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In music, timbre (/ ˈ t æ m b ər, ˈ t ɪ m-, ˈ t æ̃-/), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments.
During the same period, Hermann von Helmholtz theorized that timbre is part of what enables a listener to perceive melody. [2] In 1911, Arnold Schoenberg analyzed musical sound as consisting of pitch (höhe), timbre (farbe), and volume (stärke). He noted that pitch was the only element that had undergone close examination, but he viewed it as ...
Players of wind instruments alter the tone simply by changing the pressure of their lips. One could argue that the act of choosing which instrument to play or write for is in itself timbre composition. Timbre composition is used in vocal techniques such as throat-singing where the main focus of the music is timbre as opposed to pitch.
Meyer lists melody, rhythm, timbre, harmony, "and the like" [12] as principal elements of music, while Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". [13] According to McClellan, two things should be considered, the quality or state of an element and its change over time. [14]
On the clarinet, the notes from G4 or A4 to B ♭ 4 sometimes are regarded as a separate "throat register", even though both they and the notes from F ♯ 4 down are produced using the instrument's lowest normal mode. The timbre of the throat notes differs, and the throat register's fingerings also are distinctive, using special keys and not ...
[6] [failed verification] Similar arguments apply to vibrating air columns in wind instruments (for example, "the French horn was originally a valveless instrument that could play only the notes of the harmonic series" [7]), although these are complicated by having the possibility of anti-nodes (that is, the air column is closed at one end and ...
Aligning the notes of a pseudo-just tuning's notes and the partials of a pseudo-harmonic timbre (or vice versa) enables consonance. The defining characteristic of dynamic tonality is that a given rank-2 temperament (as defined by a period α , a generator β , and a comma sequence ) [ 7 ] is used to generate, in real time during performance ...
For example, a synthesizer capable of playing eight voices or timbres at one time would be an eight voice multitimbral instrument. Multitimbrality is distinct from polyphony, which is the number of notes which can be played at the same time, not the number of different timbres. All multitimbral instruments are polyphonic, but not all polyphonic ...