How do the organ musical instrument make. Physical processes in organ pipes

20.06.2019

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When an inconspicuous door, painted in a beige color, opened, glansed only a few wooden steps from the darkness. Immediately outside the door, a powerful wooden box, similar to ventilation, is coming out. "Careful, this is the organ pipe, 32 feet, a bass flue register," my walking warned. - Wait, I'll turn on the light. " I wait patiently, anticipating one of the most interesting excursions in my life. In front of me entrance to the organ. This is the only musical instrument inside which can be logged.

Organ for more than a hundred years. He stands in the Great Hall of the Moscow Conservatory, the most famous hall, from the walls of which portraits of Baha, Tchaikovsky, Mozart, Beethoven ... However, everything that is open to the viewer's eye is turned to the hall of the organist and a little frosted wooden " Avenue "with vertical metal pipes. Observing the facade of the body, the person's uninitiated will not understand how and why this unique tool plays. To reveal its secrets, you have to approach the question on the other hand. Literally.

To become my guide, Natalia Vladimirovna Malina - Guardian of the body, teacher, musician and organ master agreed to become kindly agreed. "In the authority you can move only face ahead," she explains strictly. To mysticism and superstitions, this requirement has no low relationship: simply, moving back or sideways, an inexperienced person may occur for one of the organ pipes or to hurt it. And the pipes of these thousands.

The main principle of the body, distinguishing it from most wind instruments: one pipe is one note. An ancient ancestor of the organ can be considered a fuel pan. This tool, which existed from time immemorial in different parts of the world, is somewhat connected together hollow cohesions of different lengths. If you look at the corner at the mouth of the shortest - thin high sound will be heard. Longer cohesies sound below.

Unlike the ordinary flute, the height of the sound of a separate tube cannot be changed, so Pan's flute can play smoothly as notes as the sorsalines in it. To force a tool to make very low sounds, you need to turn on the tube of large length and large diameter. You can make a lot of flute pan with tubes from different materials and different diameters, and then they will blow the same notes with different timbres. But it will not be possible to play on all these tools at the same time - they should not be held in their hands, and there is not enough breathing on the gigantic "Costainka". But if you put all our flutes vertically, to supply each individual tube with an air intake valve, come up with a mechanism that would give us the opportunity to control all the valves from the keyboard and, finally, create a design for the injection of air with its subsequent distribution, we have just It turns out the authority.

On an old ship

Pipes in organs make two materials: wood and metal. Wooden pipes used to extract bass sounds have a square cross section. Metal pipes are usually smaller, they are cylindrical or conical in shape and manufactured, as a rule, from alloy tin and lead. If tin is more - the pipe is a ringing, if more lead, recoverable sound is deaf, "cotton".

Alloy tin and lead is very soft - this is why organ pipes are easily deformed. If you put a large metal pipe on the side, after a while, it will take an oval cross section under their own weight, which will inevitably affect its ability to remove sound. Moving inside the body of the Big Hall of the Moscow Conservatory, I try to concern only wooden parts. If you come on a pipe or embarrassing to grab it for it, new troubles will appear at the organ master: the pipe will have to "treat" - straighten, or even pan.

The body within which I am, is far from the biggest in the world and even in Russia. In terms of size and number of pipes, it is inferior to the organs of the Moscow House of Music, the Cathedral in Kaliningrad and the concert hall. Tchaikovsky. The main recordsmen are outside the ocean: for example, a tool established in the Atlantic City Congresses Hall (USA) has more than 33,000 pipes. In the body of the large hall of the pipe conservatory, ten times less, the "total" 3136, but this considerable amount cannot be compact on the same plane. The organ inside is a few tiers on which the pipes are installed in rows. To access the organ master to the pipes on each tier, a narrow passage is made in the form of a platform. The tiers are interconnected by stairs in which ordinary crossbars perform the role of the steps. Inside the body is closely, and the movement between tiers requires a known dexterity.

"My experience says," says Natalia Vladimirovna Malina, - that the authority master is best to be thin addition and have a small weight. A person with other dimensions here is difficult to work, not harming the tool. Recently, the electrician - a cargo man - changed the light bulb over the organ, stumbled and broke a couple of milking milking powder. There were no victims and injuries, but dropped apartments damaged 30 organ pipes. "

Mentally pretending that a couple of organ masters of ideal proportions would be easily placed in my body, I look at the clutching stairs, leading to the upper tiers. "Do not worry," Natalia Vladimirovna soothes me, "go only forward and repeat the movements for me. The design is strong, she will withstand you. "

Whistling and tongues

We rose to the upper tier of the organ, from where the conservatory inaccessible to the simple visitor opens views of the large hall from the top point. On the stage below, where the rehearsal of the string ensemble was finished, little men with violins and alto. Natalia Vladimirovna shows me near the pipe of Spanish registers. Unlike other pipes, they are not vertically arranged, but horizontally. By forming a kind of visor over the organ, they are trough directly into the hall. The creator of the Bolshoi Hall of Aristide Kawai-Kohl came from the Franco-Spanish genus of organ masters. Hence the Pyrenean traditions in the instrument at the Big Nikitskaya Street in Moscow.

By the way, about Spanish registers and registers in general. "Register" is one of the key concepts in the construction of the body. These are a number of organic pipes of a certain diameter forming a chromatic source, respectively, the keys of their keyboard or part of it.

Depending on the menzures included in their composition of the pipes (Menzura - the ratio of the most important for the nature and quality of the sound of the pipe parameters) registers give sound with different timbre color. Focusing comparisons with Flute Pan, I almost missed one subtlety: The fact is that not all the pipes of the organ (like the stranded flutes) are aerophones. Aeroophone is a fuch tool in which the sound is formed as a result of air column oscillations. This includes flute, pipe, tube, horn. But the saxophone, oboe, the harmonica is consisting in the group of idiophones, that is, "self-refined." It hesitates not air, but a stream of air the tongue. Air pressure and the force of elasticity, counteracting, force the tongue to tremble and spread the sound waves, which are enhanced by the tool with a resonator.

In the body, most pipes are Aerofones. They are called labial, or whistle. The idiophone pipes constitute a special group of registers and carry the name of the tongues.

How many hands do the organist?

But how can the musician manages all these thousands of pipes - wooden and metal, whistle and tongue, open and closed - dozens or hundreds of registers ... sound at the right time? To understand this, let's go down at the time from the upper tier of the organ and come to the department, or the organist's console. The uninitiated at the sight of this device covers the thrill both before the dashboard of the modern airliner. Several hand keyboards - manuals (there can be five and even seven!), One foot plus is still some mysterious pedals. There are still many exhaust levers with inscriptions on the handles. Why all this?

Of course, the organist has only two hands and playing at the same time on all manuals (in the body of the Big Hall of their three, which is also a lot) he will not be able to. Several manual keyboards are needed in order to mechanically and functionally divide the registers groups, just as in the computer one physical hard drive is divided into several virtual. For example, the first manual of the Bolshoi Authority manages the pipes of the group (German term - Werk) registers called Grand Orgue. It includes 14 registers. The second manual is also responsible for 14 registers. The third keyboard - Récit Expressif - 12 registers. Finally, the 32-key foot keyboard, or "pedal", works with ten bass registers.

Arguing from the point of view of profan, even 14 registers per keyboard - it is somehow a bit too much. After all, by pressing one key, the organist is able to make it sound at once 14 pipes in different registers (and more really because of the MIXTURA registers). And if you need to fulfill the note in just one register or in several selected? For this purpose, the exhaust levers located on the right and left of the manuals are actually used. Extinguish the lever with the register name written on the handle, the musician opens a kind of damper that opens access to the pipes of a specific register.

So, in order to play the desired note in the desired register, you need to choose the manual to the manual or pedal keyboard, pull the lever that corresponds to this register and click on the desired key.

Powerful doubt

The final part of our excursion is devoted to air. The very air, which causes the body to sound. Together with Natalia Vladimirovna, we descend on the floor below and find ourselves in a spacious technical room where there is nothing from the solemn attitude of the large hall. Concrete floor, white walls, driving up supporting structures from an old bar, ducts and electric motor. In the first decade of the existence of the body here in the sweat of the face worked, catchers-Calcans. Four healthy men got up in a row, grabbed with both hands for a stick, which grows into the steel ring on the rack, and alternately, then one, then the other foot was pressed on the levers, inflating fur. The change was calculated for two hours. If a concert or rehearsal lasted longer, the tired swingrs replaced the fresh reinforcement.

Old bellows, four, have been preserved until now. As Natalia Vladimirovna tells, a legend walks at the conservatory that once the work of the frauders tried to replace the horse force. For this, a special mechanism was supposedly created. However, along with the air, the smell of horse manure rose to the large hall, and the founder of the Russian Organ School A.F. Giedie, taking the first chord, displeased to the nose and sentenced: "Stinks!"

Truthful this legend or not, but in 1913, muscular power finally replaced the electric motor. With the help of pulley, he spun the shaft, which in turn through the crank-connecting mechanism led to the movement of the beam. Subsequently, they refused this scheme, and today the air pums the electric fan.

In the body, the injected air falls into the so-called store beef, each of which is associated with one of the 12 windows. Windlada is a view of a wooden box of a compressed air tank, which, in fact, the rows of pipes are installed. On one Windlad, several registers are usually placed. Large pipes that are not enough space on Windows are installed aside, and with Windows, they bind them the aircraft in the form of a metal tube.

Winders of the body of the Big Hall (the design "Coplade") are divided into two main parts. At the bottom, constant pressure is maintained using store mechanics. Top is divided with airproof partitions on the so-called tone channels. All pipes of different registers operated in the tone channel, controlled by one manual or pedal key. Each tone channel is connected to the bottom of the windder by a hole, a closed spring-loaded valve. When you press the key through the tract, the movement is transmitted to the valve, it opens and compressed air falls up, in the tone channel. All pipes that have access to this channel, in theory, should start to sound, but ... this, as a rule, does not occur. The fact is that through the entire top of the Windows undergo the so-called plumes - dampers with holes located perpendicular to the tone channels and have two positions. In one of them, the plumes completely overlap all the pipes of this register in all tone channels. In the other - the register is open, and its pipes begin to sound, as soon as the air key is pressed into the appropriate tone channel. Clap management, as it is easy to guess, is carried out by levers on the remote control through the register tract. Simply put, the keys are allowed to sound all the pipes in their tone channels, and the loops define the favorites.

We thank the leadership of the Moscow State Conservatory and Natalia Vladimirovna Malina for help in the preparation of this article

The largest, most majestic musical instrument has an ancient history of the occurrence of the many stages of improvement.

The ancestor of the body is most distant from us in time, it is customary to consider the Babylonian Volyn, common in Asia in the XIX-XVIII centuries to our era. In this instrument, the air was injected through the tube through the tube, and on the other hand, a housing with models having holes and tongues was located.

The history of the emergence of the body remembers and "traces of the ancient Greek gods": the deity of the forests and groves Pan, according to legend, invented to combine reed sticks of different lengths, and since then the Pan's flute has become inseparable with the musical culture of ancient Greece.

However, the musicians understood: on one twin play easily, but on a few - there is not enough breathing. The search for the replacement of human breathing for the game on musical instruments was brought by the first fruits already in the II-III century BC.: Hydraulos came to the musical scene for several centuries.

Hydraulos - the first step to the magnitude of the organ

Approximately in the III century BC. Greek inventor, mathematician, "Pneumatics Father" Ktezibiy Alexandrian has created a device consisting of two piston pumps, water tank and tubes to emit sounds. One pump filed the air inside, the second served it to the pipes, and the water tank leveled pressure and ensured a more flat sound tool.

After two centuries, Gereon Alexandrian, Greek mathematician and engineer, improved the hydraulus, adding a miniature windmill into the construction and a metal ball chamber, immersed in water. The improved water body received 3-4 registers, each of which contained 7-18 diatonal tuning pipes.

The water body was greatly distributed in the countries of the Mediterranean region. Hydraulos sounded on the competitions of gladiators, weddings and feasts, in theaters, circuses and at the racetracks, during religious rites. The body has become a favorite instrument of Emperor Nero, his sound could be heard throughout the Roman Empire.

In the service of Christianity

Despite the common cultural decline, observed in Europe after the fall of the Roman Empire, the body was not forgotten. Already by the middle of the 5th century, improved winds were built in the churches of Italy, Spain and Byzantium. The centers of organ music became the countries of the greatest religious influence, and from there the tool spread across Europe.

The medieval organ was significantly different from the modern "fellow" smaller number of pipes and a large key size (up to 33 cm long and 8-9 cm wide), for which the sound was beaten with a fist. "Portal" was invented, a small portable organ, and "positive" - \u200b\u200ba miniature stationary body.

The XVII-XVIII century is considered the "golden age of" organ music. Reducing the size of the keys, the acquisition by the body of the beauty and diversity of the sound, crystal grain clarity and the appearance of whole pashades predetermined the magnificence and greatness of the organ. Bach's solemn music, Beethoven, Mozart and many other composers sounded under high vaults of all Catholic Cathedrals of Europe, and almost all the best musicians served as church organists.

With all the inseparable communication with the Catholic Church, a lot of "secular" works, including Russian composers, is written for the organ.

Organ music in Russia

The development of organ music in Russia went exclusively on the "secular way: Orthodoxy categorically rejected the use of the organ in worship.

The first mention of the body in Russia is found on the frescoes of the Sofia Cathedral in Kiev: "Stone Chronicle" of Kievan Rus, dated by the X-XI centuries, has kept the image of the musician and two catholds playing on the "positive" of the musician and two cats (people by downloading air into the fur).

Moscow sizes of different historical periods showed a living interest in the body and organ music: Ivan III, Boris Godunov, Mikhail and Alexey Romanov "discharged" from Europe of organists and builders of bodies. Under the rule of Mikhail Romanov, not only foreign, and Russian organists, such as Tomila Mikhailov (demons), Boris Ovsons, Meleneti Stepanov and Andrei Andreev became known in Moscow.

Peter I, who dedicated life to the introduction into the Russian society, the achievements of Western civilization, in 1691 instructed the German specialist Arpa Schnitgeru to build a body with 16 registers for Moscow. After six years, in 1697, Schnitger sends another, 8-register tool to Moscow. During the lifetime of Peter in Lutheran and Catholic churches, dozens of bodies were built on the territory of Russia, including gigantic projects for 98 and 114 registers.

Empress Elizabeth and Ekaterina II also contributed to the development of organ music in Russia - under their rule, dozens of tools received St. Petersburg, Tallinn, Riga, Narva, Yelgava and other cities in the north-western region of the Empire.

Many Russian composers used a body in their work, it is enough to remember the "Orleans" Tchaikovsky, "Sadko" Roman-Korsakov, "Prometheus" Scriabin ,. Russian organ music combined the classic Western European music forms and traditional national expressiveness and charm, possessed a strong influence on the listener.

Modern organ

After passing the historical path in length in two millennia, the organ of the XX-XXI century looks like this: several thousand pipes located on different tiers and made of wood and metal. Wooden pipes of the square section make bass low sounds, and metal pipes from tin alloy and lead have a round cross section and are designed for a thinner, high sound.

The record holders are spelled out by the ocean, in the United States of America. The body located in the Philadelphia Macy's Lord & Taylor shopping center, weighs 287 tons and has six manuals. The tool located in the consent hall of the city of Atlantic City is the largest organ in the world and has more than 33,000 pipes.

The largest and magnificent organs of Russia are located in the Moscow House of Music, as well as in the concert hall. Tchaikovsky.

Development in new directions and styles has significantly increased the number of types and varieties of the modern body, with their differences in principle work and specific features. Today's classification of organs is such:

spiritual body;
symphony;
theatrical body;
electors;
hammond organ;
tiff organ;
steam organ;
street body;
orchestrion;
organola;
pyrophone;
marine body;
chamber organ;
church organ;
home organ;
organs;
digital organ;
rock authority;
pop organ;
virtual authority;
melodium.

Funny tool - lifting harmonic with unusual tools for this tool. But almost exactly the same design can be found in any large organ (like what is shown in the picture on the right) - this is exactly what "tongue" organ pipes are arranged

The sound of three thousand pipes. The general scheme in the diagram is presented a simplified scheme of the organ with mechanical tract. Photos showing individual knots and instrument devices are made within the body of the Big Hall of the Moscow State Conservatory. The scheme does not show the store fur that supports constant pressure in Windows, and barx levers (they are in pictures). Also no pedal (foot keyboard)

On an old ship

Whistling and tongues

In the body, most pipes are Aerofones. They are called labial, or whistle. The idiophone pipes constitute a special group of registers and carry the name of the tongues.

How many hands do the organist?

Of course, the organist has only two hands and playing at the same time on all manuals (in the body of the Big Hall of their three, which is also a lot) he will not be able to. Several manual keyboards are needed in order to mechanically and functionally divide the registers groups, just as in the computer one physical hard drive is divided into several virtual. For example, the first manual of the Bolshoi Authority manages the pipes of the group (German term - Werk) registers called Grand Orgue. It includes 14 registers. The second manual is also responsible for 14 registers. The third keyboard - recit expressif - 12 registers. Finally, the 32-key foot keyboard, or "pedal", works with ten bass registers.

Powerful doubt

Winders of the body of the Big Hall (the design "Coplade") are divided into two main parts. At the bottom, constant pressure is maintained using store mechanics. Top is divided with airproof partitions on the so-called tone channels. All pipes of different registers operated in the tone channel, controlled by one manual or pedal key. Each tone channel is connected to the bottom of the windder by a hole, a closed spring-loaded valve. When you press the key through the tract, the movement is transmitted to the valve, it opens, and the compressed air falls upward into the tone channel. All pipes that have access to this channel, in theory, should start to sound, but ... this, as a rule, does not occur. The fact is that through the entire top of the Windows undergo the so-called plumes - dampers with holes located perpendicular to the tone channels and have two positions. In one of them, the plumes completely overlap all the pipes of this register in all tone channels. In the other - the register is open, and its pipes begin to sound, as soon as the air key is pressed into the appropriate tone channel. Clap management, as it is easy to guess, is carried out by levers on the remote control through the register tract. Simply put, the keys are allowed to sound all the pipes in their tone channels, and the loops define the favorites.

We thank the leadership of the Moscow State Conservatory and Natalia Vladimirovna Malina for help in the preparation of this article

Organ pipe

Sound pipes used as musical instruments with the deepest antiquity are divided into two kinds: mouthpiece and tongue pipes. The sounding body in them is mainly air. To clarify the air, and there are standing waves in the pipe, in a different way. In the mouthpiece or flute pipe (see FIG. 1) the tone is caused upon blowing the jet of air (mouth or furs) on the pointed edge of the cut area in the side wall. The friction of the air jet about this edge produces a whistle that can be heard if separating the pipe from its mouthpiece (Embouchure). Example - steam whistle. The pipe, serving the resonator, distinguishes and enhances its corresponding dimensions one of the many tones included in this complex whistle. In the tongue tube, standing waves are formed by blowing air through a special hole, covered by an elastic plate (tongue, anche, zunge), which comes to oscillation.

The tongue pipes are three clans: 1) pipes (O.), the tone of which is directly determined by the speed of the tongue fluctuations; They only serve to enhance the tone published (FIG. 2).

They can be configured in small limits by moving the spring pressesing to the tongue. 2) Pipes in which, on the contrary, air fluctuations established in them determine the oscillations of an easily supple cane tongue (clarinet, oboe and a baroon). This elastic, flexible plate, periodically interrupting the melted jet of air, causes airfield fluctuations in the pipe; The same latter fluctuations regulate in turn by respectively fluctuations and the record itself. 3) Pipes with webbed tongues, the speed of oscillations of which is optionally adjustable and varies in significant limits. In copper wind instruments, the role of such tongs play lips; When singing - voice ligaments. The laws of air fluctuations in pipes with a cross section are so small that all points of section oscillate oscillate the same, installed Daniel Bernoulli (D. Bernoulli, 1762). In the open pipes, both of its ends are formed beafness, where the air mobility is the greatest, and the density is constant. If one node is formed between these two beams, the pipe length will be equal to half the length, i.e. L. = λ/ 2 ; This case corresponds to the lowest tone. With two nodes in the pipe fit the whole wave, L. = 2 λ/ 2 \u003d λ; at three L. \u003d 3λ / 2; for n. nodes L. = n.λ/ 2. To find the tone height, i.e. the number N. oscillations per second, remember that the wavelength (the distance λ, to which fluctuations in the medium at the time T.when one particle performs its complete oscillation) is equal to the product of the speed Ω for the period T. oscillations, or λ \u003d ωt; but T. = l./N.; Consequently, λ \u003d Ω / N. From here N. \u003d ω / λ, or, since from the previous λ \u003d 2L/n., N. = n.ω/ 2L. This formula shows that 1) an open pipe, with different air blowing strength into it, can produce tones whose heights are among themselves, as 1: 2: 3: 4 ...; 2) The tone height is inversely proportional to the length of the pipe. In a closed pipe near the mouthpiece, there must still be a piggyback, but on the other, the closed end of it, where the longitudinal air fluctuations are impossible, should be a node. Therefore, the length of the pipe can be placed 1/4 of the standing wave, which corresponds to the lowest or main tone of the pipe or 3/4 waves, or in general the odd number of quarters of the wave, i.e. L. = [(2N. + 1) / 4] λ; From N " = (2N. + 1) Ω / 4 L.. So, in a closed pipe, the sequential tones issued by it, or the corresponding oscillation numbers, are treated as a number of odd numbers 1: 3: 5; Moreover, the height of each of such tones is inversely proportional to the length of the pipe. The main tone in a closed pipe, in addition, the octave below, rather than in an open pipe (in fact, when n. = 1, N ": n \u003d 1: 2). All these findings of the theory are easily covered by experience. 1) If you take a long and narrow tube with a flute amop (mouthpiece) and blow into it air under increasing pressure, then a number of harmonic tones are in an open pipe, gradually towering (and it is not difficult to reach up to 20 obhrothon). In the tube, only odd harmonic tones are obtained, and the main, the lowest tone of the octowel is lower than the same in the open pipe. These tones can exist in the pipe and at the same time accompanying the main tone or one of the lower. 2) The position of the beagon nodes inside the pipe can be determined in various ways. So Savart (Savart) uses a thin membrane, stretched on the ring. If you pour small sand onto it and omit on the threads into the pipe, one wall of which is glass, then in the nodal places the sand will remain motionless, and in the rest of the places and especially in the beams it will noticeably move. In addition, since the air of the air remains at atmospheric pressure, he opening the hole made in the pipe wall in this place, we will not change the tone; The hole, opened elsewhere, changes the height of the sound. In the nodal places, on the contrary, the pressure and density of the air are changing, but the speed is zero. Therefore, if you dock the flap through the wall in the place where the node has, the height of the sound should not change. Experience is really justified. An experienced verification of the laws of the pipes can also be carried out at the König pressure gauge lights (see). If a pressure gauge, closed on the side of the refill pipe, accounts for the node, then the oscillations of the gas flame will be the largest; Near the beatings, the flame will be motionless. You can observe the oscillations of such lights by moving mirrors. For this purpose, for example, a mirror parallelepiped is used, driven by the help of a centrifugal machine; In the mirrors, a light strip will be visible; One edge of which will be served. 3) the law of the inverse proportionality of the height of the tone and the length of the pipe (long and narrow) was known for a long time and is checked easily. Experiments have shown, however, that this law is not quite accurate, especially for wide pipes. So Masson (1855) showed that in a long benullium, composite flute with sound, corresponding to half a declaration of waves in 0.138 m., The air pole is really divided into such parts with a length of 0.138 m., Excluding the one that comes to the ambush, where the length is It turned out only 0.103 m. Also, Koenig found, for example, for one particular case of the distance between the corresponding puffs in the pipe (starting from the ambush) equal to 173, 315, 320, 314, 316, 312, 309, 271. Here the average numbers are almost the same, they are little retreat from The average value 314, while the 1st of them (about the ambushory) differs from the average to 141, and the last (at the pipe hole) by 43. The cause of such incorrectness or perturgities on the tip of the pipe is that the ambulance is that elasticity and density, Due to blowing air, they do not remain quite permanent, as it is assumed in the theory for the beafness, and for the free opening of the open pipe, due to the same reason, the oscillating air column seems to continue or protrudes over the edges of the walls outward; The last pitfall so it will have to come outside the pipe. And in the closed tube at the damper, if it is amenable to hesitation itself, perturbations should occur. Vertheim (1849-51) was convinced of the experience that perturbations of the pipe did not depend on the wavelength. Poisson (1817) for the first time gave the theory of such pebats, adopting that small coincidences of air are proportional to the speed. Then gopkins (1838) and Ke (1855) gave more complete explanations, making multiple reflections on the tip of the pipe. The overall result of these studies is such that for an open pipe, instead of equality L. = nλ./2, need to take L. + l. = nλ./2 , a for a closed pipe L. + l " = (2N. + 1 )λ /4. Consequently, when calculating length L. Pipes must be increased for a permanent amount ( l. or l "). The most complete and accurate theory of sounding pipes is given by Helmholz. From this theory implies that the amendment at the hole is 0.82 R. (R. - The radius of the pipe section) for the case of a narrow open pipe, which communicates with the bottom of a very wide pipe. According to the experiments of Railway (Lord Rayleigh), this amendment should be 0.6 R, if the hole of the narrow pipe is communicated with free space and if the wavelength is very large relatively with the pipe diameter. Boot (1877) found that this correction increases with a diameter ratio to the wavelength; so for example. It is equal to 0.64 when R./λ \u003d 1/12 and 0.54 R./λ \u003d 1/20. Other results reached from their already mentioned experiments and König. He noticed, precisely that the shortening of the first half of the waves (at the ambush) becomes smaller at the highest colors (i.e., with shorter waves); The less significant shortening of the last half-wave changes little at the same time. In addition, numerous experiments were produced in order to explore the amplitudes of oscillations and air pressure inside the pipes (Kundt - 1868, heat and boltzmann - 1870, Mach - 1873). Despite, however, on numerous experienced studies, the question of sounding pipes cannot be even considered finally clarified in all respects. - For wide pipes, as already mentioned, Bernoulli laws are not applicable at all. So Merensenne (1636), taking between other two pipes of the same length (16 cm.), But different diameters, noticed that in a wider tube ( d. \u003d 12 cm.) The tone was below 7 of the tons, rather than in a pipe with a smaller crosspiece (0.7 cm.). Messenn opened the law concerning such pipes. Savar confirmed the validity of this law for pipes of a wide variety of forms, which formulates this: in such tubes, the height of the tones is inversely proportional to the corresponding sizes of pipes. So for example. Two pipes, of which one in 1 ft. Length and 22 Lin. in diameter, and another 1/2 FT. Length and 11 lin. Diameter, give two tones that constitute the octave (the number of oscillations in 1 "the second pipe is twice or more than for the 1st pipe). Savar (Savart, 1825) In addition, found that the width of the rectangular pipe does not affect the height of the tone If the gap of the amcusher goes to the entire width. Cavalle-Call (Cavailé-Coll) gave the following correction empirical formulas for open pipes: 1) L " = L. - 2p., and r The depth of the rectangular tube. 2) L " = L. - 5/3d.where d. Diameter of a round tube. In these formulas L. = v "N. There is a theoretical length, and L " Valid pipe length. The applicability of the cavalier-ring formulas in large limits is proved by Vertheim's research. The considered laws and rules belong to Fleute or Municipal O. Pipes. IN tongue pipes The node falls at the hole periodically closed and opened by an elastic plate (tongue), while in the flute pipes at the hole through which the air jet is blowing, it is always a pittal. Therefore, the bunch tube corresponds to a closed flute tube, which also has a node at one end (albeit on the other than that of the tongue). The reason that the node is located in the tongue of the pipe, is that in this place there are the greatest changes in the elasticity of air, which corresponds to the node (in the beams, on the contrary, the elasticity of constant). So, the cylindrical tongue tube (like closed flute) can give a serial row of tones 1, 3, 5, 7 .... if its length is in proper ratio with the speed of oscillation of the elastic plate. In wide pipes, such a relation may not be strictly observed, but for some limit of inconsistency, the pipe ceases to sound. If the tongue is a metal plate, both in the organ pipe, then the height of the tone is caused by almost exclusively by its oscillations, as already mentioned. But in general, the height of the tone depends on both the tongue and the pipe itself. V. Weber (1828-29) studied this dependence in detail. If the tongue opens inwards, as usual in O. pipes, instruct the pipe, then the tone is generally reduced. If, gradually lengthening the pipe, with the tone drops to a whole octave (1: 2), we will achieve such lengths L., which fully corresponds to the fluctuations of the tongue, the tone will immediately rise to the previous value. With further lengthening of the pipe to 2L the tone will again fall down to quarts (3: 4); for 2L Again, immediately turns out the initial tone. With a new elongation to 3L The sound drops to a small policy (5: 6), etc. (if you arrange a tongues that open out, similar to voice bundles, then the pipe prescribed on them will increase the corresponding tone). - in wooden music. Tools (clarinet, bobbin and fagot) are used; consisting of one or two thin and flexible cohesions. These tongues themselves make a much higher sound than the one that is caused by them in the pipe. The tongue pipes must be considered as pipes closed from the tongue. Therefore, in the cylindrical tube, as in clarinet, consecutive tones at a reinforced blowing should be 1, 3, 5, and so on. Opening the side holes corresponds to the shortening of the pipe. In the conical pipes closed at the top, the sequence of tones is the same as in open cylindrical pipes, i.e. 1, 2, 3, 4, etc. (Helmgolts). Oboe and Fagot belong to the conical pipes. The properties of the tongues of the third kind, theused, can be studied, as did the Helmholtz, with a simple device consisting of two rubber membranes stretched into the cutting edges of the wooden tube, so that a narrow slot remains between the membranes in the middle of the pipe. Air current can be directed through the slot outside the inside of the tube or back. In the latter case, it turns out the similarity of voice ligaments or lips when playing copper brass instruments. The height of the sound is determined due to the softness and flexibility of the membrane, extremely sizes of the pipe. Copper tools, like a hunting horn, cornet with pistons, horn, etc. represent the conical pipes, and therefore they give a natural range of higher harmonic tones (1, 2, 3, 4, etc.). Organ device - see organ.

N. Gezheus.

Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - S.-PB.: Brockhauses-Efron. 1890-1907 .

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The number of oscillations per unit of time, the speed or frequency of oscillations depends on the size, shape and nature of tel. The height of the sound, caused by the number of oscillations of the sounding body per unit of time, can be determined in various ways (see sound). ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

- (Piz.) Promotion or opposition between two or more waves occurring from oscillatory, periodically repetitive movements. Waves (see) can occur in liquids, solids, gases and ether. In the first case, I. Waves see ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

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