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Undertone series

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(Redirected fromSubharmonic)
"Subharmonic" redirects here. For functions in mathematics, seeSubharmonic function.
Undertone series on C.[1]

Inmusic,theundertone seriesorsubharmonic seriesis a sequence ofnotesthat results frominvertingthe intervals of theovertone series.While overtones naturally occur with the physical production of music on instruments, undertones must be produced in unusual ways. While the overtone series is based upon arithmetic multiplication of frequencies, resulting in aharmonic series,the undertone series is based on arithmetic division.[1]

Terminology

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Thehybrid termsubharmonicis used inmusicin a few different ways. In its pure sense, the termsubharmonicrefers strictly to any member of the subharmonic series (1⁄1,1⁄2,1⁄3,1⁄4,etc.). When the subharmonic series is used to refer to frequency relationships, it is written with f representing some highest known reference frequency (f⁄1,f⁄2,f⁄3,f⁄4,etc.). As such, one way to define subharmonics is that they are "... integral submultiples of the fundamental (driving) frequency".[2]The complex tones of acoustic instruments do not produce partials that resemble the subharmonic series, unless they are played or designed to induce non-linearity. However, such tones can be produced artificially with audio software and electronics. Subharmonics can be contrasted withharmonics.While harmonics can "... occur in any linear system", there are "... only fairly restricted conditions" that will lead to the "nonlinear phenomenon known as subharmonic generation".[2]

In a second sense,subharmonicdoes not relate to the subharmonic series, but instead describes an instrumental technique for lowering the pitch of an acoustic instrument below what would be expected for the resonant frequency of that instrument, such as a violin string that is driven and damped by increased bow pressure to produce a fundamental frequency lower than the normal pitch of the same open string. The human voice can also be forced into a similar driven resonance, also called "undertone singing" (which similarly has nothing to do with the undertone series), to extend the range of the voice below what is normally available. However, the frequency relationships of the component partials of the tone produced by the acoustic instrument or voice played in such a way still resemble the harmonic series, not the subharmonic series. In this sense,subharmonicis a term created by reflection from the second sense of the termharmonic,which in that sense refers to an instrumental technique for making an instrument's pitch seem higher than normal by eliminating some lower partials by damping the resonator at the antinodes of vibration of those partials (such as placing a finger lightly on a string at certain locations).

In a very loose third sense,subharmonicis sometimes used or misused to represent any frequency lower than some other known frequency or frequencies, no matter what the frequency relationship is between those frequencies and no matter the method of production.

Methods for producing an undertone series

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The overtone series can be produced physically in two ways – either byoverblowingawind instrument,or by dividing amonochordstring. If a monochord string is lightly damped at the halfway point, then at1⁄3,then1⁄4,1⁄5,etc., then the string will produce the overtone series, which includes themajor triad.If instead, the length of the string is multiplied in the opposite ratios, the undertones series is produced.

Vocal subharmonics or subharmonic singing is avocal techniquethat let's singers produce notes below the fundamental and follows the undertone series. It can extend down from the regularvocal rangean octave and further below when well controlled. It can be described as having a stablevocal fry-like sound. These pitches are produced by a combination of oscillations of turbulent airflow in the vocal tract. Coming from multiple sound sources such as the true and false vocal chords[citation needed].Singers often describe it as feeling likestable pointsbelow regularly sung notes where it snaps or jumps specific intervals. This technique might also happen by accident when talking or singing in a fry voice.

String quartetsby composersGeorge CrumbandDaniel James Wolf,[citation needed]as well as works by violinist and composerMari Kimura,[3]include undertones, "produced by bowing with great pressure to create pitches below the lowest open string on the instrument."[4]These require string instrument players to bow with sufficient pressure that the strings vibrate in a manner causing the sound waves to modulate and demodulate by the instrument's resonating horn with frequencies corresponding to subharmonics.[5]

Thetritare,a guitar with Y-shaped strings, cause subharmonics too. This can also be achieved by theextended techniqueof crossing two strings as some experimental jazz guitarists have developed. Alsothird bridgepreparations on guitars cause timbres consisting of sets of high pitched overtones combined with a subharmonic resonant tone of the unplugged part of the string.

Subharmonics can be produced by signal amplification throughloudspeakers.[6]They are also a common effect in both digital and analogsignal processing.Octave effectprocessors synthesize a subharmonic tone at a fixed interval to the input.Subharmonic synthesizersystems used in audio production and mastering work on the same principle.

By a similar token,analog synthesizerssuch as theSerge synthesizerand many modernEuroracksynthesizers can produce undertone series as a side effect of the solid state timing circuits (e.g. the555 timer IC) in their envelope generators not being able to re-trigger until their cycle is complete.[7]As an example, sending a clock of periodNinto an envelope generator where the sum of the rise and fall time is greater than2 Nand less than3 Nwould result in an output waveform that tracks at1⁄3of the frequency of the input clock.

Comparison to the overtone series

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5-limit Otonality and Utonality: overtone and "undertone" series,[8]partials 1–5 numbered

OtonalityUtonalityMajor chord on CMinor chord on F
The inversional symmetry of the two series is visible in notation

Subharmonic frequencies are frequencies below the fundamental frequency of an oscillator in a ratio of 1/n,withna positiveinteger.For example, if the fundamental frequency of an oscillator is 440 Hz, sub-harmonics include 220 Hz (1⁄2), ~146.6 Hz (1⁄3) and 110 Hz (1⁄4). Thus, they are a mirror image of theharmonic series,the overtone series.

Notes in the series

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In the overtone series, if we consider C as the fundamental, the first five notes that follow are: C (oneoctavehigher), G (perfect fifthhigher than previous note), C (perfect fourthhigher than previous note), E (major thirdhigher than previous note), and G (minor thirdhigher than previous note).

The pattern occurs in the same manner using the undertone series. Again we will start with C as the fundamental. The first five notes that follow will be: C (oneoctavelower), F (perfect fifthlower than previous note), C (perfect fourthlower than previous note), A♭(major thirdlower than previous note), and F (minor thirdlower than previous note).

Undertone 12tET interval Note Variance
(cents) 		Audio
1 2 4 8 16 prime (octave) C 0
17 major seventh B −5
9 18 minor seventh A♯,B♭ −4
19 major sixth A +2
5 10 20 minor sixth G♯,A♭ +14
21 fifth G +29
11 22 tritone F♯,G♭ +49
23 −28
3 6 12 24 fourth F −2
25 major third E +27
13 26 −41
27 minor third D♯,E♭ −6
7 14 28 major second D +31
29 −30
15 30 minor second C♯,D♭ +12
31 −45

Triads

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If the first five notes of both series are compared, a pattern is seen:

  • Overtone series: C C GC E G
  • Undertone series: C C FC A♭F

The undertone series in C contains the F minor triad. Elizabeth Godley argued that the minor triad is also implied by the undertone series and is also a naturally occurring thing inacoustics.[9]"According to this theory theupperand not the lower tone of a minor chord is the generating tone on which the unity of the chord is conditioned. "[10]Whereas the major chord consists of a generator with upper major third and perfect fifth, the minor chord consists of a generator with lower major third and fifth.[10]

Resonance

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Hermann von Helmholtzobserved inOn the Sensations of Tonethat the tone of a string tuned to C on a piano changes more noticeably when the notes of its undertone series (C, F, C, A♭,F, D, C, etc.) are struck than those of its overtones. Helmholtz argued thatsympathetic resonanceis at least as active in under partials as in over partials.[11]Henry Cowelldiscusses a "Professor Nicolas Garbusov of the Moscow Institute for Musicology" who created an instrument "on which at least the first nine undertones could be heard without the aid of resonators."[12]The phenomenon is described as occurring in resonators of instruments;

"the original sounding body does not produce the undertones but it is difficult to avoid them in resonation... such resonators under certain circumstances respond to only every other vibration producing a half tone... even if the resonator responds normally to every vibration... under other circumstances the body resonates at only every third vibration... the fact that such underpartials are often audible in music makes them of importance in understanding certain musical relationships... the subdominant... the minor triad."[12]

Importance in musical composition

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Minor as upside down major
TheIstrian scalemay be tuned as subharmonics 14 through 7[13][failed verification][14]
On D7 upside-down-

First proposed byZarlinoinInstituzione armoniche(1558)[page needed],the undertone series has been appealed to by theorists such asRiemannandD'Indyto explain phenomena such as theminor chord,that they thought the overtone series would not explain.[1]However, while the overtone series occurs naturally as a result of wave propagation and soundacoustics,musicologists such asPaul Hindemithconsidered the undertone series to be a purely theoretical 'intervallic reflection' of the overtone series. This assertion rests on the fact that undertones do not sound simultaneously with itsfundamental toneas the overtone series does.[15]

In 1868, Adolf von Thimus showed that an indication by a 1st-century Pythagorean,Nicomachus of Gerasa,taken up byIamblichusin the 4th century, and then worked out by von Thimus, revealed that Pythagoras already had a diagram that could fill a page with interlocking over- and undertone series.[16]

Kathleen Schlesingerpointed out, in 1939, that since the ancient Greekaulos,or reed-blown flute, had holes bored at equal distances, it must have produced a section of the undertone series.[14]She said that this discovery not only cleared up many riddles about the original Greek modes, but indicated that many ancient systems around the world must have also been based on this principle.

One area of conjecture is that the undertone series might be part of the compositional design phase of the compositional process. The overtone and undertone series can be considered two different arrays, with smaller arrays that contain different major and minor triads.[17]Most experiments with undertones to date have focused largely upon improvisation and performance not compositional design (for example the recent use of negative harmony[18]in jazz, popularised byJacob Collierand stemming from the research ofErnst Levy), although in 1985/86Jonathan Parryused what he called the Inverse Harmonic Series (identical to the Undertone Series) as one stage in his process of Harmonic Translation.[19]

Harry Partchargued that the overtone series and the undertone series are equally fundamental, and his concepts ofOtonality and Utonalityis based on this idea.[20]

Similarly, in 2006 G.H. Jackson suggested that the overtone and undertone series must be seen as a real polarity, representing on the one hand the outer "material world" and on the other, our subjective "inner world".[21]This view is largely based on the fact that the overtone series has been accepted because it can be explained by materialistic science, while the prevailing conviction about the undertone series is that it can only be achieved by taking subjective experience seriously. For instance, the minor triad is usually heard as sad, or at least pensive, because humans habitually hear all chords as based from below. If feelings are instead based on the high "fundamental" of an undertone series, then descending into a minor triad is not felt as melancholy, but rather as overcoming, conquering something. The overtones, by contrast, are then felt as penetrating from outside. UsingRudolf Steiner's work, Jackson traces the history of these two series, as well as the main other system created by thecircle of fifths,and argues that in hidden form, the series are balanced out inBach's harmony.

See also

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References

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  1. ^abcNattiez, Jean-Jacques(1990) [1987].Musicologie générale et sémiologue[Music and Discourse: Toward a Semiology of Music]. Translated byAbbate, Carolyn.Princeton, New Jersey: Princeton University Press. p. 202.ISBN0-691-02714-5.Nattiez shows the undertone series on E, asRiemann(Handbuch der Harmonielehre,10th ed., 1929, p. 4) andD'Indy(Cours de composition musicale,vol. I, 1912, p. 100) had done.
  2. ^abDallos, Peter(2012).The Auditory Periphery Biophysics and Physiology.Elsevier.
  3. ^Rothstein, Edward(21 April 1994)."A violinist tests limits in music of her time".The New York Times.Archived fromthe originalon 16 March 2007.Retrieved15 September2008– via homepage.mac.com/marikimura.
  4. ^Cope, David(1997).Techniques of the Contemporary Composer.Schirmer. p. 141.ISBN0-02-864737-8.
  5. ^Gurewitsch, Matthew (15 May 2011)."For a violinist, success means a new low point".The New York Times.Retrieved23 January2012.
  6. ^Truax, Barry,ed. (1999).Handbook for Acoustic Ecology.World Soundscape Project. Vancouver, British Columbia: Simon Fraser University. Archived fromthe originalon 2018-08-02.Retrieved2017-09-17.
  7. ^Probe, Rex."Dual Universal Slope Generator".Serge-Fans.com.Retrieved16 May2019.
  8. ^Rehding, Alexander(2003).Hugo Riemann and the Birth of Modern Musical Thought.p. 16.ISBN978-0-521-82073-8.Goes to partial nine, unnumbered.
  9. ^Godley, Elizabeth (1952). "The minor triad".Music & Letters.33(4).Oxford University Press:285–295.doi:10.1093/ml/XXXIII.4.285.ISSN1477-4631.JSTOR729740.
  10. ^abJohn Comfort Fillmore (May–November 1893). Mathews, W. S. B. (ed.)."Russian folk-songs".Music: A Monthly Magazine, Devoted to the Art, Science, Technic, and Literature of Music.Vol. 4. Chicago. pp. 121–147 (131).
  11. ^Helmholtz, Hermann von(1954).On the Sensations of Tone(reprint ed.). Dover Publications. p. 47.ISBN978-0-486-60753-5.
  12. ^abCowell, Henry(1930).New Musical Resources.New York: A. A. Knopf. pp. 21–23.
  13. ^Ruland, Heiner(1992).Expanding Tonal Awareness.Rudolf Steiner. p. 43.ISBN978-1-85584-170-3.
  14. ^abSchlesinger, Kathleen(1939).The Greek Aulos.[full citation needed]
  15. ^Hindemith, Paul(1945) [1937].The Craft of Musical Composition.Translated by Mendel, Authur (revised ed.). New York: Associated Music Publishers. p. 78.ISBN0-901938-30-0.It seems to me repugnant to good sense to assume a force capable of producing such an inversion.... [The undertone series] can never have for music the same significance as the overtone series.... This "undertone series" has no influence on the color of the tone, and lacks the other natural advantages of the overtone series...
  16. ^von Thimus, Adolf (1868).Die Harmonikale Symbolik des Altertums.Köln, Germany: Verlag der M. DuMont-Schaubergischen Buchhandlung.
  17. ^Morris, Robert(Winter–Summer 1995). "Compositional Spaces and Other Territories".Perspectives of New Music.33(1/2): 329–330.JSTOR833710.
  18. ^Fluegel, Michael (29 May 2022)."Negative-Harmony".www.michaelfluegel.de.Retrieved29 May2022.
  19. ^"Translations from the Original".British Music Collection.2021-05-09.Retrieved2022-05-29.
  20. ^Partch, Harry(1974) [1949].Genesis of a Music(second ed.). New York: Da Capo Press. p. 89.ISBN0-306-80106-X.Under-number tonality, or Utonality ( "minor" ), is the immutable faculty of ratios, which in turn represent an immutable faculty of the human ear.
  21. ^Jackson, Graham H. (2006).The Spiritual Basis of Musical Harmony.Shelburne, Ontario, Canada: George A. Vanderburgh.
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