Sound. John Tyndall

with his slate-pencil. I will not call it Fig. 15. musical, because this term is usually associated with pleasure, and the sound of the pencil is not pleasant.

      The production of a musical sound by taps is usually effected by causing the teeth of a rotating wheel to strike in quick succession against a card. This was first illustrated by the celebrated Robert Hooke,25 and nearer our own day by the eminent French experimenter Savart. We will confine ourselves to homelier modes of illustration. This gyroscope is an instrument consisting mainly of a heavy brass ring, d, Fig. 15, loading the circumference of a disk, through which and at right angles to its surface, passes a steel axis, delicately supported at its two ends. By coiling a string round the axis, and drawing it vigorously out, the ring is caused to spin rapidly; and along with it rotates a small-toothed wheel, w. On touching this wheel with the edge of a card c, a musical sound of exceeding shrillness is produced. I place my thumb for a moment against the ring; the rapidity of its rotation is thereby diminished, and this is instantly announced by a lowering of the pitch of the note. By checking the motion still more, the pitch is lowered still further. We are here made acquainted with the important fact that the pitch of a note depends upon the rapidity of its pulses.26 At the end of the experiment you hear the separate taps of the teeth against the card, their succession not being quick enough to produce that continuous flow of sound which is the essence of music. A screw with a milled head attached to a whirling table, and caused to rotate, produces by its taps against a card a note almost as clear and pure as that obtained from the toothed wheel of the gyroscope.

      The production of a musical sound by taps may also be pleasantly illustrated in the following way: In this vise are fixed vertically two pieces of sheet-lead, with their horizontal edges a quarter of an inch apart. I lay a bar of brass across them, permitting it to rest upon the edges, and, tilting the bar a little, set it in oscillation like a see-saw. After a time, if left to itself, it comes to rest. But suppose the bar on touching the lead to be always tilted upward by a force issuing from the lead itself, it is plain that the vibrations would then be rendered permanent. Now such a force is brought into play when the bar is heated. On its then touching the lead the heat is communicated, a sudden jutting upward of the lead at the point of contact being the result. Hence an incessant tilting of the bar from side to side, so long as it continues sufficiently hot. Substituting for the brass bar the heated fire-shovel shown in Fig. 16, the same effect is produced.