These are the colors we hear.

Look at any painting or photograph. But no picture would have turned out if it were all painted with the same paint, without shades.
Take a look at how many of them, these speaking shades.
Dozens of shades of the same color. They also have sound.
The same note, the same pitch sound, can be played by different musical instruments. And although the pitch is exactly the same, we recognize either the voice of a violin, or the voice of a flute, or the voice of a trumpet, or a human voice.
How do we do it?

Our hearing is as sensitive as our sight. Even the smallest child among many voices immediately recognizes the voice of his mother and does not confuse it with the voice of his grandmother. We recognize friends and acquaintances by the voice in the handset. You will probably immediately recognize the voices of your favorite artists and singers by the first sounds. And all together we have fun, guessing their voices in a playful mimicry of a parody artist. To achieve similarity, he changes the color of his voice, timbre.
And we recognize different musical instruments because each of them has its own sound coloring. The sound can be of the same height, but sometimes with a whistle, sometimes a little ringing, sometimes as if smooth, and sometimes rough. A string sounds different than a metal plate, and a wood pipe sounds different than a copper pipe. After all, every sound has overtones. These shades are overtones and change the “color” of the sound. The coloring of the sound is the timbre. And each musical instrument has its own.
TIMBRE- an important means of artistic expression. One and the same musical thought, depending on the timbre incarnation, can sound with varying degrees of brightness, brilliance, softness, tenderness, decisiveness, severity, severity, etc. Thus, the timbre enhances the emotional impact of music, helps to realize its semantic nuances, and ultimately contributes to a deeper disclosure of the artistic image.
Changing the timbre, widely used in instrumental compositions, often becomes an important factor in musical expression.
The initial classification of orchestral instrument timbres is their division into pure (simple) and mixed (complex) timbres.
Pure (simple) timbre - the timbre of solo instruments, as well as all unison combinations of identical instruments. Pure timbre is used both in monophony and in polyphony (for example, ensembles of accordions or button accordions, domras or balalaikas).
Mixed (complex) timbre is the result of combinations of various instruments. Used in monophony and polyphony. Such combinations are used to change the phonic qualities of voices and ensembles and are caused by expressive or formative factors.
In various compositions of the folk orchestra, the greatest unity is found in ensembles of identical instruments, as well as instruments - representatives of the same family. Balalaikas merge most organically with the domra group, because the performing techniques on domras, balalaikas, as well as percussion instruments are based on the general principles of sound extraction: short sounds are performed by a blow (pluck), and long ones - by means of tremolo.
Wind instruments (flutes, oboes) merge very well with button accordions and accordions. The timbre variety of the sound of the accordion (bayan) is due to the presence of registers. Some of them received names similar to those or other instruments of a symphony orchestra: clarinet, bassoon, organ, celesta, oboe.
The farthest degree of timbre affinity and fusion of sound occurs when wind and percussion instruments are combined.
TIMBER RELATIONS of orchestral instruments and ensembles is a concept that determines the degree of their fusion and contrast while sounding simultaneously.

The timbre of the voice is the brightness of the sound, its individuality, transmitted during singing. The sound is determined by the fundamental tone and additional sounds, called overtones. The more overtones, the brighter and more colorful the voice will be. The natural amount of overtones combined with is the secret to a mesmerizing voice.

Voice timbre, types

The most pleasant timbre is considered to be a voice that has the correct modulation, both in high and low tones. In fact, any voice with the right approach can be placed. And that means giving it a professional sound. To do this, you need to learn to control the frequency of the voice, as well as the emotional coloring. This is easy to do with the help of a vocal specialist. To determine your own timbre, you need to know what voice timbres are in general. There are several main types:

• tenor. This is the highest male voice. It can be lyrical or dramatic.
• baritone;
• bass. The lowest timbre of the voice in comparison with the above. It is central or melodious.

• soprano. This is a very high pitched voice. There is a lyric soprano, dramatic and coloratura.
• mezzo-soprano;
• contralto. This is a low voice.

What does timbre depend on?

The fundamental factor in the formation of timbre is the vocal cords. It is almost impossible to find several people who are able to sing the same way. It is unlikely that you will be able to change your voice drastically. But if you turn to the teacher, then it is quite possible to improve its coloring.

How to determine the timbre of the voice?

Independently, without having certain knowledge and skills, it is almost impossible to determine the timbre. At home, you can only presumably attribute your voice to one or another type of timbre. The most accurate data can be obtained using specialized equipment - a spectrometer. It studies the outgoing sound, and then classifies it in the right direction. You can read more about spectrometers at the end of the article.

How to change the timbre of the voice

The timbre of the voice largely depends on the characteristics of the human body. Of great importance are the volume, shape of the trachea and oral resonator, as well as the tightness of the closure of the vocal cords. Therefore, it is not possible to radically change the sound of the voice.

However, you can give the timbre the desired color by adding low or high overtones and achieving their perfect balance. To do this, there are various exercises, for example, pronouncing the soft fricative "g".

The shape of the lips and the position of the tongue have a great influence on the timbre. You can experiment, for example, change the position of the jaw and talk with a fixed lower lip.

At the age of three, the model of a person's voice changes, he becomes more restrained. We diligently control the volume and intonation, tense the vocal cords, and as a result use only a small part of our capabilities. How to restore the natural voice,? Exercises and techniques will also help you with this. You can learn more about them by watching the video:

What affects the timbre of the voice?

1. The first thing to note is smoking. The longer the experience of this addiction, the lower the timbre of the voice will be.
2. Poor nutrition, chronic sleep deprivation. You need to understand that any mood, be it good or bad, affects the timbre of the voice.
3. Hypothermia, cold. Everything is obvious here. You need to protect yourself from the cold, try not to drink ice-cold drinks and refuse ice cream.
4. Growing up period. In adolescence, the timbre of the voice becomes coarser. Of course, this process cannot be changed.

Spectrometer and more

The device that is used to determine the timbre of the voice is called a spectrometer. His device includes a special-purpose microphone and a sound amplifier. During its operation, the sound is divided into components using electro-acoustic filters. The whole process is displayed on the instrument display. Then the device in certain formats explores the composition of speech sounding, since it is the speech format that has a direct impact on the recognition of voice sounding in singing. Most often, the recognition of the timbre of the voice by the device is carried out by the way the first three vowels are pronounced.

How to know your voice tone? It is best to sign up for several classes with a qualified specialist in the production of a singing voice. To determine the timbre, they use parameters such as tessitura endurance and some other features.

In order to determine the timbre of the voice, the vocal teacher selects works that have different tessitura. This allows you to determine which note pitch best suits a particular vocalist. Singing several pieces of music with different musical octaves, you can determine which of them is sung easily and comfortably, and which one has to be sung with vocal cord tension. Each person tends to take notes of a certain height. Only an experienced teacher will be able to correctly assess the range and timbre of each vocalist's voice by how he sings individual notes in a certain octave, and will name the main differences between a falsetto and a chest voice or a tenor from a baritone.

And duration).

By timbre, sounds of the same height and volume are distinguished, but performed at different tools, in different voices, or on the same instrument, but in different ways, strokes etc.

The timbre of a musical instrument is determined by the material, shape, design and conditions. fluctuations his vibrator, various properties of his resonator, as well as acoustics the room in which the instrument is being played. In the formation of the timbre of each particular sound, its overtones and their ratio in height and volume, noise overtones, parameters attacks(initial impulse of sound extraction), formants, characteristics vibrato and other factors.

When perceiving timbres, various associations usually arise: the timbre specificity of sound is compared with organoleptic feelings from certain items and phenomena, for example, the sounds are called bright, shiny, matte, warm, cold, deep, complete, sharp, rich, juicy, metal, glass; auditory definitions are also used (for example, voiced, deaf, noisy) .

In a strictly scientific sense, a substantiated typology of timbre has not yet developed. It has been established that timbre hearing has zone nature.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be distinguished, contrasts can be strengthened or weakened; change of timbres is one of the elements of musical dramaturgy.

Very extensive banks of new (mostly artificially synthesized) timbres have been created today in the field of electronic music.

see also

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Notes

Literature

• Nazaikinsky E., Rags Y., Perception of musical timbres and the meaning of individual sound harmonics, in the book: Application of acoustic research methods in musicology, M., 1964.
• Garbuzov N., Natural overtones and their harmonic meaning, in the book: Collection of works of the commission on musical acoustics. Proceedings of the HYMN, vol. 1, M., 1925.
• Garbuzov N., Zone nature of timbre hearing, M., 1956.
• Volodin A., The role of the harmonic spectrum in the perception of pitch and timbre of sound, in the book: Musical Art and Science, issue 1, M., 1970.

An excerpt characterizing Timbre

“Yes, if that were the case!” - he said. “However, let’s go sit down,” Prince Andrei added, and leaving the ferry, he looked at the sky, which Pierre pointed out to him, and for the first time, after Austerlitz, he saw that high, eternal sky, which he saw lying on the Austerlitz field, and something long asleep, something the best that was in him, suddenly awoke joyfully and youthfully in his soul. This feeling disappeared as soon as Prince Andrei entered the habitual conditions of life again, but he knew that this feeling, which he did not know how to develop, lived in him. A meeting with Pierre was for Prince Andrei an epoch from which, although in appearance it was the same, but in the inner world, his new life began.

It was already getting dark when Prince Andrei and Pierre drove up to the main entrance of the Lysogorsky house. While they were driving up, Prince Andrei with a smile drew Pierre's attention to the turmoil that had taken place at the back porch. A bent old woman with a knapsack on her back, and a short man in a black robe and with long hair, seeing a carriage driving in, rushed to run back through the gate. Two women ran after them, and all four, looking back at the carriage, ran frightened up the back porch.
“These are God’s Machines,” said Prince Andrei. They took us for their father. And this is the only thing in which she does not obey him: he orders to drive these wanderers, and she accepts them.
- What are God's people? Pierre asked.
Prince Andrei did not have time to answer him. The servants went out to meet him, and he asked where the old prince was and how soon they were waiting for him.
The old prince was still in the city, and they were waiting for him every minute.
Prince Andrei led Pierre to his quarters, which always awaited him in perfect order in his father's house, and he himself went to the nursery.
“Let's go to my sister,” said Prince Andrei, returning to Pierre; - I have not seen her yet, she is now hiding and sitting with her God people. Serve her right, she will be embarrassed, and you will see God's people. C "est curieux, ma parole. [This is curious, honestly.]
- Qu "est ce que c" est que [What is] God's people? Pierre asked.
- But you'll see.
Princess Mary was really embarrassed and blushed in spots when they entered her. In her cozy room with lamps in front of the icon cases, on the sofa, at the samovar, sat next to her a young boy with a long nose and long hair, and in a monastic cassock.
On an armchair, beside him, sat a wrinkled, thin old woman with a meek expression of a child's face.
- Andre, pourquoi ne pas m "avoir prevenu? [Andrey, why didn’t they warn me?] - she said with meek reproach, standing in front of her wanderers, like a hen in front of chickens.
– Charmee de vous voir. Je suis tres contente de vous voir, [Very glad to see you. I am so pleased to see you,] she said to Pierre, while he was kissing her hand. She knew him as a child, and now his friendship with Andrei, his misfortune with his wife, and most importantly, his kind, simple face, endeared her to him. She looked at him with her beautiful, radiant eyes and seemed to say: "I love you very much, but please don't laugh at mine." After exchanging the first phrases of greeting, they sat down.
“Ah, and Ivanushka is here,” said Prince Andrei, pointing with a smile at the young wanderer.

Timbre

timbre[timbre], timbre, husband. (French timbre). The characteristic coloring imparted to the sound of an instrument or voice by overtones, overtones. Soft tone. Sharp tone. Cello, violin timbre. Vowel sounds of speech differ from each other in the way of formation and in timbre.

Timbre

(French timbre).

1 (timbre). Sound quality, depending on the ratio in height and strength of the main tone with additional ones.

Dictionary of linguistic terms

Timbre

(fr. timbre). The special quality of sound, the sound coloring characteristic of a particular voice.

Glossary of musical terms

Timbre

(fr. timbre) is a sound coloration that allows you to distinguish sounds of the same height performed by different voices or instruments. The timbre depends on the form of vibrations of the sound source and is determined by the number and intensity of harmonics (overtones). The timbre of a singing voice depends on the presence in it of the corresponding formants (see), as well as vibrato (see). To a certain extent, the timbre is influenced by the material of the vibrator, the method of sound production, the shape of the resonators, as well as the environment in which sound arises and propagates.

Explanatory Dictionary of the Russian Language (Alabugina)

Timbre

BUT, m.

|| adj. timbre, th, th.

* Timbre sound. *

encyclopedic Dictionary

Timbre

(French timbre),..

1. in phonetics - the color of a sound, determined by the position of the formants in the frequency spectrum of the sound ...
2. In music, the quality of sound (its coloration), which makes it possible to distinguish sounds of the same pitch performed on different instruments or in different voices. The timbre depends on which overtones accompany the main tone, what is the intensity of each of them, and in what areas of sound frequencies their clusters (formants) are formed.

Ozhegov's dictionary

TIMBRE [te], a, m. The characteristic coloring of a sound (in a voice, an instrument), communicated to it by overtones, overtones. T. button accordion. Pleasant t. voices.

| adj. timbre, oh, oh.

Dictionary of Efremova

Timbre

Encyclopedia of Brockhaus and Efron

Timbre

in music originating from the form of vibrations (see) - a peculiar, characteristic sonority of one or another instrument or human voice used to perform music. T. depends on the material - the sound organ in humans, wood, copper, leather in instruments - as well as on the method of sound production. T. is the general character of the sound of the entire instrument: this is a common quality, belonging to homogeneous instruments of various sizes and different heights; for example, the violin and double bass have a common t., since they are both wooden and bowed instruments. The combination of instruments of the same T. gives an even sonority, the connection of instruments of different T. - the sonority is uneven, mixed. It is customary to refer to the common name of T. and more particular characteristics of sound: for example, they talk about the voice - alto T., metallic T.; but such properties of sound depend not so much on the material as on the device of the musical organ that produces the sound; they can rather be called sound paints. So, for example, speaking of instruments, we can say that the trumpet and horn have a metallic tone, but the trumpet is distinguished by a light sound paint, and the horn is semi-light.