~X1;Y1;
L0,0;*V5.3D;
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 6. ~L-450,-860;
F1Three-dimensional perspective plot of 3-line segment approximations to the~L-450,-890;
F1amplitude functions for the 16 harmonics of the violin tone shown in Figure 2.~L-450,-920;
F1(x=time, y=amplitude, z=frequency: fundamental is backmost)  This represents~L-450,-950;
F1significant data reduction.  (Recorded Example 1 presents the various results)~L-10,1000;FA21b~