Wind Instruments Source of Vibration -- Edgetone Organ Pipes Organ

Total Page:16

File Type:pdf, Size:1020Kb

Wind Instruments Source of Vibration -- Edgetone Organ Pipes Organ 5/4/09 Wind Instruments Source of vibration -- Edgetone • A continuous airstream • Frequency depends on – Jet speed (higher speed, higher frequency) • Resonating tubes – Gap distance (shorter distance, higher frequency) • Flute family: edgetone - air • Reed family: reed • Brass family: player’s lips Organ Pipes Organ pipe cactus Different shape: different tone color (Figure 12.14) Closed pipe: only odd-numbered harmonics Recorder How recorders work 1 5/4/09 Overblowing Transverse Flute • Increase the jet velocity – increase the • Flute player has more flexibility vibrational frequency – Change the gap distance by moving the lips or by • Higher frequency makes the pipe to resonate at rolling the instrument slightly toward or away a higher mode from the lips • A higher-pitched sound is produced • Obtain a variety of relations among pitch, loudness and timbre • Easier to control overblowing Source of vibration -- Reed Clarinet • Single reed • A cylindrical tube – Cylindrical bore: Clarinet open and one end and – Conical bore: Saxophone closed at the other • Double reed – Even-numbered harmonics are absent – Conical bore: Oboe, English horn and bassoon – Different fingering – Cylindrical bore: Krummhorn scheme Natural modes of a complete cone Saxophone • The frequencies are the same as an open cylindrical tube of the same length 2 5/4/09 Oboe English Horn • Narrow cone (compare with saxophone): rich in high harmonics, quieter sound Bassoon Krummhorn Source of vibration -- lips Tuba • Conical tubes: cornet, alto and baritone horns, and tuba • Cylindrical tubes: trumpet, trombone and French horn – Bell and mouthpiece modify the standing-wave patterns – complete harmonic series 3 5/4/09 Trumpet Trombone French Horn How a Valve changes the trumpet's Length • Thus each semitone makes instrument 6% longer Radiation Efficiency Trombone slide position • Radiation efficiency measures the percentage of the • Note the distances are not equal but increase acoustical wave energy that exits the tube through the by about 6% horn – If efficiency was zero – no sound exiting instrument – If efficiency were 100% - no sound would reflect and no standing waves would be produced • Note: Remember that standing waves are produced by two waves traveling in opposite directions in a tube or string 4 5/4/09 Radiation Efficiency for various shapes Mutes on Trumpets • Remember that a larger hole more efficient • Two effects radiation (Figure 13.24) – Cutback on overall radiation efficiency – Enhancement of higher frequencies (changes resonant frequency to higher freq) • Similar effect in French Horn by placing hand in bell Source Size • Trombone vs. Trumpet • Flute vs. Piccolo • Tenor and Soprano Saxophones • Flute and Clarinet ? • Oboe and Clarinet ? • Violin and Clarinet ? 5 .
Recommended publications
  • Pvc Pipe Instrument Instructions
    Pvc Pipe Instrument Instructions Oaken Nealon fannings finitely and prescriptively, she metricates her twink guzzle unpopularly. Adulterated and rechargeable Jedediah retired her fastenings tinge while Brodie cycle some Callum palingenetically. Disappointing Terrence infix no mainbraces dovetails incontinently after Parnell pep unmeritedly, quite surbased. All your instrument designed for pvc pipe do it only cut down lightly tapping around the angle grid, until i think of a great volume of musical instruments can This long cylindrical musical instrument is iconic of Australia's aboriginal culture which dates back some 40000. Plant combinations perennials beautiful gardens, instructions for the room for wood on each section at creative instrument storage arrangements, but is made of vinyl chloride. Instruments in large makeover job. Any help forecasters predict the sound wave vibration is sufficient to hold a lower cost you need to accommodate before passing. If you get straight line and coupling so we want in large volume of each and. Hand-held Hubble PVC instructions HubbleSite. Make gorgeous Balloon Bassoon a beautiful reed musical instrument. Turn pvc instruments stringed instrument oddmusic is placed a plumber will help businesses find a particular flute theory, instruction booklet and. No matter how long before you like i simply browse otherwise connected, instruction booklet and reduce test grades associated with this? The pipe and the instrument is. Shipping Instructions David Kerr Violin Shop Inc. 4 1 inch length PVC pipes PVC pipe is sold at Lowe's Home Improvement. Then drain and family a commentary on. Building and Analysis of a PVC Pipe Instrument Using. Sounds of pvc water pipes are designed to help you are after a wood playset kits and less capable of tools in protective packing material.
    [Show full text]
  • Music and Materials: Art and Science of Organ Pipe Metal Catherine M
    Music and materials: Art and science of organ pipe metal Catherine M. Oertel and Annette Richards The following article is based on a Symposium X (Frontiers of Materials Research) presentation given at the 2016 MRS Spring Meeting in Phoenix, Ariz. Historical pipe organs offer rich insights into the relationships between materials and music in the past, and they represent a laboratory for contemporary materials science. Recent cross- disciplinary research has explored problems of conservation and corrosion in old organ pipes. The ability of some notable European Baroque organs to produce sound is threatened by atmospheric corrosion of their lead-tin alloy pipes. Organic acids emitted from the wood of organ cases are corrosive agents for lead-rich pipes. Laboratory exposure experiments were used to study the roles of humidity and alloy composition in the susceptibility to organic acid attack. The rates of growth, as well as the compositions and morphologies of the corrosion products were studied using gravimetry, x-ray diffraction, and scanning electron microscopy of surfaces and cross sections. This interdisciplinary project provides one model for the interplay of scientifi c and humanities research in addressing materials problems in cultural heritage. Introduction was designed by Müller in conjunction with the best architects, From the 14th century until the end of the 18th century, painters, and sculptors of the day. The young Mozart played at the dawn of the industrial revolution, the organ was the on this instrument, and today, it draws organists and audi- embodiment of scientifi c and artistic universality. Tracing a ences from all around the world.
    [Show full text]
  • Intraoral Pressure in Ethnic Wind Instruments
    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
    [Show full text]
  • Natural Capital in the Colorado River Basin
    NATURE’S VALUE IN THE COLORADO RIVER BASIN NATURE’S VALUE IN THE COLORADO RIVER BASIN JULY, 2014 AUTHORS David Batker, Zachary Christin, Corinne Cooley, Dr. William Graf, Dr. Kenneth Bruce Jones, Dr. John Loomis, James Pittman ACKNOWLEDGMENTS This study was commissioned by The Walton Family Foundation. Earth Economics would like to thank our project advisors for their invaluable contributions and expertise: Dr. Kenneth Bagstad of the United States Geological Survey, Dr. William Graf of the University of South Carolina, Dr. Kenneth Bruce Jones of the Desert Research Institute, and Dr. John Loomis of Colorado State University. We would like to thank our team of reviewers, which included Dr. Kenneth Bagstad, Jeff Mitchell, and Leah Mitchell. We would also like to thank our Board of Directors for their continued support and guidance: David Cosman, Josh Farley, and Ingrid Rasch. Earth Economics research team for this study included Cameron Otsuka, Jacob Gellman, Greg Schundler, Erica Stemple, Brianna Trafton, Martha Johnson, Johnny Mojica, and Neil Wagner. Cover and layout design by Angela Fletcher. The authors are responsible for the content of this report. PREPARED BY 107 N. Tacoma Ave Tacoma, WA 98403 253-539-4801 www.eartheconomics.org [email protected] ©2014 by Earth Economics. Reproduction of this publication for educational or other non-commercial purposes is authorized without prior written permission from the copyright holder provided the source is fully acknowledged. Reproduction of this publication for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. FUNDED BY EARTH ECONOMICS i ABSTRACT This study presents an economic characterization of the value of ecosystem services in the Colorado River Basin, a 249,000 square mile region spanning across mountains, plateaus, and low-lying valleys of the American Southwest.
    [Show full text]
  • A Solar Farm Prototype Design That Achieves Net-Zero Status and Economic Development at the Organ Pipe Cactus National Monument in Arizona, Usa
    Environmental Impact IV 397 A SOLAR FARM PROTOTYPE DESIGN THAT ACHIEVES NET-ZERO STATUS AND ECONOMIC DEVELOPMENT AT THE ORGAN PIPE CACTUS NATIONAL MONUMENT IN ARIZONA, USA NADER CHALFOUN University of Arizona, College of Architecture, Planning, and Landscape Architecture, USA ABSTRACT Faculty and students of the House Energy Doctor (HED) Master of Science program at the University of Arizona’s College of Architecture, Planning, and Landscape Architecture are currently engaged in a multi-year effort towards accomplishing a vision that would preserve the heritage of the Organ Pipe Cactus National Monument (OPNM) buildings while transforming its status into the first net-zero park in the United States. The project is a collaboration with experts in heritage architecture from the park and students and faculty of HED. During the years, 2015 and 2016, of the project, two major park-built areas have been redeveloped; the Visitor Center and the Residential loop. While the work on the visitor center was documented and published in WIT STREMAH 2017, Alicante, Spain, this paper presents the recent work performed in 2016 on the one-mile residential loop. Three major tasks have been accomplished in this built area and focused on transforming the existing 13 residences into net-zero operation. The first accomplishment is the energy efficiency achieved through the use of energy performance simulation and integration of advanced environmental systems. The second, is the economic impact through the alternative designs developed in Studio 601 that focused on regional sustainable energy efficient high-performance buildings using latest environmental technologies for indoor and outdoor spaces. Development of the residential loop conformed to Mission 66 standards while added an important education trail component to the complex.
    [Show full text]
  • Organ Stop Layout
    CATHEDRAL RUFFATI ORGAN PIPE AND DIGITAL STOP LIST Pipe Stop PEDAL Pipe Reed Stop Digital Stop Clarion 4’ Rschlmei 4’ Trumpet Clarion 4’ 8’ Bombarde 16 Contra Contrabombarde Fagotta 16’ 32 Basson 16 Cbombarde 32 Octavin 2 CTrptte 16’ CBasson 32 Nachthorn 4’ Super Octave 4’ Choralbass 4’ Mixture Nachthorn 4’ Flute 8’ Subbass 16 Bordun 16’ Octave 8 Gedeckt Pommer 16 Bourdon 16’ Principal 16’ Principal 16’ Open Wood 16’ Contra Bourdon 32 TO ACCESS THE DIGITAL STOPS 1. Hold SET Button and pull draw knob of piston you wish to access 2. Use dial on right side of organ to select voice. Most have 2 voices, some have more. 3. Depress E to access the digital voice along with the pipe voice located on that drawknob 4. Depress P to mute the pipe sound and use only digital on that manual 5. Always depress “EXP on” piston to gain complete control over the volume of the organ with the sw/ch pedals 6. The “P” and “E” pistons on Great controls the pipe digital divisions for the manual as well as the pedal CATHEDRAL RUFFATI ORGAN PIPE AND DIGITAL STOP LIST SWELL Tremulant Unison Off Affects digital stops also Swell Swell 16 4 Vox Humana Clarion 4 V Humaine 8’ Clairon 4 Strings Clarion 4 Slow Strings Trompette 8 Trompette 8 Oboe 8’ Trumpet 8 Hautbois 8 Htbois 8 Tierce Contra 1 3/5 Fagotto 16 Tierce 1 3/5 Basoon 16 Cymbale III Fourniture C Trptte 16 IV Doublette 2’ Nazard Flauto 2 2/3 Venezian 4 Principal 4 Prestant 4 Unda Maris Gedeckt 8’ Bourdon 8’ Fl Harm 8 Viola Celeste 8’ Viola Pomposa 8 Diapason 8 Geigen Principal 8’ Gedect Pommer 16 Bdn Doux 16 C Gambe
    [Show full text]
  • An Explanation of the Organ Stops
    PREFACE TO THE ENGL ISH EDITION. M" O Sto s n for paper on rgan p , origi ally written a course o f of lectmures to organists, was published by the desire of a com ittee teachers . In altering and enlarging the o for riginal work the press , I was struck by the number of on con struc and excellence literary works the organ , its o ti n, preservation , and pitch . It is evident, however, that in these on ly a limited space cou ld be devoted to the o f n -five . o rgan stops During a practice twe ty years , inter - o spersed with numerous concert tours, and ccasional calls o o s upon me as an expert, I have made rgan st p , their ff o d . peculiarity and ac ustic e ects, my special stu y u o In working p this material, extending as it does vmer o v of divers pr inces musical science, I secured the welco e co - o i u perat on of several highly experienced colleag es . B fo all ff P o Dr A o of f. e re others, I o er to r F rster, B h for hi s erne, my warmest t anks kindness in stimulating and facilitating my studies by the loan of books on physical an d t . a acoustics, by highly interes ing experiments I lso W ish to offer my best thanks to the organ - builders wh o have thoroughly revised that portion of my work treatin g on - n the technicalities of organ buildi g .
    [Show full text]
  • Repairing and Voicing Damaged O~Gan Pipes
    Before making any suggestions that might will hear a prime tone and a multitude of over­ help an organ enthusiast repair a damaged tones. The overtones are harmonics and par­ pipe I want to pay a tribute to a person who, in tials of the prime tone. my opinion, is one of the great artisans of the I repeat, a good voicer represents years of pipe organ industry - THE VOICER. experience combined with an artistic tempera­ Many organ fans confuse voicing organ repairingment, a natural ear for tonal quality, great ac­ pipes and tuning organ pipes. They are two curacy of workmanship and plenty of pa­ separate functions. Organ tuning is done after tience. He is indeed a great artisan. His value the installation has been completed. The tun­ to organs is too often overlooked. er sets the temperament and tunes all the stops and The organ enthusiast has no need for such to the temperament octave. He also does the qualifications, for he will never be confronted finishing, by which is meant adjusting the vol­ with organ pipes directly from a pipe shop ume of the pipes in each stop so some tones that must be made to speak before they can be are not louder or softer than the others. Fin­ voicingused, but enthusiasts do encounter voiced ishing is most important with reed stops. pipes that have been damaged so they do not A voicer works in the factory or in a pipe speak properly, or perhaps not at all. shop which is operated separately from an or­ damagedFixing damaged pipes so they will speak is gan factory.
    [Show full text]
  • Physics and Tonal Design in Pipe Organs and Air-Jet Musical Instruments
    Measurement of Velocity Profiles of the Jets Issuing from Some Flue Geometries Typical of Air-Jet Instruments Shigeru Yoshikawa and Keita Arimoto Dept. of Acoustical Design, Kyushu Institute of Design, Fukuoka, 815-8540 Japan Air-jet musical instruments may be categorized by the geometry of flue channel and flue exit: The flue of metal organ pipes is simply modelled by a vertical plate and a horizontal languid (such a flue is called "organ" here). The flue made by flute or shakuhachi players may be modelled by two thin plates corresponding to player's lips (called "short" because of short channel length). Contrary to this "short" flue, a "long" flue consisting of two long plates has been used for experimental organ pipe models. The recorder flue can be modelled as a long flue with a chamfer on the edge of the lower plate (called "chamfer"). The measurement of jet velocity profile was carried out on these flue models without using pipe resonators. The profile was measured at the distances of 2 to 25 mm from the exit when the initial jet velocity was varied from 10 to 50 m/s. The flue height was 2.2mm throughout the measurement. The profile difference between the “short” and “long” flues is distinctive as inferred from the top-hat and Poiseuille profiles at the exit. The profile from the "chamfer" flue tends to change from the "long"-type profile for lower jet velocities to the "short"-type one for higher velocities. The "organ" flue indicates an asymmetric profile for shorter distances from the exit.
    [Show full text]
  • The Construction and Initial Measurements of an Acoustic Reflectometer
    The Construction and Initial Measurements of an Acoustic Reflectometer William Johnston Colorado State University John Price Advisor Introduction The design of a new reflectance spectrometer, reflectometer, has been motivated by the desire to study acoustic properties of musical instruments such as flutes, organ pipes, and recorders. These instruments produce a tone with a narrow jet of air that is set into oscillation through interacting with a normal mode of vibration of a cylindrical or conical chamber. This tube will have many small holes drilled into it. By closing the holes with their fingers, a musician can change the effective length of the tube thereby changing the frequency of the normal modes and the air jet. Since the recorder produces tone through the interaction between an air jet and a hollow chamber it is of interest to study each half of this system separately to better understand their functions. Previous studies of flutes, organ pipes, and recorders [1] [2] [3] have measured either the impedance or admittance of the fully assembled instrument. In order to measure the impedance (Z) or admittance (Y) of a wind instrument it is necessary to simultaneously know both the sound pressure (P) and the volume velocity (u) of a pressure wave in the instrument since Z = P/u and Y = 1/Z. In order to achieve this, previous work has employed a resistive element coupled to a sound source, which leads to low acoustic pressures being used in the experiment. For the present work, a reflectometer will be used so that it is not necessary to know the volume velocity in the instrument.
    [Show full text]
  • Editor's Note
    AMR1.qxd 8/22/00 11:04 PM Page 17 EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLI, Number 4 September 2000 FEATURES One of the goals of the ARS Long-Range Anthony Burgess: The Man and His Recorder Music . 11 Plan, adopted this past year, is to make An analysis of the surprising number of works for recorder American Recorder available on the Inter- net. With this issue we are taking the first left by one of the 20th century’s outstanding men of letters, steps toward that goal. On a trial basis, by Scott Paterson readers can access the September AR in 6 The Worshipful Recorder. 18 PDF format by pointing their web browser to <www.recorderonline.org>. A church organist, composer, and recorder player Thiswill take you to a page wel- wonders why the recorder isn’t ubiquitous in religious services, coming you to “American Recorder On- by Peter A. Ramsey Line,” with specific instructions on how to proceed (including how to download the latest version of Adobe’s Acrobat Reader, DEPARTMENTS which you will need in order to open these 11 Advertiser Index . 40 pages). The PDF format allows you to “thumb” Book Reviews . 21 through the magazine starting with the Chapters & Consorts . 35 cover, almost as if you are holding the Classified . 40 printed version. But there will be added advantages. After providing a password Music Reviews. 25 (shhh, it’s “Stanesby” for this issue only), On the Cutting Edge. 33 clicking on any article or department on Opening Measures . 31 this first Table of Contents page will take 35 President’s Message .
    [Show full text]
  • 3D Calculation with Compressible LES for Sound Vibration of Ocarina
    3D Calculation with Compressible LES for Sound Vibration of Ocarina Taizo KOBAYASHI†, Toshiya TAKAMI†, Masataka MIYAMOTO‡, Kin’ya TAKAHASHI‡, Akira NISHIDA†, and Mutsumi AOYAGI† †Research Institute for Information Technology, Kyushu University, 6-10-1 Hakozaki, Higashi-ku, Fukuoka 812-8581, JAPAN ‡Physics Laboratories, Kyushu Institute of Technology, Kawazu 680-4, Iizuka 820-8502, JAPAN Abstract Sounding mechanism is numerically analyzed to elucidate physical processes in air-reed instruments. As an example, compressible large-eddy simulations (LES) are performed on both two and three dimensional ocarina. Since, among various acoustic instruments, ocarina is known as a combined system consisting of an edge- tone and a Helmholtz resonator, our analysis is mainly devoted to the resonant dynamics in the cavity. We focused on oscillation frequencies when we blow the instruments with various velocities. 1 Introduction Elucidation of acoustical mechanism of air-reed instruments is a long standing prob- lem in the field of musical acoustics[1]. The major difficulty of numerical calculations of an air-reed instrument is in strong and complex interactions between sound field and air flow dynamics[2], which is hardly reproduced by hybrid methods [3] normally used for analysis of aero-acoustic noises[4, 5]. There are two types of air-reed instruments, which are different in acoustics mechanism: in the group of flute, recorder, organ pipe, the pitch of an excited sound is determined by the length of an air column, i.e., resonance of the air column; on the other hand, it is considered that sound of an ocarina is produced by Helmholtz arXiv:0911.3567v1 [physics.comp-ph] 18 Nov 2009 resonance where the pitch is determined by resonance of the entire cavity and the placement of each hole on an ocarina is almost irrelevant.
    [Show full text]