How Do Harmonics Work on a Guitar String?

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Discussion Overview

The discussion centers around the nature of harmonics in guitar strings, exploring how different modes of vibration occur when a string is plucked or pressed. Participants examine the fundamental harmonic and the conditions under which higher harmonics can be produced, touching on both theoretical and practical aspects of string vibration.

Discussion Character

  • Exploratory
  • Technical explanation
  • Conceptual clarification
  • Debate/contested

Main Points Raised

  • Some participants note that the fundamental harmonic (n=1) is the lowest energy state for a vibrating string, requiring less energy to excite compared to higher harmonics.
  • Others propose that while higher modes can be excited, a significant portion of the energy will still be transferred to the fundamental mode.
  • A participant questions the application of statistical mechanics concepts, such as the Boltzmann factor, to the behavior of guitar strings.
  • It is mentioned that a plucked string produces a sound that is distinct from other instruments, indicating the presence of multiple harmonics.
  • One participant describes the process of decomposing the shape of the string's vibration into its harmonic components, suggesting that the initial shape affects which harmonics are emphasized.
  • Another participant discusses the role of node positions in producing harmonics and notes that different techniques, such as tapping or finger damping, can yield different pitches even at the same node position.

Areas of Agreement / Disagreement

Participants express varying views on the mechanisms behind harmonic production and the influence of string shape and plucking technique. There is no consensus on the precise conditions for producing specific harmonics or the implications of energy states in this context.

Contextual Notes

Some discussions reference concepts from thermodynamics and quantum theory, indicating a potential overlap with broader physical principles, but these connections remain speculative and are not fully resolved within the thread.

Who May Find This Useful

This discussion may be of interest to musicians, physicists, and students of acoustics or music theory, particularly those curious about the mechanics of string instruments and harmonic vibrations.

jaumzaum
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We have many harmonics in a string

[PLAIN]http://img43.imageshack.us/img43/3452/dfshfghdfh.jpg Why when we play a guitar string with the finger it vibrate in n=1, where L = lambda/2

Even when we press the string in a given position (to make another note for example) the remaning L vibrates in the fundamental harmonic .

Why we always have this and how can we play the second harmonic, or any other harmonic in a string?
 
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Good evening jaumzaum

The fundamental is the lowest energy configuration. That is it takes less energy input to cause vibration in the fundamental than any other mode.

It is an underlying principle of nature that systems try to adopt the configuration of least energy before entering higher energy states.

So even if you get the string vibrating in a higher mode by overdriving (adding excess energy) some, probably a greater part, will be transferred to the fundamental.

However there are always harmonics present, the note (vibration) is never purely at the fundamental.

go well
 


It is an underlying principle of nature that systems try to adopt the configuration of least energy before entering higher energy states.

What's the explanation for this? I'm "intuitively" thinking of the Boltzmann factor but I'm not sure if the canonical ensemble can be applied to a guitar string.
 


Hello again Mr Vodka, good luck with your second (?) year.

Yes this principle appears in many places and guises, from thermodynamics to Occams Razor to quantum theory to structural mechanics...to... and the statistics of partitioning of states follows it.
 


jaumzaum said:
Why when we play a guitar string with the finger it vibrate in n=1, where L = lambda/2

Even when we press the string in a given position (to make another note for example) the remaning L vibrates in the fundamental harmonic .
There's pretty good evidence that other modes exist in the vibration, because a plucked guitar string doesn't sound like, say, a flute.
 


If you attached an oscillator to a string and it vibrated at non-harmonic frequencies you'd end up with moving waves, similar to jerking a taught slinky, rope, or hose up and down. This also happens just after plucking a string depending on where and how a string is plucked, but those non-harmonic moving waves are quickly dampened out.
 


The answer is that you have totake the shape you give the string when you pluck it, and decompose that into elementary excitations of the various harmonics. Typically when you do that, you get a large component of the fundamental, say with the standard "triangular" pluck (look up Fourier transforms for more on this). If you want to play a pure overtone, you need to deform the string initially into a shape that looks like the overtone you want. That's more or less what you do when you move your fingers down the frets-- remember that the fundamental of a shorter string looks a lot like a harmonic of a longer one.
 


Delta Kilo said:

There must be more to it than node position, since a tapped or finger-damped harmonic has a clear piercing pitch even when the node position is the same as where you would fret the guitar and play normally - i.e. a "harmonic" sound at the octave fret is not the same as a fretted sound at the octave fret. Perhaps the guitar neck plays a role somehow. As the article states, you can get a really high, clear piercing pitch with a pinch harmonic, which basically puts the node farther up closer to the bridge.
 

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