Bessel Functions
Hit a guitar string and it vibrates in neat sine-wave patterns — halves, thirds, quarters of its
length. That is why a string sounds musical: its overtones are whole-number multiples of the
fundamental. Now hit a drum. A circular drumhead also has vibration modes, but they
are not sines, their frequencies are not tidy multiples, and that is exactly why a
drum sounds like a thud rather than a note. The functions that describe those circular modes are the
Bessel functions.
They are the "sines and cosines of the cylinder". Wherever a physics problem has cylindrical symmetry
— a vibrating drumhead, heat spreading through a round pipe, an electromagnetic wave trapped in a
circular waveguide or optical fibre, the bright rings of light diffracting through a round aperture —
the radial part of the solution is a Bessel function. This page is about that one family: the equation
they solve, why they oscillate while slowly fading, and what their special zeros mean.
Where they come from: Bessel's equation
Separate the wave or heat equation in
cylindrical
coordinates and the radial factor must satisfy Bessel's differential
equation of order n:
x^2\,y'' + x\,y' + \big(x^2 - n^2\big)\,y = 0.
This looks a little like the equation for a spring, y'' + y = 0 (whose
solutions are \cos x and \sin x), but the extra
x\,y' term acts like a gentle, position-dependent friction, and the
-n^2/x^2 piece (after dividing through) distorts things near the origin.
Attack it with a power-series
solution (a Frobenius series) and you get two independent solutions for each order
n:
-
The first kind, J_n(x) — finite at the origin.
Its series is J_n(x) = \displaystyle\sum_{m=0}^{\infty} \frac{(-1)^m}{m!\,(m+n)!}\left(\frac{x}{2}\right)^{2m+n}.
-
The second kind, Y_n(x) — blows up to
-\infty as x\to 0. The general solution is
y = A\,J_n(x) + B\,Y_n(x).
For any region that includes the centre — a solid drum, a filled pipe — the physical solution must be
finite there, so you throw away Y_n and keep only
J_n. From the series you can read straight off that
J_0(0)=1 while J_n(0)=0 for every
n\ge 1.
Seeing them: oscillation with a slow fade
The graph shows J_0(x) and J_1(x). Watch what
they do: they oscillate like cosine and sine — J_0 starts
at 1, J_1 starts at 0 —
but their swings shrink as x grows. They are damped waves,
fading like 1/\sqrt{x}.
For large x this behaviour becomes exact. The Bessel functions settle into
a decaying cosine,
J_n(x) \;\approx\; \sqrt{\frac{2}{\pi x}}\,\cos\!\left(x - \frac{n\pi}{2} - \frac{\pi}{4}\right), \qquad x \to \infty,
which pins down both the shrinking amplitude envelope \sqrt{2/\pi x} and the
fact that, far out, the wiggles line up almost evenly with spacing \pi — but
never quite, which is the whole difference from a plain cosine.
The zeros are the physics
The points where J_n(x)=0 — its zeros — are where the real
content lives. Clamp a circular drumhead of radius a at its rim: the
boundary condition "no motion at the edge" says the radial solution
J_n(k\,a) must vanish there. That is only possible if
k\,a lands on one of the zeros of J_n. So the
allowed vibration frequencies are quantised by the Bessel zeros.
The first zero of J_0 sits at
j_{0,1} \approx 2.405; the next at
j_{0,2} \approx 5.520; then 8.654, and so on.
Because these are not in the ratio 1:2:3, a drum's overtones are
inharmonic — the reason a timpani gives a boomy pitch rather than a clean note. The
same zeros set the cut-off frequencies of a circular waveguide and the radii of the dark rings in the
Airy diffraction pattern of a telescope.
Worked examples
Example 1 — values at the origin. From the series
J_n(x)=\sum_m \frac{(-1)^m}{m!(m+n)!}(x/2)^{2m+n}, the lowest power of
x is x^{\,n}. So at x=0
only the n=0 function survives: J_0(0)=1, and
J_1(0)=J_2(0)=\dots=0.
Example 2 — a drum frequency. A drumhead of radius a with
wave speed c has its lowest axially-symmetric mode when
k\,a = j_{0,1} \approx 2.405, so k = 2.405/a and the
angular frequency is \omega = c\,k = 2.405\,c/a. Double the radius and the
pitch drops by an octave-and-a-bit — the frequency halves.
Example 3 — the fading amplitude. How much has a Bessel oscillation shrunk by
x=25 compared with x=1? The envelope goes like
1/\sqrt{x}, so the ratio is
\sqrt{1/25}=1/5 — the swings are about five times smaller.
Example 4 — which solution to keep. Heat flows in a solid cylinder. The
temperature at the axis (x=0) must be finite, but
Y_n(x)\to-\infty there. So the coefficient of Y_n
must be zero, and only J_n survives. For a hollow pipe (an annulus
that excludes the axis) you keep both.
Tempting, but no — and two differences bite. First, their zeros are not evenly spaced.
A cosine crosses zero every \pi exactly; J_0's
first gaps are 2.405, 5.520, 8.654, \dots, differences of about
3.11 then 3.13 — only approaching
\pi far out, never landing on a fixed period. So there is no "frequency" you
can read off, and the overtones are inharmonic.
Second, the amplitude decays like 1/\sqrt{x}; a cosine
keeps swinging between \pm 1 forever. And do not forget the second solution:
for a region touching the axis you must discard Y_n (which is infinite at
the centre) — a boundary condition that quietly does half the work in every cylindrical problem.
Sprinkle fine sand on a circular drumhead and drive it at one of its resonant frequencies. The sand
skitters away from the moving parts and collects along the nodal lines — the places
that stay still. On a circular membrane those lines form a beautiful lattice of concentric
circles (where a Bessel zero falls) crossed by straight diameters (from the angular
\cos n\varphi factor). These are Chladni patterns, and each
one is a picture of a single Bessel mode J_n(k r)\cos(n\varphi) frozen in
sand. The radii of the sandy circles are exactly the zeros of J_n divided by
k — the abstract special function made visible on a kitchen table.