This probably sounds like a crazy question, but I think differently and I can't understand the meaning of harmonics in a wave...

Can anybody explain which harmonics are present in a saw wave, square wave and a triangle wave. You always hear people talking about them containing odd and even harmonics, but I can't find a proper explanation for what frequencies they actually contain before modulation, detuning etc.

So say if you play a saw wave in A3 it plays at 220hz. Which harmonics would be present along with the 220 fundamental?

When looking at a meter of the wave, it shows lots of dips in the spectrum. The wave peaks right over 220, below and above up to 300hz and then there's empty space, as if it only harmonises say the next 5 notes and then jumps to A4 in this example. Higher up the graph seems to have minimal dips of silence.

If I am understanding correctly that these harmonics are relative to the fundamental note, then do they fade on a relative scale, like as in the shape of a saw wave, and then increase on the next octave with another fade for example, just like a saw wave jumps back to the top and slopes down again - assuming it is a 'saw down'?

Does the fundamental note have 3rds, 5ths and 7ths or is it more complex and has all 12 notes of each scale, but on a diminishing amount? Does a triangle, which has only odd harmonics, contain A3, B3, C3 etc?

There are gaps in the spectrograph, which means that it can't be harmonising every solid note - 233.08 (A#3), 246.94 (B3) etc or there wouldn't be any breaks in a saw wave on the spectrograph.

I am learning sound design so I am trying to understand the basic waveforms so that I can understand what is present, so that I can then learn to manipulate it with modulation etc. Detune makes sense as just tweaking hz to either side of what frequencies are already present, so that you end up with 220.04 for example, plus similar harmonics relative to whatever else is present.

 

The fundamental is important because it's what defines the pitch of the sound you're hearing, no matter the sound, it it has a pitch it's a sound.
But the nature of the sound will be defined by the other harmonics it contains - amongs other thing - which all sounds always contain (not all of them and they are present in different volume etc, but the only sound with only a fundamental is a pure sine, and it's not a sound you find in nature).
Trianlge, Saw, Square are kind of typical sound and the easiest to realize with the technic we had at hand when synthesis was created, it's examples also of how sound differ when you vary the harmonics (which one, how loud respectively to the fundamental, etc) you include with the fundamental.
A triangle at C3, a saw at C3, etc, it's always C3, the fundamental is at C3 (it's the loudest "part" of the sound) even if they differ between each others regarding other harmonics present.
Sound is consistant (a saw always sounds like a saw, or a guitar like a guitar, weither you play C5, D6, or C1, it's just the pitch changing) because it keeps its harmonic structure, even if it changes fundamental, because it's partly what defines said sound, any sound.

 

Last edited: May 7, 2017

Harmonics are counted beginning with the fundamental. So the fundamental is the first (odd) harmonic, the second harmonic is an even one because of the numbering, and so on. A sawtooth (like all waveforms except the sine wave) does not have a specific number of harmonics. Like every waveform it is build by adding sine waves together with certain rules. But, it uses odd and even harmonics, you can't leave one out. The more harmonics you add the more the sawtooth shape establishes. If you want the perfect sawtooth, you'd add ALL harmonics of the audible range, which most always is Nyquist (for example, 22.05 kHz in a 44.1 kHz DAW project).

 

Ableton's Operator is useful, not only as a sound design tool but as a visual representation of how and what harmonics are shaping the sound.



You could go the other way and scroll through the Waves and it would show all partials and the amplitude used to make that sound. Use the Spectrum device and you can see the Pitch and tone of each harmonic partial.

 

Sound Waves and Music - Lesson 4 - Resonance and Standing Waves
Fundamental Frequency and Harmonics

• Natural Frequency
• Forced Vibration
• Standing Wave Patterns
• Fundamental Frequency and Harmonics

Previously in Lesson 4, it was mentioned that when an object is forced into resonance vibrations at one of its natural frequencies, it vibrates in a manner such that a standing wave pattern is formed within the object. Whether it is a guitar sting, a Chladni plate, or the air column enclosed within a trombone, the vibrating medium vibrates in such a way that a standing wave pattern results. Each natural frequency that an object or instrument produces has its own characteristic vibrational mode or standing wave pattern. These patterns are only created within the object or instrument at specific frequencies of vibration; these frequencies are known as harmonic frequencies, or merely harmonics. At any frequency other than a harmonic frequency, the resulting disturbance of the medium is irregular and non-repeating. For musical instruments and other objects that vibrate in regular and periodic fashion, the harmonic frequencies are related to each other by simple whole number ratios. This is part of the reason why such instruments sound pleasant. We will see in this part of Lesson 4 why these whole number ratios exist for a musical instrument.




Recognizing the Length-Wavelength Relationship
First, consider a guitar string vibrating at its natural frequency or harmonic frequency. Because the ends of the string are attached and fixed in place to the guitar's structure (the bridge at one end and the frets at the other), the ends of the string are unable to move. Subsequently, these ends become nodes - points of no displacement. In between these two nodes at the end of the string, there must be at least one antinode. The most fundamental harmonic for a guitar string is the harmonic associated with a standing wave having only one antinode positioned between the two nodes on the end of the

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string. This would be the harmonic with the longest wavelength and the lowest frequency. The lowest frequency produced by any particular instrument is known as the fundamental frequency. The fundamental frequency is also called the first harmonic of the instrument. The diagram at the right shows the first harmonic of a guitar string. If you analyze the wave pattern in the guitar string for this harmonic, you will notice that there is not quite one complete wave within the pattern. A complete wave starts at the rest position, rises to a crest, returns to rest, drops to a trough, and finally returns to the rest position before starting its next cycle. (Caution: the use of the words crest and trough to describe the pattern are only used to help identify the length of a repeating wave cycle. A standing wave pattern is not actually a wave, but rather a pattern of a wave. Thus, it does not consist of crests and troughs, but rather nodes and antinodes. The pattern is the result of the interference of two waves to produce these nodes and antinodes.) In this pattern, there is only one-half of a wave within the length of the string. This is the case for the first harmonic or fundamental frequency of a guitar string. The diagram below depicts this length-wavelength relationship for the fundamental frequency of a guitar string.

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The second harmonic of a guitar string is produced by adding one more node between the ends of the guitar string. And of course, if a node is added to the pattern, then an antinode must be added as well in order to maintain an alternating pattern of nodes and antinodes. In order to create a regular and repeating pattern, that node must be located midway between the ends of the guitar string. This additional node gives the second harmonic a total of three nodes and two antinodes. The standing wave pattern for the second harmonic is shown at the right. A careful investigation of the pattern reveals that there is exactly one full wave within the length of the guitar string. For this reason, the length of the string is equal to the length of the wave.

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The third harmonic of a guitar string is produced by adding two nodes between the ends of the guitar string. And of course, if two nodes are added to the pattern, then two antinodes must be added as well in order to maintain an alternating pattern of nodes and antinodes. In order to create a regular and repeating pattern for this harmonic, the two additional nodes must be evenly spaced between the ends of the guitar string. This places them at the one-third mark and the two-thirds mark along the string. These additional nodes give the third harmonic a total of four nodes and three antinodes. The standing wave pattern for the third harmonic is shown at the right. A careful investigation of the pattern reveals that there is more than one full wave within the length of the guitar string. In fact, there are three-halves of a wave within the length of the guitar string. For this reason, the length of the string is equal to three-halves the length of the wave. The diagram below depicts this length-wavelength relationship for the fundamental frequency of a guitar string.



After a discussion of the first three harmonics, a pattern can be recognized. Each harmonic results in an additional node and antinode, and an additional half of a wave within the string. If the number of waves in a string is known, then an equation relating the wavelength of the standing wave pattern to the length of the string can be algebraically derived.



This information is summarized in the table below.

Harmonic # # of Waves in String # of Nodes # of Anti- nodes Length- Wavelength Relationship
1 1/2 2 1 Wavelength = (2/1)*L
2 1 or 2/2 3 2 Wavelength = (2/2)*L
3 3/2 4 3 Wavelength = (2/3)*L
4 2 or 4/2 5 4 Wavelength = (2/4)*L
5 5/2 6 5 Wavelength = (2/5)*L

The above discussion develops the mathematical relationship between the length of a guitar string and the wavelength of the standing wave patterns for the various harmonics that could be established within the string. Now these length-wavelength relationships will be used to develop relationships for the ratio of the wavelengths and the ratio of the frequencies for the various harmonics played by a string instrument (such as a guitar string).





Determining the Harmonic Frequencies
Consider an 80-cm long guitar string that has a fundamental frequency (1st harmonic) of 400 Hz. For the first harmonic, the wavelength of the wave pattern would be two times the length of the string (see table above); thus, the wavelength is 160 cm or 1.60 m. The speed of the standing wave can now be determined from the wavelength and the frequency. The speed of the standing wave is

speed = frequency • wavelength
speed = 400 Hz • 1.6 m

speed = 640 m/s

This speed of 640 m/s corresponds to the speed of any wave within the guitar string. Since the speed of a wave is dependent upon the properties of the medium (and not upon the properties of the wave), every wave will have the same speed in this string regardless of its frequency and its wavelength. So the standing wave pattern associated with the second harmonic, third harmonic, fourth harmonic, etc. will also have this speed of 640 m/s. A change in frequency or wavelength will NOT cause a change in speed.

table above, the wavelength of the second harmonic (denoted by the symbol λ2) would be 0.8 m (the same as the length of the string). The speed of the standing wave pattern (denoted by the symbol v) is still 640 m/s. Now the wave equation can be used to determine the frequency of the second harmonic (denoted by the symbol f2).

speed = frequency • wavelength
frequency = speed/wavelength

f2 = v / λ2

f2 = (640 m/s)/(0.8 m)

f2 = 800 Hz



table above, the wavelength of the third harmonic (denoted by the symbol λ3) would be 0.533 m (two-thirds of the length of the string). The speed of the standing wave pattern (denoted by the symbol v) is still 640 m/s. Now the wave equation can be used to determine the frequency of the third harmonic (denoted by the symbol f3).

speed = frequency • wavelength
frequency = speed/wavelength

f3 = v / λ3

f3 = (640 m/s)/(0.533 m)

f3 = 1200 Hz



Now if you have been following along, you will have recognized a pattern. The frequency of the second harmonic is two times the frequency of the first harmonic. The frequency of the third harmonic is three times the frequency of the first harmonic. The frequency of the nth harmonic (where n represents the harmonic # of any of the harmonics) is n times the frequency of the first harmonic. In equation form, this can be written as

fn = n • f1
The inverse of this pattern exists for the wavelength values of the various harmonics. The wavelength of the second harmonic is one-half (1/2) the wavelength of the first harmonic. The wavelength of the third harmonic is one-third (1/3) the wavelength of the first harmonic. And the wavelength of the nth harmonic is one-nth (1/n) the wavelength of the first harmonic. In equation form, this can be written as

λn = (1/n) • λ1
These relationships between wavelengths and frequencies of the various harmonics for a guitar string are summarized in the table below.

Harmonic # Frequency (Hz) Wavelength (m) Speed (m/s) fn / f1 λn / λ1
1 400 1.60 640 1 1/1
2 800 0.800 640 2 1/2
3 1200 0.533 640 3 1/3
4 1600 0.400 640 4 1/4
5 2000 0.320 640 5 1/5
n n * 400 (2/n)*(0.800) 640 n 1/n

The table above demonstrates that the individual frequencies in the set of natural frequencies produced by a guitar string are related to each other by whole number ratios. For instance, the first and second harmonics have a 2:1 frequency ratio; the second and the third harmonics have a 3:2 frequency ratio; the third and the fourth harmonics have a 4:3 frequency ratio; and the fifth and the fourth harmonic have a 5:4 frequency ratio. When the guitar is played, the string, sound box and surrounding air vibrate at a set of frequencies to produce a wave with a mixture of harmonics. The exact composition of that mixture determines the timbre or quality of sound that is heard. If there is only a single harmonic sounding out in the mixture (in which case, it wouldn't be a mixture), then the sound is rather pure-sounding. On the other hand, if there are a variety of frequencies sounding out in the mixture, then the timbre of the sound is rather rich in quality.

In Lesson 5, these same principles of resonance and standing waves will be applied to other types of instruments besides guitar strings.

 

harmonics in a sound give it its identity. if you take a violin playing a 440 a guitar string playing a 440 a piano playing 440 and a voice singing a a at 440. the harmonics are what make them each sound unique.
when producing,mixing,engineering you can add harmonics and shape the harmonics.
to add distortion to a guitar is adding harmonics, to put a vocal through a tube pre-amp adds harmonics.