Klarinet Archive - Posting 000155.txt from 2002/11

From: "William Semple" <wsemple@-----.com>
Subj: Re: [kl] Tuners
Date: Sun, 3 Nov 2002 10:59:22 -0500

I can't remember the exercise, but I remember an exercise involving my
teacher where we stood in a corner and played either a third or a fifth. If
it was in perfect tune, it sound an audible overtone that was as strong as
the two notes we were playing.

----- Original Message -----
From: "Karl Krelove" <karlkrelove@-----.net>
Subject: RE: [kl] Tuners

> These are, for me, very revealing. If I'm interpreting the graphs
correctly,
> it seems as if the only register in which there is a real emphasis on
> odd-numbered partials (for this particular player) is in the Chalumeau
(the
> low F and the E a seventh above). After that the partials seem to roll off
> at a fairly even rate. Can anyone recommend URLs (or even up-to-date
> <shudder> printed matter) for similar representations of, say, trumpet or
> oboe or, for that matter, string instrument tones for comparison? I know
> from past discussions here that the physics gets very involved and the
math
> that explains it goes quickly beyond my limits (pun intended), but the
> question these graphics suggest to me is why clarinets are still
> identifiable higher up in the registers where the harmonic distribution
> (having right now little to compare it to) seems so non-idiosyncratic.
>
> Harry Olson in Music, Physics and Engineering (1952) - the only source of
> similar frequency graphs that I have at hand - includes some hand-drawn
> graphs showing the harmonic spectra of several tones on a number of
> orchestral instruments. His clarinet graphs show similar shapes, but with
> more relative strength in the fundamental and the twelfth (3rd partial),
> even as high as f=932 (very close to Pyne's 924). Maybe it would be
> interesting to see these analyses of individual players - might confound
the
> issue even further.
>
> One thing I found striking (and, I know I'm off-topic) is that in several
of
> Olson's samples the fundamental is not where the greatest sound energy is
> generated - mostly very low instruments, but including the oboe at f=523
> (very near the A we all tune to), the lowest range of a trumpet, and human
> soprano and alto voices, the greatest sound energy shown in Olson's graphs
> is not in the fundamental at all, but in the octave (2nd partial)
harmonic.
> His vocal tenor and bass graphs show the greatest energy level in the 3rd
> partial (the twelfth)!
>
> But there must be sources newer than this.
>
> Karl Krelove
>
> > -----Original Message-----
> > From: Mark Charette [mailto:charette@-----.org]
> > Sent: Saturday, November 02, 2002 11:08 PM
> > To: klarinet@-----.org
> > Subject: RE: [kl] Tuners
> >
> >
> >
> > -----Original Message-----
> > From: Karl Krelove [mailto:karlkrelove@-----.net]
> >
> > I'm sure I'm working with incomplete and oversimplified information, but
> > doesn't the clarinet produce only odd-numbered partials (starting with
the
> > fundamental as the first)?
> > ----
> > Not quite.
> >
> > The even numbered partials are present, though they are not very
> > audible in
> > the chalumeau registers (2nd harmonic down -40db relative to the
> > fundamental
> > at E3) but even there the even numbered higher partials contribute a
small
> > but significant amount of energy. The clarion and altissimo ranges show
> > higher levels of even-numbered partials.
> >
> > A more complete definition would perhaps say that the clarinet
emphasizes
> > the odd partials and can only overblow odd partials.
> >
> > See the site I put together for Dr. Jim Pyne at Ohio State some years
back
> > that shows some spectra produced via a calibrated microphone and
recorder:
> >
> > http://hughes38.som.ohio-state.edu/
> >
> > (it runs on the "original" Sneezy machine from 6 years back ...)
> >
> >
> > ---------------------------------------------------------------------
> >
>
>
>
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>

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