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Usually, these get charted out into the so-called overtones, thirty-two partials or overtones, and you can see them playing out here .
通常,这些音就是图表上所谓的泛音,三十二个分音,或者叫泛音,在这张图中能清楚地看到
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Well, actually they all have the same overtones in a way, the same frequencies will sound, but you've got it--ninety-nine percent of it.
事实上,它们的泛音大体是相同的,频率听起来也一样,但你已经答对百分之九十九了
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So it's which of these partials are sounding within each of these instruments, and the physical properties of each of these instruments are different.
所以是因为每种乐器发出的泛音不同,每种乐器的物理性质,都是不同的
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He's trying to relax us here by slowing down the rate of harmonic change here.
他希望通过减慢泛音的变化速度让大家在这里快要睡着了。
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It's which partials are particularly prominent, have extra punch or extra volume to them.
答案是有几个特别突出的泛音,为它们提供了额外的冲击力和空间
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Okay. So what happened next was he then started to run that faster, twice as fast as it had been before, changing rate of harmonic pattern. Okay?
好的，比以前的快两倍，比以前的快两倍，改变了泛音的方式，改变了泛音的方式，对吧？
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Okay.So that's all you got to do, and you can hear the holding for twice as long as the other, so you got irregular rate of harmonic change.
好的，现在需要大家做的都弄好了，而且大家可以听到比别的要长两倍，这就是泛音的不规则变化率。
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So he's up to something here with this rate of harmonic change.
他在这里准备做一点什么，泛音的速度发生了变化。
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Well, we have a particular recipe for instrumental timbre or instrumental color and it's the intensity of the overtones with -- or partials-- within each particular instrument that creates that.
我们乐器的音质,或者说音色,也有独有的配方,那就是每种乐器营造的,分音,或泛音的强度
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The rate of harmonic change has slowed down considerably here.
泛音的变化速度减得相当慢。
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That's the harmonic series that's on that, and what the valves do is they shorten and lengthen that vibrating column of air very much like the cello string on the fingerboard.
这就是圆号上的泛音列,活瓣的作用是增长或减短,空气柱的高度,很像大提琴指板上的弦
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We've been talking about this overtone series with zarathustra.
我们已经探讨过查拉图斯特拉的泛音列
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He's basically working up to the upper partials.
他原来基本用的都是升高的泛音列
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Now he's going to work down the partials.
现在他使用降低的泛音列谱曲
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Let me demonstrate to you the harmonic series.
我来为你们演示泛音列
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Okay. Now Eva has another gig out in Gilford this morning so she's going to run off, and I'm going to show you, maybe, if we can get our slides up, this overtone series stuff.
伊娃今早在吉尔福特还有其他表演,所以她得告辞了,现在,要是我的幻灯片能用的话,我要用幻灯片为你们演示,这些有泛音列的乐器
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It's the particular blend.
每种都有其独特的泛音组合
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Eva played this overtone series.
伊娃演奏过的泛音列
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Different overtones.
泛音不同
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The oboe may have the seventh partial very strong and the third partial very strong whereas the trumpet-- I'm just making all of this up of course-- the trumpet may have the second partial and the fourth partial and the sixth partial.
双簧管的第七泛音,和第三泛音都很强,而小号,我只是为上课需要假设的,小号可能是第二泛音,第四和第六泛音比较强
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Different overtones?
是泛音不同吗
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In this case, the basic column of air is twelve and a half feet long and there are something called "Partials" or the "Harmonic series" That happens in anything, on a string instrument or whatever, but on the horn it's very distinct and that's what makes the different notes.
像这样,基本空气柱有十二个,每个半英尺长,圆号能发出分音,或泛音列,弦乐器或是,其他别的乐器中都有,但在圆号上,效果相当不同,这就是它能奏出不同音符的原因
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We're working up farther and farther in these partials and we've got some of these notes right next to each other and they want to move to the stable notes so we're going to be hearing a lot of a note right above the tonic wanting to pull down to that tonic note.
我们进一步介绍了这些泛音,我们看到这些音符,彼此贴近,它们想要变成稳定的基音,所以,我们会听很多,高于基音的音符,想下行靠近这些基音
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What we've got here is the following, this idea of partials that Eva was talking about with ratios, two to one, three to two, four to three, five to four, six to five and so on, and the point here is that the way we differentiate between instruments.
接下来,我们要讲的是,伊娃刚谈到的泛音的高低比率,二比一,三比二,四比三,五比四,六比五,等等,这里我要讲的是,我们区分乐器的方式
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