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effect than a continuous one of equal strength. For precisely the same reason, the tones of a powerful bass voice are apt to partake of this strident quality.
Coming now to the subject of dissonance between two compound tones, we shall find that beats may arise;
(1)  Between the Fundamentals themselves ;
(2)  Between the Fundamental of one Tone and an overtone of the other ;
(3)  Between overtones ;
(4)  From the occurrence of Differentials ;
(5)  From the occurrence of Summation Tones. To take these causes of beats one at a time ;
(1) Beats arising between Fundamental Tones.
Inasmuch as these Fundamental tones are simple, all the conclusions above as to simple tones, at once apply to them. But when such beats arise between the fundamentals of two compound tones, the dissonance will in general be harsher, than between two simple tones of the same pitch, for in the former case each pair of overtones may beat also. Supposing for example, the two funda­mentals to be B| and 0, the following diagram shows the dissonant overtones.