ay developed by t1i£ Use of the Kent Bugle. 375 



p,) to be 1000 feet ; the distance of the principal reflecting sur- 

 face on the Eaglet's Nest, from the same station, 1500 feet ; and 

 the reflecting surface from the bugleman 1000 feet ; then rec- 

 koning the velocity of ^und in ground numbers at a thousand 

 feet in a second of time, we perceive that whilst the direct sound 

 requires one second for its transmission, the reflected sound hav- 

 ing to travel 1000 -f- 1500 feet, must require about two seconds 

 and a half before the same note reaches the audience, occasion- 

 ing an interval of a second and a half*. Hence, if an air in 

 crotchets, were played, in which the semi-breve should occupy a 

 secx)nd and a half of time, then the third crotchet of the direct 

 sound would exactly coincide with the first crotchet of the echo, 

 so as to produce, in many of the national airs of Scotland and 

 Ireland, which are found to be peculiarly fortunate in iheir har- 

 monies, a series of concords greatly resembling a regularly com- 

 posed musical ^' Canon •f-.'" 



The general effect of this singular performance, in which the 

 Eaglet's Nest takes so important a part, is greatly improved by the 

 concealment of the bugleman. Whilst the audience are station- 

 ed in a low situation, near the water^s edge at A, the bugleman 

 descends out of sight behind the point of land at B. Here, in 

 a little sheltered spot, close by the river, ^he executes his simple 

 melodies, which, on their evolution, produce such wonderful and 

 unexpected combinations. The primary tones which reach the 

 auditory, being chiefly those coming round the point along the 

 smooth surface of the stream (the more direct sounds being, pro- 

 bably, scarcely audible, from their being deflected upward into the 

 air, by the vertical side of the river's bank), appear to come out 



• These distances being derived from a map «»i a small scale, ar^ not to be 

 considered as the accurate measurements ; but they serve sufficiently well for 

 every purpose of illustration. 



f The well known melody of " Robin Adair" is a good example of the 

 kind of tune referred to. This air being played at the rate of a crotchet in 

 three.fourths of a second of time, the echo of the first note, /, will coincide 

 with the third crotchet, a, of the direct sound ; the next echo, being §^ will 

 be simultaneous with b flat ; the next reflected note, a, with b flat passing 

 into c; and the next, being b flat, will coincide with the d of the direct sound, 



producing thus far, and, indeed, with very few exceptions throughout the 



3jLr, a series of almost perfect harmonies. It might be curioui to try the ,ef* 

 feet of two bugles playing the air as a canon. 



