overtone
US /ˈoʊvərtoʊn/
・UK /ˈəʊvətəʊn/
C1 上級
n.名詞含まれる意味
When you read this book, don't analyze it for its face value you. Try looking for the overtone in which the author is conveying
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ジェイコブ・コリアー、楽器について質問ある？ | Tech Support | WIRED Japan (ジェイコブ･コリアーだけど楽器について質問ある？ | Tech Support | WIRED Japan)
- On the piano there are two notes between right what happens if we try and squeeze in more notes right right you go forever these are all microtones these are notes that you can't find on the piano here's a question from piss kink wow what a username bro why do people even play bass you can't even hear that shit laugh my ass off that's crazy to me okay well let's let's get let's get there's actually a bass here it's handy bass player is extremely important in music as a bass player you could you can be the drummer you can play melodies and you can also play chords so the bass is a beautiful and very important instrument in music and I'm a huge fan of the bass from at hexa chordal why do minor chords sound sad I would probably say that I think the reason why minor chords potentially sound sad is that a minor chord is actually an exact reflection of the relationships of a major chord so a major chord sounds like this this is e major one of my good friends and that is e minor another one of my good friends major chords exist in physics they exist in nature for example there's a harmonic series in your mouth if you go what you actually make here is really really quiet notes here in my mouth every note has these overtones if you yell in a chapel or a cathedral I'd recommend yelling in cathedrals in general it's just actually quite a fun thing to do but if you go in a massive room you will hear all those overtones shining back at you and you hear a major chord which is crazy a minor chord which you could say is derived from the undertone series as opposed to the overtone series it doesn't actually really exist in nature in that in that exact state in a nutshell I would say minor chords don't always sound sad but perhaps one of the reasons why they can inherently feel a little heavier the major chords is that they are the exact opposite in physics to what a major chord is it's actually not a question it's a it's a statement I think we're entering a post riff world all the riffs have been used up and there are no more riffs left to be written all new riffs are either bad or a copy of another riff I disagree personally yeah you think you can make up I think there are new riffs like let's make up one right now right I've definitely heard I've heard that before and I've heard like or something like that before perhaps no one has collided I mean let me know in the comments if you if this riff is taken and I wouldn't write a song with it but it's my ability as a riff maker to combine things that I like that maybe aren't normally put together that's what's cool that's interesting and that's what's worth doing so don't be afraid to take something you like like a riff or a chord or whatever and make it your own in an interesting way from at rod goels what makes a bass line funky that's in capital letters there what makes a bass line funky is also a little bit subjective but stable time right so just having something that's stable that you can move your body to repetition sit on this all day and then making variations on that it's not just the notes that you play or when you play the notes it's actually the duration of the notes like how long the notes are if I play all those notes long that is maybe less funky in my opinion so it's actually a mixture you see some of those notes are longer and and the control you have over the length of your notes you can go a huge distance here is another bass ready question from uh add comfortable 8467 do bassists always tune the octave down from the guitar the answer is fundamentally yes actually the bass is essentially tuned an octave down from an ordinary guitar not this five string tailor but this this is a six-string tailor that i have just stowed down here e a d g e and e these four notes here are the same as these on this bass guitar here okay this is a drum question so i'm going to answer it here at this drum kit what are your favorite tricks to keep your drum tracks interesting and or evolving well think about this all the time if you take an ordinary beat that's one of the most legendary beats of all time you can make that interesting without adding any notes or even changing any notes all i'm going to do is i'm going to nudge certain things forward and certain things backward say for example i move the snare drum backwards just a fraction this is what that sounds like and already i'm kind of like if i move the hi-hat forwards right so it's kind of sluggish falling all over itself one of the absolute pioneers of this was of course jay diller the legendary hip-hop producer from around 2000 he was just absolutely masterful at creating these kind of recipes sonic recipes for grooves that had gravity in them had grooves that have momentum in them so certain parts of the groove pulling back some parts of the groove pulling forwards all that stuff makes your drum tracks far more interesting without having to add a bunch of crazy fills this is from a core user what is four on the floor there are a few different elements here before me at the drums there's cymbals there are toms there's a snare drum but most importantly for four on the floor is a kick drum four on the floor every beat of a four four bar is filled or anchored by a kick so something like this as long as those four beats are going you'll find this you can call it up from the floor here's another question from wallow squeegee how the hell do you count odd time signatures in music in music we have we have these things called time signatures within every measure every bar you can divide that amount of space into a variety of different numbers so a lot of music is in four beats in a bar one two three four one two so if i go that's a grooving four if i were to go one two three four five six seven one two three four five six that is cool that's a bar in seven seven four you can basically divide time into any number of beats or subdivisions as you so please this is a fun question from at jp underscore bse and the question is hey music nerds i'm trying to understand the concept of polyrhythm aren't we all i've long been fascinated with the idea of polyrhythm polyrhythm just means many rhythms at once if i play three in my left hand and five in my right hand that sounds like this see so one two three four five one two three one when i was a teenager i set myself a challenge what if i could do five rhythms at the same time on the fingers of one hand so like a five-way here goes so one two three four five six one two three four five one two three four one two three one two one they happen at the same time it's funky it's fun it's cool this question comes from charles welcher how does a musical piece played with unweighted keys compare to it played with weighted keys this is a nord keyboard and this keyboard has what we call weighted keys in the sense that when i play a note the key is a little heavy it's actually it's mimicking a real piano and inside of a piano are hammers and a hammer will hit three strings per note many of us who play keyboard instruments we kind of seek that feeling there's just there's just more degrees of nuance that you can find it it's nice to be able to lean into the dimension of the sound now in this drawer here what have we here we have this lovely mini by arteria this keyboard is unweighted we say unweighted in the sense that the keys are light as a feather this can be really fun especially if you're playing like fast stuff you can whiz around it your fingers don't get so tired if i whiz around on here it just takes a bit more muscle power this is easier to fly around on but it's harder to maybe find some of the depth to maintain some of the nuance and performance with something like this here's the question what is the difference are all the notes of the c major scales the black notes are all the notes which are not in the key of c major so there are seven notes in c major and there are five notes that are not in c major they're in a completely different part of the musical key question here from vegetable oil underscore why do some chords sound better together in chord progressions than others it's a great question if i pick up this five string guitar here this is in the key of d so certain chords are when you're in d they sound nice oh you can say they sound constant in d because they have common notes so for example the chord of g major right does not sound too foreign in d major because both chords contain a d in fact this g major i played also contained an a because it had a little bit of color in it it's about the notes that carry over between chords okie doke that's everything we have time for today thanks for such amazing questions hope you learned something i sure did and i hope to see you out there very soon okay cheerio bye
On the piano there are two notes between right what happens if we try and squeeze in more notes right right you go forever these are all microtones these are notes that you can't find on the piano here's a question from piss kink wow what a username bro w
- A minor chord, which you could say is derived from the undertone series as opposed to the overtone series, it doesn't actually really exist in nature in that exact state.
講義2. 楽器と音楽ジャンルの紹介 (Lecture 2. Introduction to Instruments and Musical Genres)
- And I'm going to show you, maybe if we can get our slides up, this overtone series stuff.
他のジャンルがあると言って締めくくることができます
- this overtone series stuff.
この倍音列のこと。
不協和音の物理学 (The Physics Of Dissonance)
- This dissonance graph is built by simply adding up the various sine wave dissonance graphs for each possible pair of fundamental and overtone frequencies that are in the two notes, with the positions of their zones of dissonance adjusted according to the frequencies in question, and the heights adjusted according to the relative loudness of the overtones.
この不協和音のグラフは、2つの音に含まれる基本周波数と倍音周波数の可能なペアごとに、さまざまな正弦波の不協和音のグラフを単純に足し合わせることで作成され、不協和音のゾーンの位置は問題の周波数に応じて調整され、高さは倍音の相対的な大きさに応じて調整される。
- The tops of the peaks corresponds to situations where the overtones of the two notes line up so that many of them are dissonant – in particular, when the notes are very close to each other, or very close to the first overtone, you get very big dissonance spikes that are reminiscent of the dissonance graph for a pure sine wave.
ピークの頂点は、2つの音の倍音が並んでいて、その多くが不協和音を発している状況に対応している。特に、音同士が非常に接近していたり、最初の倍音に非常に接近していたりすると、純粋なサイン波の不協和音グラフを思わせるような、非常に大きな不協和音スパイクが得られる。
音楽における10年間 (A Decade In Music)
- but then you generate an overtone on the top of it within your mouth.
私たちはグレート・スタラグ・パイプ・オルガンの人々であり、私たちは声を上げる。
