Species woodwind and percussion instruments. woodwind musical instruments

Flute (large)

(Flöte – German)

The most mobile of the woodwinds. It is easiest to recognize him, because. it's the only one

An instrument that must be held across the face during performance (transverse). Transverse in the 18th century replaced the longitudinal.

It is a hollow tube, closed at the top. In a disassembled, detachable form, it consists of three parts(knees). Movable connections of all parts contribute, if required, to its adjustment. The upper part is a head with a hole for blowing air. The middle part is the main body, equipped with a valve lever mechanism that opens and closes the sound holes. There are 2-3 holes in the lower knee, controlled by the little finger of the right hand.

Until the 19th century, the scale was limited, but in the 30s of the 19th century, the outstanding German flutist Böhm took up its improvement. His instrument, after important design changes, turned into a virtuoso chromatic instrument. Range - 3 octaves. From "to" 1 octave to "to" 4 octaves.

Playing the flute requires a lot of air. When blown, part of it breaks on the sharp edge of the hole and leaves. This results in a characteristic "sibilant" overtone. The timbre is white with overtones, and this makes it coldish, dull. Different registers are very different in the nature of the sound. The lowest one is mysterious, “glass”. Medium - light, poetic. Top - shine. The nature of the sound depends on the adjustment of the air and the correct sound strikes with the brightness and position of the lips in relation to the hole. Of particular importance for the attack of sound is language. Type of attack: simple - on the syllable

“tu-tu”, double - “tu-ku”, triple - “tu-ku-ku”.

The flute is subject to such a form of sound as the natural world with its real and fantastic inhabitants.

Small flute (piccolo)

(Kleine Flöte – German)

Penetrated into the orchestra in the 2nd half of the 18th century. It is half as large as the large one, which extends the range by an octave higher - from "re" of the second octave to "do" of the fifth octave.

In orchestral parts, it is recorded in transport - an octave lower (using the “eight” icon).

In design, the piccolo flute is the same as the big flute. Lower case is rarely used. Medium sounds are graceful, plastic. Sharp sounds in the high register are distinguished by great power and brilliance.

This miniature tool is capable of "cutting" through fortissimo tutti the entire orchestra. In general, the timbre of the small flute is even poorer in overtones than the timbre of the great flute. The pictorial player, if necessary, changes the instrument to the great flute and plays the part of the 2nd or 3rd flute. In the recording of the orchestral part, this is indicated muta Fluato piccolo in Fluato grando 3 and vice versa.

Flute technique

Legato on the flute is shorter than on other woodwind instruments due to the high air consumption. The lowest and partly the highest notes are especially short-lived (especially in fort).

This is not reflected in the usual small-breath phrases, but when playing wide melodies, the flute gives significantly more breaks in the melodic line than other woodwind instruments. Therefore, one should not make demands on the flute that contradict its nature, otherwise the performance will be strained and timid.

The flute instantly responds to the slightest breath (without transmission to the reed), and this leaves an imprint on the entire manner of performance, very flexible in terms of shading and without perceptible " attack 'i" (the moment of the appearance of air); the sound of the flat appears, one might say, by itself.

Phrases and passages of small breathing on the flute are obtained with amazing ease. Combinations of small legal phrases of the most whimsical alternation are especially good.

Diatonic and chromatic scales, various arpeggios are obtained on the flute with the utmost fluency and ease; only the clarinet can compete with it in the flexibility and mobility of a legate technique.

In the staccato technique, the flute has no rivals. In addition to the usual simple staccato , - very fast, because the sound on the flute occurs instantly without transmission to the reed - an amazing swift reception is possible on the flute double tongue and almost as fast triple language.

The double tongue separates with the tongue every stroke of the simple staccato for two strokes:

“ta-ka, ta-ka”, etc. and therefore it is especially common with rapidly repeating notes. With a double tongue, figures that are even in the number of notes are performed, not necessarily built from repeating notes.

Triple Tongue Splits Tongue Every Stroke Of A Simple staccato for three strokes:

“ta-ka-ta, ta-ka-ta”, etc. and is used to perform fast triplet figures with repeating and non-repeating notes. Both of these effects cannot reach a great sounding power.

In addition, a peculiar kind of tremolo , called "frulato" (German - flatterzunge ) both on one note and in small passages. sound flatterzunge reminiscent of a somewhat muffled police whistle; it is achieved by rapid vibration of the tongue and larynx (reception of gargling).

From everything it turns out that the flute is characterized by combinations of legate and staccato passages of the most whimsical shading, jumps (especially octaves), quick changes of registers and narrow light melodic phrases, more transparent, but less expressive than those of a clarinet or oboe. If you do not interfere with performance with uncomfortable tonalities, then the brilliance of the sound of the flute will be maximum. AT f approximately up to the note “G” of the 2nd octave, the flute is weaker than the oboe and clarinet and cannot balance them in a chordal combination. It should also be noted that the flute's staccato technique is somewhat slower in the lowest register than in the middle and upper registers, and is also slower in the highest register. Flute technique is most brilliant precisely in those registers where the lips are not overstretched, but not overly loose.

Oboe

(Hoboe - German)

It is a hollow tube with a socket at the end. There are from 15 to 19 holes in the wall, equipped with a valve mechanism. Length - 60-62 centimeters. Consists of three parts.

Available for air injection special device- a tip made of two reed plates adjacent to each other. During performance, the upper ends of the petals are pressed between the lips. The reed generates sound vibrations that are transmitted to the air column inside the instrument. Due to some design features, the oboe has almost no tuning. Range - 2.5 octaves - from "si" of a small octave to "fa" of the 3rd octave. It has a fairly mobile technique, but is inferior to the flute, because. sound production is less convenient. This is due to the fact that little air enters between the petals. But where the oboe feels more comfortable is the world of simple sentimental and pastoral melodies. Sharply, dryly interrupted sounds radiate a joyful mood, children's fun.

The timbre of the oboe, with its peculiar "nasal" tone, stands out among other instruments for its sharpness and expressiveness. In the middle register, extremely expressive, the timbre is fresh, gentle, touchingly direct, sometimes pitiful, almost mournful. In the low - rough and nasal. At the top - noisy and "skinny".

Unlike the chilly flute, the oboe is characterized by great emotionality. His area is sadness, elegiacity, dreary moaning, good-natured slyness and grace are not alien. Sometimes the oboe is assigned comic roles.

Alto oboe (cor anglais)

(Englisches Horn - German)

The cor anglais is larger than the oboe and sounds a fifth lower. Its material, device and playing methods are the same as those of the oboe. Its difference is the bell, which has a pear-shaped shape, which gives the instrument a peculiar timbre. The cane is placed on a thin metal tube bent inward in the form of the letter "c".

The cor anglais is a transposing instrument (oboe in F ). Range - 2.5 octaves - from "mi" of a small octave to "si" of the second octave.

It entered orchestral practice only in the 19th century.

The cor anglais player is sometimes assigned to play the part of the 3rd oboe. In the score, this is indicated corno inglese muta in oboe 111 and vice versa.

oboe playing technique

Some laziness of extraction, less ease in overblowing do not allow the oboe to legato (with the same fingering as the flute) reach the speed of the flute. The oboe is even more inferior to the flute in the staccato technique, because the techniques of “double” or “triple” tongue are not applicable on it. However, the usual staccato it turns out very clearly and with sufficient speed, but only in the middle register. Lowercase and uppercase staccato much heavier

On the oboe, moderately fast legat passages work well, mixed with various figures of a simple staccato . If you don't obstruct the fingering of the oboe with an uncomfortable key, then you can achieve quite a lot of speed in the passages. The most comfortable keys for the oboe are D-dur and those close to her. The oboe is especially good in wide lyrical cantilenas.

The technique of the English horn is less mobile than that of the oboe, the sound is somewhat thicker and has a nasal tinge.

Clarinet

(Klarinette - German)

Appearance and in the setting of the game does not differ from the oboe. The case is slightly larger and longer, but otherwise it differs radically.

The body consists of five parts, of which the lower one is an expanding bell, the upper one is a beak-shaped mouthpiece. On the flat side of the mouthpiece there is a rectangular hole, on which a thin reed plate is superimposed and attached (like an oboe), but on the clarinet the reed is single.

The design and technique of the game is extremely complex. Here more holes and leverage than on others. The air flow is small. Coming into orchestral practice later than the flute and oboe, on the verge of the 18th and 19th centuries, the clarinet has turned into an exceptionally perfect instrument in 2.5 centuries.

As for dynamic nuances, the clarinet is more diverse and richer than any of the wind instruments. A valuable quality of the tool is that it easily adapts to other tools.

With a general range - from "mi" of a small octave to "salt" of the third octave - 4 colors are distinguished in the sound. These are peculiar dark, gloomy low sounds. After a transitional dull segment, a new timbre of the upper register appears. These sounds are silvery, clear and most poetic. The high register is piercing and noisy. To facilitate the game, the masters made instruments of various sizes. For sharp keys in tuning in A , for flat in formation in B . The difference in timbre between clarinets A and B is negligible.

Larger in size in A sounds soft, matte. Less in B sounds brighter. At present, the most common system is in B (regardless of tone). The clarinet part is written a major second above.

Small clarinet in Es came from a military brass band. The musicians were attracted by a specific timbre.

bass clarinet

(Bassklarinette - German)

The most impressive in size. He has a system in B . The range is from "to" a large octave to "to" the second octave. The instrument was built at the end of the 18th century. The form is unusual. Length - more than a meter, the mouthpiece is curved - tilted back in the shape of the letter " s ". The lower part, expanding and bent upwards in the form of a smoking pipe, is a bell. The bass clarinet rests on the floor with a metal pin fixed at the bottom of the body, and is supported by a cord worn around the performer's neck. The timbre of the bass clarinet is dark, mysterious.

All the features of the normal clarinet fingering are fully applicable to the bass clarinet, but due to big size he is less mobile.

In a modern orchestra, the bass clarinet player may play the 3rd or 4th clarinet part. AT the orchestral part is being recorded Clarinetto basso muta in clarinetto in A 1 at .

Clarinet technique

The clarinet in legat technique is in no way inferior, but even surpasses the flute.

On it, without overblowing, it is possible to perform passages in the duodecimal range. Diatonic and chromatic scales, arpeggios, jumps to duodecima (associated with a quick change of registers) come out on the clarinet with extraordinary swiftness. The clarinet is just as suitable for expressive melodies of wide breathing, thanks to the low air consumption. With regard to the strength of the sound, the clarinet gives a huge gradation fromppp before ff .

In the staccato technique, the clarinet is much inferior to the flute, because. “double” and “triple” tongues are impossible on it, and even in a single tongue, its speed is less than a flute and even, perhaps, inferior to an oboe (due to a denser reed). In any case, multiple staccato the clarinet is tiresome. In extreme registers staccato even slower than average.

Modern clarinets, like flutes, have a large number of additional valves and levers that allow you to take the same note with different fingers from different positions. The execution of trills is facilitated by special trill valves; therefore, almost all trills are possible on the clarinet.

All sorts of tremolo (trills, larger than in the interval of a major second) are the easier to perform, the less you have to resort to the help of side (alteration) valves. A prerequisite for feasibility tremolo is the possibility of extracting both of its notes on the same overtone.

The more you have to deviate from the use of the main holes, the less convenient become all kinds of moves and passages. Therefore, on the clarinet it is easier to perform musical works in keys close to G-dur (by recording), in them the clarinet will be more mobile and sonorous.

Currently used clarinets in the system in A and in the order in B . Clarinet

in B transpose down major second, clarinet in B - a small third down. Therefore, for sharp pieces, the use of a clarinet is preferable. in A , and for flat ones - in B . Under these conditions, it is possible to keep a small number of key characters and thereby facilitate fingering and performance, and, consequently, achieve an improvement in sound and an increase in fluency.

Bassoon

(Fagott - German

The first bassoon appeared in the middle of the 16th century. In the future, while retaining its external outlines, it underwent significant improvement and in the 17th century became part of the symphony orchestra.

The body of the bassoon is a large folded, double-bent pipe. In a straightened form, it reaches about three meters. Made of maple, disassembled into 3 parts (knee). A thin curved tube comes out of the small knee, a reed cane is attached to it (like an oboe - double, but twice as large), so sound production is somewhat easier and not as tiring as on an oboe. During the game, the bassoon is hung around the neck of the performer.

Range - 3.5 octaves - from "si flat" of the counteroctave to "fa" of the 3rd octave. The timbre changes throughout the entire range. Low sounds are powerful, thick, but somewhat clumsy. A melancholic upper register begins through a deaf octave. This sound segment is suitable for performing solo melodies. The nature of the upper sounds is compressed, clamped. The general character lies in the timbre - hoarseness, tightness, tension. Rimsky-Korsakov very aptly defined the coloring: "The timbre is senilely mocking in major, painfully sad in minor." No other instrument is more prone to sarcastic mockery and grouchiness, and sometimes arrogance. Meyerbeer in "Robert the Devil" forced the bassoon to portray "death laughter", from which frost runs through the skin.

The bassoon is notated in the bass and tenor clefs, rarely in the treble clef.

contrabassoon

(Kontrafagot - German)

The instrument is twice as large as the bassoon and, when unfolded, is about six meters. With the same recording as that of the bassoon, the counterbassoon sounds an octave lower than written and, therefore, is a transposing instrument. The range is from “la” subcontroctave to “fa” of the 1st octave. On the bassoon it is difficult to extract notes above the "A" of the small octave. Technically, the instrument is less mobile than the bassoon, and the air consumption on it is much greater. The timbre is thicker than that of the bassoon, but less expressive.

Bassoon playing technique

AT in general terms reminiscent of the technique of playing the oboe, only the breath on the bassoon is consumed much faster than on the oboe.

The staccato technique is based on a simple single language, and in speed

simple staccato The bassoon is not only not inferior to other woodwind instruments with a reed, but also surpasses them. Staccato bassoon unusually distinct and sharp. All jumps of an octave and more are excellent; shifts of registers are overcome almost as imperceptibly as on the flute. Upper and lower case staccato slightly slower than average.

The bassoon technique is most characteristic of the alternation of melodic phrases of medium breathing with various segments of scale-like passages and arpeggios, mainly in staccato presentation (especially good in combined shading) and using a wide variety of jumps.

The importance of wind instruments, both solo and in any type of orchestra, is very high. According to music experts, it is they who unite the sounds of strings and keyboards, even out the sound, despite the fact that their technical and artistic qualities are not so outstanding and attractive. With the development of new technologies and the use of new materials for the manufacture of wind musical instruments, the popularity of wood has decreased, but not so much that they are completely excluded from use. Both in symphony, and in folklore orchestras, and in instrumental groups, various pipes, pipes made of wood are widely used, since their sound is so unique that it is impossible to replace them with something.

Types of Woodwind Instruments

Clarinet - capable of producing a wide range of sound, with a soft and warm timbre. These unique abilities instruments provide the performer with unlimited possibilities of playing with the melody.

The flute is a wind instrument with the highest sound. It is considered a unique instrument in terms of technical capabilities when performing melodies, which gives it the right to solo in any direction.

Oboe - wooden tool with a slightly harsh, nasal, but unusually melodious voice. It is most often used in symphony orchestras, for playing solo parts or excerpts from works.

Bassoon is a bass wind instrument that produces only a low sound. It is much more difficult to control and play it than other wind instruments, but, nevertheless, at least 3 or 4 of them are used in a classical symphony orchestra.

Folklore orchestras use various pipes, pity pipes, whistles and ocarinas made of wood. Their structure is not complex, like that of symphonic instruments, the sound is not so diverse, but it is also much easier to control them.

Where are woodwind instruments used?

In modern music, woodwinds are no longer used as often as they were in past centuries. Their popularity is unchanged only in symphony and chamber orchestras, as well as in folklore ensembles. When performing music of these genres, they often occupy a leading position, and it is they who are given the solo part. There are frequent cases of the sound of wooden instruments in jazz and pop compositions. But connoisseurs of such creativity, unfortunately, is becoming less and less.

How and from what modern wind instruments are made

Modern woodwind instruments only superficially resemble their predecessors. They are made not only of wood, the air flow is regulated not by fingers, but by a multi-level system of keys-valves that make the sound shorter or longer, raise or lower its tone.
For the production of wind instruments, maple, pear, walnut or the so-called ebony - ebony are used. Their wood is porous, but resilient and durable, it does not burst during processing and does not crack during use.

The principle of playing which is based on sending a directed stream of air into a special hole and to adjust the height of the sound of closing special holes with valves.

Collection of clarinets - representatives of woodwind instruments

Classification of musical instruments According to the sounding body According to the method of influencing the sounding body Plucked(String Idiophones) By control mechanism By sound conversion Electronic

Some modern instruments of this type (for example, the modern orchestral flute) are almost never made of wood, for the manufacture of others wood is used along with materials such as the most common plastics, silver or special silver-plated alloys. And the saxophone, which, according to the principle of sound extraction, is a woodwind, has never been made of wood.

Woodwind instruments include modern flute, oboe, clarinet, bassoon, saxophone with all their varieties, ancient recorder, shalmey, chalyumeau, etc., as well as a number of folk instruments such as balaban, duduk, zhaleyka, pipe, zurna, alboka.

History of woodwinds

On the early stages In their development, these instruments were made exclusively from wood, from which historically they got their name. Woodwinds include large group musical instruments united by material and method of extracting air. One of the most ancient is the syringa pipe, which is a tube clogged on one side, in which sound is caused by the vibration of the air column enclosed in it.

Classification of woodwind instruments

Woodwind instruments are divided into two types according to the way the air is blown:

• Labial (from lat. labium - lips), in which air is blown through a special transverse hole in the head of the instrument. The blown air jet is cut against the sharp edge of the hole, due to which the air column inside the tube begins to oscillate. This type of instrument includes the flute and its folk version of the pipe.
• Reed (lingual; from lat. lingua - tongue), in which air is blown through the tongue (cane), fixed in the upper part of the instrument and which is the causative agent of the oscillation of the air column inside the instrument. Canes are of two types:
  • Single a reed is a thin reed plate that closes the hole in the mouthpiece of the instrument, leaving a narrow gap in it. When air is blown in, the reed, vibrating at a high frequency, assumes a different position, either opening or closing the channel in the instrument's mouthpiece. The vibration of the reed is transferred to a column of air inside the instrument, which also begins to vibrate, thus producing sound. Single reed instruments include traditional

If you take a quick look at numerous old paintings, it can be noted that the main elements in their plots are a variety of pipes and pipes. It was on them that our predecessors loved to play. It should be noted that they most often chose wind wood musical instruments, which significantly surpassed the drum and other percussion objects that extract various sounds.

About the manufacture of woodwind instruments

For the manufacture of woodwind musical instruments, improvised material has always been used. Our ancestors created them on the basis of reed reeds, bamboo and other twigs from which future pipes were made. So far, no one has been identified who even at such a time guessed to form holes in them.

However, wooden musical instruments could forever take their rightful place in the hearts of many admirers of this art.

After some time, people realized that the gradual increase in the barrel significantly changes the pitch of the sound, so they began to make every effort and experience that was directed to improving the instruments. With gradual change, they began to turn into more modern version woodwind instruments.

Today, one can observe how musicians who love these instruments call them “wood”, although this name has long been incompatible with the material used to make such sound objects. In former times, they were natural tubes, but now they appear in the form of metal, ebonite and plastic, from which flutes, saxophones, clarinets and recorders are made.

Authentic woodwinds

Of course, authentic wind instruments are made from wood, which is considered their invariable material. Like the past, they are now enjoying increased popularity, which is why they sound on numerous world stage venues. They have special quivering qualities, as they are able to excite the call of the ancestors in human souls.

Such woodwind musical instruments include:

• duduk,
• zurnu,
• sorry,
• transverse flutes

and other sound objects of the peoples of the world.

They all come together common system holes, which are holes that are created in order to possibly increase or decrease the length of the tool barrel.

Relationship between wood and brass instruments

Woodwind instruments have a peculiar relationship with wind items made of copper. Its essence lies in the peculiarity of sound extraction, which requires air released by the lungs, and nothing else.

Thus, it is possible to create a unique brass band with the active participation of wood and brass instruments.

Labial and reed wind instruments

According to its features of sound extraction, such an object can be labial. Among them is the flute.

Also, a musical woodwind instrument can be reed, which includes bassoon, clarinet, saxophone and oboe.

If the musician used the first option, then he should not waste money on reeds, as he will be busy changing them periodically. However, in return, he will receive a beautiful sound and a pleasant timbre of such an instrument.

What tool to choose for a child?

If parents want to develop their child's musical abilities, then it is best to purchase woodwind items for him. Usually, the subtleties of playing brass instruments can be taught to a child when he has sufficient strength and a strengthened muscular corset.

Therefore, you first need to buy a recorder for your baby. The game on it is simple and easy, as it does not need special efforts that the breathing apparatus can exhibit.

Thanks to woodwind instruments, everyone who is interested can get great opportunities and great prospects, the importance of which has already been proven by vivid historical examples of famous people.

Video: Recorder plays

Woodwind instruments are hollow tubes made from special types of dense wood (or sometimes from metal, such as flutes of modern designs and saxophones). Tubes, depending on the type of instrument, are made of cylindrical, conical or reverse-conical section.

They are made up of several parts (2, 3, 4 or more), which are taken apart after the game for the convenience of storing the instrument in a case.
The sounding body in woodwind instruments is a column of air inside the tube, oscillated by blowing an air jet through a special vibration exciter - a reed (reed), or through a hole in the head of the instrument.
Woodwind instruments are divided into two types according to the way the air is blown:
1) Lip(labial), in which air is blown through a special transverse hole (labium) in the head of the instrument. The blown air jet is cut against the sharp edge of the hole, due to which the air column inside the tube begins to oscillate.
The flute belongs to this type of instrument.
2) Reed(lingual), in which air is blown through a tongue (cane), fixed in the upper part of the instrument and which is the causative agent of the oscillation of the air column inside the instrument tube.
These types of instruments include oboe, clarinet, saxophone and bassoon.

The column of air inside the tube, when vibrating, forms, by analogy with a string, nodes and antinodes, called condensations and rarefactions.
Just like a string, a column of air can be made to vibrate as a whole, in two halves, in three thirds, in four quarters, etc., that is, it can be divided into a number of equal, equally sounding parts. The division of the air column into parts depends on the intensity of blowing. The more the lips are tense, the thinner the air stream is blown into the tube, and then the column of air in the tube will be divided into more parts.
The successive division of the air column into parts gives the same natural rock that we get on a string.
A column of air, sounding as a whole, gives the main tone.
A column of air, divided into two halves, gives the 2nd natural sound (an octave from the fundamental tone).
A column of air, divided into three thirds, gives the 3rd natural sound (an octave + a fifth from the fundamental tone).
A column of air divided into four quarters gives the 4th natural sound (two octaves from the fundamental tone), etc.
Dividing the air column into more than five parts is not very common in woodwind instruments.
The transition from one overtone to another is called pereduvan and it is carried out by changing the tension of the lips. On the clarinet, oboe and bassoon, there are special "octave" valves that help to blow out.
The principle of playing on woodwind instruments is based on shortening the sounding air column by opening holes located along the barrel of the instrument at certain distances from each other. Holes according to their device and purpose are divided into three groups:
1) Main holes, giving the main diatonic scale of the instrument. These holes are closed with 4, 3, 2 fingers of the right and left hands. On instruments modern designs these holes are usually covered with rings (so-called glasses), which are slightly raised above the holes and are connected to special corrective valves of the instrument. Glasses help to more accurately cover the sound holes with your fingers.

All main holes above the extracted tone during the main fingering must be closed with fingers.
2) Holes with valves, located in closed state of opening when pressed.

These valves give altered tones that are not part of the main diatonic scale. They are taken as needed with free fingers. To be able to extract the same sound different ways, that is, with different fingers of one or the other hand, several valves of the same action are made on the instrument.
3) Holes with valves located in open state and close when pressed.

These valves are called additional, they give the lowest sounds of the instrument. They are from two to seven. When the valve is pressed, the hole is closed, and thus the sounding column of air is lengthened. These valves are controlled by the little fingers of both hands (in bassoons, the thumbs of both hands).
As mentioned above, in addition to the holes indicated, the oboe, clarinet and bassoon have the so-called octave valves (in the clarinet this valve should have been called the fifth valve), which are very small holes that open in order to help re-blowing . They are on the side opposite the main holes, and their valves are pressed with the thumb of the left hand.
Flute, oboe and bassoon belong to the so-called "octave" instruments, since they give all natural sounds - both even and odd. Of these, naturally, octaves in relation to the fundamental tone (that is, 2nd and 4th) are used, which are taken on the flute with a special position of the lips, as indicated above, and on the oboe and bassoon - with the help of octave valves.
The fingering for the octave overtone is generally the same as for the fundamental tone (with some complication on the bassoon), only the entire scale will sound an octave higher.
If in octave instruments the process of dividing the sounding body (column of air) and its shortening are completely reminiscent of the principle of harmonics on a string and do not need special explanation, then the situation is different with the instruments "quintiru-yuschkmi" (clarinet), that is, with instruments on which even overtones do not arise, and when overblown, the 3rd overtone immediately sounds (a fifth through an octave from the main tone).
Due to the cylindrical section of the tube in the clarinet, an oscillatory movement of the air column is established, similar to closed pipes, that is, with rarefaction (node) at one end of the tube and thickening (antinode) at the other, while in the flute, oboe and bassoon, when the air column oscillates, thickening (antinode) is formed at both ends of the tube, and rarefaction (node) - in its middle. Therefore, the sounding column of air in the clarinet, by reflection, is, as it were, doubled in comparison with the flute, oboe and bassoon, that is, it is twice as long as the instrument's tube, while in the flute, oboe and bassoon the sounding column of air is equal to the length of the instrument.
The scheme of divisions of the sounding column of air in octave and quint instruments can be represented as follows:

The reed reeds of woodwind instruments are made from special varieties of reeds and are distinguished by great elasticity. They are of two types: single and double.
A single reed (used for clarinet and saxophone) is a spatula that closes the hole in the "beak" of the instrument, leaving only a narrow gap in it.
When air is blown in, the reed, vibrating with great frequency, assumes a different position, now opening, then closing the channel in the “beak” of the instrument.
The vibration of the reed is transferred to the column of air inside the tube of the instrument, which also begins to vibrate.

A double reed (used for oboe and bassoon) does not need a “beak”, since it itself consists of two thin plates tightly connected to each other, which, vibrating under the influence of the blown air, close and open the gap formed by themselves.