Measurement of Overtones?

Have any of you come across an orchestration book (or books) that addresses the overtones characteristc to the ranges of instruments specifically?.. or atleast a somewhat accurate description using words (since I'm not sure if there is a unit of measurement for that, or something)...?

Thanks

sorry but I don't catch your question ... measurement of overtones ? in instruments ?

yes, the only factor in sound production which governs the color or 'timbre' of a sound is the presense or absence of overtones and their relative strength or weakness in relation to the fundamental tone. Overtones give a sound its characteristic quality. So all instrumental sounds are combination sounds, consisting of a predominant tone and various overtones, harmonics or 'upper partials'.

So for example, they can vary from the simple mellow flute sound (a predominant tone with very few quiet harmonics) to the strident muted trumpet (with strong upper partials) or to the cymbal clash, with its harsh jangle of dissonant tones and overtones.

I hope this clarifies my question.. I'm not sure if there is a definite, or accepted way measure this... or, again, if there are any orchestration books that make any serious notes of it, because most of what I have read only briefly mentions such things.

jijiji, I still don't catch it....sorry....

I know all that stuff about overtones and how do they constitue the timbre, .. what I don't get is what do you what to measure ?

You mean you're seeking some kind of explained info of a particular timbre... let's say,

The oboe:

(I'm just speculating eh!)

Overtone 1: Triangle wave, +/- 0 dB

Overtone 2: Nothing

Overtone 3: Sine wave +0.2 dB

Overtone 4: Square wave - 1 dB

etc

etc

something like that ? ... or I'm in Mars :) ?

I guess something like that- charts, furthur explanation of timbre of registers (although I don't think the shape of wave would be necessary). Each instrument has a variety of timbres in its various registers, and/or different volumes. Some sort of appendix for this information would help in choosing the component sounds which would contribute most efficiently towards the desired effect (provided balance is observed).

This thread might be of use: http://www.youngcomposers.com/forum/fourier-analysis-intruments-15831.html

Yes, that is very helpful indeed.. Even the books that came up when I searched 'Fourier Analysis' are pretty much what I was looking for. Thank you!

Nicola Canzano, although this book probably isn't exactly what I'm looking for, I'm interested in reading it along with its partner, "Structural Functions of Harmony," anyway.

Do you have any idea which would be better to read first?

Theory of Harmony should be read first. Structural Functions assumes that the reader already understands Schoenberg's ideas of harmony. (which probably aren't exactly what you learned in theory class)