Cuttoff frequencies and cross fingerings in baroque, classical, and modern flutes

Joe Wolfe; John Smith

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Cuttoff frequencies and cross fingerings in baroque, classical, and modern flutes

机译：巴洛克，古典和现代长笛的截止频率和交叉指法

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Baroque, classical, and modern flutes have successively more and larger tone holes. This paper reports measurements of the standing waves in the bores of instruments representing these three classes. It presents the frequency dependence of propagation of standing waves in lattices of open tone holes and compares these measurements with the cutoff frequency: the frequency at which, in an idealized system, the standing waves propagate without loss in such a lattice. It also reports the dependence of the sound field in the bore of the instrument as a function of both frequency and position along the bore for both simple and "cross fingerings" (configurations in which one or more tone holes are closed below an open hole). These measurements show how "cross fingerings" produce a longer standing wave, a technique used to produce the nondiatonic notes on instruments with a small number of tone holes closed only by the unaided fingers. They also show why the changes from baroque to classical to modern gave the instruments a louder, brighter sound and a greater range.

机译：巴洛克，古典和现代长笛相继具有越来越大的音孔。本文报告了代表这三个类别的仪器孔中驻波的测量结果。它显示了驻波在开口音孔的格子中传播的频率依赖性，并将这些测量结果与截止频率进行比较：在理想的系统中，驻波在该格子中传播而无损失的频率。它还报告了对于简单和“交叉指法”（其中一个或多个音孔在开口孔以下闭合的配置），乐器孔内声场的依赖性与沿着孔的频率和位置的关系。。这些测量结果表明“交叉指法”是如何产生更长的驻波的，这是一种在带有少量音孔的乐器上产生非声调音符的技术，该音孔仅由独立的手指闭合。他们还说明了为什么从巴洛克式到古典式到现代式的变化都使乐器具有更大声，更明亮的声音和更大的范围。

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《The Journal of the Acoustical Society of America》 |2003年第4期|共10页
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Joe Wolfe; John Smith;
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Cuttoff frequencies and cross fingerings in baroque, classical, and modern flutes

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