Overtone Series | Overtone Series | |

Sympsionics Symbol |

**Overtone Harmonics**

(See MUTATIONS for more complete list.)

C:
**First Octave**

1 = c
**Second Octave**

2 = c'

3 = g'
**Third Octave**

4 = c''

5 = e''

6 = g''

7 = bb (it's actually about half way between a and bb)
**Fourth Octave**

8 = c'''

9 = d'''

10 = e'''

11 = f#''' (halfway between f and f#)

12 = g'''

13 = a'''

14 = bb''' (sort of)

15 = b'''

16 = c

17 = c#/db

18 = d

19 = eb (a bit flatter)

20 = e

21 = ???

22 = f# (sort of)

23 = f# (a bit sharper)

24 = g

**overtones**.

**Rod Fixed at Both Ends**

"A rod fixed at both ends and caused to vibrate transversely divides itself in the same manner as a string vibrating transversely.

"But the succession of its **overtones** is not the same as those of a string, for while the series of tones emitted by the string is expressed by the natural numbers, 1, 2, 3, 4, 5, etc., the series of tones emitted by the rod is expressed by the squares of the odd numbers, 3, 5, 7, 9, etc." [from "Sound" by John Tyndall]

**Rod Fixed at One End**

"A rod fixed at one end can also vibrate as a whole, or can divide itself into vibrating segments separated from each other by nodes.

"In this case the rate of vibration of the fundamental tone is to that of the first **overtone** as 4:25, or as the square of 2 to the square of 5. From the first division onwards the rates of vibration are proportional to the squares of the odd numbers, 3, 5, 7, 9, etc.

"With rods of different lengths the rate of vibration is inversely proportional to the square of the length of the rod." [from "Sound", John Tyndall]

**Harmonic Series**

See Also

**1.20 - Evolution and Devolution of Frequency**

**1.23 - Power of Harmonics through Summation Tones**

**12.18 - Multiple Octave Progression**

**12.19 - Fibonacci Relationships**

**12.21 - Fibonacci Whole Numbers v Irrational Decimal near Equivalents**

**12.38 - Orbital revolution**

**14.15 - Movement Caused by Spirit**

**15.15 - Progressive Dissociation**

**15.15.05 - Progressive Association**

**3.04 - Power Accumulation via Fibonacci-like Patterns**

**8.17 - Law of Harmonic Vibrations**

**8.22 - Law of Harmonic Pitch**

**9.8 - Spontaneous Creation of Harmonic Series**

**9.9 - Sympathy or Harmony Between Harmonics or Overtones**

**Additive and Subtractive Synthesis**

**arithmetic progression**

**arithmetical progression**

**Differentiation**

**Dissolution**

**Evolution**

**Fibonacci Relationships**

**Fibonacci Series**

**Overtones Developed Musically**

**Figure 8.5 - Summation Tones**

**Fractal**

**fugue**

**Genesis of the Scale**

**Geometrical Progression**

**Golden Section**

**Growth**

**harmonic progression**

**Harmonic Series**

**Harmonic**

**Interval**

**Law of Harmonic Pitch**

**Law of Harmonic Vibrations**

**Life**

**major**

**major key**

**major scale**

**Master Tone**

**master tones**

**Medu-Neter**

**Mid-tone**

**Motion**

**Movement**

**musical progression**

**Neter**

**octave tones**

**Overtone Position**

**Overtone**

**partial**

**PHI**

**progression of adjacencies**

**progression of keys**

**Progression**

**Progressive Evolution**

**Progressive Science**

**Ramsay - PLATE II - The Genesis**

**Resultant Tone**

**Scale**

**Square Law**

**Sympathetic Vibration**

**Sympathy**

**Undertone**

**Vibrating Rod Harmonics**