THE MAGIC AEROPHONE-FIPPLE TRUMPET. AEROPHONE DIDGERIDOOS(CHROMATIC/OVERTONES FUJARAS) WITH TRUMPET ACOUSTICS.
LONG TUBE AEROPHONES (CHROMATIC/OVERTONES WINDS) WITH FIPPLE ,SIMILAR TO FUJARAS/DIDGERIDOOS, TRUMPETS AND BRASS WINDS (ratio 80< Length/Bore and about equal 125 as in trumpets ) ?
LONG TUBE AEROPHONES (CHROMATIC/OVERTONES WINDS) WITH FIPPLE ,SIMILAR TO FUJARAS/DIDGERIDOOS, TRUMPETS AND BRASS WINDS (ratio 80< Length/Bore and about equal 125 as in trumpets ) ?
It is known that many long tube winds have been invented with cane reeds (like coils either double reeds e.g. the Rackett https://www.youtube.com/watch?v=QwPgiVCVxEA https://www.youtube.com/watch?v=d9_ma4ITRSc or single reed like Mr curly of Lindsay Polak https://www.youtube.com/watch?v=Iu60MwpMiow https://www.youtube.com/watch?v=XNO97-mPP8U&t=14s) or lips-reeds in trumpets and other brasswinds. A trumpet that the sound is produced by the lips is a lips-reed wind with closed-open acoustics that normally have only odd number harmonics (overtones) . Nevertheless because of the gradual cone at the end, as with the saxophone eventually because of a complicated phenomenon of acoustics both odd and even number of overtones. Still strictly speaking an aerophone is not producing the sound from a reed, but by a fipple or rim blowing. A modern trumpet at Bb was tube length of 1.482 m and is producing 8 overtones, the first is not possible to play so from 2nd to 8th are C4 G4 C5 E5 G5 A5 C6. These 7 notes are essentially part of an arpeggio of the C major chord with 7nth within 2 octaves. The keys-valves allow for 6 more series of such harmonics each one a semitone lower.
So what if the same acoustics are derived as aerophone winds with fipples? Fujara and didgeridoos are simplistic cases of them with close air acoustics at the side of the mouth but they can be rendered to open-open acoustics with fipples. Such winds have not been elaborated in the same way with valves etc as the brass lips-reeds winds.
The fujaras that are known if they have large bore inner diameter and thus length/bore ratio less than 80 will not belong to the acoustic and musical effect described here (sliding whistle over a dense scale of higher harmonics)
Examples of Fujaras
https://www.youtube.com/watch?v=y8Wzb3tLPCs
In the next we not only use the length to bore ratio between 80 and 125, 80< Length/Bore and about equal 125, but also to tune it to a particular note e.g. Bb we use as length the wavelength of the note two octaves lower. E.g. the wavelength of Bb3 is 148 cm (see http://pages.mtu.edu/~suits/notefreqs.html) but the root note will be by the 4th harmonic that is two octaves higher Bb5. Thus these open-open acoustics as far as Length/bore ratio and harmonics are closer to the french-horn rather than trumpet.
So what if the same acoustics are derived as aerophone winds with fipples? Fujara and didgeridoos are simplistic cases of them with close air acoustics at the side of the mouth but they can be rendered to open-open acoustics with fipples. Such winds have not been elaborated in the same way with valves etc as the brass lips-reeds winds.
The fujaras that are known if they have large bore inner diameter and thus length/bore ratio less than 80 will not belong to the acoustic and musical effect described here (sliding whistle over a dense scale of higher harmonics)
Examples of Fujaras
https://www.youtube.com/watch?v=y8Wzb3tLPCs
In the next we not only use the length to bore ratio between 80 and 125, 80< Length/Bore and about equal 125, but also to tune it to a particular note e.g. Bb we use as length the wavelength of the note two octaves lower. E.g. the wavelength of Bb3 is 148 cm (see http://pages.mtu.edu/~suits/notefreqs.html) but the root note will be by the 4th harmonic that is two octaves higher Bb5. Thus these open-open acoustics as far as Length/bore ratio and harmonics are closer to the french-horn rather than trumpet.
I made one such aerophone trumpet from a 97 cm long PVC pipe with inner diameter 12mm (thus Length/bore ratio= 970/12=80.83) and with a fipple from a Sweet tone Clarke whistle C5. I opened 4 holes above the middle of the tube (corresponding to the 2nd harmonic) that as in the trumpet keys give an increase of the tone by 1 semitone by 2 by 3 and by 4 semitones (one more key than trumpets) .The action is mainly on the 6th and 5th octave. The base not is F5.
As 2nd version o the holes we open a hole at the 2/3 of the length (corrected higher by above 80% of the more diameter) which corresponds the 3rd harmonic and two holes that give sequentially 2 semitones above it. And we also we mark the middle of the tube (that would correspond to thump hole giving the roo one octave higher, thus 2nd harmonic) but we do not open a hole there, we only open again 3 holes that give sequentially 1 tone 1 semitone and 1 semitone above it. In this setting of 5 holes (3+2) we incorporate almost the natural minor, the double harmonic minor and the harmonic minor in the main octave (which contains the 1-3-1 semitones pattern and has 5# and 2# in place of 5 and 2. The harmonic minor has only 5# in place of 5 and 2 while the natural minor has 5 and 2 ) which is chromatic feeling that complements the strongly harmonic feeling of the arpeggio of the major chord of each hole as higher harmonics). Strictly speaking the holes scale is the parachromatic Byzantine which is in semitones 1-2-3-2-1-1-3 (in steps of F major it is 5, 5# 6, 1, 2, 2# 3 5).When we open all the lower 3 holes a major 3rd interval appears , while of we open only the upper two holes a minor 3rd interval appears. Alternating these two we get nice harmony. In the modern trumpet the keys or valves add seven semitones within an interval of 5th thus creating in total 7 different series of overtones a semitone each away from the previous starting from the first one defined by the tube. In a guitar this would correspond to have 7 strings each one having pitch one semitone higher than the previous. Each string defines by its own a full sequence of harmonics. This is somehow what we could do here also except as it is not easy to reach the holes at the end of the tube we could open 4 above the 5th note and including 5th , 5 holes . Thus as a scale it would be the chromatic (5, 5#, 6, 6# 7 )
As 2nd version o the holes we open a hole at the 2/3 of the length (corrected higher by above 80% of the more diameter) which corresponds the 3rd harmonic and two holes that give sequentially 2 semitones above it. And we also we mark the middle of the tube (that would correspond to thump hole giving the roo one octave higher, thus 2nd harmonic) but we do not open a hole there, we only open again 3 holes that give sequentially 1 tone 1 semitone and 1 semitone above it. In this setting of 5 holes (3+2) we incorporate almost the natural minor, the double harmonic minor and the harmonic minor in the main octave (which contains the 1-3-1 semitones pattern and has 5# and 2# in place of 5 and 2. The harmonic minor has only 5# in place of 5 and 2 while the natural minor has 5 and 2 ) which is chromatic feeling that complements the strongly harmonic feeling of the arpeggio of the major chord of each hole as higher harmonics). Strictly speaking the holes scale is the parachromatic Byzantine which is in semitones 1-2-3-2-1-1-3 (in steps of F major it is 5, 5# 6, 1, 2, 2# 3 5).When we open all the lower 3 holes a major 3rd interval appears , while of we open only the upper two holes a minor 3rd interval appears. Alternating these two we get nice harmony. In the modern trumpet the keys or valves add seven semitones within an interval of 5th thus creating in total 7 different series of overtones a semitone each away from the previous starting from the first one defined by the tube. In a guitar this would correspond to have 7 strings each one having pitch one semitone higher than the previous. Each string defines by its own a full sequence of harmonics. This is somehow what we could do here also except as it is not easy to reach the holes at the end of the tube we could open 4 above the 5th note and including 5th , 5 holes . Thus as a scale it would be the chromatic (5, 5#, 6, 6# 7 )
Then I made a 2nd one which feels even better (because the ratio is higher 104 and the bore larger) without holes . I made this 2nd aerophone didgeridoo from a 172 cm long PVC pipe with inner diameter 16.5 mm (thus Length/bore ratio= 172/1,65=104.24) and with a fipple from a generation whistle at Bb . I did not opened holes as the variation of pitch was relatively easy and desne in the harmonics.The action is mainly on the 6th and 5th octave. The base note is G5.
These winds should not be confused with the Mosenos that are similarly long and with a fipple but they still play at the 1st and 2 harmonics mainly with small Length/bore ratio (e.g. 20) compared to 80.
The most important characteristic of these aerophone trumpet, winds are
1) They need not be bass , but on octaves from 7nth to 4th etc
2) The sound is not really one note but rather like a chord with many hidden harmonics
3) They must have very high Length/bore ratio above 80 and preferably around 125
4) They behave in the pitch of the sound like sliding whistles with a continuum of pitches but not entirely on all frequencies but on a dense grid of harmonics (certainly more than 12 chromatic notes in the octave)
5) They are very satisfying in playing like natural human whistling but unlike it or unlike the violin without frets, the harmonics give a natural scale of "frets" that the pitch falls in it which is very harmonic to listen . It is so because the relative change o the pitch is determined always by harmonics.
6) The harmonics are very easy to obtain not by overblowing (as in standard overtone whistles) but by simple blowing even under-blowing.
7) Holes are not necessary for hem. Only if the Length/bore ratio is much less than 125, e.g. 80 then 4 choles (reachable by the hands) at equal pitch distances of one semitone are adequate to help small chromatic changes of 1, 2 3 or 4 semitones (in trumpets the 3 keys help for 1,2 and 3 semitones). The reason that 4 semitones is added is because a sequence of alternating minor-major thirds gives chords on every 3 notes.
8) Such winds are so much so as to read an existing written melody from musical notes and play but a melody inside you to improvise and meditate .
When the L/B ratio is above 100 there is not even need for holes because the change of pitch by the change of blowing power is very sensitive and effective. But if one insists in making it easily chromatic then one hole close at the end of the tube at 0.9438 of the total length higher (plus about one inner diameter) will give a hole of one semitone higher pitch. In the modern trumpet the keys or valves add seven semitones within an interval of 5th thus creating in total 7 different series of overtones a semitone each way from the previous starting from the first one defined by the tube. Here in the picture below are two such aerophones with trumpets acoustics one in G5 176.02 cm and one in Bb5 (like the lips-reed trumpet) of 148.2 cm The length is more or less the theoretically expected by the wavelength at the 3rd octave (G3 , Bb3) e.g. here http://pages.mtu.edu/~suits/notefreqs.html The actually sound seems also as if having hidden root frequencies at the 2nd octave (G2 , Bb2 ) which makes it beautiful and harmonious. There is also a soft resistance in blowing which makes it satisfying.
The inner diameter of the bore is about 12mm and the tube I used is irrigation pipe. The pictures below for a first experimental assessment. As fipple I used that of generation whistles at Bb4. The feeling of the harmonics fixing your "whistling"at the right exact pitch is very satisfying, as well as the fiddling at any desired pitch like a violin with very dense frets on its fingerboard, defined by the harmony of the overtones. The sound is like that of waters, or the sound that often pigeons make when they are flirting. Still it is harmonic like chord and whistling. The sound is not loud but that is exactly what sometimes needs in order not to disturb the neighbors, it is sweet and very appropriate for meditation. I prefer these aerophone trumpets for improvisational meditation compared the Shakuhachi flute and Nay flute that also serve for meditation
These winds should not be confused with the Mosenos that are similarly long and with a fipple but they still play at the 1st and 2 harmonics mainly with small Length/bore ratio (e.g. 20) compared to 80.
The most important characteristic of these aerophone trumpet, winds are
1) They need not be bass , but on octaves from 7nth to 4th etc
2) The sound is not really one note but rather like a chord with many hidden harmonics
3) They must have very high Length/bore ratio above 80 and preferably around 125
4) They behave in the pitch of the sound like sliding whistles with a continuum of pitches but not entirely on all frequencies but on a dense grid of harmonics (certainly more than 12 chromatic notes in the octave)
5) They are very satisfying in playing like natural human whistling but unlike it or unlike the violin without frets, the harmonics give a natural scale of "frets" that the pitch falls in it which is very harmonic to listen . It is so because the relative change o the pitch is determined always by harmonics.
6) The harmonics are very easy to obtain not by overblowing (as in standard overtone whistles) but by simple blowing even under-blowing.
7) Holes are not necessary for hem. Only if the Length/bore ratio is much less than 125, e.g. 80 then 4 choles (reachable by the hands) at equal pitch distances of one semitone are adequate to help small chromatic changes of 1, 2 3 or 4 semitones (in trumpets the 3 keys help for 1,2 and 3 semitones). The reason that 4 semitones is added is because a sequence of alternating minor-major thirds gives chords on every 3 notes.
8) Such winds are so much so as to read an existing written melody from musical notes and play but a melody inside you to improvise and meditate .
When the L/B ratio is above 100 there is not even need for holes because the change of pitch by the change of blowing power is very sensitive and effective. But if one insists in making it easily chromatic then one hole close at the end of the tube at 0.9438 of the total length higher (plus about one inner diameter) will give a hole of one semitone higher pitch. In the modern trumpet the keys or valves add seven semitones within an interval of 5th thus creating in total 7 different series of overtones a semitone each way from the previous starting from the first one defined by the tube. Here in the picture below are two such aerophones with trumpets acoustics one in G5 176.02 cm and one in Bb5 (like the lips-reed trumpet) of 148.2 cm The length is more or less the theoretically expected by the wavelength at the 3rd octave (G3 , Bb3) e.g. here http://pages.mtu.edu/~suits/notefreqs.html The actually sound seems also as if having hidden root frequencies at the 2nd octave (G2 , Bb2 ) which makes it beautiful and harmonious. There is also a soft resistance in blowing which makes it satisfying.
The inner diameter of the bore is about 12mm and the tube I used is irrigation pipe. The pictures below for a first experimental assessment. As fipple I used that of generation whistles at Bb4. The feeling of the harmonics fixing your "whistling"at the right exact pitch is very satisfying, as well as the fiddling at any desired pitch like a violin with very dense frets on its fingerboard, defined by the harmony of the overtones. The sound is like that of waters, or the sound that often pigeons make when they are flirting. Still it is harmonic like chord and whistling. The sound is not loud but that is exactly what sometimes needs in order not to disturb the neighbors, it is sweet and very appropriate for meditation. I prefer these aerophone trumpets for improvisational meditation compared the Shakuhachi flute and Nay flute that also serve for meditation
More experiments that are not irrelevant by Nikolas Brass
