~X1;Y1;
L0,0;*V2.3D;
M1NGB25;
L-550,-40;
F2A~L-550,-60;
F2M~L-550,-80;
F2P~L-550,-100;
F2L~L-550,-120;
F2I~L-550,-140;
F2T~L-550,-160;
F2U~L-550,-180;
F2D~L-550,-200;
F2E~L-520,-360;
F2F~L-502,-380;
F2R~L-484,-400;
F2E~L-466,-420;
F2Q~L-448,-440;
F2U~L-430,-460;
F2E~L-412,-480;
F2N~L-394,-500;
F2C~L-376,-520;
F2Y~L0,-560;
F2T~L20,-557;
F2I~L40,-554;
F2M~L60,-551;
F2E~L-600,-860;
FAFigure 2. ~L-450,-860;
F1Three-dimensional perspective plot of the amplitude functions for the 16 harmonics~L-450,-890;
F1of the preceding violin tone.   (x=time,   y=amplitude,   z=frequency: fundamental is~L-450,-920;
F1backmost)   This plot can be rotated (on-line with the computer) by the researcher.~L-10,1000;FA16b~