Before we can talk about music, we need to talk about sound. Every musical experience begins with a physical phenomenon: a vibration that travels through air as a wave and reaches our ears. Understanding the basic properties of sound helps us listen more consciously — and ultimately, more deeply.
Pitch
Pitch is determined by the frequency of a sound wave — the number of cycles per second, measured in Hertz (Hz). The faster the vibration, the higher the pitch; the slower, the lower.
This is why a violin sounds higher than a double bass: the violin’s strings are shorter and vibrate faster. The human ear can detect sounds roughly between 20 Hz and 20,000 Hz — the audible spectrum.
Listen: Compare the pitch of a violin and a double bass:
J.S. Bach: Partita No. 1 for Violin in B minor, BWV 1002 – “VIII. Presto” (Hilary Hahn, Violin)
Memphis Slim & Willie Dixon: Aux Trois Mailletz – “Do De Do” (Memphis Slim, Piano/Vocals • Willie Dixon, Double Bass/Vocals)
Intensity
Intensity is determined by the amplitude of the wave — how much energy it carries. We perceive this as loudness, measured in decibels (dB).
A whisper is around 30 dB. A symphony orchestra at full force can reach 100 dB. A jet engine at close range exceeds 140 dB — the threshold of pain.
In music, intensity is not just about volume. It is about contrast: the difference between a pianissimo passage and a fortissimo one is what gives music its drama and expressiveness.
Listen: Two performances of the same piece at very different dynamic levels:
François Couperin: Pièces de clavecin – Troisième livre (15e ordre) – “Le dodo, ou L’amour au berceau” (Gustav Leonhardt, Harpsichord)
François Couperin: Pièces de clavecin – Troisième livre (15e ordre) – “Le dodo, ou L’amour au berceau” (Marcelle Meyer, Piano)
Duration
Duration refers to how long a sound lasts. In music, the precise organization of durations — which sounds are long, which are short — is what creates rhythm.
Without duration, there is no rhythm. Without rhythm, there is no music.
Timbre
Timbre (pronounced “TAM-ber”) is perhaps the most complex of the four properties. It is what allows us to distinguish between two instruments playing the same note at the same volume.
Timbre is determined by the overtone series — the combination of frequencies that sound simultaneously when any note is played. Every instrument has a unique overtone profile, which is why a cello and a guitar sound completely different even on the same pitch.
The attack (how the sound begins) and the decay (how it ends) also contribute to timbre. This is why a piano note and an organ note feel so different, even at the same pitch and volume.
Listen: The same Bach piece on two different instruments:
J.S. Bach: Cello Suite No. 1 in G major, BWV 1007 – “I. Prélude” (Mstislav Rostropovich, Cello)
J.S. Bach: Cello Suite No. 1 in G major, BWV 1007 – “I. Prélude” (John Williams, Guitar/Transcription)
Next, let’s observe how the same musical piece can radically change its color (timbre) depending on the instruments used. Listen to the original piano version of Mussorgsky’s “Promenade” from Pictures at an Exhibition, followed by Maurice Ravel’s monumental orchestration for full orchestra.
Modest Mussorgsky: Pictures at an Exhibition – “Promenade I” (Vladimir Horowitz, Piano)
Modest Mussorgsky: Pictures at an Exhibition (orchestrated by Maurice Ravel) – “Promenade I” (Gustavo Dudamel, Conductor / Wiener Philharmoniker.
This post is part of Koilon’s Music Appreciation series — an introduction to music for curious listeners of all backgrounds.