By Nicholas J. Giordano
ISBN-10: 0199546029
ISBN-13: 9780199546022
Why does a piano sound like a piano? an analogous query might be requested of almost all musical tools. a specific notice - akin to center C - may be produced by way of a piano, a violin, a clarinet, and plenty of different tools, but it is simple for even a musically untrained listener to differentiate among those varied tools. A significant quest within the learn of musical tools is to appreciate why the sound of the "same" notice relies enormously at the software, and to clarify which facets of an tool are most crucial in generating the musical tones attribute of the device. the first objective of Physics of the Piano is to enquire those questions for the piano. the reasons during this publication use not less than arithmetic, and are meant for an individual who's attracted to tune and musical tools. while, there are numerous insights bearing on physics and the piano that may most probably be attention-grabbing and maybe astonishing for plenty of physicists.
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Extra info for Physics of the Piano
Example text
5 1 time (s) pure tones. If these tones are played simultaneously, the total pressure at the eardrum and hence the total force on the eardrum will be the sum of these two signals. This sum is shown in Fig. 5 Hz), and the amplitude of this oscillation varies with time, between zero and a large value equal to the sum of the two original amplitudes. 5 Hz whose loudness varies with time, an effect known as beats. The oscillations of the amplitude are described by a beat frequency which is the difference in the two original frequencies, in this case 1 Hz.
We add a second note—named G4—so that it falls a perfect fifth above C4. 5× higher than C4. 5×) or decreasing the frequency by an octave (a factor of 2), or both. (c) Repeated application of this procedure gives all the other notes in our scale. (Note that the frequency values have been rounded, which is why the value given here for C5 is not quite equal to twice the frequency of C4, etc. ) and is more than an octave above C4, so it is outside the range of our intended scale. We can, however, use D5 to locate the note D4, which lies one octave below D5, by cutting the frequency in half.
1 (a) (b) (c) The harpsichord 37 (d) damper string plectrum tongue axle tongue rotates to allow plectrum to move past string spring jack Fig. 2 Harpsichord plucking mechanism. The bottom of the jack rests on the end of the key lever (not shown here), and the strings run perpendicular to the plane of this drawing. (a) Before the key is pressed, the damper rests on the string, preventing it from vibrating. (b) When the key is pressed the jack moves upward, pressing the plectrum against the string and initiating the pluck.
Physics of the Piano by Nicholas J. Giordano
by Brian
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