But, we do know the fundamental frequencies in the melody. Look at your formula for f\

But , we do know the fundamental frequencies in the melody. Look at your formula for f , and re-cast it so you have fn as a function of only mode number n and the fundamental frequency fl. It should be quite simple! Then use this formula to calculate the harmonic frequencies f f f f for the A note (440Hz) from the melody. For at least 3 of the instruments in the set of samples, determine which harmonics comprise the dominant overtones in the instrument timbre by comparing the frequencies calculated above to the peaks in the plot. Count from the left, where the leftmost peak is the fundamental tone fl. Note that all the significant peaks in the spectrum must be counted along the way, even if they are shorter... the dominant overtones may not be just the first several peaks in a row! Report the instrument(s) you chose and the overtone frequencies you determined. But , we do know the fundamental frequencies in the melody. Look at your formula for f , and re-cast it so you have fn as a function of only mode number n and the fundamental frequency fl. It should be quite simple! Then use this formula to calculate the harmonic frequencies f f f f for the A note (440Hz) from the melody. For at least 3 of the instruments in the set of samples, determine which harmonics comprise the dominant overtones in the instrument timbre by comparing the frequencies calculated above to the peaks in the plot. Count from the left, where the leftmost peak is the fundamental tone fl. Note that all the significant peaks in the spectrum must be counted along the way, even if they are shorter... the dominant overtones may not be just the first several peaks in a row! Report the instrument(s) you chose and the overtone frequencies you determined.