Acoustics & Sound For Musicians - Online Book
The Theory Of Sound Which Constitutes The Physical Basis Of The Art Of Music.
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114 EFFECT OF LOUD PEDAL. [V. § 56.
It thus not only allows notes to continue sounding after the fingers of the player have quitted them, but places other wires than those actually struck in a position to sound by resonance. The number of wires thus brought into play by striking a single note of the instrument will be easily seen to be considerable. Suppose, first, that a simple tone, e.g. that of a tuning-fork, is sounding near the wires of a pianoforte with the loud pedal down, its pitch being
 sponding note will of course resonate with it, vibrating in the simplest form with only one ventral seg-
 below it, are also capable of producing middle C when they vibrate in the form with two segments.
 Octaves below it, vibrating with four segments, and so on. Proceeding in this way, we determine a series of notes on the key-board of the pianoforte the wires of which are able to produce a simple tone of the pitch of middle C. They obviously follow the same law as the harmonic overtones of a compound sound with middle C for its fundamental-tone, except that |
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