<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>In a message dated 5/29/01 8:09:25 PM Central Daylight Time,
<BR>kswafford@kc.rr.com (Kent Swafford) writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">On 5/29/01 7:25 AM, "Michael Jorgensen" <Michael.Jorgensen@cmich.edu> wrote:
<BR>
<BR>> Hello,
<BR>> Steinway B, F2-A flat 2 minor third tested using C5 as strike tone
<BR>> yields a significantly faster beat speed than listening to the beatspeed
<BR>> by playing the minor third by itself. This happens with single strings
<BR>> or when testing the whole unison.
<BR>> What is the reason??? F2 is the lowest plain string with weird
<BR>> inharmonicity perhaps? How can the strike tone clearly yield a
<BR>> different beatspeed? Perhaps Virgil Smith has an answer??
<BR>> -Mike Jorgensen
<BR>
<BR>What would the beat rate have been had you used D#5 as a strike tone?
<BR>Perhaps the 7:6 coincidence was weirdly predominating over the 6:5
<BR>coincidence when the F2-G#2 minor third was played?
<BR>
<BR>Kent Swafford</BLOCKQUOTE>
<BR>
<BR>This is what I was thinking. The strike tone was exciting another nearby set
<BR>of coincident partials which, although further apart from each other, were
<BR>somehow more easily excitable. It doesn't seem too far fetched. Some
<BR>partials seem to stand out over others. Whatever the reason is for this, I
<BR>wouldn't know.
<BR>
<BR>Thanks to Kent for supplying the exact partial data. I'd really have to sit
<BR>down and think about those. Not that I have any criticism at all about using
<BR>this method to excite and listen to partials, I've just never done it that
<BR>way. I'm afraid Virgil might not have the answer either. I simply listen
<BR>for the beats and control them. I don't really think about specific
<BR>coincident partials although I know what they are theoretically.
<BR>
<BR>Virgil's teachings don't get into that either. It's all in the "whole"
<BR>sound, meaning: listening to, evaluating and controlling everything by the
<BR>entirety of sound (and beats) produced, not focusing on one particular set of
<BR>coincident partials.
<BR>
<BR>Many regards,
<BR>
<BR>Bill Bremmer RPT
<BR>Madison, Wisconsin</FONT></HTML>