Whirly tube

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A whirly tube Whirlytube.png
A whirly tube

The whirly tube, corrugaphone, or bloogle resonator, also sold as Free-Ka in the 1960s-1970s, is an experimental musical instrument which consists of a corrugated (ribbed) plastic tube or hose (hollow flexible cylinder), open at both ends and possibly wider at one end (bell), the thinner of which is rotated in a circle to play. It may be a few feet long and about a few inches wide. The faster the toy is swung, the higher the pitch of the note it produces, and it produces discrete notes roughly belonging to the harmonic series, like a valveless brass instrument generates different modes of vibration. However, the first and the second modes, corresponding to the fundamental and the second harmonics , are reported as being difficult to excite. [1] To be played in concert the length of the tube must be trimmed to tune it.

Contents

In terms of classification , according to the modified Hornbostel–Sachs organological system proposed by Roderic Knight [2] it should be numbered as "A21.31" (twirled version) and as "A21.32" (blown version), described as "a corrugated or ribbed tube that produces overtones through turbulence" . In spite of being an aerophone, it is usually included in the percussion section of "sound effects" instruments, such as chains, clappers, and thunder sheets.

Sound

A corrugated tube being whirled, the outside moves faster Corrugaphone diagram.svg
A corrugated tube being whirled, the outside moves faster

Hopkin describes a single whirled corrugaphone as capable of producing three or four different pitches. [3] Crawford describes harmonics two through seven as reachable while whirling, though seven takes, "great effort." [4] Hopkin describes that with a corrugahorn, "with tubes of suitable length and diameters, the range extends well up the [harmonic] series, where the available tones are close together and you can, with practice, play quite melodically." [5] In fact, since each sounding mode plays throughout a range of speeds (rather than at one specific speed), it is difficult to skip over harmonics, as this requires a jump in speed (rather than gradual change), though this is easily done using one's tongue and throat to interrupt the air flow with a corrugahorn. [4] Many sales offers describe the tubes as producing up to five distinct notes (presumably the bugle scale: close to the harmonics 2, 3, 4, 5, and 6 Play ), and while higher modes may be possible, if hard work, [6] dissonant adjacent harmonics may sound simultaneously, such as 15 and 16. The modes of a corrugated tube are usually lower than those of an uncorrugated tube of the same length and diameter, and, "audible vibration in the whirly tube appears only when air flow velocity exceeds a certain minimum, which may preclude the sounding of the fundamental or lower harmonics." [7] The timbre of the notes produced by the whirly tube are, "almost all fundamental," according to Fourier analysis (similar to sine waves). [7] Tubes longer than many feet may have one end whirled while held near its middle or may be held out a car window.

The equations describing the sound produced when the tube is whirled , as proposed by F.S. Crawford in 1973, as follows, proposes that the air flowing through the corrugations should produce a sound similarly to a scraping instrument , such as a "reco-reco" , in which a stick is scratched against a surface with regularly spaced grooves. This would be the rationale for the formulas below. However this tentative model is not experimentally demonstrated or supported by the theory of sounding pipes in acoustics. [4] [8] [9] [10] On the contrary, the present theory of sound production in corrugated pipes refutes the assumptions by Crawford (1973).

[7]
[4]

Thus the faster the tube is swung or the more dense the corrugation the higher the pitch of the note produced.

The difference in speed between the moving end of the tube and the stationary, hand-held end creates a difference in air pressure. A higher pressure is at the fixed end and a lower pressure is at the moving end. This difference pulls air through the tube and the air's speed changes (making the changes in the tones) with the speed of the spin. The pitch, loudness, and tone of the sound come from the tube's length and diameter, the distance between each ridge, and the speed the tube spins around, which moves the air faster or slower through the tube changing the tone in steps. ... [Only corrugated tubes sing] As the air flows first over one ridge then over a second it tumbles into a vortex. The faster the air flows through the tube, the higher the frequency of the sound produced by the vortex. When the frequency of the vortex matches one of the natural resonant frequencies of the tube [harmonics], it is amplified. [6]

According to Bernoulli's principle, as speed increases, pressure decreases; thus the air is sucked into the still or inside end of the tube as higher pressure air moves up the tube to fill the lower pressure air at the faster moving spinning or outside end of the tube. [11]

The characteristic speed is the mean flow through the pipe U and the characteristic length must be a multiple of the spacing between corrugations, nL, where n is an integer number and L is the distance between corrugations. At low speeds, the unstable interior flow needs to travel several corrugations to establish the feedback loop. As the speed increases, the loop can be established with fewer corrugations. The Strouhal number

was used as the scaling factor. A unique aspect of this whistle is that the internal flow carries both the unstable vortex downstream and the returning feedback signal upstream.[ citation needed ]

Use

An ensemble of whirlies produces astounding musical patterns of vibrant clear pitch, sometimes hauntingly beautiful, sometimes dramatic, sometimes soft, sometimes strong and robust, but at all times inspiring and thought provoking.

Northern Territory News , December 1984 [7]

A corrugated plastic tube whirling instrument became an instant, if short-lived, cultural phenomenon in late 1960s New York City under the name "Free-Ka", sold by street vendors, as captured by The New Yorker in 1970. [12] It was used by Peter Brooks in the early 1970s in his production of Shakespeare's A Midsummer Night's Dream. [13] It has been used by a number of artists including Peter Schickele, Frank Ticheli, Paul Simon, Macy Gray, Loch Lomond,[ citation needed ] and Yearbook Committee.[ citation needed ] Also in Brett Dean's Moments of Bliss (2004) [14] and by The Cadets Drum and Bugle Corps in 2011. Donald Sosin's "137 Ridges" (1971) for flute, vibraphone and 15 tuned Free-kas was performed at the University of Michigan. It has been employed in some of Peter Schickele's comic P. D. Q. Bach compositions such as the Erotica Variations: IV (1979), [15] [16] [17] Missa Hilarious (1975), [18] and Shepherd on the Rocks with a Twist (1967). [18] Schickele, who calls it the lasso d'amore (a pun on oboe d'amore), gives a tongue-in-cheek explanation of the instrument's evolution: 18th century Viennese cowboys twirled "their lariats over their heads with such great speed that a musical pitch was produced. . . . The modifications that had made this development possible rendered [the lasso] useless for roping cattle." [15] [19]

David Cope, in 1972, discussed a cugaphone, which, in 1997, he describes as an instrument built from a trumpet mouthpiece attached to a long piece of 3/8-inch bore plastic tubing with a kitchen funnel, usually in hand, at the other end acting as the bell; thus sound may be modulated by directing the funnel, applying pressure to the funnel, or by swinging the funnel around one's head and creating a Doppler effect. [20] This version of the instrument would require brass embouchure technique rather than corrugation. By 1997 ensembles of cugaphones existed. [21]

The inventor is not known, though Bart Hopkin credits the late Frank Crawford of the UC Berkeley Department of Physics with, "developing the idea and researching the underlying acoustics," [5] and in 1973 Crawford credits another professor with pointing out to him a toy which, "about a year or two ago...appeared in toy stores across the land," and gives the brand or trade names "Whirl-A-Sound", "Freeka", and "The Hummer"; the last being made by W. J. Seidler Co. of L.A., CA. [4] Crawford invented the method of playing a small enough example of such a corrugated hose by blowing, known as a corrugahorn. [22] This requires a tube with a diameter smaller than commonly marketed as toys (a one inch diameter is too great, a half inch is not), [4] Hopkin recommends 3/8" gas heater hose as the most playable of widely available sizes. [5] Crawford invented an "inverted-wastebasket water piston" operated version he called the "Water Pipe", with which he could easily reach the eleventh harmonic. [4]

See also

Related Research Articles

The Doppler effect is the change in the frequency of a wave in relation to an observer who is moving relative to the source of the wave. The Doppler effect is named after the physicist Christian Doppler, who described the phenomenon in 1842. A common example of Doppler shift is the change of pitch heard when a vehicle sounding a horn approaches and recedes from an observer. Compared to the emitted frequency, the received frequency is higher during the approach, identical at the instant of passing by, and lower during the recession.

<span class="mw-page-title-main">Fundamental frequency</span> Lowest frequency of a periodic waveform, such as sound

The fundamental frequency, often referred to simply as the fundamental, is defined as the lowest frequency of a periodic waveform. In music, the fundamental is the musical pitch of a note that is perceived as the lowest partial present. In terms of a superposition of sinusoids, the fundamental frequency is the lowest frequency sinusoidal in the sum of harmonically related frequencies, or the frequency of the difference between adjacent frequencies. In some contexts, the fundamental is usually abbreviated as f0, indicating the lowest frequency counting from zero. In other contexts, it is more common to abbreviate it as f1, the first harmonic.

<span class="mw-page-title-main">Pan flute</span> Musical instrument, typically made from bamboo

A pan flute is a musical instrument based on the principle of the closed tube, consisting of multiple pipes of gradually increasing length. Multiple varieties of pan flutes have been popular as folk instruments. The pipes are typically made from bamboo, giant cane, or local reeds. Other materials include wood, plastic, metal and ivory.

<span class="mw-page-title-main">Idiophone</span> Class of musical instruments

An idiophone is any musical instrument that creates sound primarily by the vibration of the instrument itself, without the use of air flow, strings (chordophones), membranes (membranophones) or electricity (electrophones). It is the first of the four main divisions in the original Hornbostel–Sachs system of musical instrument classification. The early classification of Victor-Charles Mahillon called this group of instruments autophones. The most common are struck idiophones, or concussion idiophones, which are made to vibrate by being struck, either directly with a stick or hand or indirectly, with scraping or shaking motions. Various types of bells fall into both categories. A common plucked idiophone is the Jew's harp.

Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player.

<span class="mw-page-title-main">Wind chime</span> Percussion instrument constructed by rods, bells, tubes suspending to air

Wind chimes are a type of percussion instrument constructed from suspended tubes, rods, bells or other objects that are often made of metal or wood. The tubes or rods are suspended along with some type of weight or surface which the tubes or rods can strike when they or another wind-catching surface are blown by the natural movement of air outside. They are usually hung outside of a building or residence as a visual and aural garden ornament. Since the percussion instruments are struck according to the random effects of the wind blowing the chimes, wind chimes have been considered an example of chance-based music. The tubes or rods may sound either indistinct pitches, or fairly distinct pitches. Wind chimes that sound fairly distinct pitches can, through the chance movement of air, create simple songs or broken chords.

<span class="mw-page-title-main">Key (instrument)</span> Part in certain musical instruments

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<span class="mw-page-title-main">Resonator</span> Device or system that exhibits resonance

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<span class="mw-page-title-main">Corrugated galvanised iron</span> Type of metal building material

Corrugated galvanised iron or steel, colloquially corrugated iron, wriggly tin, pailing, corrugated sheet metal, zinc or custom orb / corro sheet (Australia) and occasionally abbreviated CGI is a building material composed of sheets of hot-dip galvanised mild steel, cold-rolled to produce a linear ridged pattern in them. Although it is still popularly called "iron" in the UK, the material used is actually steel, and only the surviving vintage sheets may actually be made up of 100% iron. The corrugations increase the bending strength of the sheet in the direction perpendicular to the corrugations, but not parallel to them, because the steel must be stretched to bend perpendicular to the corrugations. Normally each sheet is manufactured longer in its strong direction.

Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology, physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. As a branch of acoustics, it is concerned with researching and describing the physics of music – how sounds are employed to make music. Examples of areas of study are the function of musical instruments, the human voice, computer analysis of melody, and in the clinical use of music in music therapy.

<span class="mw-page-title-main">Flue pipe</span>

A flue pipe is an organ pipe that produces sound through the vibration of air molecules, in the same manner as a recorder or a whistle. Air under pressure is driven through a flue and against a sharp lip called a labium, causing the column of air in the pipe to resonate at a frequency determined by the pipe length. Thus, there are no moving parts in a flue pipe. This is in contrast to reed pipes, whose sound is driven by beating reeds, as in a clarinet. Flue pipes are common components of pipe organs.

<span class="mw-page-title-main">Steam whistle</span> Audible warning device powered by steam

A steam whistle is a device used to produce sound in the form of a whistle using live steam, which creates, projects, and amplifies its sound by acting as a vibrating system.

<span class="mw-page-title-main">Helmholtz resonance</span> Phenomenon of air resonance in a cavity

Helmholtz resonance or wind throb is the phenomenon of air resonance in a cavity, such as when one blows across the top of an empty bottle. The name comes from a device created in the 1850s by Hermann von Helmholtz, the Helmholtz resonator, which he used to identify the various frequencies or musical pitches present in music and other complex sounds.

<span class="mw-page-title-main">Acoustic resonance</span> Resonance phenomena in sound and musical devices

Acoustic resonance is a phenomenon in which an acoustic system amplifies sound waves whose frequency matches one of its own natural frequencies of vibration.

<span class="mw-page-title-main">Bore (wind instruments)</span>

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<span class="mw-page-title-main">Violin acoustics</span> Area of study within musical acoustics

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<span class="mw-page-title-main">Savart wheel</span> Acoustical device to generate a pitch

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In physics, sound is a vibration that propagates as an acoustic wave through a transmission medium such as a gas, liquid or solid. In human physiology and psychology, sound is the reception of such waves and their perception by the brain. Only acoustic waves that have frequencies lying between about 20 Hz and 20 kHz, the audio frequency range, elicit an auditory percept in humans. In air at atmospheric pressure, these represent sound waves with wavelengths of 17 meters (56 ft) to 1.7 centimeters (0.67 in). Sound waves above 20 kHz are known as ultrasound and are not audible to humans. Sound waves below 20 Hz are known as infrasound. Different animal species have varying hearing ranges.

<span class="mw-page-title-main">Wind instrument</span> Class of musical instruments with air resonator

A wind instrument is a musical instrument that contains some type of resonator in which a column of air is set into vibration by the player blowing into a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece, while yet others require the player to blow into a hole at an edge, which splits the air column and creates the sound.

A whistle is a device that makes sound from air blown from one end forced through a small opening at the opposite end. They are shaped in a way that allows air to oscillate inside of a chamber in an unstable way. The physical theory of the sound-making process is an example of the application of fluid dynamics or hydrodynamics and aerodynamics. The principles relevant to whistle operation also have applications in other areas, such as fluid flow measurement.

References

  1. Sprott, Julien Clinton (2006). Physics Demonstrations: A Sourcebook for Teachers of Physics, Volume 1, p.158. "You can also use a corrugated plastic tube, called a 'corrugaphone,' 'Bloogle Resonator,' or 'Hummer,' to produce a variety of whistling sounds when you spin it around over your head. The frequencies are harmonics of the fundamental organ-pipe mode that are individually preferentially excited depending on the speed of rotation. It is hard to excite the fundamental and even the second harmonic, but the higher harmonics are easily excited." ISBN   9780299215804.
  2. Knight, Roderic (2017). "The KNIGHT-REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification" (PDF).
  3. Hopkin, Bart (2009). Making Musical Instruments with Kids , unpaginated. See Sharp. ISBN   9781937276027.
  4. 1 2 3 4 5 6 7 Crawford, Frank S. (1974). "Singing Corrugated Pipes", AJP , Volume 42, pp. 278–81, Physics.umd.edu. "A corrugated tube open at both ends, with air flowing through the tube, sings notes which depend on the flow velocity and the length of the tube. The notes it sings are the natural harmonics of the tube."
  5. 1 2 3 Hopkin, Bart (1996). Musical Instrument Design: Practical Information for Instrument Making , unpaginated. See Sharp. ISBN   9781884365836.
  6. 1 2 "Sound Hose", SteveSpanglerScience.com.
  7. 1 2 3 4 Crawford, Frank (1989). "What is a Corrugahorn?", Experimental Musical Instruments , Volume 5, pp. 14–9. Features description and illustration.
  8. Fletcher, N. H. (October 1976). "Sound production by organ flue pipes". The Journal of the Acoustical Society of America. 60 (4): 926–936. Bibcode:1976ASAJ...60..926F. doi:10.1121/1.381174. hdl: 1885/212555 . ISSN   0001-4966.
  9. Popescu, Mihaela; Johansen, Stein Tore; Shyy, Wei (July 2011). "Flow-Induced Acoustics in Corrugated Pipes". Communications in Computational Physics. 10 (1): 120–139. Bibcode:2011CCoPh..10..120P. doi:10.4208/cicp.301209.230710a. ISSN   1815-2406.
  10. Nakiboğlu, G.; Belfroid, S. P. C.; Golliard, J.; Hirschberg, A. (April 2011). "On the whistling of corrugated pipes: effect of pipe length and flow profile". Journal of Fluid Mechanics. 672: 78–108. Bibcode:2011JFM...672...78N. doi:10.1017/S0022112010005884. ISSN   1469-7645. S2CID   122667935.
  11. "Whirly Tubes", ScienceWorld.ca .
  12. "Free-Ka", by Robert MacMillan, The New Yorker, July 11, 1970, p. 20 "
  13. Barbara Hodgdon, p. 166, in “Shakespeare, Memory and Performance”, ed. Peter Holland
  14. Morris, Craig (August 7, 2009). "Whirly Tubes and Bloogles", LivMusic.com. Archived 29 August 2016 at the Wayback Machine
  15. 1 2 Schickele, Peter (1976). The Definitive Biography of P. D. Q. Bach. New York: Random House. p. unpaginated. ISBN   9780394465364.
  16. "The Intimate P.D.Q. Bach", Schickele.com.
  17. "Bach: Erotica Variations, for banned Instruments and Piano", PrestoClassical.co.UK.
  18. 1 2 Rickards, Steven (2008). Twentieth-Century Countertenor Repertoire: A Guide. Lanham, Maryland: Rowman & Littlefield. pp. 273–4. ISBN   9780810861039.
  19. Schickele, Peter. "'Erotica' Variations for banned instruments and piano, S. 36EE" The Intimate P.D.Q. Bach, Vanguard, LP, VSD 79335, 1974. On this recording, Schickele additionally claimed they were 18th century Viennese Cowboys, meaning they likely performed at the Winter Riding School.
  20. Cope, David (1997). Techniques of the Contemporary Composer, p.146. Schirmer. ISBN   0-02-864737-8. Cites: Cope, David (1972). Margins. New York: Carl Fischer.
  21. Cope (1997), p.148.
  22. Sanders, Robert (2003). "Physicist Frank Crawford, who worked on bubble chambers, supernovas and adaptive optics, has died at 79", Berkeley.edu.

Further reading