in a stringed musical instrument,the sound frequency of a particular string can be in creased by?
98142
Tightening the string (or making it shorter, or a smaller diameter).
801459
check your pads, if it looks like the thin paper like layer is torn or damaged in any way, you may need to replace your pads, usually they need to be changed about once a year, it can also effect your tone quality if these do need to be replaced
151152
umm pick the instruments you want outta "packs" drag them to menu right click then go to "piano roll" \nto shorten sounds left click them once and you'll see red lines in a box move them in to a rectangle for best results
403650
for a guitar it is pretty simple: When you pluck the string its vibrations cause small pressure waves in the air which are passed along like a ocean wave until they hit our eardrum. The pitch of the note is controlled by the tautness and length of the string.
663539
Most solids tend to contract slightly when they get cold.  They also get more brittle.  My own experience as a cellist is that when my instrument is cold, the strings get tighter and thus the pitch gets higher.  Although I've never tried it with a tuning fork, I suspect the same thing would happen.  If the cold causes it to be smaller and less malleable, it would probably change the natural resonant frequency of the tuning fork as well, moving it up a notch.
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This an excellent site for you :-\n\nhttp://www.onlinearchery.org.uk/advice/tune/string_making.html
237469
The correct word is "timbre".  That is to say, quality.  Consider middle C played on a piano and a violin, with the same loudness.  Same loudness = same amplitude; same pitch = same frequency.  Yet they sound different, i.e. the timbre or  quality is different. \n\nADDITIONAL INFORMATION: In string and wind instruments, progressive waves (transverse in strings and longitudinal in wind) travel outwards in opposite directions from the point where the vibration was started.  When they reach the end of the string or pipe, they are reflected back inwards.  Interference occurs between the outwards and inwards waves and a standing wave is produced.  In this, certain points called nodes (N) are always at rest, while others mid-way between each pair of nodes are in continuous vibration with maximum amplitude; they are called antinodes (A).  The distance between two consecutive Ns will represent the half wavelengths in your question.\n\nVarious standing wave patterns can be produced.  If there is a node at each end of the string or pipe and just one antinode between them, the standing wave has one loop and the fundamental note is emitted.  If there is more than one loop, overtones are produced.  It is these overtones (when added to the fundamental) that give a sound its timbre or quality.
124811
Simple harmonic motion or harmonic motion is a periodic vibration, for example, of a violin string or pendulum, that has a single frequency or an even multiple of one or is symmetrical about a point of equilibrium.
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At the very least you might ask the seller to make an mp3 file that you can listen to, because there is still nothing like hearing ANY stringed instrument in person.  Get pics, and the maker's name, then research that.  Just remember that no 2 instruments sound exactly the same... there is a nuance of sound to each.  If you are a serious cellist, I wouldn't ever go the on-line route.  If you are a novice, all well and good, for when you become more accomplished you will 'upgrade' and That one won't be something on-line!  (by then you will have acquired an 'ear' for the instrument)
433194
all sound is produced by making sound waves, your actions on the instruments make sound waves by making the air vibrate. For stringed instruments you make the string vibrate by plucking or rubbing it with a bow, the vibration of the string makes sound waves in the air. what the music will be like depends on the length  of the string,so a double bass with long strings produces a lower note than a violin with short strings. Wind instruments have a sound box ( the body of the instrument) which amplifies the sound so that it is loud enough to hear easily. \nFor a wind instrument you blow through a mouth piece or reed to create the vibrations, the note is determined by the length of the pipe , so a recorder (short pipe)produces higher notes than a bassoon (long pipe), the pipe also acts as the soundbox.\n\nIn percussion instruments the vibrations are made by banging a surface to make the soundwaves. Drums usually use a skin, with the body of the drum forming the soundbox, xylophones and triangles use a metal plate or bar, and do not require a soundbox. the note is determined by the size of the skin or bar.
153057
the metal strings expand and contract depending on the temperature. This changes how tightly wound the strings are. The tightness of the strings affects the sound or tune
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If you already know how to bend a string up 1 pitch or when you bend the string up so the sound is the same to the next higher fret to quater bend u slightly bend the string
875534
Trumpet sounds a blare. String instuments like a guitar reverberate when strumed. Drums rat a tat tat. When refering to sax its mellow jazz tones. Flutes are fanciful airy toots and whistles. Oboes make deeper hollow tones. Does that help?
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You should change strings after every 50 hours of playing or every 2 months, whichever comes first.\n\nIf you break a string I always recommend that you replace the whole set...they cost less than $10.
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The violin:\nViolin construction and mechanics\n \nDetail of bridge and stringsMain article: Violin construction and mechanics \n[edit]\nConstruction\nA violin typically consists of a spruce top, maple ribs and back, two endblocks, a neck, a bridge, a soundpost, four strings, and various fittings, optionally including a chinrest, which may attach directly over, or to the left of, the tailpiece. A distinctive feature of a violin body is its "hourglass" shape and the arching of its top and back. The hourglass shape comprises an upper bout, a lower bout, and two concave C-bouts at the "waist," providing clearance for the bow.\n\nThe voice of a violin depends on its shape, the wood it is made from, the "graduation" (the thickness profile) of both the top and back, and the varnish which coats its outside surface. The varnish and especially the wood continue to improve with age, making the fixed supply of old violins much sought-after. Loose parts or open seams may cause buzzes and should be professionally attended to; in particular, no adhesive other than animal hide glue should ever be used on a violin. A well-tended violin can outlive many generations of players, so it is wise to take a curatorial view when caring for a violin.\n\nThe purfling running around the edge of the spruce top is said to give some resistance to cracks originating at the edge. It is also claimed to allow the top to flex more independently of the rib structure. Painted-on faux purfling on the top is usually a sign of an inferior instrument. Ideally the top is glued on with slightly diluted hide glue, to make future removal possible. The back and ribs are typically made of maple, most often with a matching striped figure, called "flame."\n\nThe neck is usually maple with a flamed figure compatible with that of the ribs and back. It carries the fingerboard, typically made of ebony, but often some other wood stained or painted black. Ebony is considered the preferred material because of its hardness, beauty, and superior resistance to wear. The maple neck alone is not strong enough to support the tension of the strings without distorting, relying for that strength on its lamination with the fingerboard. For this reason, if a fingerboard comes loose (it happens) it is vital to slacken the strings immediately. The shape of the neck and fingerboard affect how easily the violin may be played. Fingerboards are dressed to a particular transverse curve, and have a small lengthwise "scoop," or concavity, slightly more pronounced on the lower strings, especially when meant for gut or synthetic strings.\n\nSome old violins (and some made to appear old) have a grafted scroll, or a seam between the pegbox and neck itself. Many authentic old instruments have had their necks reset to a slightly increased angle, and lengthened by about a centimeter. The neck graft allows the original scroll to be kept with a Baroque violin when bringing its neck to conformance with modern standard.\n\n \nBridge blank and finished bridgeThe bridge is a carefully carved piece of maple, having several purposes: its top curve holds the strings at the proper height from the fingerboard in an arc allowing each to be sounded separately by the bow. It also transmits the vibrations of the strings to the body of the violin. The sound post, or "soul post", fits precisely between the back and top, and may be moved slightly when adjusting the tone of the instrument.\n\nThe tailpiece anchors the strings to the lower bout of the violin by means of the tailgut, which loops around the endpin, which fits into a tapered hole in the bottom block. Very often the E string will have a fine tuning lever worked by a small screw turned by the fingers. Fine tuners may also be applied to the other strings, and are sometimes built in to the tailpiece.\n\nAt the scroll end, the strings wind around the tuning pegs in the pegbox. Strings usually have a colored &qu
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Depends on the length of the interval, just like with notes. \n\nhttp://www.dolmetsch.com/musictheory2.htm
850732
If you can measure the *frequency*, you know the wavelength.\n(As the wavelength is just the frequency divided by the speed of sound.)  I found a calculator that does this for you:\nhttp://www.sengpielaudio.com/calculator-wavelength.htm\n\nIdeally you would get an oscilloscope to measure the frequency.\n\nIf you don't have access to one, if you have a guitar tuner, you could measure the frequency (the tuner will tell you the pitch, say A#, and you can look up the frequency of that pitch in a music book).\n\nOr if you have a bunch of tuning forks or a pitch pipe, you could get an approximation.\n\nIf you have an ocilloscope, don't forget to get the precise speed of sound at your elevation (sound travels a bit faster at sea level, than if you live in, say, Denver).  (Note that the calculator link above gives you a place to enter the speed of sound where you live.)  If you're using a guitar tuner or tuning forks, they are only approximations anyway, so the exact speed of sound for your elevation won't make a difference.  \n\nP.S.  I found a reference to a sound analyzer you can get for your computer!  The software is free, but it needs a soundcard in your computer (which you probably have).  It uses the information from a microphone in your computer to give you the frequency and wavelength of the musical note.  It's kinda cheating if this is for a science-fair project ... but maybe this is what you want.\nhttp://www.relisoft.com/Freeware/freq.html