Calculate harmonic series frequencies from a fundamental. Find overtones, partial ratios, and harmonic intervals for music theory and acoustics.
The Harmonics Calculator computes the complete harmonic series from any fundamental frequency. The harmonic series is the basis of most musical sound, because every note contains not just a fundamental pitch but a stack of overtones at integer multiples of that frequency. It is a quick way to see the interval structure that underlies timbre and tuning. You can use it to compare theoretical ratios with the partials that actually shape an instrument's sound. It also gives you a clean reference when a note sounds bright, hollow, or unusually colored.
Understanding harmonics matters in music theory, acoustics, instrument design, and sound synthesis. This calculator shows each harmonic's frequency, the interval it forms above the fundamental, the cent deviation from equal temperament, and the relative amplitude found in common waveforms.
Use it when you want to see how a note expands into its overtones, whether you are studying natural harmonics on a guitar, comparing timbres, or exploring how oscillators and filters shape sound.
Use this calculator when you want the harmonic series laid out numerically instead of mentally expanding ratios. It is useful for music theory, instrument analysis, and synthesis work where overtone relationships shape tone, intonation, and timbre. It also makes it easier to compare theoretical harmonics with the notes you actually hear.
f_n = n × f₁, where n = harmonic number (1, 2, 3, ...) and f₁ = fundamental frequency. Harmonic 2 = octave, 3 = octave + fifth, 4 = 2 octaves, 5 = 2 octaves + major third, etc.
Result: H1=110, H2=220, H3=330, H4=440, H5=550 Hz...
From A2 (110 Hz): H2 is A3 (220 Hz, octave), H3 is E4 (330 Hz, perfect 12th), H4 is A4 (440 Hz, double octave), H5 is C#5 (550 Hz, just major third above H4).
The harmonic series is not just a musical concept — it's a fundamental property of vibrating systems. Any object that vibrates (strings, air columns, membranes, even molecules) produces frequencies in harmonic ratios. This is why the harmonic series appears in every culture's music independently — it's built into the physics of sound.
The intervals produced by the harmonic series — octaves (2:1), fifths (3:2), fourths (4:3), major thirds (5:4) — are the same intervals that humans universally perceive as consonant. This connection between physics and perception is the foundation of music theory.
Different waveform shapes correspond to different harmonic recipes. A pure sine wave has only the fundamental. A sawtooth wave contains all harmonics with amplitude proportional to 1/n. A square wave contains only odd harmonics with amplitude 1/n. A triangle wave has odd harmonics with amplitude 1/n².
Subtractive synthesis starts with harmonically rich waveforms (saw, square) and removes harmonics with filters. Additive synthesis builds sounds by combining individual sine waves at harmonic frequencies. Both approaches manipulate the harmonic series to create timbres.
Real instruments aren't perfectly harmonic. Piano strings exhibit inharmonicity — upper partials are slightly sharp due to string stiffness. Bells and percussion have highly inharmonic spectra. Understanding both harmonic and inharmonic spectra is crucial for realistic sound synthesis and acoustic modeling.
The harmonic series is the set of frequencies at integer multiples of a fundamental. If the fundamental is 100 Hz, harmonics are 200, 300, 400, 500 Hz, etc.
Almost. Harmonics include the fundamental (H1). Overtones start counting above the fundamental, so the 1st overtone = 2nd harmonic.
Timbre — the relative strength of harmonics differs. A clarinet emphasizes odd harmonics; a violin has a rich, full harmonic spectrum; a flute is nearly a pure sine (strong fundamental, weak overtones).
Natural harmonics occur at nodes of the string — touching lightly at the 12th fret (H2), 7th fret (H3), 5th fret (H4), etc. produces bell-like tones.
The 7th harmonic falls between A and Bb in equal temperament — it's 31 cents flat of the ET minor seventh. This "blue note" is the basis of barbershop harmony and blues tonality.
Any periodic waveform can be decomposed into a sum of sine waves at harmonic frequencies. The Fourier series coefficients determine the amplitude and phase of each harmonic.