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Introduction to Acoustics

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ically in Fig. 15.33. The frictional force fn entering<br />

(15.53) is evaluated from the pressure- and velocity-dependent<br />

frictional force using the Friedlander<br />

construction with the computed string velocity under<br />

the bow given by un + u ′ n .<br />

Pressure Broadening and Flattening<br />

As an example, Fig. 15.34 illustrates the computed<br />

velocity of the string under the bow as a function of<br />

increasing bow pressure (McIntyre et al. [15.60]). In contrast<br />

<strong>to</strong> the rectangular waveform predicted by the simple<br />

Raman model, the waveform is considerably rounded,<br />

especially at low bow pressures. This results in a less strident,<br />

less intense sound, with the higher partials strongly<br />

attenuated. At higher pressures, but at the same position<br />

and with the same bow velocity, the rounding is less<br />

pronounced, so that higher partials become increasingly<br />

important. The increased intensity of the higher partials<br />

leads <strong>to</strong> an increased perceived intensity with bow<br />

pressure, in contrast <strong>to</strong> the Raman model, in which the<br />

waveform and hence intensity remains independent of<br />

bow pressure. This is referred <strong>to</strong> as the pressure effect.<br />

At even higher pressures, the ambiguity in intersections<br />

a)<br />

b)<br />

c)<br />

vs<br />

Fig. 15.34 Computed velocity of string at bowing point<br />

for increasing bow pressures in the ratios 0.4 : 3 : 5(after<br />

McIntyre and Woodhouse [15.60]) illustrating both the<br />

broadened waveform and pitch dependence on bow pressure<br />

compared with the idealised rectangular Helmholtz<br />

bowed waveform<br />

t<br />

t<br />

t<br />

Musical <strong>Acoustics</strong> 15.2 Stringed Instruments 569<br />

noted by Friedlander leads <strong>to</strong> a pronounced increase in<br />

the capture period and hence the pitch of the bowed<br />

note, known as the flattening effect. These features are<br />

discussed in considerable detail along with his own important<br />

research and that of his collabora<strong>to</strong>rs on such<br />

effects by Cremer ([15.29], Chaps. 7 and 8).<br />

Initial Transients<br />

Computational models can also describe the initial<br />

transients of the bowed string before the steady-state<br />

Helmholtz wave is established. Figure 15.35 compares<br />

the computed and measured initial transients of the string<br />

velocity under the bow for a string played with a sharp attack<br />

(a martelé stroke) (McIntyre, Woodhouse [15.60]).<br />

These computations also include the additional excitation<br />

of <strong>to</strong>rsional waves, which are excited because the<br />

bowing force acts on the outer diameter of the wire, exerting<br />

a couple in addition <strong>to</strong> a transverse force. The<br />

excitation and loss of energy <strong>to</strong> the <strong>to</strong>rsional waves appears<br />

<strong>to</strong> encourage the rapid stabilisation of the bowed<br />

Helmholtz waveform.<br />

For low-pitched stringed instruments such as the<br />

double bass, it is very important that the Raman bowed<br />

waveform is established very quickly, otherwise there<br />

will be a significant delay in establishing the required<br />

pitch. Remarkably, Guettler [15.64] has shown that, by<br />

simultaneously controlling both bow speed and downward<br />

pressure, the player can establish a regular Raman<br />

waveform in a single period. The speed with which<br />

a steady-state bowed note can be established can be<br />

represented on a Guettler diagram, where the number<br />

of slips before a steady-state Helmholtz motion is established<br />

can be illustrated as a two-dimensional his<strong>to</strong>gram<br />

as a function of bowing force and acceleration of the<br />

bow speed from zero.<br />

a)<br />

b)<br />

Fig. 15.35 (a) Computed transient string velocity at the<br />

bowing point for a strongly bowed string including coupling<br />

<strong>to</strong> both transverse and <strong>to</strong>rsional modes and (b) the<br />

measured string velocity for a strongly played martelé bow<br />

stroke (after McIntyre and Woodhouse [15.60])<br />

Part E 15.2

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