the overtone series for strings
tonic maj2nd maj3rd 4th 5th maj6th maj7th octave
1.000 1.1225 1.2599 1.3348 1.4983 1.6818 1.8877 2.0000
min2nd min3rd b 5th # 5th dom7th
1.0595 1.1892 1.4142 1.5874 1.7818
A string, fixed at both ends, vibrates naturally with the length equal to integer multiples of a half wavelength. Since frequency is inversely proportional to wavelength, this results in the overtone series for string harmonics:
f f/f_1 freq/tonic approx. interval
--- ----- ---------- ----------------
f_1 1 1 = 1.0 tonic
f_2 2 2 = 2.0 tonic
f_3 3 3/2 = 1.5 5th
f_4 4 2 = 2.0 tonic
f_5 5 5/4 = 1.25 maj 3rd
f_6 6 6/4 = 1.5 5th
f_7 7 7/4 = 1.75 dom 7th
f_8 8 2 = 2.0 tonic
f_9 9 9/8 = 1.125 maj 2nd (or 9th)
f_10 10 10/8 = 1.25 maj 3rd
f_11 11 11/8 = 1.375 between 4th and b 5th
The first ten harmonics fall close to the intervals of the equal-tempered scale
(and define the perfect-tempered scale) with eight being notes of the major
triad. The eleventh harmonic is off-key, as is the thirteenth and many
more.
To strike these harmonics, one touches the string at 1/2, 1/3, 1/4, 1/5, 1/6, etc. of the length from one end to damp out the lower harmonics and then lets the string vibrate freely.
The timber of a stringed instrument is determined by the relative amplitude of each of these overtones. This is governed by the type of string, feedback between the string and sounding board, the sounding board itself, and the way the string is plucked.