7844Natural Hiſtory;
the Parts, is drawn down to the Spermatical Veſiels, it leaveth the Body
more hot than it was; whence cometh the dilatation of the Pipes: For we
ſee plainly all effects of Heat do then come on; as Piloſity, more rough-
neſs of the skin, hardneſs of the fieſh, & c.
more hot than it was; whence cometh the dilatation of the Pipes: For we
ſee plainly all effects of Heat do then come on; as Piloſity, more rough-
neſs of the skin, hardneſs of the fieſh, & c.
The induſtry of the Muſitian, hath produced two other means of Strain-
11181. ing, or Intenſion of Strings, beſides their Winding up. The one is the Stopping of
221 the String with the Fingtr; as in the Necks of Lutes, Viols, & c. The
332 other is the Shortneß of the String; as in Harps, Virginals, & c. Both theſe
443 have one and the ſame reaſon, for they cauſe the String to give a quicker
ſtart.
11181. ing, or Intenſion of Strings, beſides their Winding up. The one is the Stopping of
221 the String with the Fingtr; as in the Necks of Lutes, Viols, & c. The
332 other is the Shortneß of the String; as in Harps, Virginals, & c. Both theſe
443 have one and the ſame reaſon, for they cauſe the String to give a quicker
ſtart.
In the ſtraining of a String, the further it is ſtrained, the leſs ſuperſtrain-
55182. ing goeth to a Note: For it requireth good winding of a String, beſore it
will make any Note at all. And in the ſtops of Lutes, & c. the higher they
go, the leſs diſtance is between the Frets.
55182. ing goeth to a Note: For it requireth good winding of a String, beſore it
will make any Note at all. And in the ſtops of Lutes, & c. the higher they
go, the leſs diſtance is between the Frets.
If you fill a Drinking Glaß with Water, (eſpecially one ſharp below,
66183. and wide above) and fillip upon the Brim, or outſide; and aſter, empty
part of the Water, and ſo more and more, and ſtill try the Tone by fillip-
ing; you ſhall finde the Tone fall, and be more Baſe as the Glaſs is more
empty.
66183. and wide above) and fillip upon the Brim, or outſide; and aſter, empty
part of the Water, and ſo more and more, and ſtill try the Tone by fillip-
ing; you ſhall finde the Tone fall, and be more Baſe as the Glaſs is more
empty.
THe juſt and meaſured Proportion of the Air percuſſed, towards the
77Experiments
in Conſort,
touching the
Proportion of
Trebble and
Baſe Tones. Baſeneſs or Trebbleneſs of Tones, is one of the greateſt ſecrets in the
Contemplation of Sounds. For it diſcovereth the true Coincidence of
Tones into Diapaſons, which is the return of the ſame Sound. And ſo of
the Concords and Diſcords, between the Uniſon and Diapaſon; which we
have touched before in the Experiments of Muſick, but think fit to reſume it
here as a principal part of out Inquiry, touching the Nature of Sounds. It may
be found out in the Proportion of the Winding of Strings, in the Proportion
of the Diſtance of Frets, and in the Proportion of the Concave of Pipes, & c.
But moſt commodiouſly in the laſt of theſe.
77Experiments
in Conſort,
touching the
Proportion of
Trebble and
Baſe Tones. Baſeneſs or Trebbleneſs of Tones, is one of the greateſt ſecrets in the
Contemplation of Sounds. For it diſcovereth the true Coincidence of
Tones into Diapaſons, which is the return of the ſame Sound. And ſo of
the Concords and Diſcords, between the Uniſon and Diapaſon; which we
have touched before in the Experiments of Muſick, but think fit to reſume it
here as a principal part of out Inquiry, touching the Nature of Sounds. It may
be found out in the Proportion of the Winding of Strings, in the Proportion
of the Diſtance of Frets, and in the Proportion of the Concave of Pipes, & c.
But moſt commodiouſly in the laſt of theſe.
Try therefore the Winding of a String once about, as ſoon as it is
88184. brought to that extenſion as will give a Tone, and then of twice about, and
thrice about, & c. And mark the ſcale or difference of the Rice of the Tone,
whereby you ſhall diſcover in one, two effects; both the proportion of the
Sound to wards the Dimenſion of the Winding, and the proportion likewiſe
of the Sound towards the Stting, as it is more or leſs ſtrained. But notethat
to meaſure this, the way will be to take the length in a right line of the String,
upon any Winding about of the Peg.
88184. brought to that extenſion as will give a Tone, and then of twice about, and
thrice about, & c. And mark the ſcale or difference of the Rice of the Tone,
whereby you ſhall diſcover in one, two effects; both the proportion of the
Sound to wards the Dimenſion of the Winding, and the proportion likewiſe
of the Sound towards the Stting, as it is more or leſs ſtrained. But notethat
to meaſure this, the way will be to take the length in a right line of the String,
upon any Winding about of the Peg.
As for the Stops, you are to take the number of Frets, and principally
99185. the length of the Line, from the firſt ſtop of the String, unto ſuch a ſtop as
ſhall produce a Diapaſon to the former ſtop, upon the ſame String.
99185. the length of the Line, from the firſt ſtop of the String, unto ſuch a ſtop as
ſhall produce a Diapaſon to the former ſtop, upon the ſame String.
But it will beſt (as it is ſaid) appear in the Bores of Wind-Inſtruments;
and
1010186. therefore cauſe ſome half dozen Pipes to be made in length, and all things
elſe a like, with a ſingle double, and ſo one to a ſextuple Bore; and ſo mark
what fall of Tone every one giveth. But ſtill in theſe three laſt inſtances
you muſt diligently obſerve, what length of String, or diſtance of Stop, or
concave of Air, maketh what riſe of Sound. As in the laſt of theſe (which,
as we ſaid, is that which giveth the apteſt demonſtration) you muſt ſet down
what increaſe of Concave goeth to the making of a Note higher, and what
of two Notes, and what of three Notes, and ſo up to the Diapaſon: For
then the great ſecret of Numbers and Proportions will appear. It is
1010186. therefore cauſe ſome half dozen Pipes to be made in length, and all things
elſe a like, with a ſingle double, and ſo one to a ſextuple Bore; and ſo mark
what fall of Tone every one giveth. But ſtill in theſe three laſt inſtances
you muſt diligently obſerve, what length of String, or diſtance of Stop, or
concave of Air, maketh what riſe of Sound. As in the laſt of theſe (which,
as we ſaid, is that which giveth the apteſt demonſtration) you muſt ſet down
what increaſe of Concave goeth to the making of a Note higher, and what
of two Notes, and what of three Notes, and ſo up to the Diapaſon: For
then the great ſecret of Numbers and Proportions will appear. It is