Strike Tone not Yielding same beatspeed

[Billbrpt@AOL.COM]

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In a message dated 5/29/01 8:09:25 PM Central Daylight Time, 
kswafford@kc.rr.com (Kent Swafford) writes:


> On 5/29/01 7:25 AM, "Michael Jorgensen" <Michael.Jorgensen@cmich.edu> wrote:
> 
> > Hello,
> >    Steinway B,  F2-A flat 2 minor third tested using C5 as strike tone
> > yields a significantly faster beat speed than listening to the beatspeed
> > by playing the minor third by itself.  This happens with single strings
> > or when testing the whole unison.
> >    What is the reason???  F2 is the lowest plain string with weird
> > inharmonicity perhaps?  How can the strike tone clearly yield a
> > different beatspeed?  Perhaps Virgil Smith has an answer??
> > -Mike Jorgensen
> 
> What would the beat rate have been had you used D#5 as a strike tone?
> Perhaps the 7:6 coincidence was weirdly predominating over the 6:5
> coincidence when the F2-G#2 minor third was played?
> 
> 

This is what I was thinking.  The strike tone was exciting another nearby set 
of coincident partials which, although further apart from each other, were 
somehow more easily excitable.  It doesn't seem too far fetched. Some 
partials seem to stand out over others.  Whatever the reason is for this, I 
wouldn't know.

Thanks to Kent for supplying the exact partial data.  I'd really have to sit 
down and think about those.  Not that I have any criticism at all about using 
this method to excite and listen to partials, I've just never done it that 
way.  I'm afraid Virgil might not have the answer either.  I simply listen 
for the beats and control them.  I don't really think about specific 
coincident partials although I know what they are theoretically.

Virgil's teachings don't get into that either.  It's all in the "whole" 
sound, meaning: listening to, evaluating and controlling everything by the 
entirety of sound (and beats) produced, not focusing on one particular set of 
coincident partials.

Many regards,

Bill Bremmer RPT
Madison, Wisconsin

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