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ON DISSONANCE.
165
No. 1, Primary. No. 2, Secondary. No. 3, Tertiary. No. 4, Quarternary.
In setting out the above, we do not go above the 6th partial, inasmuch as the partials above this point are in general too weak to have any influence on the subject under discussion.
In No. 1, not only do the fundamentals beat, but every pair of overtones also, while above the 3rd pair, there is a perfect galaxy of dissonances. In No. 2, the Fundamentals are beyond beating distance, but there are beats between one of them (f|) and the 1st