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292                    HAND-BOOK OF ACOUSTICS.
sixth. Explain the peculiarity of musical nomenclature which has given rise to these anomalies.
Ant.—A fourth in music does not mean a fourth part of anything as in arithmetic, but merely the fourth note from that with which we start in the diatonic scale.
4. (a) If the note
Q on a pianoforte be silently depressed
and held down, and the note j^j               be struck vigorously and
allowed to rise again, what note will then be heard ? (b) If the notes
^j ^ are similarly held down silently, while the notes zszzzorr
are vigorously struck, which of the upper notes will be heard sounding after the two lower notes have been released.
5. (a) Explain the nature of the " beats" heard in a mistuned interval such as a mistuned octave or twelfth. It has been stated that it is easier to tune a major third (by altering the pitch of the upper of the two notes) if there is sounding at the same time the fifth. For
example, to tune Tfjj                by comparison with ~^—             is
easier if Tflj q ~ is also present. Can you give a physical reason
for this? *^~
Ant.—[a) See p. 176.
(b) The 0 and G would produce a Summation Tone E1 and the E must be tuned so that its first over-tone is in unison with this E1; also the Differentials produced by the E and G and by the E and 0 would be identical.
6. Give some account of the rise of pitch since the time of Handel. What are the causes tending to force up the pitch?
Ant.—See p. 42.
Tuesday, December 19th, 1899. 10 to 1.
1. Why is the tuning-fork rather than any other simple musical instrument selected as a standard of pitch ? Does the pitch of a tuning-fork alter with temperature, time, or climate ?
Ant.—See p. 123.