4. A Diatefferon, or fourths, as DE to EF, Fig. 9. 3 to \Vni- 

 fons, or 4 to 3 vibrat. 



5. A Ditone, or greater thirds, as EF to FG, Fig. 10. 4 to 5 

 Vnifons, or 5 to 4 z/i/irtf/. 



6. A Semiditone, or lefler thirds, as FG to G#, Fig. h. 5 to 6 

 Vnifins^ or 6 to 5 vibrat. 



7. A Viapafon with a Diapente, or twelfths, as 7/f to #, 

 Fig. iz. 1 to 3 Vnifons, or 3 to 1 vibrat. 



8. A Difdiapafon or fifteenths, as M#to AT0, Fig. 13. 1 to 4IV- 

 tf*y<;w, or 4 to 1 vibrat. 



And fo for the reft, whereof the chief may be expreffed on one 

 line, Fig. 14. 



r AB. AC.orAC.CG 



or AD. AG, are 

 AC. AD. or v4. ^4G. 

 AD.AE. 

 AE.AF 

 AF. AG. 

 mere <AD.AF. 

 AC. AF. 

 AB. AD. or AB. BE. 



or AC. AG. 

 AB.AE.oxAB.BF. 



or AB.CG. >IS ' 



AB. AF. orAB.BG.ij. 

 AB.AG. i 9 . 



8. 



5- 



4. 



3 m * 



3 ml 

 6. 



10. 



-12. 





;b 





206. And thus much for his Principles, whence he goes on to 

 fome fpecial or particular Proportions, in drder to demonftrate the 

 late obferved Phenomena, which immediatly follow. 



Prop. 1. If two firings be tuned Vnifons AB. BC. Fig. 6. and 

 either be touched with the hand or bow, the other willanfwer it-, 

 by trembling at its motion. 



For the Air being put into an arched figure and motion by the firing 

 that is touched, rolls away to the other, which finding of a lengthy 

 bignefs, and tenfion, that are the fame, or proportionable {per ll~ 

 lat. i.)it eafily (by the force it received from the touched firing) 



imprints 



