HW due Friday (10/23)

Part 1

Review the concepts of how we make musical scales, in light of the equal-tempered scale.  Worth a look, if you have time:

https://en.wikipedia.org/wiki/Equal_temperament

Of particular note (heh, get it?):

Twelve tone equal temperament took hold for a variety of reasons. It conveniently fit the existing keyboard design, and permitted total harmonic freedom at the expense of just a little impurity in every interval. This allowed greater expression through enharmonic modulation, which became extremely important in the 18th century in music of such composers as Francesco Geminiani, Wilhelm Friedemann Bach, Carl Philipp Emmanuel Bach andJohann Gottfried Müthel.

With what we learned in class in mind, find the frequencies of:

A (one octave above concert A)
A (two octaves above concert A)
A (one octave below concert A)
A# (one semi-tone above concert A)
B (two semi-tones above concert A)

Recall that concert A is 440 Hz, and our multiplier (the 12th root of 2) is 1.059.

Part 2

Come to class with definitions of longitudinal and transverse waves.  Also, review these pages;


http://www.acs.psu.edu/drussell/Demos/waves/wavemotion.html

http://www.animatedscience.co.uk/blog/wp-content/uploads/focus_waves/tl-wave.html

http://www.acs.psu.edu/drussell/Demos/rad2/mdq.html


FYI, the device I used in class today was called a Ruben's tube.