Standing Waves
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Standing Waves and Sound
Standing Waves and Sound Waves are vibrations (jiggles) that move through a material Frequency: how often a piece of material in the wave moves back and forth. Waves can be longitudinal (back-and- forth motion) or transverse (up-and- down motion). When a wave is caught in between walls, it will bounce back and forth to create a standing wave, but only if its frequency is just right! Sound is a longitudinal wave that moves through air and other materials. In a sound wave the molecules jiggle back and forth, getting closer together and further apart. Work with a partner! Take turns being the “wall” (hold end steady) and the slinky mover. Making Waves with a Slinky 1. Each of you should hold one end of the slinky. Stand far enough apart that the slinky is stretched. 2. Try making a transverse wave pulse by having one partner move a slinky end up and down while the other holds their end fixed. What happens to the wave pulse when it reaches the fixed end of the slinky? Does it return upside down or the same way up? Try moving the end up and down faster: Does the wave pulse get narrower or wider? Does the wave pulse reach the other partner noticeably faster? 3. Without moving further apart, pull the slinky tighter, so it is more stretched (scrunch up some of the slinky in your hand). Make a transverse wave pulse again. Does the wave pulse reach the end faster or slower if the slinky is more stretched? 4. Try making a longitudinal wave pulse by folding some of the slinky into your hand and then letting go. -
7.7.4.2 Damping of Longitudinal Waves Chapter 7.7.4.1 Had Shown That a Coupling of Transversal String-Vibrations Occurs at the Bridge and at the Nut (Or Fret)
7.7 Absorption of string oscillations 7-75 7.7.4.2 Damping of longitudinal waves Chapter 7.7.4.1 had shown that a coupling of transversal string-vibrations occurs at the bridge and at the nut (or fret). In addition, transversal and longitudinal oscillations exchange part of their oscillation energy, as well (Chapters 1.4 and 7.5.2). The dilatational waves induced that way showed high loss factors in the decay measurements: individual partials decay rapidly, i.e. they exhibit short decay times. For the following vibration measurements, a Fender US- Standard Stratocaster was used with its tremolo (aka vibrato) genre-typically adjusted to be floating. The investigated string was plucked fretboard-normally close to the nut; an oscillation analysis was made close to the bridge using a laser vibrometer. Fig. 7.70: Decay (left) and time function of the fretboard-normal velocity. Dilatational wave period = 0.42 ms. For the fretboard normal velocity, the left-hand image in Fig. 7.70 shows the decay time of the D3-partials. Damping maxima – i.e. T30 minima – can be identified at 2.36, at 4.7 and at 7.1 kHz; resonances of dilatational waves can be assumed to be the cause. In the time function we can see that - even before the transversal wave arrives at the measurement point – small impulses with a periodicity of 0.42 ms occur. Although the laser vibrometer (which is sensitive to lateral string oscillations) cannot itself detect the dilatational waves, it does capture their secondary waves (Chapter 1.4). Apparently, dilatational waves are absorbed efficiently in the wound D-string, and a selective damping arises at a frequency of 2.36 kHz (and its multiples). -
Giant Slinky: Quantitative Exhibit Activity
Name: _________________________________________________________________ Giant Slinky: Quantitative Exhibit Activity Materials: Tape Measure, Stopwatch, & Calculator. In this activity, we will explore wave properties using the Giant Slinky. Let’s start by describing the two types of waves: transverse and longitudinal. Transverse and Longitudinal Waves A transverse wave moves side-to-side orthogonal (at a right angle; perpendicular) to the direction the wave is moving. These waves can be created on the Slinky by shaking the end of it left and right. A longitudinal wave is a pressure wave alternating between high and low pressure. These waves can be created on the Slinky by gathering a few (about 5 or so) Slinky rings, compressing them with your hands and letting go. The area of high pressure is where the Slinky rings are bunched up and the area of low pressure is where the Slinky rings are spread apart. Transverse Waves Before we can do any math with our Slinky, we need to know a little more about its properties. Begin by measuring the length (L) of the Slinky (attachment disk to attachment disk). If your tape measure only measures in feet and inches, convert feet into meters using 1 ft = 0.3048 m. Length of Slinky: L = __________________m We must also know how long it takes a wave to travel the length of the Slinky so that we can calculate the speed of a wave. For now, we are going to investigate transverse waves, so make a single pulse by jerking the Slinky sharply to the left and right ONCE (very quickly) and then return the Slinky to the original center position. -
Woods for Wooden Musical Instruments S
ISMA 2014, Le Mans, France Woods for Wooden Musical Instruments S. Yoshikawaa and C. Walthamb aKyushu University, Graduate School of Design, 4-9-1 Shiobaru, Minami-ku, 815-8540 Fukuoka, Japan bUniversity of British Columbia, Dept of Physics & Astronomy, 6224 Agricultural Road, Vancouver, BC, Canada V6T 1Z1 [email protected] 281 ISMA 2014, Le Mans, France In spite of recent advances in materials science, wood remains the preferred construction material for musical instruments worldwide. Some distinguishing features of woods (light weight, intermediate quality factor, etc.) are easily noticed if we compare material properties between woods, a plastic (acrylic), and a metal (aluminum). Woods common in musical instruments (strings, woodwinds, and percussions) are typically (with notable exceptions) softwoods (e.g. Sitka spruce) as tone woods for soundboards, hardwoods (e.g. amboyna) as frame woods for backboards, and monocots (e.g. bamboo) as bore woods for woodwind bodies. Moreover, if we consider the radiation characteristics of tap tones from sample plates of Sitka spruce, maple, and aluminum, a large difference is observed above around 2 kHz that is attributed to the relative strength of shear and bending deformations in flexural vibrations. This shear effect causes an appreciable increase in the loss factor at higher frequencies. The stronger shear effect in Sitka spruce than in maple and aluminum seems to be relevant to soundboards because its low-pass filter effect with a cutoff frequency of about 2 kHz tends to lend the radiated sound a desired softness. A classification diagram of traditional woods based on an anti-vibration parameter (density ρ/sound speed c) and transmission parameter cQ is proposed. -
Experiment 12
Experiment 12 Velocity and Propagation of Waves 12.1 Objective To use the phenomenon of resonance to determine the velocity of the propagation of waves in taut strings and wires. 12.2 Discussion Any medium under tension or stress has the following property: disturbances, motions of the matter of which the medium consists, are propagated through the medium. When the disturbances are periodic, they are called waves, and when the disturbances are simple harmonic, the waves are sinusoidal and are characterized by a common wavelength and frequency. The velocity of propagation of a disturbance, whether or not it is periodic, depends generally upon the tension or stress in the medium and on the density of the medium. The greater the stress: the greater the velocity; and the greater the density: the smaller the velocity. In the case of a taut string or wire, the velocity v depends upon the tension T in the string or wire and the mass per unit length µ of the string or wire. Theory predicts that the relation should be T v2 = (12.1) µ Most disturbances travel so rapidly that a direct determination of their velocity is not possible. However, when the disturbance is simple harmonic, the sinusoidal character of the waves provides a simple method by which the velocity of the waves can be indirectly determined. This determination involves the frequency f and wavelength λ of the wave. Here f is the frequency of the simple harmonic motion of the medium and λ is from any point of the wave to the next point of the same phase. -
Chapter 5 Waves I: Generalities, Superposition & Standing Waves
Chapter 5 Waves I: Generalities, Superposition & Standing Waves 5.1 The Important Stuff 5.1.1 Wave Motion Wave motion occurs when the mass elements of a medium such as a taut string or the surface of a liquid make relatively small oscillatory motions but collectively give a pattern which travels for long distances. This kind of motion also includes the phenomenon of sound, where the molecules in the air around us make small oscillations but collectively give a disturbance which can travel the length of a college classroom, all the way to the students dozing in the back. We can even view the up–and–down motion of inebriated spectators of sports events as wave motion, since their small individual motions give rise to a disturbance which travels around a stadium. The mathematics of wave motion also has application to electromagnetic waves (including visible light), though the physical origin of those traveling disturbances is quite different from the mechanical waves we study in this chapter; so we will hold off on studying electromagnetic waves until we study electricity and magnetism in the second semester of our physics course. Obviously, wave motion is of great importance in physics and engineering. 5.1.2 Types of Waves In some types of wave motion the motion of the elements of the medium is (for the most part) perpendicular to the motion of the traveling disturbance. This is true for waves on a string and for the people–wave which travels around a stadium. Such a wave is called a transverse wave. This type of wave is the easiest to visualize. -
1S-13 Slinky on Stand
Sound light waves... waves... water waves... 1S-13 Slinky on Stand Creating longitudinal compression waves in a slinky What happens when you pull back and release one end of the slinky ? Physics 214 Fall 2010 11/18/2019 3 Moving one end of the Slinky back and forth created a local compression where the rings of the spring are closer together than in the rest of the Slinky. The slinky tries to return to equilibrium. But inertia cause the links to pass beyond. This create a compression. Then the links comes back to the equilibrium point due to the restoration force, i.e. the elastic force. The speed of the pulse may depend on factors such as tension in the Slinky and the mass of the Slinky. Energy is transferred through the Slinky as the pulse travels. The work done in moving one end of the Slinky increases both the potential energy of the spring and the kinetic energy of individual loops. This region of higher energy then moves along the Slinky and reaches the opposite end. There, the energy could be used to ring a bell or perform other types of work. Energy carried by water waves does substantial work over time in eroding and shaping a shoreline. If instead of moving your hand back and forth just once, you continue to produce pulses, you will send a series of longitudinal pulses down the Slinky. If equal time intervals separate the pulses, you produce a periodic wave. The time between pulses is the period T of the wave. The number of pulses or cycles per unit of time is the frequency f = 1/T. -
Standing Waves Physics Lab I
Standing Waves Physics Lab I Objective In this series of experiments, the resonance conditions for standing waves on a string will be tested experimentally. Equipment List PASCO SF-9324 Variable Frequency Mechanical Wave Driver, PASCO PI-9587B Digital Frequency Generator, Table Rod, Elastic String, Table Clamp with Pulley, Set of 50 g and 100 g Masses with Mass Holder, Meter Stick. Theoretical Background Consider an elastic string. One end of the string is tied to a rod. The other end is under tension by a hanging mass and pulley arrangement. The string is held taut by the applied force of the hanging mass. Suppose the string is plucked at or near the taut end. The string begins to vibrate. As the string vibrates, a wave travels along the string toward the ¯xed end. Upon arriving at the ¯xed end, the wave is reflected back toward the taut end of the string with the same amount of energy given by the pluck, ideally. Suppose you were to repeatedly pluck the string. The time between each pluck is 1 second and you stop plucking after 10 seconds. The frequency of your pluck is then de¯ned as 1 pluck per every second. Frequency is a measure of the number of repeating cycles or oscillations completed within a de¯nite time frame. Frequency has units of Hertz abbreviated Hz. As you continue to pluck the string you notice that the set of waves travelling back and forth between the taut and ¯xed ends of the string constructively and destructively interact with each other as they propagate along the string. -
Waves and Music
Team: Waves and Music Part I. Standing Waves Whenever a wave ( sound, heat, light, ...) is confined to a finite region of space (string, pipe, cavity, ... ) , something remarkable happens − the space fills up with a spectrum of vibrating patterns called “standing waves”. Confining a wave “quantizes” the frequency. Standing waves explain the production of sound by musical instruments and the existence of stationary states (energy levels) in atoms and molecules. Standing waves are set up on a guitar string when plucked, on a violin string when bowed, and on a piano string when struck. They are set up in the air inside an organ pipe, a flute, or a saxophone. They are set up on the plastic membrane of a drumhead, the metal disk of a cymbal, and the metal bar of a xylophone. They are set up in the “electron cloud” of an atom. Standing waves are produced when you ring a bell, drop a coin, blow across an empty soda bottle, sing in a shower stall, or splash water in a bathtub. Standing waves exist in your mouth cavity when you speak and in your ear canal when you hear. Electromagnetic standing waves fill a laser cavity and a microwave oven. Quantum-mechanical standing waves fill the space inside atomic systems and nano devices. A. Normal Modes. Harmonic Spectrum. A mass on a spring has one natural frequency at which it freely oscillates up and down. A stretched string with fixed ends can oscillate up and down with a whole spectrum of frequencies and patterns of vibration. Mass on Spring String with Fixed Ends (mass m, spring constant k) (length L, tension F, mass density µ) ___ ___ f = (1/2 π) √k/m f1 = (1/2L) √F/ µ Fundamental nd f2 = 2f 1 2 harmonic rd f3 = 3f 1 3 harmonic th f4 = 4f 1 4 harmonic • • • These special “Modes of Vibration” of a string are called STANDING WAVES or NORMAL MODES . -
Types of Waves Periodic Motion
Lecture 19 Waves Types of waves Transverse waves Longitudinal waves Periodic Motion Superposition Standing waves Beats Waves Waves: •Transmit energy and information •Originate from: source oscillating Mechanical waves Require a medium for their transmission Involve mechanical displacement •Sound waves •Water waves (tsunami) •Earthquakes •Wave on a stretched string Non-mechanical waves Can propagate in a vacuum Electromagnetic waves Involve electric & magnetic fields •Light, • X-rays •Gamma waves, • radio waves •microwaves, etc Waves Mechanical waves •Need a source of disturbance •Medium •Mechanism with which adjacent sections of medium can influence each other Consider a stone dropped into water. Produces water waves which move away from the point of impact An object on the surface of the water nearby moves up and down and back and forth about its original position Object does not undergo any net displacement “Water wave” will move but the water itself will not be carried along. Mexican wave Waves Transverse and Longitudinal waves Transverse Waves Particles of the disturbed medium through which the wave passes move in a direction perpendicular to the direction of wave propagation Wave on a stretched string Electromagnetic waves •Light, • X-rays etc Longitudinal Waves Particles of the disturbed medium move back and forth in a direction along the direction of wave propagation. Mechanical waves •Sound waves Waves Transverse waves Pulse (wave) moves left to right Particles of rope move in a direction perpendicular to the direction of the wave Rope never moves in the direction of the wave Energy and not matter is transported by the wave Waves Transverse and Longitudinal waves Transverse Waves Motion of disturbed medium is in a direction perpendicular to the direction of wave propagation Longitudinal Waves Particles of the disturbed medium move in a direction along the direction of wave propagation. -
Musical Acoustics Timbre / Tone Quality I
Musical Acoustics Lecture 13 Timbre / Tone quality I Musical Acoustics, C. Bertulani 1 Waves: review distance x (m) At a given time t: y = A sin(2πx/λ) A time t (s) -A At a given position x: y = A sin(2πt/T) Musical Acoustics, C. Bertulani 2 Perfect Tuning Fork: Pure Tone • As the tuning fork vibrates, a succession of compressions and rarefactions spread out from the fork • A harmonic (sinusoidal) curve can be used to represent the longitudinal wave • Crests correspond to compressions and troughs to rarefactions • only one single harmonic (pure tone) is needed to describe the wave Musical Acoustics, C. Bertulani 3 Phase δ $ x ' % x ( y = Asin& 2π ) y = Asin' 2π + δ* % λ( & λ ) Musical Acoustics, C. Bertulani 4 € € Adding waves: Beats Superposition of 2 waves with slightly different frequency The amplitude changes as a function of time, so the intensity of sound changes as a function of time. The beat frequency (number of intensity maxima/minima per second): fbeat = |fa-fb| Musical Acoustics, C. Bertulani 5 The perceived frequency is the average of the two frequencies: f + f f = 1 2 perceived 2 The beat frequency (rate of the throbbing) is the difference€ of the two frequencies: fbeats = f1 − f 2 € Musical Acoustics, C. Bertulani 6 Factors Affecting Timbre 1. Amplitudes of harmonics 2. Transients (A sudden and brief fluctuation in a sound. The sound of a crack on a record, for example.) 3. Inharmonicities 4. Formants 5. Vibrato 6. Chorus Effect Two or more sounds are said to be in unison when they are at the same pitch, although often an OCTAVE may exist between them.