Single-reed Woodwind Instruments Research Articles

Effects of two-dimensional reed oscillation on airflow and sound generation in a single-reed instrument

While two-dimensional (2D) reed oscillation modes of single-reed woodwind instruments have been reported in previous studies, little is known about their effects on airflow and sound generation. In this study, we conducted aeroacoustic simulations of a clarinet mouthpiece and resonator coupled with one-dimensional (1D) and 2D reed deformation models and investigated the changes in flow and sound generation due to the 2D reed vibration. The 1D and 2D reeds were modeled using 1D beam and thin plate theories, respectively, whereas the three-dimensional airflow was simulated by solving the compressible Navier–Stokes equations. The self-sustained oscillations of the 2D reed model mainly exhibited a flexural mode at the fundamental frequency, which is consistent with previous observations. Complex torsional modes were observed only at higher harmonic frequencies. A comparison between the 1D and 2D reed models demonstrated that the 2D reed opened later at the side face of the mouthpiece than the 1D reed owing to the torsional mode, which changed the time variation of the flow rate into the mouthpiece and the far-field sound in the high-frequency range. These results suggest the importance of the torsional deformation characteristics of reeds on the timbre of single-reed instruments.

Sound synthesis applications using a physical model of a single-reed woodwind instrument

Physical modeling can be used to analyze and predict the vibrations of a musical instrument. This also enables to numerically synthesize sounds as if they were produced by a real instrument. Focusing on single-reed woodwind instruments, a physical model should incorporate the actions of the player in order to synthesize realistic sounds. This interaction mostly takes place at the instrument mouthpiece—toneholes opened by the player's fingers may be approximated by changing the instrument geometry. A physical model is presented that is able to take embouchure effects into account, in order to reliably simulate note transitions. Regarding physical modeling synthesis, the numerical efficiency of the underlying algorithms should also be considered. Capturing as many physical phenomena as possible may lead to models that require longer running times. Omitting less significant phenomena may lead to models suitable for real-time performance, while retaining most of the sound characteristics of the real instrument. In either case, it is of utmost importance to prove that the simulation algorithms are numerically stable. Sound examples are presented in an attempt to imitate real recordings, as well as in a live performance setting (examples available at https://iwk.mdw.ac.at/sound-synthesis/)

Physics-based playability maps for single-reed woodwind instruments.

Musical instrument playability can be analyzed by visualizing a subspace defined by musicians' control parameters. This is common for bowed-string instruments in the form of Schelleng diagrams. Such diagrams can be populated either through experimental measurements or physical modeling. It was recently suggested to use similar diagrams for analyzing wind instrument playability. This study explores this direction using a physical model, previously validated against experimental measurements. It is shown that reed beating needs to be taken into account before playability analysis. This could help arrive at specific reed and mouthpiece designs according to the musicians' desires.

Two-dimensional playability maps for single-reed woodwind instruments

One method to analyze musical instrument playability is by visualizing a two-dimensional subspace of the musician's control parameters. This hasbeen widely used in the form of Schelleng diagrams for bowed string instruments. There, it is possible to identify regions within the bow force—bowing position subspace where Helmholtz motion is achieved. Such diagrams may be populated either on the basis of experimental measurements, or via physical modeling. In fact, physical modeling is particularly suited to this task, since playing parameters can be directly controlled. It has been recently suggested (Woodhouse, in Proc. SMAC 2023) that similar diagrams may be used for analyzing wind instrument playability. This study aims at exploring this direction using a physical model which has been previously validated against experimental measurements. Initially, an informed decision is made on which parameters should be chosen for plotting an equivalent playability diagram. Subsequently, various diagram versions are generated, focusing on different aspects of the generated tones. As already pointed out by Woodhouse, similarities appear between the diagrams for bowed-string and woodwind instruments. It remains to examine how valuable information regarding woodwind playability may be extracted from such studies.

Longitudinal and Transversal Elasticity of Natural and Artificial Materials for Musical Instrument Reeds.

The reed is the primary component in single-reed woodwind instruments to generate the sound. The airflow of the player’s mouth is the energy source and the airflow is modulated by the reed. The oscillations of the reed control the airflow. Traditionally, instrument reeds are made out of natural cane (Arundo Donax), but in efforts to overcome variability problems, synthetic reeds have been introduced. Previous investigations mainly focused on natural cane reeds and direct elasticity measurements did not discriminate between elasticity moduli along different directions. In order to obtain the mechanical properties along the direction of the reed fibres and in the orthogonal direction separately, a three-point bending testing setup was developed, which accommodates the small samples that can be cut from an instrument reed. Static moduli of elasticity were acquired in both directions. Much higher ratios between longitudinal and transversal moduli were seen in the natural cane reed as compared to the artificial reeds. Wet natural reeds showed a strong decrease in moduli of elasticity as compared to dry reeds. Elasticity was significantly higher in artificial reeds. The force–displacement curves of the wet natural reed show hysteresis, whereas the artificial materials did not. In the cane reed, higher energy losses were found in the transversal direction compared to the longitudinal direction

The influence of the vocal tract on the attack transients in clarinet playing

ABSTRACTWhen playing single-reed woodwind instruments, players can modulate the spectral content of the airflow in their vocal tract, upstream of the vibrating reed. In an empirical study with professional clarinettists (), blowing pressure and mouthpiece pressure were measured during the performance of Clarinet Concerto excerpts. By comparing mouth pressure and mouthpiece pressure signals in the time domain, a method to detect instances of vocal tract adjustments was established. Results showed that players tuned their vocal tract in both clarion and altissimo registers. Furthermore, the analysis revealed that vocal tract adjustments support shorter attack transients and help to avoid lower bore resonances.

Investigating Clarinet Articulation Using a Physical Model and an Artificial Blowing Machine

A time-domain physical model is presented that is capable of simulating a variety of articulation techniques in single-reed woodwind instruments and suitable for real-time sound synthesis. Due to the nonlinear nature of the excitation mechanism, an energy-based approach is adopted for the construction of the numerical scheme in order to ensure algorithm stability. To validate the model, measurements are carried out using an artificial blowing machine. The construction of the machine, including a sensor-equipped reed and mouthpiece as well as an automated artificial tongue and lip, is described in detail. By adjusting the motion of the tongue, the blowing machine can generate audio signals corresponding to portato and staccato articulation. These signals are resynthesised following an inverse modelling approach based on the presented physical model, during which model parameters are estimated. All estimated parameters lie in a physically feasible range and may be used for sound synthesis and sound analysis applications.

Single-reed woodwinds: From physical modeling to sound radiation

Single-reed woodwind instruments have been traditionally used in marching bands, along with brass and percussion instruments. However their sound is often covered by louder instruments, making them less audible to the audience and the members of the band. Indeed, the saxophone has been designed in order to replace the clarinet in military bands, making the woodwind section of the band more prominent. This study discusses the sound generation mechanism of single-reed woodwind instruments in an attempt to investigate which reed and mouthpiece properties significantly affect the amplitude of the radiated sound. To this end, transfer function measurements and numerical investigations using physical modeling are employed. The former may indicate how the use of different mouthpiece geometries and various types of reeds may have an effect on the sound magnitude. The latter can be used to systematically vary reed and embouchure related parameters while observing how changes in these parameters affect the radiated sound.

Physics-Based Analysis of Articulatory Player Actions in Single-Reed Woodwind Instruments

Musicians use various articulation techniques during expressive performance. In the case of single-reed woodwind instruments these may involve tongue strokes to the reed or modulation of the blowing pressure. To analyse the emerging transient phenomena, a time-domain physical model of the player-instrument interaction is employed. In order to avoid adding new terms and complexity to the model, the effect of tonguing is simulated by allowing temporal variation of existing, physically meaningful parameters. Experimental measurements show differences between tones separated using the tongue or the blowing pressure and comparisons with numerical simulations are carried out. In particular the synthesised mouthpiece pressure and reed displacement are compared with data obtained under real playing conditions. In an attempt to understand how articulatory actions affect the excitation mechanism of the instrument, the physical model parameters that are required to resynthesise the recorded sounds are estimated. This allows tracking the evolution of parameters that evade direct measurement.

Modeling articulation techniques in single-reed woodwind instruments

Time-domain simulations of wind instruments can, in principle, deal with non-linear oscillations and are also capable of modeling both the steady-state and the transient behavior of a system. The starting transient is usually an important identifying feature of the instrument that is played. Subtle control of articulation is required from skilled musicians to modulate transients during expressive performance. Focusing on single-reed woodwind instruments, the physical phenomena that underlie different articulation techniques are analyzed. A saxophone player is recorded during portato playing, where articulation is achieved either by the use of the tongue, or by modulating the air flow into the mouthpiece. The bending of the reed and the pressure inside the mouthpiece are measured and a physical model is formulated with the aim to capture the transient effects. Instead of adding new terms (and complexity) to a single mass-spring model, in order to simulate the player's tongue, existing physically meaningful parameters are allowed to vary. In particular, the effect of tonguing is modeled by modulating the equilibrium position of the (lumped) reed and its internal damping, whereas in the case of air-separated tones, only a variation of the blowing pressure is required.

Measurement setup for articulatory transient differences in woodwind performance

To model transient differences caused by varying articulation techniques on single-reed woodwind instruments, human performances have to be measured and analyzed. In a previous study, we investigated differences between tongued and air-separated tones on a saxophone by monitoring inner mouthpiece pressure, mouth pressure, and reed bending during performance. Some of the observed effects (e.g., damping and displacement of the reed) were applied to a physical model. Although tip-opening is an essential parameter of lumped reed models, we were only able to directly compare our measurements to the model by inner mouthpiece air-pressure. In this study, we aim to relate measurable reed-bending to the resulting tip-opening and also determine the sensor-reed's stiffness. A micro-mechanical characterization test system records the static and dynamic mechanical data of the sensor-equipped reeds. Pull and tensile measurements are used to reveal the relation between reed bending and tip opening and will increase our understanding of quasi-static properties of the reed-mouthpiece system. This allows conclusions about the tip opening behavior at transient emergence in expressive single-reed woodwind performance.

Computational analysis of the dynamic flow in single-reed woodwind instruments

The dynamics of the air flow within the mouthpiece of single-reed wind instruments makes an important contribution to the acoustic behavior of this type of system, particularly during transient regimes. In this work, a two-dimensional numerical model of the mouthpiece-reed system is used to evaluate the behavior of the flow within the mouthpiece at three different frequencies within the playing range of the clarinet. The relationship between volume flow and blowing pressure, as well as the behavior of the vena contracta during one duty cycle are compared with the available analytical models and with recent experimental observations.

Mouthpiece system for woodwind instruments

An improved mouthpiece reed holder system for single-reed woodwind instruments. The mouthpiece window is nearly the full length of the reed such that preferably 65% or more of the area of the underside of the reed is open to the tone chamber. The associated reed holder (commonly termed the ligature) clamps the reed to the mouthpiece along the lateral edges of the reed. The tone chamber of the mouthpiece is preferably the same length as the window, and preferably rectangular or square in cross-section throughout its length. A hollow spoon shaped cavity communicates with the bore and the tone chamber and merges the bore with the tone chamber.