Woodwind Family Introduction (original) (raw)
Related papers
Acoustic Impedances of Classical and Modern Flutes
2000
Instruments in the flute family, unlike most wind instruments, are played with the input of the instrument open to the atmosphere. Consequently, they operate at minima in the spectrum of acoustic input impedance. Detailed examination of these minima requires measurements with large dynamic range, which is why the flute has not been hitherto investigated in detail. We report the application
The acoustics of wind instruments—and of the musicians who play them
2010
In many wind instruments, a non-linear element (the reed or the player's lips) is loaded by a downstream duct -the bore of the instrument -and an upstream one -the player's vocal tract. Both behave nearly linearly. In a simple model due to Arthur Benade, the bore and tract are in series and this combination is in parallel with the impedance associated with vibration of the reed or player's lips. A recent theme for our research team has been measuring the impedance in the mouth during performance. This is an interesting challenge, because the sound level inside the mouth is tens of dB larger than the broad band signal used to measure the tract impedance. We have investigated the regimes where all three impedances have important roles in determining the playing frequency or the sound spectrum. This talk, illustrated with demonstrations, presents some highlights of that work, looking at several different instruments. First order models of the bore of flutes, clarinets and oboes -the Physics 101 picture -are well known and used as metaphors beyond acoustics. Of course, they are not simple cylinders and cones, so we briefly review some of the more interesting features of more realistic models before relating performance features and instrument quality to features of the input impedance spectrum. Acousticians and sometimes musicians have debated whether the upstream duct, the vocal tract, is important. Setting aside flute-like instruments, the bore resonances near which instruments usually operate have high impedance (tens of MPa.s.m -3 or more) so the first order model of the tract is a short circuit that has no effect on the series combination. In this country, that model is quickly discarded: In the didjeridu, rhythmically varying formants in the output sound, produced by changing geometries in the mouth, are a dominant musical feature. Here, the impedance peaks in the tract inhibit flow through the lips. Each produces a minimum in the radiated spectrum, so the formants we hear are the spectral bands falling between the impedance peaks. Heterodyne tones produced by simultaneous vibration of lips and vocal folds are another interesting feature. In other wind instruments, vocal tract effects are sometimes musically important: as well as affecting tone quality, the vocal tract can sometimes dominate the series combination and select the operating frequency, a situation used in various wind instruments. In brass instruments, it may be important in determining pitch and timbre. Saxophonists need it to play the altissimo register, and clarinettists use it to achieve the glissandi and pitch bending in, for example, Rhapsody in Blue or klezmer playing.
Wind Instruments : in The Science & Psychology of Music Performance
In mouth-blown wind instruments, the energy provided by the respiratory system is converted directly into sound. In all cases a primary vibrating element, generically called a reed, controls the airstream. The reed may be a piece of bamboo, the lips, a metallic tongue, or even the air jet (in flutes and recorders). Players control loudness, attack, intonation, and timbre by means of embouchure settings, blowing pressure, airflow, and length of the air column. The respiratory muscles perform complex and systematic movements, generating wide ranges of pressures, and coordinated oscillations that produce the vibrato effect. Intonation may be affected by the characteristics of the lung air. This chapter addresses the associated sensory, physiological, and acoustical phenomena. Common controversial or misleading concepts among wind players are discussed and some simple experiments are proposed for pedagogical applications.
by Brandon K. McDannald Instrumental music educators commonly use one of a multitude of beginning band method books with their first year groups. These methods generally have very similar ideas regarding the instruction of young musicians, so many of the melodies and techniques used appear in most of the major series. Most of the popular methods also strive to integrate with new technologies that have found their way into the music classroom.
Saxophone acoustics: introducing a compendium of impedance and sound spectra
2009
We introduce a web-based database that gives details of the acoustics of soprano and tenor saxophones for all standard fingerings and some others. It has impedance spectra measured at the mouthpiece and sound files for each standard fingering. We use these experimental impedance spectra to explain some features of saxophone acoustics, including the linear effects of the bell, mouthpiece, reed, register keys and tone holes. We also contrast measurements of flute, clarinet and saxophone, to give practical examples of the different behaviour of waveguides with open-open cylindrical, closed-open cylindrical and closed-open conical geometries respectively.
Acoustic Impedance Spectra of Classical and Modern Flutes
Journal of Sound and Vibration, 2001
Instruments in the #ute family, unlike most wind instruments, are played with the input of the instrument open to the atmosphere. Consequently, they operate at minima in the spectrum of acoustic input impedance. Detailed examination of these minima requires measurements with large dynamic range, which is why the #ute has not been hitherto investigated in detail. We report the application of a technique with high precision and large dynamic range to measurements of the impedance spectra of #utes. We compare the acoustical impedance spectra of two examples of the modern orchestral #ute and an example of the classical #ute. For each instrument, we measured several dozen of the most commonly used di!erent acoustic con"gurations or "ngerings. The results are used to explain features of the spectra of the sound produced, to explain performance features and di$culties of the instruments, and to explain the di!erences between the performances of the classical and modern instruments. Some hundreds of spectra and sound "les are given in JSV#to allow further examination.
Sound Designs: the story of Boosey & Hawkes. Exhibition Catalogue
This catalogue accompanies the exhibition "Sound Designs: The Story of Boosey & Hawkes", which is currently on display in the Horniman Museum, London. Topics addressed include the history of instrument making at Boosey & Hawkes, instrument design and performance practice in Britain ca. 1860 to 2000 and the music business.