If a single tone from a musical instrument is spectrally analyzed and the resulting spectrum is used as a model for the other tones, one almost always obtains a series of tones that do not seem to come from that instrument. This is demonstrated with a recorded 3-octave diatonic scale played on a bassoon. A similar 3-octave "bassoon" scale is then synthesized by temporal stretching of the highest tone to obtain the proper pitch for each lower note on the scale. Segments of the steady-state portions are removed to retain the original note lengths. This way the spectra of all tones on the scale are identical except for a frequency scale factor. The listener will notice that, except for the highest note, the second scale does not sound as played on a bassoon.
J.Backus (1977), The Acoustical Foundations of Music, 2nd edition, (Norton &Co., New York).
P.R.Lehman (1962), The Harmonic Structure of the Tone of the Bassoon, (Ph.D. Dissertation, Univ. of Mich.).