The clarinet lacks even harmonics at low tones but approaches odd-even parity higher up

Evidence

Sundberg (1989) summarizes this effect for the clarinet as follows: … This means that the even-numbered modes are not welcome in the resonator… . A common misunderstanding is that these partials are all but missing in the spectrum. The truth is that the second partial may be about 40 dB below the fundamental, so it hardly contributes to the timbre. Higher up in the spectrum the differences between oddand even-numbered neighbors are smaller. Further … the differences can be found only for the instruments’ lower tones. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1259

Categorization

• DEFINE: Clarifies what the ‘missing even harmonics’ of a clarinet actually means perceptually - a 40dB suppression, not outright absence, and only in the low register.
• XREF: connects to: Even harmonics in clarinet tones are suppressed but not absent from the spectrum; Even harmonics appear in clarinet sound despite its closed cylindrical resonator; Clarinet sound still contains even harmonics the resonator does not support (+4 more)

Broader Connections

• Even harmonics in clarinet tones are suppressed but not absent from the spectrum #corroborates (0.92)
• Clarinet even harmonics are attenuated, not absent, from the spectrum. #corroborates (0.92) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1231
• Even harmonics appear in clarinet sound despite its closed cylindrical resonator #corroborates (0.90)
• Clarinet sound still contains even harmonics the resonator does not support #corroborates (0.90)
• The clarinet’s hollow timbre stems from its half-open bore missing even harmonics. #qualifies (0.78)
• Harmonic amplitudes shape timbre and loudness but not pitch. #qualifies (0.72) — Jennifer Lentz, Psychoacoustics- Perception of Normal…, 1195
• Instrument timbre differences stem from harmonic spectra that shape masking breadth #responds-to (0.72) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 449