 32-foot octave by tuning smaller pipes so that the difference
tone is heard as a low note. But on a stringed instrument the volume of
the sounding notes is so much more powerful than the difference tone (yes,
it's there, and you'd play a 4th or 5th interval to generate it) that the
difference tone is virtually inaudible.John
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:John.Howell@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html
---------------------------------------------------------
From: "monica fucci" <mfucci@ciudad.com.ar>
Subject: Monica Fucci IDRS '99 Recital
Date: Wed, 21 Jul 1999 06:17:28 -0300
Reply-To: contrabass@contrabass.comDear list-mates,
Next August 13th I will play my contrabassoon recital at IDRS Conference in Madison, Wisconsin.
The program will be:Joseph Klein ."The Woe administrator" (world premiere)
(USA) for contrabassoon soloRobert Lemay "Mitsu no kisetsu" ("Three seasons") (world premiere)
Canada for contrabassoon and baritone voiceTeres Procaccini "Moments" (world premiere)
Italy for contra and pianoII
R.Strauss "Andante" Op. posth.G. Bottesini Elegia in Re Reverie
A. Piazzolla "Kicho" (tango) (american premieres)
Monica Fucci , contrabassoon (Argentina)
Esther Wang , piano (USA)
Paul Rowe , baritone (USA)The recital will be at Mills Concert Hall , University of Wisconsin, Madison, at 2 pm.
Next Digest ->
Previous Digest <-
Index
Top