Upper harmonics swing more in frequency than lower ones during vibrato

Evidence

That means that the frequency variation in the upper harmonics during vibrato will be greater than that for the lower harmonics when frequency is plotted on a linear scale, as in Figure 5.5. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1466

Categorization

Category: Factual Claims

Related

• Vibrato swings upper harmonics more widely than lower ones on a linear frequency scale. (similarity 0.92)
• Hearing performance fluctuates predominantly at the electrical stimulation frequency rather than its harmonics (similarity 0.86)
• Ratio pitch curve shape matches other psychoacoustic frequency-dependence curves (similarity 0.83)
• Vibrato produces tremolo when harmonics sweep across resonant peaks (similarity 0.83)
• Music occupies a wider frequency and dynamic range than speech (similarity 0.83)
• Bar vibration modes are spaced by squares of odd integers, far apart (similarity 0.82)
• Frequency just-noticeable differences rise sharply at low sensation levels (similarity 0.82)
• The Weber fraction for frequency declines below 1500 Hz then rises above 2000 Hz (similarity 0.82)
• A vibrating bar’s higher modes fall outside the musical scale and harmonic spacing. (similarity 0.82)
• Perceived pitch compresses against frequency above roughly 500 Hz (similarity 0.82)
• The ear’s frequency resolution worsens progressively at higher frequencies. (similarity 0.82)
• Perceptual thresholds vary by listener but share common ordering (similarity 0.82)
• Listener position matters because violin radiation direction varies with frequency (similarity 0.82)
• Excitation patterns smooth the spectrum, blurring harmonic and formant detail the acoustic signal carries (similarity 0.81)
• Instrument tuning relies on high harmonics because pitch changes there are easier to hear (similarity 0.81)