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2 The Scientist’s Perspective on Brass Instrument Behaviour
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Fig. 2.18 (a) Frequency spectrum of trumpet note F4. (b) Input impedance curve for a B trumpet.
Green lines: harmonics of F4. Red lines: harmonics of B 2. (c) Frequency spectrum of trumpet note
B 2 (pedal note) (Color figure online)
corresponding requirement of an approximately harmonic set of resonances as the
‘Bouasse-Benade prescription’ (see Sect. 5.4.5).
Figure 2.18c shows the frequency spectrum for the note B 2 played on the
trumpet. This ‘pedal note’ is difficult to sound in tune, because there is no acoustic
resonance to support the first harmonic of the mouthpiece pressure. There is
however the possibility of support for the higher harmonics, each of which lies not
2 The Scientist’s Perspective on Brass Instrument Behaviour
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Fig. 2.18 (a) Frequency spectrum of trumpet note F4. (b) Input impedance curve for a B trumpet.
Green lines: harmonics of F4. Red lines: harmonics of B 2. (c) Frequency spectrum of trumpet note
B 2 (pedal note) (Color figure online)
corresponding requirement of an approximately harmonic set of resonances as the
‘Bouasse-Benade prescription’ (see Sect. 5.4.5).
Figure 2.18c shows the frequency spectrum for the note B 2 played on the
trumpet. This ‘pedal note’ is difficult to sound in tune, because there is no acoustic
resonance to support the first harmonic of the mouthpiece pressure. There is
however the possibility of support for the higher harmonics, each of which lies not
