@inproceedings{ViTa2015_112,
	author = {Campbell, Murray},
	title = {Bridging the gaps in the harmonic series: Valves, slides and finger holes in brass instruments.},
	booktitle = {Proceedings of the Third Vienna Talk on Music Acoustics},
	year = {2015},
	pages = {2--2},
	editor = {Mayer, Alexander and Chatziioannou, Vasileios and Goebl, Werner},
	abstract = {On almost all lip-excited wind instruments it is possible for the player to sound a series of different
pitches corresponding to the different acoustic resonances of the air column inside the instrument.
The pitch intervals in this series depend on the bore profile of the instrument, which is usually
designed so that the acoustic resonance frequencies of the basic tube are close to being members of
a complete harmonic series. To obtain a chromatic scale over the compass of the instrument it is
necessary to sound pitches which bridge the gaps between the harmonics, and several stratagems
have been developed which allow this. The oldest method is to puncture the tube with side holes
which can be opened or closed by the fingers. A fifteenth century innovation was a sliding section
which allowed the tube length to be varied continuously. By the second decade of the nineteenth
century valves had been designed which permitted discrete additional sections of tubing to be added
to the basic bore. Some musical consequences of the science underlying these three approaches are
explored in this review.},
	address = {Vienna, Austria},
	publisher = {Institute Of Music Acoustics (Wiener Klangstil)},
	
}