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The Effect of Blowing Pressure, Lip Force and Tonguing on Transients: a Study Using a Clarinet-Playing Machine

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The Effect of Blowing Pressure, Lip Force and Tonguing on Transients: a Study Using a Clarinet-Playing Machine The effect of blowing pressure, lip force and tonguing on transients: A study using a clarinet-playing machine Weicong Li,a) Andre Almeida, John Smith, and Joe Wolfe School of Physics, The University of New South Wales, Sydney, New South Wales, 2052, Australia (Received 10 April 2016; revised 13 July 2016; accepted 15 July 2016; published online 16 August 2016) Wind instrument players control the initial and final transients of notes using breath, lips, and tonguing. This paper uses a clarinet-playing machine and high-speed camera to investigate how blowing pressure, lip force, and tonguing parameters affect transients. After tongue release, the reed quickly comes to rest, losing its mechanical energy. However, the changing aperture past the reed rapidly changes the airflow. For pressure above the oscillation threshold, successive interac- tions between reflections of this pulse of airflow and the reed produce an exponential increase in the sound. The rates r of exponential increase in the fundamental of the sound range from several 1 tens to several hundreds of dB sÀ , as functions of blowing pressure and lip force. Because the reed’s initial mechanical energy is lost, tongue force and acceleration have little effect on r. However, larger tongue force and acceleration produce more rapid changes in flow, which start notes sooner after tongue release. Further, large tongue force increases the third harmonic during the transient. There is a hysteresis region on the (pressure, lip force) plane where regenerative oscil- lation is not produced spontaneously by increasing blowing pressure only. Here, tongue action can initiate sustained notes at low pressure. VC 2016 Acoustical Society of America. [http://dx.doi.org/10.1121/1.4960594] [TRM] Pages: 1089–1100 I. INTRODUCTION saxophonists have been studied experimentally and theoreti- cally recently, such as the duration of tongue-reed contact, Players of wind instruments often use the tongue, in tongue-finger coordination playing at different tempi combination with varying breath pressure, to begin a note (Hofmann and Goebl, 2014; Chatziioannou and Hofmann, with appropriate initial transient. Musicians consider tongu- 2015), the vocal tract effect on initial transients (Guillemain, ing and other aspects of articulation to be very important in 2007), and how players control their vocal tract, lips, and expressive and tasteful playing. For this reason, the way in which transients are produced and controlled by different breath during performance (Chen et al.,2009; Guillemain tongue actions, in combination with other embouchure et al.,2010). Tonguing is also considered in several physical parameters, is an important question that interests music stu- models used for woodwind synthesis (Ducasse, 2003; Sterling dents, teachers, and acousticians. et al.,2009; Chatziioannou and Hofmann, 2013, 2015). The clarinet is a suitable instrument on which to study However, the effects of blowing pressure, lip force, and tongu- transients. Its steady state acoustical behaviour has been well ing parameters on transients have not been studied in detail. studied experimentally (e.g., Wilson and Beavers, 1974; Bak and Dolmer, 1987; Idogawa et al., 1993; Mayer, 2003; A. Initial and final transients in playing Dalmont et al., 2003; Dalmont and Frappe, 2007; Ganzengel An earlier study (Li et al., 2016) investigated how clari- et al., 2007; Almeida et al., 2013) and theoretically (e.g., netists coordinate tonguing with the time variation in blow- Gilbert et al., 1989; Grand et al., 1997; Kergomard et al., ing pressure to produce the different articulations 2000; Dalmont et al., 2003, 2005; Atig et al., 2004; specifically required by different musical conditions. The Facchinetti et al., 2003; Ollivier et al., 2004, 2005; Dalmont initial transient includes a phase during which sound pres- and Frappe, 2007; da Silva et al., 2007). sure increases exponentially over time before saturation. The Many clarinet pedagogues discuss the tonguing technique 1 rate of this exponential rise (r, in dB sÀ ) varies for different (e.g., Anfinson, 1969; Brymer, 1977; Thurston, 1977; articulations and varies between players. To achieve differ- Thurston and Frank, 1979; Sadie, 1984; Gingras, 2004; ent values of r for different articulations, players vary the Sullivan, 2006). Researchers have also studied the initial tran- rate of increase in blowing pressure and also vary the value sients produced by controlled profiles of blowing pressure of blowing pressure at which they release the tongue during without tonguing (Bergeot et al.,2014) and found that the the pressure increase. It is also possible that players vary the growth rate of the initial transient typically does not vary if force F that the tongue applies to the reed before the blowing pressure is increased linearly at different tongue release (Guillemain et al., 2010), and the acceleration a of rates. Tonguing and transients produced by clarinetists and the tongue as it moves away from the reed. However, it appears that the effects of these parameters on the transients a)Electronic mail: [email protected] have not been studied quantitatively. J. Acoust. Soc. Am. 140 (2), August 2016 0001-4966/2016/140(2)/1089/12/$30.00 VC 2016 Acoustical Society of America 1089 The production of different articulations by players pressure P, lip force Flip, and the initial tongue force Ftongue invites further questions: how does the rate r depend on the are controlled and held constant over a range of different control parameters, including the blowing pressure P in the values to measure their effects on r, the exponential increase mouth and the force Flip applied by the lip? How important in the fundamental of the sound. The motion of the reed and are the force Ftongue applied by the tongue to the reed, the tongue are recorded on high-speed video to determine the initial displacement of the reed Dy0, and the acceleration a acceleration a of the tongue and to study the growth over involved in removing it from the reed, and what are their time of the amplitude of the reed vibration. The role of effects? These questions cannot easily be studied systemati- tonguing in playing within the hysteresis region was also 1 cally with human players. First, players do not hold P or Flip investigated. constant; neither can they vary them independently; second, it is difficult to measure tongue force Ftongue and acceleration II. MATERIALS AND METHODS a precisely during performance. For that reason, the present A. Experimental setup study investigates the effects of different parameters inde- pendently using a playing machine in which these parame- Figure 1 is a schematic of the experimental setup. The ters are controlled. design and construction of the playing machine has been described previously (Almeida et al., 2010). Briefly, the B. Oscillation thresholds and the hysteresis region on blowing pressure P is controlled on the long time scale by the (P, Flip) map adjusting the speed of a pump which provides air to the arti- ficial mouth and is kept constant on the short time scale by a When the blowing pressure P is gradually increased at a proportional-integral-derivative loop controlling a leak, fixed lip position and force Flip, the reed will start to oscillate which is opened and closed using an electromechanical at a particular value of P called the oscillation threshold shaker. The instrument used in this study is a Yamaha YCL Posc. Above a considerably higher value of P (the extinction 250 clarinet with a Yamaha CL-4C mouthpiece (Yamaha, threshold Pext), oscillation does not start. Pext corresponds to Japan) and a Lege`re synthetic clarinet reed (hardness 3, the static pressure excess necessary to hold the reed closed Lege`re Reeds, Ontario, Canada) with a tongue sensor, against the mouthpiece. These oscillation thresholds at con- described below. A small slab of polyurethane foam stant blowing pressure have been studied both theoretically (Sorbothane, Kent, OH) is used as the artificial lip. Over a and experimentally, together with the regeneration process large range of playing parameters, this lip can avoid squeaks and the pressure-flow relations (Kergomard et al., 2000; and produce a tolerable sound. A mass hanging on the lip Dalmont et al., 2005; Dalmont and Frappe, 2007). More provides a known lip force to the reed. The masses used recently, the dynamic oscillation threshold was investigated range from 25 g up to 400 g (the value that closed the reed using time varying, blowing pressure profiles with different against the mouthpiece), in steps of 25 g. increase rates on an artificially blown clarinet (Bergeot The artificial tongue consists of a pad of the same mate- et al., 2014). A playing machine has also been used to mea- rial as the lip. This is pushed vertically against the lip by a 2- sure playing properties and the oscillation thresholds as beam system located above the artificial mouth so that the functions of both the blowing pressure and the force applied vertical force and acceleration of the tongue can be con- by a mechanical lip (Almeida , 2010, 2013). et al. trolled. As shown in Fig. 1, a mass m1 is located at the right of With playing machines, the thresholds are usually mea- beam 1. Before the tongue is released from the reed, the sured by increasing the blowing pressure while holding other weight of this mass provides the force that produces an initial parameters constant. The measured values of the minimum displacement Dy0 of the reed from its equilibrium position. pressure required for oscillation exhibit hysteresis (Dalmont Beam 2 with a mass m2 on the right is located above and to the et al., 2003, 2005; Dalmont and Frappe, 2007; Almeida left of beam 1, with a vertical separation d. The tongue is et al., 2013): they depend on how blowing pressure is varied lifted from the reed when the left of beam 2 is released by the over time.
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