Orlando, I'm sorry to disagree but I believe Hans' definition is what's generally accepted as correct.
I happen to be reading now an acoustics text book, "Fundamentals of Musical Acoustics" by Arthur H. Benade, and he makes it very clear that the term "partial" is used for any "part" of the sound produced, including the fundamental. It's a necessary way of looking at things because not all sound coming from the same source are necessarily musically related, e.g., Mr. Benade's example of hitting a skillet and listening to the resulting sounds. All such sounds are parts, and therefore partials, of the total sound being produced. In a musical context where the partials are mathematically related (or nearly so, at any rate), the fundamental, the first harmonic, and the first partial all refer to the same pitch. -S- > -----Original Message----- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Pandolfi, Orlando > Sent: Tuesday, January 11, 2005 10:46 AM > To: The Horn List > Subject: RE: [Hornlist] notation > > I understand what you are saying, but in physics, there is a > difference between fundamental and partials. The lowest > pitch possible is the fundamental, and the octave is called > the FIRST partial. Yes, it is indeed the second note > possible, but it is the first overtone. > > Perhaps there are translation issues here? Either way, I > think we are all on the same page. > > O. > > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > On Behalf Of [EMAIL PROTECTED] > Sent: Tuesday, January 11, 2005 10:08 AM > To: 'The Horn List' > Subject: [Hornlist] notation > > There is again a confusion between partial & natural tones. > The numbering starts with the fundamental , if we go for the > natural pitches (tones), but starts an octave higher, if we > go for the partials ???????? > > Then all numbering would become crazy. > > O.k. letīs start over again. The fundamental is number 1, the > octave above (our low C) is number 2, the open g below staff > is number 3, while the c1 (middle c) on the first ledger line > below staff is number 4. The row continues with e1 as 5, g1 > as 6, bb1 (bit flat) as no.7 & c2 as number 8, which is > followed up by d2 as no.9, e2 as no.10, f2 (bit > sharp) as no.11, g2 as no.12, g#(too sharp)-a2(too flat) as > no.13, bb2 as no.14, b-nat2 as no.15 & finally c3 as no.16. > > You see the arithmetics ? Octaves have the number volume > doubled, which cannot be the case if we start numbering from > the first partial on upwards & leaving the fundamental > unnumbered. Right ? > > > C = 1 - 2 - 4 - 8 - 16 > G = 3 - 6 - 12 - 24 (g3) > E = 5 - 10 - 20 (high e3 as there are all half steps possible > : c, c#, d, d#, e) > > By the way, I have never had any difficulty entering with the > fundamental on the F-Horn, no matter single Viennese or on > the doubleīs F-side. A below the fundamental (fingered with > F-3) is reachable always but without strength as it needs > crazy much air. Using my regular Viennese type mouthpiece. > > > Prof.Hans Pizka, Pf.1136 > D-85541 Kirchheim - Germany > Fax: 49 89 903-9414 Phone: 903-9548 > home: www.pizka.de > email: [EMAIL PROTECTED] > > > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/steve%40fridaysc omputer.com _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
