If a person stands at the distance of fifteen or twenty rods from a cannon that is fired, he will first see the flash, then the cloud of smoke that rushes from the cannon's mouth, then the ground will be felt to tremble, and lastly the sound will reach his ear at the same time that a strong puff of air will be felt. This puff of air is the sound-wave itself, travelling at the rate of eleven hundred feet or more per second. At the instant of explosion of the gunpowder, the air in front of the cannon is very much compressed; and this compression at once begins to move outwards in every direction, so as to be a kind of a spherical shell of air constantly increasing in diameter; and, whenever it reaches an ear, the sound is perceived. Whenever such a sound-wave strikes upon a solid surface, as upon a cliff or a building, it is turned back, and the reflected wave may be heard; in which case we call it an echo. When a cannon is fired, we generally hear the sound repeated, so that it apparently lasts for a second or more; but when, as in the first case, we hear the sound of a pencil struck upon the table, but a single short report is noticed, and this, as may be supposed, consists of a single wave of condensed air.
FIG. 7.
Imagine a tuning-fork that is made to vibrate. Each of the prongs beats the air in opposite directions at the same time. Look at the physical condition of the air in front of one of these prongs. As the latter strikes outwards, the air in front of it will be driven outwards, condensed; and, on account of the elasticity of the air, the condensation will at once start to travel outwards in every direction,—a wave of denser air; but directly the prong recedes, beating the air back in the contrary direction, which will obviously rarefy the air on the first side. But the disturbance we call rarefaction moves in air with the same velocity as a condensation. We must therefore remember, that just behind the wave of condensation is the wave of rarefaction, both travelling with the same velocity, and therefore always maintaining the same relative position to each other. Now, the fork vibrates a great many times in a second, and will consequently generate as many of these waves, all of them constituted alike, and having the same length; by length meaning the sum of the thicknesses of the condensation and the rarefaction. Suppose a fork to make one hundred vibrations per second: at the end of the second, the wave generated by the vibration at the beginning of the second would have travelled, say, eleven hundred feet; and evenly distributed between the fork and the outer limit, would be ranged the intermediate waves occupying the whole distance: that is to say, in eleven hundred feet there would be one hundred sound-waves, each of them evidently being eleven feet long. If the fork made eleven hundred vibrations per second, each of these waves would be one foot long; for sound-waves of all lengths travel in air with the same rapidity. Some late experiments seem to show that the actual amplitude of motion of the air, when moved by such a high sound as that from a small whistle, is less than the millionth of an inch.
PITCH.
The pitch of a sound depends wholly upon the number of vibrations per second that produce it; and if one of two sounds consists of twice as many vibrations per second as the other one, they differ in pitch by the interval called in music an octave, this latter term merely signifying the number of intervals into which the larger interval is divided for the ordinary musical scale. The difference between a high and a low sound is simply in the number of vibrations of the air reaching the ear in a given time. The smaller intervals into which the octave is divided stand in mathematical relations to each other when they are properly produced, and are represented by the following fractions:—
These numbers are to be interpreted thus: Suppose that we have a tuning-fork giving 256 vibrations per second: the sound will be that of the standard or concert pitch for the C on the added line as shown on the staff. Now, D when properly tuned will make 9 vibrations while C makes but 8; but, as C in this case makes 256, D must make 256×9/8=288. In like manner G is produced by 256×3/2=384, and C above by 256×2=512, and so on for any of the others. If other sounds are used in the octave above or below this one, the number of vibrations of any given note may be found by either doubling or halving the number for the corresponding note in the given octave. Thus G below will consist of 384/2=192, and G above of 384×2=768.
During the past century there has been a quite steady rise in the standard pitch, and this has been brought about in a very curious and unsuspected way. The tuning-fork has been the instrument to preserve the pitch, as it is the best available instrument for such a purpose, it being convenient to use, and does not vary as most other musical instruments do. But a tuning-fork is brought to its pitch with a file, which warms it somewhat, so that at the moment when it is in tune with the standard that is being duplicated it is above its normal temperature; and when it cools its tone rises. When another is made of like pitch with this one, the same thing is repeated; and so it has continued until the standard pitch has risen nearly a tone higher than it was in Händel's time.