This chapter offers a detailed understanding of the mechanism of sound production in brass instruments, drawing on recent scientific research but presented in language easily comprehended by readers unfamiliar with scientific writing. Sections of the chapter explain the brass instrument player’s actions in blowing, and how the lips vibrate. The resonances of the air inside the tubing of a brass instrument are discussed, and their important influence on the vibration of the lips is described. The concept of ‘slotting’, familiar to brass players, is explained. Further sections deal with the contributions of the mouthpiece and bell flare to a well-designed brass instrument. The concept of a ‘cooperative regime’, less familiar to musicians but accounting for important aspects of the playing experience, is explained. Finally, the sound quality of brass instruments is discussed, in particular how it changes between soft and loud playing and how this effect depends on instrument design, introducing the phenomenon of ‘spectral enrichment’.

错误:搜索内容不能为空,请输入英文关键词
错误:关键词超出字数限制,请精简
高级检索

How Brass Instruments Work

  • Murray Campbell,
  • Arnold Myers,
  • Joël Gilbert

摘要

This chapter offers a detailed understanding of the mechanism of sound production in brass instruments, drawing on recent scientific research but presented in language easily comprehended by readers unfamiliar with scientific writing. Sections of the chapter explain the brass instrument player’s actions in blowing, and how the lips vibrate. The resonances of the air inside the tubing of a brass instrument are discussed, and their important influence on the vibration of the lips is described. The concept of ‘slotting’, familiar to brass players, is explained. Further sections deal with the contributions of the mouthpiece and bell flare to a well-designed brass instrument. The concept of a ‘cooperative regime’, less familiar to musicians but accounting for important aspects of the playing experience, is explained. Finally, the sound quality of brass instruments is discussed, in particular how it changes between soft and loud playing and how this effect depends on instrument design, introducing the phenomenon of ‘spectral enrichment’.