Certain Anomalies in the Theory of Air Column Behavior in Orchestral Wind Instruments

Abstract

Assuming the clarinet to be closed at its mouthpiece end, theory requires that only odd partials enter the composite tone produced, while analysis of the tone produced shows traces of all even partials, and Miller finds the twelfth partial the most intense of all. On the other hand, to explain the complete series of partials produced by the oboe, bassoon, saxophone, and brass instruments, it is assumed that these instruments are open at their mouthpieces, although these mouthpieces differ in no qualitative respect from the clarinet mouthpiece which is assumed to be closed. These contradictions disappear, and the observed facts are explained, by recognizing the fact that no orchestral wind instrument is closed at its mouthpiece end, a closed end being necessarily defined as one which prevents the escape of air. All orchestral wind instruments are thus doubly open tubes producing the full series of partials, the relative intensities of the several partials being determined by the contour of the air-column walls in the several instruments. Thus the lower even partials are relatively weaker than the higher in the clarinet, while the lower and higher even partials of the French horn do not vary materially in intensity.