Hunting the Natural Beat

[Richard Brekne]

Kent Swafford wrote:

> on 2/9/01 11:13 AM, Richard Brekne at Richard.Brekne@grieg.uib.no wrote:
>
> > Play in appeggio form  a fundamental, 4th, 5th, and octave as a
> > "sounding base" for a note three octaves above the fundemental.
>
> Why would you use the 5th, which has no simple relationship with the target
> note 3 octaves above?

Grin... I am not sure why yet... havent got around to thinking about why (if) it
makes any sense... there just seems to be and effect that works nicely when all
four notes are played in sequence and used as a reference. Works even better
when tuning the double octave from the fundemental. (I forgot to mention that
yesterday)

>
> One technique that I have written about in the Journal is a check that uses
> all the notes which have a partial coincident with the target note.
>
> The construction of notes which all share a coincident partial on the target
> note is called the chord of nature.
>
> In your 3 octave example, these notes would be the "fundamental" as you call
> it with its 8th partial on the target note, the 2nd (7th partial on the
> target), the 4th (6th partial), the minor 6th (5th partial), the octave (4th
> partial), the 11th (3rd partial), and the double-octave (2nd partial).
>
> Many have found these note to be useful in checking the high treble.
>
> Kent Swafford

Yes indeed Kent... just try it out.. both with the double and triple octave from
the fundemental as the note to be tuned. Dont try and reason it out for the
moment... just see if you can hear any effect anywhere that reminds you of
Virgils descriptions of his "natural beat".  Let me know if you come up with
anything.

--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway
mailto:Richard.Brekne@grieg.uib.no