Re: [Harp-L] overtones and harmony

[Vern <jevern@xxxxxxx>]

I don't think that there are any short answers to your inquiries.

The subject of the advantages and disadvantages of Just, Pythagorean, Meantone and Equal scales and the perceived harshness and sweetness of major thirds and fifths on different instruments occupies long chapters in books of musical acoustics.  Two such books are: "On the Sensations of Tone" written by Hermann Helmholtz in 1877 and "The Acoustical foundations of Music" by John Backus in 1954. A google inquiry results in about half a million hits.  Although I own the books, I do not pretend to understand the fine points of scale comparisons.  I would trust any pronouncements on the subject by Pat Missin.  See http://www.patmissin.com/tunings/tunings.html .

With those references, you can read yourself to sleep for a lot of evenings!

Because I play C chromatics in various keys, I'm stuck with equal temperament and haven't paid much attention to the others.  

I believe that the overtone-rich spectral content of harmonica tones is determined by the non-linear changes of the flow area as the reed swings through the slot.  If this is true, it will not change much with reed length , plate thickness, etc.  I think this is borne out by the sounds of real harmonicas which are all very much alike.

Vern

On Mar 10, 2010, at 7:09 PM, Doug wrote:

> In my unscientific, but thoughtful, comparisons of equal temperament harmonies on the harmonica, guitar and piano, I've noticed that the piano is sweet, the guitar is still OK, but the harmonica is harsh.  Specifically, I'm taking about a major third.
> 
> Anyway, I'm wondering if anyone has seen any research on overtone series in the harmonica and what if anything would alter the situation to reduce the harshness of harmonies on equal temperament harmonicas.
> 
> For example, has there been any comparison of how longer vs shorter reeds, thicker plates, reeds tapering in thickness, etc, effect the overtones or harmonic 'sweetness'?
> 
> Doug H