2Q2 MUSICAL INSTRUMENTS 



The number of overtones actually present depends upon a 

 variety of circumstances : in the piano, it depends largely upon 

 the location of the hammer ; in the violin, upon the place and 

 manner of bowing. Mechanical differences in construction 

 account for prominent and numerous overtones in some in- 

 struments and for feeble and few overtones in others. The 

 oboe, for example, is so constructed that only the high over- 

 tones are present, and hence the sound gives a " pungent " 

 effect ; the clarinet is so constructed that the even-numbered 

 overtones are killed, and the presence of only odd-numbered 

 overtones gives individuality to the instrument. In these two 

 instruments we have vibrating air columns instead of vibrat- 

 ing strings, but the laws which govern vibrating strings are 

 applicable to vibrating columns of air, as we shall see later. 

 It is really the presence or absence of overtones which en- 

 ables us to distinguish the note of the piano from that of the 

 violin, flute, or clarinet. If overtones could be eliminated, 

 then middle C, or any other note on the piano, would be in- 

 distinguishable from that same note sound on any other in- 

 strument. The fundamental note in every instrument is the 

 same, but the overtones vary with the instrument and lend in- 

 dividuality to each. The presence of high overtones in the 

 oboe and the presence of odd-numbered overtones in the 

 clarinet enable us to distinguish without fail the sounds given 

 out by these instruments. 



The richness and individuality of an instrument are due, 

 not only to the overtones which accompany the fundamental, 

 but also to the " forced " vibrations of the inclosing case, or of 

 the sounding board. If a vibrating tuning fork is held in the 

 hand, the sound will be inaudible except to those quite near ; 

 if, however, the base of the fork is held against the table, 

 the sound is greatly intensified and becomes plainly audible 

 throughout the room. 



