Partial tones |

partial tones (German Teiltцne, Partialtцne, French partieles sons, English partiales tones) – overtones that are part of the spectrum of music. sound, the most important components of the timbre of sound. Each of them arises as a result of sinusoidal oscillations of the simplest form. parts of the sounding body (for example, 1/2, 1/3, etc. of the parts of the string). In the music sound, except for tone, according to Krom the pitch is determined, practically contains several. Ch. t.; they merge into a single whole, they can be heard (allocated by ear) only with directed attention or with the help of special acoustic instruments. filters. By ear Ch. t. are simple sounds; they are characterized by pitch and loudness. Distinguish harmonica. Ch. t. (harmonics), correlating with each other in frequency as a series of natural numbers – 1, 2, 3, 4, etc. (for example, in the sound of the strings of a violin, piano, in the sound of a column of air from wind instruments ), and inharmonic. Ch. t., the frequencies of which are correlated by k.-l. different principle (for example, percussion instruments can have ratios like 1, 32, 52, 72, etc.). Ch. t., located above the main. tones, called overtones; in the theory of acoustics, there is the concept of untertons, which characterizes the frequencies of the t., located below the main. tones. In harmonic. intervals, chords, consonances, the interaction between Ch. t. leads to the formation of an additional. overtones (tones of coincidence, combination tones of difference, etc.), sometimes distorting harmony, to the occurrence of beats – periodic. changes in the volume of the overall sound. In perform. In practice, the technique of separating the black tone from the general sound is widely used – harmonics.

References: Garbuzov HA, Natural overtones and their harmonic meaning, in the book: Proceedings of the HYMN. Sat. Works of the Commission on Musical Acoustics, vol. 1, Moscow, 1925; his, Harmonic modification of chords by natural overtones, ibid., vol. 2, M., 1929; his own, Zone nature of timbre hearing, M., 1956; Musical acoustics, M.-L., 1940, M., 1954; Korsunsky S. G., Influence of the spectrum of perceived sound on its height, in Sat: Problems of physiological acoustics, vol. 2, M.-L., 1950; Nazaikinsky E. V., Rags Yu. N., Perception of musical timbres and the meaning of individual harmonics of sound, in collection: Application of acoustic research methods in musicology, M., 1964; Volodin AA, The role of the harmonic spectrum in the perception of pitch and timbre of sound, in: Musical Art and Science, vol. 1, M., 1970; Meyer E., Buchmann G., Die Klangspektren der Musikinstrumente, B., 1931.

Y. H. Rags