Physics of the Trumpet Ep. 1: Standing Waves (and FIRE!)
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- Опубліковано 3 жов 2024
- In this episode of "Trumpet with Bob," trumpeter @bobbyspellman discusses the physics of the trumpet. Good times are had by all.
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Musical Physics Reading List:
Physics and Music: The Science of Musical Sound by Harvey E. White and Donald H. White
www.amazon.com...
Horns, Strings, and Harmony by Arthur H. Benade
www.amazon.com...
Trumpet Science by Ben Peterson
www.amazon.com...
Teaching Brass by Kristian Steenstrup
www.amazon.com...
Blow Your Mind by Kristian Steenstrup
www.amazon.com...
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This is my favorite video you’ve ever made, I can’t wait for part 2!
Thanks, Danny!
Very helpful and interesting video - looking forward to part two
Thanks, David!
Amazing! Thanks Bob. 🤗
Totally found this video so intriguing for a new beginner! Thank you so much!
I just tried the pedal c on my Bb ... and you're right. I've spent so many years getting the pedal in tune with the low c that I didn't understand your comment on the concert Ab. I use the pedal c ( actually concert eb ) for one bit in the hummel tpt concerto 2nd movement ... which is why I practise lipping it up like crazy.. ...or faking it by using 123 valves pressed down and lipping it to the Eb. Really looking forward to part 2... 😮
The pedal is actually about a concert G or even lower. It depends on the instrument and mouthpiece.
Great stuff! Looking forward to #2.
Thanks! We'll have episode 2 out at the end of next week!
Buzz practice allows the player to let the boundaries of the aperture to vibrate in harmony with the standing wave. If you review live video of lip cam you will see that it is a very small, but continuously open hole. [More evident, say, with Tuba or Trombone.] Pressing the "buzz story" so often results in lip clamping and note strangulation.
Very informative! Looking forward to Part 2. My trumpet teacher referred me to your channel recently and I'm getting a lot of great info watching your videos. Thanks very much!
nice video
Great video Bobby. I've put some time into trying to understand all of this over the years but you've gone deeper than I have. I think that trumpet pedagogy sorely needs this kind of information to demystify the whole thing. Can't wait for part 2 (the juicy one by the sounds of it).
Thanks, Jon! Part 2 will be juicy!
On re-watching I just realized that the sound of the pipe with the blow torch sounds a lot like Clarke Terry whisper tones. I wonder if the mechanism is the same. @@RidgewoodSchoolofMusic
There is an antinode in the mp cup. Correct. There are always nodes at the mp throat and at the vicinity of the bell.
The firmness of the lips controls the frequency of pitch played.
(Yes, all players "tighten" the lips to control pitch.)
Your blow-torch experiment is simply introducing white noise at the closed end. All of the harmonics of that pipe are resonating but weakly.
You are not selecting a dominant standing wave with feedback with that setup.
The pedal is actually about a concert G or even lower. It depends on the instrument and mouthpiece.
This made me curious and I spent a while looking at Rijke tube experiments. His demonstration here doesn't work because the pipe isn't vertical!
@@theKobus brass tone is not a thermal phenomenon. He makes an odd claim in this video.
@@darryljones9208 the sound production in a tube by pressure is analogous. Whether that's useful or not is another question
I clicked for cool fire stuff, and now I’m smarter. What an absolute racket.
A FLAT WHAT THE HECK
THREE PERCENT. THREE **** PERCENT.
You mention fluid dynamics. How on earth can you make that comparison - since air is a compressible medum, and fluids generally are not: Not comparable rules or laws-
at least not as related to musical instruments I should think.
lips can be compared to strings: Three ways to change tone pitch: Change length or change tension. Smaller mouthpiece or reducing lip aperture raises pitch. Stretching lips within a given aperture raises pitch. Or combine both, which is what we do. Third: increase pressure to increase speed of airflow. That is where the diaphragm comes into play, and that is where we start thinking muscle. To make a small aperture with lips and at the same time make it withstand strong air pressure, you need strong lip muscles (or chops, as some like to call it.)
With beginner's muscles in both lips and diaphragm, high tones are unreachable - even with the smallest mouthpiece. But with a year or two of constant practice, both muscles and range will grow, independent of your mouthpiece. After a year or so, you can easily reach the high G even with your old mouthpiece that was "impossible" to begin with.
There is no substitute for practice and muscle. There is no other explanation for the red faces of people who play high notes at some length of time. Pressure and muscle in fight.
In English, "fluid dynamics" is the broader discipline disciple including "hydrodynamics" (liquid) and "aerodynamics" (gas). (And others). Physics-wise both liquids and gases are 'fluids'. So that's the standard terminology.
If you check out Bruce Yeany's video on Rijke tubes, he explains the experiment really well. Anyway it makes sounds BECAUSE air is compressible! Pretty fascinating
@@theKobus Thank you for your insight.
Learng a little every day😊
@bjarterundereim3038 the lip tension controls the pitch or the resonance harmonic selected. It has nothing to do with air "speed." Air pressure controls dynamics.
The diaphragm is active on inhalation only.
@@darryljones9208 You got the wrong end of the stick.
Lip tension decides the size of the opening to press the air through. Your ribs and abdomen create the air pressure needed to make the air vibrate in the instrument to produce the wanted note. Very much like what happens in an organ pipe or a flute. The air vibrates. You should take the time to listen to a couple of masterclasses by educated musicans on the subjct.
@bjarterundereim3038 What educated musicians? They commonly just repeat what they hear of popular myths and constructs. They rarely have accurate knowledge of physics, acoustics, etc.
One does vary the air pressure by the exhalation effor as required to control the dynamics, but this does not directly control the pitch. The lip embouchure state controls pitch. It has nothing to do with air "speed."