368 Mr. Charles Tomlinsoris 



u i _,. 41. > Secondary tone. 



b sharp fourth octave, y „. , J . 



y Eight nodes. 



a , • ,1 /.A.I. ? Secondary tone. 



A note in the fifth octave. > m . J 



3 len nodes. 



SECOND GLASS WHEN EMPTY. 



E middle octave. Fundamental note. 



A third octave, j a , 



„ „ , < secondary tones. 



Jb fourth octave. $ 



Besides these, two other tones, which, on account of 

 their extremely high pitch, I have not been able to deter- 

 mine, but am disposed for circumstances to be stated here- 

 after to place in the fifth and sixth octave. 



SECOND GLASS CONTAINING WATER. 



C middle octave. I Fundamental note. 

 3 Four nodes. 



G third octave. I Secondary tone. 



3 Six nodes. 



E flat fourth octave. \ S ec ° ndai 7 tone - 

 ) Eight nodes. 



a l ' tx. ' &&i * I Secondary tone. 



A note in the fifth octave. >• _ . J 



J len nodes. 



...,,.., 1 Secondary tone. 



A note in the sixth octave. ' rn J 



J twelve nodes. 



From the foregoing statement of results obtained from 

 the two conical glasses, and which have been abundantly 

 confirmed by other glasses of various dimensions and forms, 

 I conclude, that the lowest or fundamental note of every 

 glass is the result of a quadripartite system of nodal vibra- 

 tion ; that the ascending secondary tones are due to an in- 

 creasing number of nodes and vibrating sectors, and that 

 the increase is constant for every octave by two, and it will 

 probably be found hereafter, that the number of nodes as 

 indicated by water vibrating in glass and other vessels- will 

 shew at once the octave of the note with reference to the 

 fundamental note of the glass whence it is produced, and 

 that this fundamental note has no reference to the same 

 note on a musical instrument in point of octave or pitch, 

 for it is obvious, that small vessels yield acute tones, and 

 large vessels on the contrary yield grave tones ; but whether 



