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  • Overtone Placements

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    Dewaun Ayers
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    Tuning the overtones in your marimba bars, use the relationships shown in the table above. In the higher pitch range where alternative overtones placements are given it is getting into the range where it may be difficult to produce, read and tune these overtones. If you have difficulty producing and hearing a certain overtone in a particular bar, then there is a good chance you will not significantly hear its contribution to the bar's overall sound.

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    Tuning the overtones in your marimba bars, use the relationships shown in the table above. In the higher pitch range where alternative overtones placements are given it is getting into the range where it may be difficult to produce, read and tune these overtones. If you have difficulty producing and hearing a certain overtone in a particular bar, then there is a good chance you will not significantly hear its contribution to the bar's overall sound.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    190 views2 pages

    Overtone Placements

    Uploaded by

    Dewaun Ayers
    Tuning the overtones in your marimba bars, use the relationships shown in the table above. In the higher pitch range where alternative overtones placements are given it is getting into the range where it may be difficult to produce, read and tune these overtones. If you have difficulty producing and hearing a certain overtone in a particular bar, then there is a good chance you will not significantly hear its contribution to the bar's overall sound.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    PlacementofOvertonesinMarimbabars (5OctaveConcertMarimba)

    Mode1 Mode21stOvertone Fundamental


    Fundamental Plus2 Octaves

    Mode32ndOvertone

    Alternative1= Alternative2= Plus3 Alternative1= Alternative2= Plusoneoctave+ Plusoneoctave+ Octaves+Maj Plus3Octaves+ Plus3Octaves+ Maj6th min6th 3rd min3rd Maj2nd E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E7

    C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5

    C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 F6 F#6 G6 G#6 A6 A#6 B6 C7 C#7 D7

    A5 A#5 B5 C6 C#6 D6 D#6

    B5 C6 C#6 D6

    ThesebarsCANhave2ndovertonetunedinthis range,butarelikelytobedifficulttoproduce andread.

    Thispitchrangehighlightedindarkgreenisalso showingtherange(C4toC5)whereafewbars arelikelytorequirewedging. A#6 B6

    www.makeamarimba.com

    Project524

    D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 F6 F#6 G6 G#6 A6 A#6 B6 C7

    D#7 E7 F7 F#7 G7 G#7 A7 A#7 B7 C8

    C7 C#7 D7 D#7 E7 F7 F#7 G7 G#7 A7

    C#7 D7 D#7 E7 F7 F#7 G7 G#7

    ThesebarsCANhave1stovertonetunedinthis range,butarelikelytobedifficulttoproduce andread.

    Ifyoudecidetotunetheovertonesinyourmarimbabars,usetherelationshipsshowninthetable above.Inthehigherpitchrangewherealternativeovertonesplacementsaregivenitisgettinginto therangewhereitmaybedifficulttoproduce,readandtunetheseovertonessoyoumaydecide nottobothertuningtheseovertonesintheserangesorhigher.Thealternativesareprovidedfor whentheidealrelationshipsof2octavesandthreeoctaves+majthirdarebeyondthescopeof thetimbertoproducewithoutanunpracticalarchshape,buttheovertonesarestillreasonably easytoproduceandreadwithyourtuningdevice.Asalways,beingfussycanleadtogreatresults, butcanalsousealotoftime.Theendanalysismustbehowthebarsubjectivelysoundstoyou.If youhavedifficultyproducingandhearingacertainovertoneinaparticularbar,thenthereisa goodchanceyouwillnotsignificantlyhearitscontributiontothebar'soverallsoundthereforeit maynotbeworthconsideringwhentuning.

    www.makeamarimba.com

    Project524

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