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| A slight pressurization of air molecules. |
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| a depressurization of air molecules. |
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| One full cycle of vibrations (compressions and rarefaction) |
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| Multiple, irregular periods. Periods are of random duration and therefore do not create an identifiable pitch. |
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| A type of graph, a center line represents equilibrium, that is of zero pressure. anything above the line is compression, anything below the line is rarefaction. |
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| the number of periods that occur each second within a sound wave. |
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| the derived SI unit of frequency; the frequency of a periodic phenomenon that has a periodic time of 1 second; 1 cycle per second |
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The spacial separation between each compression/compression
wave. usually indicated with the greek symbol Lambda. |
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| Properties of Short Wavelengths |
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| Travel in straight lines if they encounter an obstacle in their path, they will be reflected in another direction. |
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| Properties of Long wavelengths |
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| Less directional and tend to bend around obstacles and continue on their original path. |
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| the magnitude of the compression’s and rarefaction’s within a sound wave. The most common unit of measurement is the decibel, abbreviated dB. |
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| the dB scale is logarithmic, allowing large changes in amplitude to be indicated by relatively small numerical changes. |
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| A visual graph of timbre. Indicate the strength of harmonics. (a signature sound of a unique timbre) |
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| The rate at which harmonics diminish in amplitude as they rise in frequency. |
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| The lowest frequency in a complex wave. Musical pitch is determined by this. |
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| the series of twelve harmaonics. Can only be present in the following intervallic patterns in ascending order. unison, octave, perfect fifth, perfect fourth, major third, minor third, minor third, major second, major second, major second major second, and minor second. |
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| Whole number multiples of the fundamental frequency, fundamental is the first. |
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| Inharmonic overtones are not whole number multiples of the fundamental |
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| is the result of the unique pattern of overtones present in each musical sound All instruments and voices produce a fundamental frequency and overtones. |
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| Represents timbre, acoustic analysis of a sound. |
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| Source/filter theory? (linear only) |
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| The word source refers to the periodic (having frequency) sound generated by the oscillating vocal folds. the word filter refers to the resonators and articulators of the vocal tract. |
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| Peaks that represent areas of resonance. |
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| are places where sound is attenuated on a spectral envelope. |
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| The resonance peaks of the vocal tract that result in vowels and other changes in timbre are called formants. A formant is a resonance of the vocal tract. |
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| A specific timbre or spectral envelope- an acoustic signature, so to speak, the spectrum will always be about the same. |
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| I-E-A-0-U Typical formant frequencies are cited for men and women, These figures are averages for speech, sung vowels almost always will be somewhat different. |
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| The range at which the formants are best resonant. |
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| the changing of a specific formant to adapt it for its certain situation. |
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| Produced by clustering the third, fourth and fifth vocal tract formants tightly together within a narrow frequency range. Gives extra amplification to harmonics in the frequency range of approximately 2,400Hz-3200Hz |
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| includes chest voice, operatic head voice and voce finta in men, and chest voice and heavy belting in women. The vocal folds are thickened by contraction of the TA muscles, resulting in greater mass per unit of length and a square-shaped glottis when viewed in frontal cross section. (Amplitude of vibration is high) |
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| Falsetto in men, and head voice in women. Pitch modulation relies more heavily on contraction of the cricothyroid muscles which simultaneously elongate and thin the vocal folds. The glottis assumes a triangular shape in cross section with a narrow area of vocal fold contract during phonation. Amplitude of vibration is low. |
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| Mode 1 is the glottal source and resonance is tuned to avoid obvious violations of register. in belting the balance is almost completely shifted to the chiaro side with a bright, brassy timbre, Spectral analysis reveals strong harmonic overtones. Very different from the classical ideal. |
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| controversial, loud well supported mode 2 production with efficient glottal closure. others think it is a light, easy voice production that can serve as a bridge into the upper extension and mode 1 vibration. |
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| The intensification(enhancement) and enriching(Change in timbre) of a musical tone by supplementary vibration. |
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| for string instruments, requires direct mechanical connection of the vibrator to the resonator. |
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| (human voice)The vibrations of air molecules and reflections of sound waves within a void |
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| the first peak of compression also known as null pressure found at 1/4 lambda and 3/4 lambda. |
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| mechanism that is caused to vibrate |
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| the structure must be hollow, have volume, and have an opening through which sound waves can exit. |
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| (Woodwinds)have multiple resonance frequencies and allows for different pitches. |
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| when two opposing waves combine. |
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| two waves super imposed to form a resultant wave of greater or lower amplitude, (usually waves are from the same source, or have nearly the same frequency) |
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| how often resonance occurs, The formula is. Length of resonator tube(divided by) the time it takes for a cycle. |
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| Primo Passaggio: Male & Female |
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Primo is first female: between c4 and A4 mode 2 replaces mode 1 and women modify vowels to closed position.
Male: Non event, f3 to c4 and the larynx is likely to elevate. |
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| Secondo Passaggio Male & Female |
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Second passage- Male: c4 and a4 pitches lying beyond this point are said to be in the operatic head voice or upper extension.pitches below, within, and above these transition zones have one thing in common they share Mode 1 as their glottal source.
Female: E5 to A5- breath support must be carefully modulated to avoid excess subglottal pressure. |
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| F1/2F0 lock or register voilation |
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| Drop your jaw, move from one to the next. |
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| Flageolet of a woman’s voice, very high pitched, not pleasant to ear, used to perfect the woman’s high notes. |
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