Tonal Characteristics of Musical Instruments
Identifieur interne : 000049 ( Main/Exploration ); précédent : 000048; suivant : 000050Tonal Characteristics of Musical Instruments
Auteurs : Jürgen Meyer [Allemagne]Source :
- Modern Acoustics and Signal Processing ; 2009.
Abstract
It is typical for brass instruments to exhibit spectra which can be divided into two groups. In the upper register the fundamental is strongest, while for the lower positions a formant-like maximum is present. As noted in the chromatic representation in Fig. 2.4, the fundamental dominates from C4 on upward in French Horns, while higher partials decrease in amplitude rather steadily. Below C4 the maximum is initially relocated to the octave partial and then maintains its frequency position, so that in the lowest registers the 4th and 5th partials receive most of the energy. As a result, the main formant, typical for the French Horn, develops, which is located at approximately 340 Hz (Meyer, 1967b). It falls into the region of the vowel color ‘‘u (oo)’’ which is responsible for the round and sonorous sound of the Horn. Below this maximum, the amplitude for the low registers drops rapidly with a slope of 12 dB/Octave. The lowest frequency possible corresponds to the note B1 with approximately 62 Hz. The fundamental is roughly 25 dB weaker here than the strongest partial. This shows that the low frequencies only play a subordinate role in determining the tone quality of the Horn. Above the maximum, the amplitudes also decrease, however, there are several additional formants present which influence the tonal picture. Their frequency locations are represented schematically in Fig. 3.1. Below the Vowels are the results for the commonly used German double horn. The already mentioned main formant at 340 Hz is followed by the first ancillary formant at 750 Hz, also in the range of the vowel color ‘‘a (ah),’’ and further formants near 1,225 Hz, 2,000 Hz, and also (using the F-Horn) still near 3,500 Hz. This series of ancillary formants brightens the overall tone, so that the tonal character is not as dark as for a sung or spoken ‘‘u (oo).’’ In this, the higher frequency partials gain in importance with increasing overall volume, while only the lower formants contribute while playing softly.
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DOI: 10.1007/978-0-387-09517-2_3
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