David,
according to Pythagoras, When the tension on a string remains the same
but the length L is varied, the period of the vibration is proportional
to L.
According to Mersenne - When the length of a string is held constant
but the tension T is varied, the frequency of oscillation is
Therefore the string deformation of a low tension string at the lower
pitch will change that pitch noticeably much more then at any higher
pitch.
But ... small deviations are much more noticable in high register than
in low.
David
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Have a look at this:
http://hyperphysics.phy-astr.gsu.edu/hbase/waves/string.html
regards
Dieter
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Hi Alexander,
Thank you. Since my question is unrelated to fretting and is only related to
tuning Pythagoras's relation does not apply. The Mersenne relation does apply
when tuning and the derivative of
F ~ sqrt(T)
Is
F'(T) ~ 1/sqrt(T)
This is where my thought that increasing the a
Thanks. Those are the equations I started with. I have spreadsheets and
Mathematica documents all setup with theses equations and their derivatives. I
use them to gauge my strings when I ordering.
Regards
David
Sent from my iPad
On Dec 20, 2013, at 4:22 AM, Dieter Schmidt
When I plot the partial derivative of F'(T) using the values for
this string I find that the sensitivity is actually quite small; less
than 1/10th of a hertz per Newton
Don't think in Hertz. The difference between 440 and 441Hz is a smaller
difference in pitch than between 40
On Dec 19, 2013, at 5:27 AM, Christopher Wilke chriswi...@yahoo.com wrote:
This also fits in nicely with Richard Taruskin's often stated thesis
that early music performance practice today is really a modern
fabrication that seeks to apply 20th (now 21st) century aesthetic
preferences
Dear Howard,
I must confess, that the logic of Your Arguments is always a very great
pleasure, a light in the darkness of December.
Thank You
Andreas (Berlin)
Am 20.12.2013 19:54, schrieb howard posner:
On Dec 19, 2013, at 5:27 AM, Christopher Wilkechriswi...@yahoo.com wrote:
This also
Emma Kirkby sings the way she does because she was a product of the English
Cathedral choral tradition and does or did emmulate the sound that English
choirboys make and are assumed to have made in the past. Whether this is
the case is hard to tell but I have heard recordings of the Sistine
Dear Howard,
I must confess, that the logic of Your Arguments is always a very great
pleasure, a
light in the darkness of December.
Thank You
Andreas (Berlin)
Wholeheartedly seconded
Mathias
Am 20.12.2013 19:54, schrieb howard posner:
On Dec 19, 2013, at 5:27 AM, Christopher
I also always enjoy Howard's posts and logic.
Sterling
Sent from my iPhone
On Dec 20, 2013, at 3:11 PM, Mathias Rösel mathias.roe...@t-online.de wrote:
Dear Howard,
I must confess, that the logic of Your Arguments is always a very great
pleasure, a
light in the darkness of December.
Thank
Howard,
On Fri, 12/20/13, howard posner howardpos...@ca.rr.com wrote:
On Dec 19, 2013, at 5:27 AM,
Christopher Wilke chriswi...@yahoo.com
wrote:
This also fits in nicely with Richard Taruskin's
often stated thesis
that early music
Yes, I always enjoy responding to his sophistries and redirections.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
On Fri, 12/20/13, Sterling spiffys84...@yahoo.com wrote:
Subject: [LUTE] Re: Bream
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