LIST OF FIGURES.

(Continued)

58. Phonautographic representation of beats, 166a
59. Identical with fig. 52 but now taken to show the intensity of beats excited by tones making different intervals, 172c
60. A and B. Diagram of the comparative roughness of intervals in the first and second octaves, 198b, c
61. Diagram of the roughness of dissonant intervals, 333a
62. Reproduction of fig. 24 A, p. 385b
63. Diagram of the motion of a violin string, 387c

The small octave, 15d
The once and twice accented octave, 16a, b
The great octave, 16b
The first 16 Upper Partials of C66, 22c
The first 8 Upper Partials of C132, 50a
Prof. Helmholtz's Vowel Resonances, 110b
First differential tones of the usual harmonic intervals, 154b
Differential tones of different orders of the usual harmonic intervals, 155b, c
Summational tones of the usual harmonic intervals, 156a
Examples of beating partials, 180c
Coincident partials of the principal consonant intervals, 183d
Coincident converted into beating partials by altering pitch of upper tone, 186c
Examples of intervals in which a pair of partials beat 33 times in a second, 192a
Major Triads with their Combinational Tones, 215a
Minor Triads with their Combinational Tones, 215b
Consonant Intervals and their Combinational Tones, 218c
The most Perfect Positions of the Major Triads, 219c
The less Perfect Positions of the Major Triads, 220c
The most Perfect Positions of the Minor Triads, 221b
The less Perfect Positions of the Minor Triads, 221c

64. Diagram of the arrangements for the experiments on the composition of vowels, 399b, c
65. Mechanism for opening the several series of holes in the Polyphonic Siren, 414a
66. Section, Elevation, and Plan of Mr. Bosanquet's Manual, 429

67. Perspective view of Mr. Colin Brown's Fingerboard, 471d
68. Perspective view, 69 plan, 70 section of Mr. H. W. Poole's Keyboard, 475

The most Perfect Positions of Major Tetrads within the Compass of Two Octaves, 223c
Best Positions of Minor Tetrads with their false Combinational Tones, 224a
I went for a walk original: "Ich bin spazieren gegangen", 238b
Thus sings the comma original: "Sic canta comma", 239b
Palestrina's Stabat Mater, first 4 bars, 247c
Chinese air after Barrow, 260a
Cockle Shells, older form, 260b
Blythe, blythe, and merry are we, 261a
Chinese temple hymn after Bitschurin, 261b
Braes of Balquhidder, 261c
Five Forms of Closing Chords, 291c
Two complete closes, 293c
Mode of the Fourth, three forms of complete cadence, 302d
Concluding bars of S. Bach's Chorale, What my God wills, that always happens original: "Was mein Gott will, das gescheh' allzeit", 304b
End of S. Bach's Hymn, Come, Redeemer of the nations original: "Veni redemptor gentium", 305a
Doric cadence from And with His stripes we are healed, in Handel's Messiah, 307a
Doric cadence from Hear, Jacob's God, in Handel's Samson, 307b
Examples of False Minor Triad, 340a
Examples of Hidden Fifths, 361d
Example of Duodenals, 465c
Mr. H. W. Poole's method of fingering and treatment of the harmonic Seventh, 477a
Mr. H. W. Poole's Double Diatonic or Dichordal Scale in G with accidentals, 478a