3 shows the same waveform of the Borbannadir sample, with points marked in the middle of segment of pitch. Each spectrum shows a different harmonic in prominence, whose frequency coincides approximately with the corresponding pitches. Eighth harmonic is prominent F in Fig. Tenth harmonic is prominent. Ninth harmonic is prominent.
Tenth harmonic is prominent.
Figure 7 shows the rise time, steady state, and decay of each of the three harmonics. Rise time, steady state, and decay of three overlapping harmonics which produce the overtone melody. While it will come as no surprise to an acoustician, it is somewhat counterintuitive to the musician to realize that all sounds are composed of the same physical ingredients. Or, what makes the harmonic distinctive is its role in producing the sensation on the part of the listener of the emitting instrument's tone quality. Conceptually, then, the mechanics of producing melodic overtones are interesting precisely because they deprive the prominent harmonic of its identity.