Learning Objectives

By the end of this section, you will be able to do the following:

• Define antinode, node, fundamental, overtones, and harmonics
• Identify instances of sound interference in everyday situations
• Describe how sound interference occurring inside open and closed tubes changes the characteristics of the sound, and how this applies to sounds produced by musical instruments
• Calculate the length of a tube using sound wave measurements

The information presented in this section supports the following AP® learning objectives and science practices:

• 6.D.1.1 The student is able to use representations of individual pulses and construct representations to model the interaction of two wave pulses to analyze the superposition of two pulses. (S.P. 1.1, 1.4)
• 6.D.1.2 The student is able to design a suitable experiment and analyze data illustrating the superposition of mechanical waves (only for wave pulses or standing waves). (S.P. 4.2, 5.1)
• 6.D.1.3 The student is able to design a plan for collecting data to quantify the amplitude variations when two or more traveling waves or wave pulses interact in a given medium. (S.P. 4.2)
• 6.D.3.1 The student is able to refine a scientific question related to standing waves and design a detailed plan for the experiment that can be conducted to examine the phenomenon qualitatively or quantitatively. (S.P. 2.1, 2.2, 4.2)
• 6.D.3.2 The student is able to predict properties of standing waves that result from the addition of incident and reflected waves that are confined to a region and have nodes and antinodes. (S.P. 6.4)
• 6.D.3.3 The student is able to plan data collection strategies, predict the outcome based on the relationship under test, perform data analysis, evaluate evidence compared to the prediction, explain any discrepancy, and, if necessary, revise the relationship among variables responsible for establishing standing waves on a string or in a column of air. (S.P. 3.2, 4.1, 5.1, 5.2, 5.3)
• 6.D.3.4 The student is able to describe representations and models of situations in which standing waves result from the addition of incident and reflected waves confined to a region. (S.P. 1.2)
• 6.D.4.2 The student is able to calculate wavelengths and frequencies (if given wave speed) of standing waves based on boundary conditions and length of region within which the wave is confined, and calculate numerical values of wavelengths and frequencies. Examples should include musical instruments. (S.P. 2.2)

Interference is the hallmark of waves, all of which exhibit constructive and destructive interference exactly analogous to that seen for water waves. In fact, one way to prove something is a wave is to observe interference effects. So, sound being a wave, we expect it to exhibit interference; we have already mentioned a few such effects, such as the beats from two similar notes played simultaneously.

Figure 17.23 shows a clever use of sound interference to cancel noise. Larger-scale applications of active noise reduction by destructive interference are contemplated for entire passenger compartments in commercial aircraft. To obtain destructive interference, a fast electronic analysis is performed, and a second sound is introduced with its maxima and minima exactly reversed from the incoming noise. Sound waves in fluids are pressure waves and consistent with Pascal’s principle: Pressures from two different sources add and subtract like simple numbers; that is, positive and negative gauge pressures add to a much smaller pressure, producing a lower-intensity sound. Although completely destructive interference is possible only under the simplest conditions, it is possible to reduce noise levels by 30 dB or more using this technique.

Where else can we observe sound interference? All sound resonances, such as in musical instruments, are due to constructive and destructive interference. Only the resonant frequencies interfere constructively to form standing waves, while others interfere destructively and are absent. From the toot made by blowing over a bottle, to the characteristic flavor of a violin’s sounding box, to the recognizability of a great singer’s voice, resonance and standing waves play a vital role.

Suppose we hold a tuning fork near the end of a tube that is closed at the other end, as shown in Figure 17.25, Figure 17.26, Figure 17.27, and Figure 17.28. If the tuning fork has just the right frequency, the air column in the tube resonates loudly, but at most frequencies it vibrates very little. This observation just means that the air column has only certain natural frequencies. The figures show how a resonance at the lowest of these natural frequencies is formed. A disturbance travels down the tube at the speed of sound and bounces off the closed end. If the tube is just the right length, the reflected sound arrives back at the tuning fork exactly half a cycle later, and it interferes constructively with the continuing sound produced by the tuning fork. The incoming and reflected sounds form a standing wave in the tube as shown.

The standing wave formed in the tube has its maximum air displacement (an antinode) at the open end, where motion is unconstrained, and no displacement (a node) at the closed end, where air movement is halted. The distance from a node to an antinode is one-fourth of a wavelength, and this equals the length of the tube; thus, $\lambda =4L.$ This same resonance can be produced by a vibration introduced at or near the closed end of the tube, as shown in Figure 17.29. It is best to consider this a natural vibration of the air column independently of how it is induced.

Given that maximum air displacements are possible at the open end and none at the closed end, there are other, shorter wavelengths that can resonate in the tube, such as the one shown in Figure 17.30. Here, the standing wave has three-fourths of its wavelength in the tube, or $L=(3/4)\lambda \prime ,$ so that $\lambda \prime =4L/3.$ Continuing this process reveals a whole series of shorter-wavelength and higher-frequency sounds that resonate in the tube. We use specific terms for the resonances in any system. The lowest resonant frequency is called the fundamental, while all higher resonant frequencies are called overtones. All resonant frequencies are integral multiples of the fundamental, and they are collectively called harmonics. The fundamental is the first harmonic, the first overtone is the second harmonic, and so on. Figure 17.31 shows the fundamental and the first three overtones (the first four harmonics) in a tube closed at one end.

The fundamental and overtones can be present simultaneously in a variety of combinations. For example, middle C on a trumpet has a sound distinctively different from middle C on a clarinet, both instruments being modified versions of a tube closed at one end. The fundamental frequency is the same (and usually the most intense), but the overtones and their mix of intensities are different and subject to shading by the musician. This mix is what gives various musical instruments (and human voices) their distinctive characteristics, whether they have air columns, strings, sounding boxes, or drumheads. In fact, much of our speech is determined by shaping the cavity formed by the throat and mouth and positioning the tongue to adjust the fundamental and combination of overtones. Simple resonant cavities can be made to resonate with the sound of the vowels, for example. (See Figure 17.32.) In boys, at puberty, the larynx grows and the shape of the resonant cavity changes, giving rise to the difference in predominant frequencies in speech between men and women.

Now let us look for a pattern in the resonant frequencies for a simple tube that is closed at one end. The fundamental has $\lambda =4L,$ and frequency is related to wavelength and the speed of sound as given by

Solving for $f$ in this equation gives

where $v_{\mathrm{w}}$ is the speed of sound in air. Similarly, the first overtone has $\lambda \prime =4L/3$ (see Figure 17.31), so that

Because $f\prime =3f,$ we call the first overtone the third harmonic. Continuing this process, we see a pattern that can be generalized in a single expression. The resonant frequencies of a tube closed at one end are

where $f_1$ is the fundamental, $f_3$ is the first overtone, and so on. It is interesting that the resonant frequencies depend on the speed of sound and, hence, on temperature. This dependence poses a noticeable problem for organs in old unheated cathedrals, and it is also the reason why musicians commonly bring their wind instruments to room temperature before playing them.

Another type of tube is one that is open at both ends. Examples are some organ pipes, flutes, and oboes. The resonances of tubes open at both ends can be analyzed in a very similar fashion to those for tubes closed at one end. The air columns in tubes open at both ends have maximum air displacements at both ends, as illustrated in Figure 17.33. Standing waves form as shown.

Based on the fact that a tube open at both ends has maximum air displacements at both ends, and using Figure 17.33 as a guide, we can see that the resonant frequencies of a tube open at both ends are

where $f_1$ is the fundamental, $f_2$ is the first overtone, $f_3$ is the second overtone, and so on. Note that a tube open at both ends has a fundamental frequency twice what it would have if closed at one end. It also has a different spectrum of overtones than a tube closed at one end. So if you had two tubes with the same fundamental frequency but one was open at both ends and the other was closed at one end, they would sound different when played because they have different overtones. Middle C, for example, would sound richer played on an open tube, because it has even multiples of the fundamental as well as odd. A closed tube has only odd multiples.

Wind instruments use resonance in air columns to amplify tones made by lips or vibrating reeds. Other instruments also use air resonance in clever ways to amplify sound. Figure 17.34 shows a violin and a guitar, both of which have sounding boxes but with different shapes, resulting in different overtone structures. The vibrating string creates a sound that resonates in the sounding box, greatly amplifying the sound and creating overtones that give the instrument its characteristic flavor. The more complex the shape of the sounding box, the greater its ability to resonate over a wide range of frequencies. The marimba, like the one shown in Figure 17.35, uses pots or gourds below the wooden slats to amplify their tones. The resonance of the pot can be adjusted by adding water.

We have emphasized sound applications in our discussions of resonance and standing waves, but these ideas apply to any system that has wave characteristics. Vibrating strings, for example, are actually resonating and have fundamentals and overtones similar to those for air columns. More subtle are the resonances in atoms due to the wave character of their electrons. Their orbitals can be viewed as standing waves, which have a fundamental (ground state) and overtones (excited states). It is fascinating that wave characteristics apply to such a wide range of physical systems.