Harmonic analyses of several violin tones have been performed by computer. Each sound is represented by a finite series of harmonic‐amplitude and phase‐spectrum components varying with time. Graphical representations of spectra being explored are: (1) individual plots of fundamental‐frequency harmonic amplitudes (both linear and dB), and relative phases as functions of time; (2) line‐spectra movies with harmonic amplitude changes slowed 20:1; (3) spectrograms with vertical frequency scale, horizontal time scale, and darkness indicating amplitude. Spectrum analysis can be performed synchronously with the fundamental or asynchronously at a base frequency much lower than the fundamental, with advantages for each method. Completeness of harmonic analysis is demonstrated by examples of tones resynthesized using smoothed versions of harmonic‐amplitude and pitch curves. For storage purposes, synthetic tones typically require 500 to 800 parameter‐time coordinates per 1 sec of sound. Over all, the violin tones analyzed are characterized by strong resonances in regions 500–700 Hz and 1800–2500 Hz, a strong antiresonance at 1100–1500 Hz, and many peaks and valleys above 2000 Hz. Features of attack, steady‐state, and decay will be discussed in terms of spectrum graphs.