Sounds of the gong are created when the mallet strikes the gong causing it to vibrate. The vibrational energy is then transmitted as sound pressure waves through various mediums. Frequency is the measurement of the sound pressure waves in cycles per second and is measured in Hertz (Hz). A large gong produces a range of sound vibrations and sound waves at different frequencies. The gong is an idiophone (instrument that vibrates to produce sound when struck) that generates countless harmonics or overtones, with the sound resonating in a far reaching manner. When the gong is played and vibrates, each vibration will produce a different pitch, because they have different frequencies. The lowest pitched sound generated from the vibration is the fundamental frequency. All sounds pitched above that are the overtones. The frequencies reached by a gong depends on its individual design, size, metal composition and type of mallet used as well as how it is played. The larger a gong is, the richer the frequency range that can be played. The attained pitch will vary with the frequencies produced by the gong and influenced by how the gong is played. If the frequency produced by the gong is low then the pitch will be lower and if the frequency produced is higher then the sound pitch will be higher. Tones created at the edge of the gong are always higher and lighter than the lower tones played in the middle of the gong. The shape of the gong also affects the frequency that can be played with it. Most gongs reach low and voluminous frequencies, frequently beyond 100 Hz. The sound envelope of the gong is unpredictable, non-linear and trans-spatial. After the strike of the mallet, the gong’s sound swells to an initial peak and then begins to decay smoothly. After the first decay however, the gong’s sound returns of its own accord without any additional attack and builds to a second and even higher sound peak before finally fading away. The gong’s sound envelope is like the delayed action of a wave that falls and then returns to an even higher level. The returning sound of the gong has been described as ‘resound’. Because of its returning sound, the gong produces a complex synthesis of blended overtones. As the returning waves build on each other to produce new and intricate tones, the sound of the gong becomes so complex and unpredictably translinear. A key to the effectiveness of the big gongs, is the complete submersion and saturation of a person in layer upon layer of tone (comprising one or more frequencies). The tones of equal amplitude keep resonating, adding to themselves.
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