Of four brass instruments, only the trumpet shows prominent high harmonics
Evidence
In a complete brass instrument, it is possible through the use of an appropriately shaped bell, mouthpiece and mouthpipe to construct an instrument whose modes are frequency shifted from the odd-only modes of a stopped cylindrical pipe to being very close to a complete harmonic series. In practice, the result is a harmonic series in which all modes are within a few percent of being integer multiples of a common lower-frequency value except for the first mode itself, which is well below that lower-frequency value common to the higher modes, and therefore it is not harmonically related to them. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1250 (
#expands, via linked claim)
Categorization
- XREF: connects to: A trumpet without a bell has stronger high partials than with one; Brass instruments differ sharply in how many harmonics their tones carry; Brass instrument design transforms odd-only pipe modes into a near-complete harmonic series — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1250 (+1 more)
Related
- Brass instruments differ sharply in how many harmonics their tones carry (similarity 0.92)
- A trumpet without a bell has stronger high partials than with one (similarity 0.88)
- Brass instrument design transforms odd-only pipe modes into a near-complete harmonic series (similarity 0.87)
- Most acoustics texts attribute trumpet brilliance to treble boost (similarity 0.84)
- Brass instruments have no usable fundamental and start from their second mode (similarity 0.83)
- Every brass instrument comprises mouthpiece, mouthpipe, main pipe, and flared bell (similarity 0.83)
- An instrument’s identity is set by its unique recipe of frequency components (similarity 0.82)
- The second brass resonance mode is the lowest usable musical pitch (similarity 0.82)
- Instrument timbre differences stem from harmonic spectra that shape masking breadth (similarity 0.81)
- Brass instruments are lip-driven pressure valves that behave acoustically like stopped pipes. (similarity 0.81)
- Brass instrument bells reflect low frequencies early and pass high ones. (similarity 0.81)
- A trumpet’s bell beams high frequencies forward, changing timbre with direction of aim. (similarity 0.81)
- Bright timbres stem from strong energy in harmonics above the seventh (similarity 0.80)
- Timbre is conditioned entirely by the strength and presence of overtones (similarity 0.80)
- The conical horn converts a closed-reed tube into a full harmonic instrument (similarity 0.80)
Broader Connections
- Brass instruments differ sharply in how many harmonics their tones carry
#expands(0.85) - Brass instrument design transforms odd-only pipe modes into a near-complete harmonic series
#expands(0.75) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1250 - The flute lacks the seventh harmonic that groups it with oboe and clarinet
#corroborates(0.70)