Having all harmonics up to the fifth or seventh also shapes timbre

Evidence

Within this latter group of instruments, there is an additional potential timbral grouping between those instruments that exhibit all harmonics up to the fifth or seventh, such as the clarinet, oboe and flute, compared with those that just have a few low harmonics such as the principal 8′, gedackt 8′, trombone, French horn and tuba. It may come as a surprise to find the flute in the same group as the oboe and clarinet, but the lack of the seventh harmonic in the flute spectrum compared with the clarinet and oboe (see Figure 5.3) is crucial. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1477

Categorization

• CANDY: The flute grouping with oboe and clarinet rather than lower wind instruments is counterintuitive and easy to drop at a dinner party.
• DEFINE: Clarifies that presence of low harmonics, not overall brightness, forms a second axis of timbral categorization.
• XREF: connects to: Instrument timbre develops over time as higher harmonics fade in after the fundamental. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1452; Strong energy above the fifth harmonic makes instruments sound bright — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1475; Bright timbres stem from strong energy in harmonics above the seventh (+7 more)

Broader Connections

• Bright timbres stem from strong energy in harmonics above the seventh #complicates (0.95)
• The seventh harmonic gives an organ mixture a reed-like timbre #corroborates (0.95) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1566
• The unresolved seventh harmonic imparts reedy timbre to instruments like the clarinet #corroborates (0.95) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1478
• Dark or dull timbres lack energy in harmonics above the seventh #corroborates (0.90)
• Only harmonics below the fifth to seventh are individually resolved in timbre perception #contradicts (0.85)
• An oboe-like timbre is reproduced by four harmonics with exponentially decreasing amplitudes #qualifies (0.85) — Dijk, Pim van, Physiology, Psychoacoustics and…, 5290
• Organists shape timbre by selectively reinforcing harmonics of one series #qualifies (0.80) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1526