in Bowed Stringed Instruments 87 
photographs could be relied upon, the author proceeded to obtain 
records for a series of notes played on the G-string and passing 
through the ‘wolf-note.’ The curves shown in Fig. 3 were obtained 
for such a series with a ‘cello which had a ‘ wolf-note’ at a pitch a 
little below G. The notes in the series start at B below the 
‘wolf-note’ and proceed by two steps per semi-tone through the 
‘wolf-note’ to A. In the curves the quarter tones are indicated 
by plus signs. ‘Two records of the ‘ wolf-note’ were made. 
It will be observed from these photographs that for notes 
played low down on the G-string the curve is rather complex, the 
third and fourth partials being quite prominent. As the note 
approaches the ‘ wolf-note’ the curve becomes exceedingly simple - 
and a considerable increase in anyplitude occurs. It will also be 
noticed that the character of the ‘ wolf-note’ curve changes along 
its length, unlike other curves, This was shown still more clearly 
in photographs which were taken on a film wound on a drum of 
diameter 20 cms., which while rotating moved horizontally on a 
screw of pitch 8mms. Fig. 4 is a section taken from a film record 
of this nature. The curve clearly shows the phenomenon of 
“beats, which explain the fluctuations in intensity of the sound. 
_ The increased amplitude of the belly at the ‘ wolf-note’ led 
‘one to the conclusion that this note, or some note near it, was the 
pitch of best resonance of the instrument. [The author satisfied 
himself that the effect was not one due to a change in pressure of 
the bow, by studying the connection between the amplitude of the 
‘eurve and the bow pressure for pitches in the neighbourhood of 
the ‘wolf-note.’| To find the ‘resonance note’ a cornet was blown 
with its bell near the A-string corner of the bridge of the ‘cello, all 
strings of which were fixed, and the motion imparted to the optical 
lever examined. Any frequency could be obtained on the cornet: by 
adjustment of the valves and slides. The maximum belly vibration 
occurred when a note between F-sharp and G was sounded. On 
the ’cello examined the ‘ wolf-note’ could be heard between these 
two pitches; as the note played was raised in pitch from F, the 
‘pure tone ceased at F-sharp and was resumed at G. The pitch of 
‘the ‘ wolf-note’ was therefore the pitch of maximum resonance of 
the instrument. Another ’cello was examined which had its 
‘wolf-note’ at F (a little lower than in the previous case). This 
instrument also was found to respond best to a cornet note of the 
‘same pitch as the ‘ wolf-note.’ 
From the above results it is clear that the ‘ wolf-note’ does not 
arise from imperfect workmanship, as is commonly thought, but isa 
defect natural to the instrument when made according to the 
present dimensions; these have been found empirically to give a 
good general tone, and incidentally they give the instrument 
a maximum resonance pitch near the middle of itsrange. Playing 
7-2 
