natural history two century music in the practice have be well pursue and in  good variety but in the theory and especial in the yield of the cause of the  practic very weak be reduce into certain mystical subtlety of no use and not  much truth we shall therefore after our manner join the contemplative and  active part together all sound be either musical sound which we call tone  whereunto there may be a harmony which sound be ever equal as sing the sound  of string and wind instrument the ring of bell c or immusical sound which be  ever unequal such as be the voice in speak all whisper all voice of beast and  bird except they be sing bird all percussion of stone wood parchment skin as  in drum and infinite other the sound that produce tone be ever from such body  as be in their part and poor equal as well as the sound themselves be equal  and such be the percussion of metal as in bell of glass as in the Fillipping  of a drink glass of air as in man voice while they sing in pipe whistle organ  string instrument c and of water as in the nightingale pipe of regals or organ  and other Hydranlickes which the ancient have and near do so much esteem but  be now lose and if any man think that the string of the bow and the string of  the vial be neither of they equal body and yet produce tone he be in a error  for the sound be not create between the bow or plectrum and the string but  between the string and the air no more then it be between the finger or quill  and the string in other instrument so there be in effect but three percussion  that create tone percussion of metal comprehend glass and the like percussion  of air and percussion of water the diapason or eight in music be the sweet  concord insomuch as it be in effect a unison as we see in lute that be string  in the base string with two string one a eight above another which make but as  one sound and every eight note in ascent as from eight to fifteen from fifteen  to twenty two and so in infinitum be but scale of diapason the Cause be dark  and have not be render by any and therefore will be better contemplate it seem  that air which be the subject of sound in sound that be not tone which be all  unequal as have be say admit much variety as we see in the voice of live  creature and likewise in the voice of several man for we be capable to discern  several man by their voice and in the conjugation of letter whence articulate  sound proceed which of all other be most various but in the sound which we  call tone that be ever equal the air be not able to cast it self into any such  variety but be force to recur into one and the same posture or figure only  differ in greatness and smallness so we see figure may be make of line Crooked  and straight in infinite variety where there be inequality but circle or  square or triangle equilateral which be all figure of equal line can differ  but in great or lesser it be to be note the rather leave any man shall think  that there be any thing in this number of eight to create the diapason that  this computation of eight be a thing rather receive than any true computation  for a true computation ought ever to be by distribution into equal portion now  there be intervenient in the rise of eight in tone two Beemolls or half note  so as if you divide the tone equal the eight be but seven whole and equal note  and if you subdivide that into half note as it be in the stop of a lute it  make the number of thirteen yet this true that in the ordinary rise and fall  of the voice of man not measure the tone by whole note and half note which be  the equal measure there fall out to be two Beemols as have be say between the  unison and the diapason and this vary be natural for if a man will endeavour  to raise or fall his voice still by HalfeNotes like the stop of a lute or by  whole note alone without half as far as a eight he will not be able to frame  his voice unto it which show that after every three whole note nature require  for all harmonical use one half note to be interpose it be to be consider that  whatsoever virtue be in number for conduce to consent of note be rather to be  ascribe to the ante number than to the entire number as namely that the sound  retarns after six or after twelve so that the seven or the thirteenth be not  the matter but the six or the twelve and the seven and the thirteenth be but  the limit and boundary of the return the concord in music which be perfect or  Semiperfect between the unison and the diapason be the five which be the most  perfect the three next and the six which be more harsh and as the ancient  esteem and so do my self and some other yet the four which they call  diatessaron as for the ten twelve thirteenth and so in infinitum they be but  recurrence of the former videlicet of the three the five and the six be a  eight respective from they for discord the second and the seven be of all  other the most odious in harmony to the sense whereof the one be next above  the unison the other next under the diapason which may show that harmony  require a competent distance of note in harmony if there be not a discord to  the base it do not disturb the harmony though there be a discord to the high  part so the discord be not of the two that be odious and therefore the  ordinary consent of four part consist of a eight a five and a three to the  base but that five be a four to the Triple and the three be a six and the  Cause be for that the base strike more air do overcome and drown the Triple  unless the discord be very odious and so hide a small imperfection for we see  that in one of the low string of a lute there sound not the sound of the  Triple not any mix sound but only the sound of the base we have no music of  quarter note and it may be they be not capable of harmony for we see the half  note themselves do but interpose sometime nevertheless we have some slide or  relish of the voice or string as it be continue without note from one tone to  another rise or fall which be delightful the cause of that which be please or  ingrate to the hear may receive light by that which be please or ingrate to  the sight there be two thing please to the sight leave picture and shape aside  which be but secondary object and please or displease but in memory these two  be colour and order the please of colour symbolizes with the please of any  single tone to the ear but the please of order do a with harmony and therefore  we see in garden knot and the fret of house and all equal and well answer  figure as globe pyramid Cones cylinder c how they please whereas unequal  figure be but deformity and both these pleasure that of the eye and that of  the ear be but the effect of equality good proportion or correspondence so  that out of question equality and correspondence be the cause of harmony but  to find the proportion of that correspondence be more abstruse whereof  notwithstanding we shall speak somewhat when we handle tone in the general  enquiry of sound tone be not so apt altogether to procure sleep as some other  sound as the wind the purl of water humh of be a sweet voice of one that read  c the Cause whereof be for that tone because they be equal and slide not do  more strike and erect the sense than the other and overmuch attention hinder  sleep there be in music certain figure or trope almost agree with the figure  of rhetoric and with the affection of the mind and other sense first the  division and quaver which please so much in music have a agreement with the  glit of light as the MooneBeames play upon a wave again the fall from a  discord to a concord which make great sweetness in music have a agreement with  the affection which be reintegrated to the better after some dislike it agree  also with the taste which be soon glut with that which be sweet alone the  slide from the close or cadence have a agreement with the figure in rhetoric  which they call praeter to look out for for there be a pleasure even in be  deceined the report and fugue  have a agreement with the figure in rhetoric of  repetition and traduction the Tripla's and change of time have a agreement  with the change of motion as when galliard time and measure time be in the  medley of one dance it have be ancient hold and observe that the sense of hear  and the kind of music have most operation upon manner as to encourage man and  make they warlike to make they soft and effeminate to make they grave to make  they light to make they gentle and incline to pity c the Cause be for that the  sense of hear strike the spirit more immediate than the other sense and more  incorporeally than the smell for the sight taste and feel have their organ not  of so present and immediate access to the spirit as the hear have and as for  the smell which indeed work also immediate upon the spirit and be sorcible  while the object remain it be with a communication of the breath or vapour of  the object odorate but harmony enter easy and mingle not at all and come with  a manifest motion do by custom of often affect the spirit and put they into  one kind of posture alter not a little the nature of the spirit even when the  object be remove and therefore we see that tune and air even in their own  nature have in themselves some affinity with the affection as there be merry  tune doleful tune solemn tune tune incline man mind to pity warlike tune c so  as it be no marvel if they alter the spirit consider that tune have a  predisposition to the motion of the spirit in themselves but yet it have be  note that though this variety of tune do dispose the spirit to variety of  passion conform unto they yet general music feed that disposition of the  spirit which it find we see also that several air and tune do please several  nation and person accord to the sympathy they have with their spirit  perspective have be with some diligence inquire and so have the nature of  sound in some sort as far as concern music but the nature of sound in general  have be superficial observe it be one of the subrillest piece of nature and  beside I practice as I do advice which be after long inquiry of thing immerse  in matter to interpose some subject which be immateriate or less materiate  such as this of sound to the end that the intellect may be rectify and become  not partial it be first to be consider what great motion there be in nature  which pass without sound or noise the heaven turn about in a most rapide  motion without noise to we perceive though in some dream they have be say to  make a excellent music so the motion of the comet and fiery meteor as star  to fall c yield no noise and if it be think that it be the greatness of  distance from we whereby the sound can be hear we see that lightning and  coruscation which be near at hand yield no sound neither and yet in all these  there be a percussion and division of the air the wind in the Upper region  which move the cloud above which we call the rack and be not perceive below  pass without noise the low wind in a plain except they be strong make no noise  but among tree the noise of such wind will be perceive and the wind general  when they make a noise do ever make it unequal rise and fall and sometime when  they be vehement tremble at the height of their blast rain or hail fall though  vehement yield no noise in pass through the air till it fall upon the ground  water house or the like water in a river though a swift stream be not hear in  the channel but run in silence if it be of any depth but the very stream upon  shallow of gravel or pebble will be hear and water when they Beatrice upon the  shore or be straiten as in the fall of bridge or be dash against themselves by  wind give a roar noise any piece of timber or hard body be thrust forward by  another body contiguous without knock give no noise and so body in weigh one  upon another though the Upper body press the low body down make no noise so  the motion in the minute part of any solid body which be the principal Cause  of violent motion though unobserved pass without sound for that sound that be  hear sometime be produce only by the break of the air and not by the impulsion  of the part so it be manifest that where the anterior body give way as fast as  the posterior come on it make no noise be the motion never so great or swift  air open and at large make no noise except it be sharp percussed as in the  sound of a string where air be percussed by a hard and stiff body and with a  sharp lose for if the string be not strain it make no noise but where the air  be pen and straiten there breath or other blow which carry but a gentle  percussion suffice to create sound as in pipe and wind instrument but then you  must note that in recorder which go with a gentle breath the concave of the  Pipe be it not for the fipple that straiten the air much more than the simple  concave will yield no sound for as for other windeInstruments they require a  forcible breath as trumpet cornet hunter horn c which appear by the blow cheek  of he that wind they organ also be blow with a strong wind by the bellows and  note again that some kind of wind instrument be blow at a small hold in the  side which straiten the breath at the first entrance the rather in respect of  their traverse and stop above the hold which perform the fipples part as it be  see in flute and fife which will not give sound by a blast at the end as  recorder c do likewise in all whistle you contract the mouth and to make it  more sharp man sometime use their finger but in open air if you throw a stone  or a Dart they give no sound no more do bullet except they happen to be a  little hollow in the cast which hollowness pen the air not yet arrow except  they be ruffle in their feather which likewise pen the air as for small  whistle or shepherd Oa pipe they give a sound because of their extreme  slenderness whereby the air be more pen than in a wide Pipe again the voice of  man and live creature pass through the throat which pen the breath as for the  jews harp it be a sharp percussion and beside have the vantage of pen the air  in the mouth solid body if they be very soft percussed give no sound as when a  man tread very soft upon board so chest or door in fair weather when they open  easy give no sound and cart wheel squeak not when they be liquor the flame of  taper or candle though it be a swift motion and break the air yet pass without  sound air in oven though no doubt it do as it be boil and dilate it self and  be repercussed yet it be without noise flame percussed by air give a noise as  in blow of the fire by bellows great than if the bellows shall blow upon the  air it self and so likewise flame percussing the air strong as when flame  sudden take and open give a noise so great flame while the one impel the other  give a bellow sound there be a conceit run abroad that there shall be a white  powder which will discharge a piece without noise which be a dangerous  experiment if it shall be true for it may cause secret murder but it seem to I  unpossible for if the air pen be drive forth and strike the air open it will  certain make a noise as for the white powder if any such thing be that may  extinguish or dead the noise it be like to be a mixture of petre and sulphur  without coal for petre alone will not take fire and if any man think that the  sound may be extinguish or deaden by discharge the pen air before it come to  the mouth of the piece and to the open air that be not probable for it will  make more divide sound as if you shall make a cross barrel hollow through the  barrel of a piece it may be it will give several sound both at the nose and at  the side but I conceive that if it be possible to bring to pass that there  shall be no air pen at the mouth of the piece the bullet may fly with small or  no noise for first it be certain there be no noise in the percussion of the  flame upon the bullet next the bullet in pierce through the air make no noise  as have be say and then if there be no pen air that strike upon open air there  be no Cause of noise and yet the fly of the bullet will not be stay for that  motion as have be oft say be in the part of the bullet and not in the air so  as trial must be make by take some small concave of metal no more than you  mean to fill with powder and lie the bullet in the mouth of it half out into  the open air I hear it affirm by a man that be a great dealer in secret but he  be but vain that there be a conspiracy which himself hinder to have kill queen  marry sister to queen Elizabeth by BurningGlasse when she walk in saint James  park from the lead of the house but thus much no doubt be true that if burn  glass can be bring to a great strength as they talk general of burn glass that  be able to burn a navy the percussion of the air alone by such a burn glass  will make no noise no more than be find in Cornscations and lightning without  thunder I suppose that impression of the air with sound ask a time to be  convey to the sense as well as the impression of species visible or else they  will not be hear and therefore as the bullet move so swift that it be  invisible so the same swiftness of motion make it inaudible for we see that  the apprehension of the eye be quick than that of the ear all eruption of air  though small and slight give a entity of sound which we call crackle puff spit  c as in bay-salt and Bayleaues cast into the fire so in chestnut when they  leap forth of the ash so in green wood lie upon the fire especial root so in  candle that spit flame if they be wet so in rasp sneeze c so in a rise leaf  gather together into the fashion of a purse and break upon the before head or  back of the hand as child use the Cause give of sound that it shall be a  elision of the air whereby if they mean any thing they mean a cut or divide or  else a attenuate of the air be but a term of ignorance and the motion be but a  catch of the wit upon a few instance as the manner be in the philosophy  receive and it be common with man that if they have get a pretty expression by  a word of be that expression go currant though it be empty of matter this  conceit of elision appear most manifest to befalse in that the sound of a bell  string or the like continue melt some time after the percussion but cease  straight way if the bell or string be touch and stay whereas if it be the  elision of the air that make the sound it can not be that the touch of the  bell or string shall extinguish so sudden that motion cause by the elision of  the air this appear yet more manifest by chime with a hammer upon the outside  of a bell for the sound will be accord to the inward concave of the bell  whereas the elision or attenuation of the air can be but only between the  hammer and the outside of the bell so again if it be a elision a broad hammer  and a bodkin strike upon metal will give a diverse tone as well as a diverse  loudness but they do not so for though the sound of the one be loud and of the  other soft yet the tone be the same beside in echo whereof some be as loud as  the original voice there be no new elision but a repercussion only but that  which convince it most of all be that sound be generate where there be no air  at all but these and the like conceit when man have clear their understanding  by the light of experience will scatter and break up like a mistress it be  certain that sound be not produce at the first but with some local motion of  the air or flame or some other medium nor yet without some resistance either  in the air or the body percussed for if there be a mere yield or session it  produce no sound as have be say and therein sound differ from light and colour  which pass through the air or other body without any local motion of the air  either at the first or after but you must attentive distinguish between the  local motion of the air which be but vehiculum a cause a carrier of the sound  and the sound themselves convey in the air for as to the former we see  manifest that no sound be produce no not by air it self against other air as  in organ c but with a perceptible blast of the air and with some resistance of  the air strike for even all speech which be one of the gentle motion of air be  with expulsion of a little breath and all pipe have a blast as well as a sound  we see also manifest that sound be carry with wind and therefore sound will be  hear further with the wind than against the wind and likewise do rise and fall  with the intention or remission of the wind but for the impression of the  sound it be quite another thing and be utter without any local motion of the  air perceptible and in that resemble the species visible for after a man have  lure or a bell be ring we can discern any perceptible motion at all in the air  a long as the sound go but only at the first neither do the wind as far as it  carry a voice with the motion thereof confound any of the delicate and  articulate figurations of the air in variety of word and if a man speak a good  loudness against the flame of a candle it will not make it tremble much though  most when those letter be pronounce which contract the mouth as f sv and some  other but gentle breathe or blow without speak will move the candle far more  and it be the more probable that sound be without any local motion of the air  because as it differ from the sight in that it needs a local motion of the air  at first so it parallel in so many other thing with the sight and radiation of  thing visible which without all question induce no local motion in the air as  have be say nevertheless it be true that upon the noise of Thunder and great  ordnance glass window will shake and fish be think to be fray with the motion  cause by noise upon the water but these effect be from the local motion of the  air which be a concomitant of the sound as have be say and not from the sound  it have be ancient report and be still receive that extreme Applanses and  shout of people assemble in great multitude have so rarefy and break the air  that bird fly over have fall down the air be not able to support they and it  be believe by some that great ring of bell in populous city have chase away  Thunder and also dissipate pestilent air all which may be also from the  concussion of the air and not from the sound a very great sound near hand have  strike many dease and at the instant they have find as it be the break of a  skin or parchment in their ear and my self stand near one that lure loud and  shrill have sudden a offence as if somewhat have break or be dislocate in my  ear and immediate after a loud ring not a ordinary sing or hiss but far loud  and differ so as I fear some deafness but after some half quarter of a hour it  vanish this effect may be true refer unto the sound for as be common receive a  over potent object do destroy the sense and spiritual species both visible and  audible will work upon the sensories though they move not any other body in  delation of sound the enclosure of they preserve they and cause they to be  hear further and we find in roll of parchment or trunk the mouth be lie to the  one end of the Rowle of parchment or trunk and the ear to the other the sound  be hear much further than in the open air the Cause be for that the sound  spend and be dissipate in the open air but in such Concaues it be conserve and  contract so also in a piece of ordnance if you speak in the touch hold and  another lie his ear to the mouth of the piece the sound pass and be far better  hear than in the open air it be further to be consider how it prove and work  when the sound be not enclose all the length of his way but pass partly  through open air as where you speak some distance from a trunk or where the  ear be some distance from the trunk at the other end or where both mouth and  ear be distant from the trunk and it be try that in a long trunk of some eight  or ten foot the sound be help though both the mouth and the ear be a handful  or more from the end of the trunk and somewhat more help when the ear of the  hearer be near than when the mouth of the speaker and it be certain that the  voice be better hear in a Chamber from abroad than abroad from within the  Chamber as the enclosure that be round about and entire preserve the sound so  do a Semi concave though in a less degree and therefore if you divide a trunk  or a cane into two and one speak at the one end and you lie your ear at the  other it will carry the voice further than in the air at large nay further if  it be not a full Semi concave but if you do the like upon the mast of a ship  or a long pole or a piece of ordnance though one speak upon the surface of the  ordnance and not at any of the boar the voice will be hear further than in the  air at large it will be try how and with what proportion of disadvantage the  voice will be carry in a horn which be a line arch or in a trumpet which be a  line retort or in some Pipe that be sinuous it be certain howsoever it cross  the receive opinion that sound may be create without air though air be the  most favourable deferent of sound take a vessel of water and knap a pair of  tongue some depth within the water and you shall hear the sound of the tongue  well and not much diminish and yet there be no air at all present take one  vessel of silver and another of wood and fill each of they full of water and  then knap the tongue together as before about a handful from the bottom and  you shall find the sound much more resound from the vessel of silver than from  that of wood and yet if there be not water in the vessel so that the knap the  tongue in the air you shall find no difference between the silver and wooden  vessel whereby beside the main point of create sound without air you may  collect two thing the one that the sound communicate with the bottom of the  vessel the other that such a communication pass far better through water than  air strike any hard body together in the amid of a flame and you shall hear  the sound with little difference from the sound in the air the pneumatical  part which be in all tangible body and have some affinity with the air perform  in some degree the part of the air as when you knock upon a empty barrel the  sound be in part create by the air on the outside and in part by the air in  the inside for the sound will be great or lesser as the barrel be more empty  or more full but yet the sound participate also with the spirit in the wood  through which it pass from the outside to the inside and so it come to pass in  the chime of bell on the outside where also the sound pass to the inside and a  number of other like instance whereof we shall speak more when we handle the  communication of sound it be extreme grossness to think as we have partly  touch before that the sound in string be make or produce between the hand and  the string or the quill and the string or the bow and the string for those be  but vehicula movement passage to the creation of the sound the sound be  produce between the string and the air and that not by any impulsion of the  air from the first motion of the string but by the return or result of the  string which be strain by the touch to his former place which motion of result  be quick and sharp whereas the first motion be soft and dull so the bow  torture the string continual and thereby hold it in a continual trepidation  take a trunk and let one whistle at the one end and bold your ear at the other  and you shall find the sound strike so sharp as you can scarce endure it the  Cause be for that sound diffuse it self in round and so spend it self but if  the sound which will scatter in open air be make to go all into a Canale it  must needs give great force to the sound and so you may note that enclosure do  not only preserve sound but also increase and sharpen it a hunter horn be  great at one end than at the other do increase the sound more than if the horn  be all of a equal boar the Cause be for that the air and sound be first  contract at the leffer end and afterward have more room to spread at the great  end do dilate themselves and in come out strike more air whereby the sound be  the great and base and even hunter horn which be sometime make straight and  not oblique be ever great at the low end it will be try also in pipe be make  far large at the low end or be make with a belly towards the low end and then  issue into a straight concave again there be in saint James field a conduit of  Bricke unto which join a low vault and at the end of that a round house of  stone and in the Bricke conduit there be a window and in the round house a  slit or rift of some little breadth if you cry out in the rift it will make a  fearful roar at the window the Cause be the same with the former for that all  Concaues that proceed from more narrow to more broad do amplify the sound at  the come out hawk bell that have hold in the side give a great ring than if  the pellet do strike upon brass in the open air the Cause be the same with the  first instance of the Trancke namely for that the sound enclose with the side  of the bell come forth at the hold unspent and more strong in drum the  closeness round about that preserve the sound from disperse make the noise  come forth at the drum hold far more loud and strong than if you shall strike  upon the like skin extend in the open air the Cause be the same with the two  precedent sound be better hear and further off in a evening or in the night  than at the noon or in the day the Cause be for that in the day when the air  be more thin no doubt the sound pierce better but when the air be more thick  as in the night the sound spend and spread abroad less and so it be a degree  of enclosure as for the night it be true also that the general silence help  there be two kind of reflection of sound the one at distance which be the echo  wherein the original be hear distinct and the reflection also distinct of  which we shall speak hereafter the other in concurrence when the sound reflect  the reflection be near at hand return immediate upon the original and so  iterate it not but amplify it therefore we see that music upon the water sound  more and so likewise music be better in chamber wainscote than hang the string  of a lute or violent or virginal do give a far great sound by reason of the  knot and board and concave underneath than if there be nothing but only the  flat of a board without that hollow and knot to let in the Upper air into the  low the Cause be the communication of the Upper air with the low and pen of  both from expense or disperse a Irish harp have open air on both side of the  string and it have the concave or belly not along the string but at the end of  the string it make a more resound sound than a bandora orpharion or cittern  which have likewise wire string I judge the Cause to be for that open air on  both side help so that there be a concave which be therefore best place at the  end in a virginal when the Lid be down it make a more exile sound than when  the Lid be open the Cause be for that all shut in of air where there be no  competent vent damp the sound which maintain likewise the former instance for  the belly of the lute or Vill do pen the air somewhat there be a church at  Gloucester and as I have hear the like be in some other place where if you  speak against a wall soft another shall hear your voice better a good way off  than near hand inquire more particular of the frame of that place I suppose  there be some vault or hollow or isle behind the wall and some passage to it  towards the further end of that wall against which you speak so as the voice  of he that speak slide along the wall and then enter at some passage and  communicate with the air of the hollow for it be preserve somewhat by the  plain wall but that be too weak to give a sound audible till it have  communicate with the back air strike upon a bowstring and lie the horn of the  bow near your ear and it will increase the sound and make a degree of a tone  the Cause be for that the sensory by reason of the close hold be percussed  before the air disperse the like be if the hold the horn betwixt your tooth  but that be a plain delation of the sound from the tooth to the instrument of  hear for there be a great intercourse between those two part as appear by this  that a Harsh grate tune set the tooth on edge the like fall out if the horn of  the bow be put upon the temple but that be but the slide of the sound from  thence to the ear if you take a rod of iron or brass and hold the one end to  your ear and strike upon the other it make a fat great sound than the like  stroke upon the rod not so make contiguous to the ear by which and by some  other instance that have be partly touch it shall appear that sound do not  only slide upon the surface of a smooth body but do also communicate with the  spirit that be in the poor of the body I remember in Trinity college in  Cambridge there be a Upper Chamber which be think weak in the roof of it be  support by a Pillar of iron of the bigness of one arm in the amid of the  Chamber which if you have strike it will make a little flat noise in the room  where it be strike but it will make a great bombe in the Chamber beneath the  sound which be make by bucket in a well when they touch upon the water or when  they strike upon the side of the well or when two bucket dash the one against  the other these sound be deep and suller than if the like percussion be make  in the open air the Cause be the pen and enclosure of the air in the concave  of the well barrel place in a room under the floor of a Chamber make all noise  in the same Chamber more full and resound so that there be fine way in general  of Maioration of sound enclosure simple enclosure with dilatation  communication reflection concurrent and approach to the sensory for exility of  the voice or other sound it be certain that the voice do pass through solid  and hard body if they be not too thick and through water which be likewise a  very close body and such a one as let we not in air but then the voice or  other sound be reduce by such passage to a great weakness or exility if  therefore you stop the hold of a Howkes bell it will make no ring but a flat  noise or rattle and so do the aetites or eagle stone which have a little stone  within it and as for water it be a certain trial let a man go into a bath and  take a pail and turn the bottom upward and carry the mouth of it even down to  the level of the water and so press it down under the water some handful and a  half still keep it even that it may not tilt on either side so the air get out  then let he that be in the bath dive with his head so far under water as he  may put his head into the pail there will come as much air bubble forth as  will make room for his head then let he speak and any that shall stand without  shall hear his voice plain but yet make extreme sharp and exile like the voice  of puppet but yet the articulate sound of the word will not be cofounded note  that it may be much more handsome do if the pail be put over the man head  above water and then he cower down and the pail be press down with he note  that a man must kneel or sit that he may be low than the water a man will  think that the Sicilian poet have knowledge of this experiment for he say that  Hercules page hylas go with a waterpot to fill it at a pleasant fountain that  be near the shore and that the nymph of the fountain fall in love with the boy  and pull he under water keep he alive and that Hercules miss his page call he  by his name aloud that all the shore ring of it and that hylas from within the  water answer his master but that which be to the present purpose with so small  and exile a voice as Hercules think he have be three mile off when the  fountain indeed be fast by in lute and instrument of string if you stop a  string high whereby it have less scope to tremble the sound be more Triple but  yet more dead take two sauncer and strike the edge of the one against the  bottom of the other within a pail of water and you shall find that as you put  the sauncer low and low the sound grow more flat even while part of the  sauncer be above the water but that flatness of sound be join with a harshness  of sound which no doubt be cause by the inequality of the sound which come  from the part of the sauncer under the water and from the part above but when  the sauncer be whole under the water the sound become more clear but far more  low and as if the sound come from a far off a soft body damp the sound much  more than a hard as if a bell have Cloth or silk wrap about it it dead the  sound more than if it be wood and therefore in Clericalls the key be line and  in college they use to line the tablemen trial be make in a recorder after  these several manner the bottom of it be set against the palm of the hand stop  with wax round about set against a damask cushion thrust into sand into ash  into water half a inch under the water close to the bottom of a silver basin  and still the tone remain but the bottom of it be set against a woollen carpet  a line of plush a lock of wool though lose put in against snow and the sound  of it be quite deaden and but breath iron hot produce not so full a sound as  when it be cold for while it be hot it appear to be more soft and less resound  so likewise warm water when it fall make not so full a sound as cold and I  conceive it be soft and near the nature of oil for it be more slippery as may  be perceive in that it scour better let there be a recorder make with two  fipples at each end one the trunk of it of the length of two recorder and the  hold answerable towards each end and let two play the same lesson upon it at a  unison and let it be note whether the sound be confound or amplify or dull so  likewise let a cross be make of two trunk throughout hollow and let two speak  or sing the one long way the other traverse and let two hear at the opposite  end and note whether the sound be confound amplify or dull which two instance  will also give light to the mixture of sound whereof we shall speak hereafter  a bellows blow in at the hold of a drum and the drum then strike make the  sound a little flatter but no other apparent alteration the Cause be manifest  partly for that it hinder the issue of the sound and partly for that it make  the air be blow together less movable the loudness and softness of sound be a  thing distinct from the magnitude and exility of sound for a base string  though soft strike give the great sound but a Triple string if hard strike  will be hear much further off and the Cause be for that the base string strike  more air and the Triple less air but with a sharp percussion it be therefore  the strength of the percussion that be a principal Cause of the loudness or  softness of sound as in knock hard or soft wind of a horn strong or weak ring  of a hand bell hard or soft c and the strength of this percussion consist as  much or more in the hardness of the body percussed as in the force of the body  percussing for if you strike against a Cloth it will give a less sound if  against wood a great if against metal yet a great and in metal if you strike  against gold which be the more pliant it give the flatter sound if against  silver or brass the more ring sound as for air where it be strong pen it match  a hard body and therefore we see in discharge of a piece what a great noise it  make we see also that the charge with bullet or with paper wet and hard stop  or with powder alone ram in hard make no great difference in the loudness of  the report the sharpness or quickness of the percussion be a great Cause of  the loudness as well as the strength as in a whip or wand if you strike the  air with it the sharp and quick you strike it the loud sound it give and in  play upon the lute or virginal the quick stroke or touch be a great life to  the sound the Cause be for that the quick strike cut the air speedy whereas  the soft strike do rather Beatrice than cut the communication of sound as in  belly of lute empty vessel c have be touch obiter in the Maioration of sound  but it be fit also to make a Title of it apart the experiment for great  demonstration of communication of sound be the chime of bell where if you  strike with a hammer upon the Upper part and then upon the amid and then upon  the low you shall find the sound to be more Triple and more base accord unto  the concave on the inside though the percussion be only on the outside when  the sound be create between the blast of the mouth and the air of the Pipe it  have nevertheless some communication with the matter of the side of the Pipe  and the spirit in they contain for in a Pipe or trumpet of wood and brass the  sound will be diverse so if the Pipe be cover with Cloth or silk it will give  a diverse sound from that it will do of it self so if the Pipe be a little wet  on the inside it will make a differ sound from the same Pipe dry that sound  make within water do communicate better with a hard body through water than  make in air it do with air vide trial we have speak before in the inquisition  touch music of musical sound whereunto there may be a concord or discord in  two part which sound we call tone and likewise of immusical sound and have  give the Cause that the tone proceed of equality and the other of inequality  and we have also express there what be the equal body that give tone and what  be the unequal that give none but now we shall speak of such inequality of  sound as proceed not from the nature of the body themselves but be accidental  either from the roughness or obliquity of the passage or from the double of  the percutient or from the trepidation of the motion a bell if it have a rift  in it whereby the sound have not a clear passage give a hoarse and jar sound  so the voice of man when by cold take the wesill grow rugged and as we call it  fur become hoarse and in these two instance the sound be ingrate because they  be mere unequal but if they be unequal in equality then the sound be grateful  but purl all instrument that have either return as trumpet or flexion as  cornet or be draw up and put from as sackbut have a purl sound but the  recorder or flute that have none of these inequality give a clear sound  nevertheless the recorder it self or Pipe moisten a little in the inside sound  more solemn and with a little purl or hiss again a wreathe string such as be  in the base string of bandera's give also a purl sound but a lute string if it  be mere unequal in his part give a Harsh and untuneable sound which string we  call false be big in one place than in another and therefore wire string be  never false we see also that when we try a false lute string we use to extend  it hard between the finger and to fillip it and if it give a double species it  be true but if it give a Triple or more it be false water in the noise they  make as they run represent to the ear a tremble noise and in regals where they  have a Pipe they call the nightingale Pipe which contain water the sound have  a continual tremble and child have also little thing they call cock which have  water in they and when they blow or whistle in they they yield a tremble noise  which tremble of water have a affinity with the letter l all which inequality  of trepidation be rather pleasant than otherwise all base note or very Triple  note give a Asper sound for that the base strike more air than it can well  strike equal and the Triple cut the air so sharp as it return too swift to  make the sound equal and therefore a mean or tenor be the sweet part we know  nothing that can at pleasure make a musical or immusical sound by voluntary  motion but the voice of man and bird the Cause be no doubt in the weasill or  wind pipe which we call uneven place  the windpipe.  which be well extend  gather equality as a bladder that be wrinkle if it be extend become smooth the  extension be always more in tone than in speech therefore the inward voice of  whisper can never a give tone and in sing there be manifest a great work and  labour of the throat than in speak as appear in the thrust out or draw in of  the chin when we sing the humh of be be a unequal buzz and be conceive by some  of the ancient not to come forth at their mouth but to be a inward sound but  it may be it be neither but from the motion of their wing for it be not hear  but when they stir all metal quench in water give a sibilation or hiss sound  which have a affinity with the letter z notwithstanding the sound be create  between the water or vapour and the air seethe also if there be but small  store of water in a vessel give a hiss sound but boil in a full vessel give a  bubble sound draw somewhat near to the cock use by child trial will be make  whether the inequality or interchange of the medium will not produce a  inequality of sound as if three bell be make one within another and air  betwixt each and then the outermost bell be chime with a hammer how the sound  will differ from a simple bell so likewise take a plate of brass and a plank  of wood and join they close together and knock upon one of they and see if  they do not give a unequal sound so make two or three partition or wood in a  hogshead with hold or knot in they and mark the difference of their sound from  the sound of a hogshead without such partition it be evident that the  percussion of the great quantity of air cause the base sound and the less  quantity the more Triple sound the percussion of the great quantity of air be  produce by the greatness of the body percussing by the latitude of the concave  by which the sound pass and by the longitude of the same concave therefore we  see that a base string be great than a Triple a base Pipe have a great boar  than a Triple and in pipe and the like the low the note hold be and the  further off from the mouth of the Pipe the more base sound they yield and the  near the mouth the more Triple nay more if you strike a entire body as a  andiron of brass at the top it make a more Triple sound and at the bottom a  base it be also evident that the sharp or quick percussion of air cause the  more Triple sound and the slow or heavy the more base sound so we see in  string the more they be wound up and strain and thereby give a more quick  start back the more Triple be the sound and the slack they be or less wound up  the base be the sound and therefore a big string more strain and a lesser  string less strain may fall into the same tone child woman eunuch have more  small and shrill voice than man the reason be not for that man have great heat  which may make the voice strong for the strength of a voice or sound do make a  difference in the loudness or softness but not in the tone but from the  dilatation of the organ which it be true be likewise cause by heat but the  Cause of change the voice at the year of puberty be more obscure it seem to be  for that when much of the moisture of the body which do before irrigate the  part be draw down to the spermatical vessel it leave the body more hot than it  be whence come the dilatation of the pipe for we see plain all effect of heat  do then come on as pilosity more roughness of the skin hardness of the flesh c  the industry of the musician have produce two other mean of strain or  intention of string beside their wind up the one be the stop of the string  with the finger as in the neck of lute violent c the other be the shortness of  the string as in harp virginal c both these have one and the same reason for  they cause the string to give a quick start in the strain of a string the  further it be strain the less Superstraining go to a note for it require good  wind of a string before it will make any note at all and in the stop of lute c  the high they go the less distance be between the fret if you fill a drink  glass with water especial one sharp below and wide above and fillip upon the  brim or outside and after empty part of the water and so more and more and  still try the tone by Fillipping you shall find the tone fall and be more base  as the glass be more empty the just and measure proportion of the air  percussed towards the baseness or Treblenesse of tone be one of the great  secret in the contemplation of sound for it discover the true coincidence of  tone into diapason which be the return of the same sound and so of the concord  and discord between the unison and diapason which we have touch before in the  experiment of music but think fit to resume it here as a principal part of our  enquiry touch the nature of sound it may be find out in the proportion of the  wind of string in the proportion of the distance of fret and in the proportion  of the concave of pipe c but most commodious in the last of these try  therefore the wind of a string once about as soon as it be bring to that  extension as will give a tone and then of twice about and thrice about c and  mark the scale or difference of the rise of the tone whereby you shall  discover in one two effect both the proportion of the sound towards the  dimension of the wind and the proportion likewise of the sound towards the  string as it be more or less strain but note that to measure this the way will  be to take the length in a right line of the string upon any wind about of the  peg as for the step you be to take the number of fret and principal the length  of the line from the first stop of the string unto such a stop as shall  produce a diapason to the former stop upon the same string but it will best as  it be say appear in the boar of wind instrument and therefore cause some half  dozen pipe to be make in length and all thing else alike with a single double  and so on to a sextuple boar and so mark what fall of tone every one give but  still in these three last instance you must diligent observe what length of  string or distance of stop or concave of air make what rise of sound as in the  last of these which as we say be that which give the apt demonstration you  must set down what increase of concave go to the make of a note high and what  of two note and what of three note and so up to the diapason for then the  great secret of number and proportion will appear it be not unlike that those  that make recorder c know this already for that they make they in set and  likewise bell founder in fit the tune of their bell so that enquiry may save  trial sure it have be observe by one of the ancient that a empty barrel knock  upon with the finger give a diapason to the sound of the like barrel but how  that shall be I do not well understand for that the knock of a barrel or empty  do scarce give any tone there be require some sensible difference in the  proportion of create a note towards the sound it self which be the passive and  that it be not too near but at a distance for in a recorder the three  uppermost hold yield one tone which be a note low than the tone of the first  three and the like no doubt be require in the wind or stop of string there be  another difference of sound which we will call exterior and interior it be not  soft nor loud nor it be not base nor Triple nor it be not musical nor  immusical though it be true that there can be no tone in a interior sound but  on the other side in a exterior sound there may be both musical and immusical  we shall therefore enumerate they rather than precise distinguish they though  to make some adumbration of that we mean the interior be rather a impulsion or  contusion of the air than a elision or section of the same so as the  percussion of the one towards the other differ as a blow differ from a cut in  speech of man the whisper which they call susurrus in Latin whether it be loud  or soft be a interior sound but the speak out be a exterior sound and  therefore you can never make a tone not sing in whisper but in speech you may  so breathe or blow by the mouth bellows or wind though loud be a interior  sound but the blow through a Pipe or concave though soft be a exterior so  likewise the great wind if they have no coarctation or blow not hollow give a  interior sound the whistle or hollow wind yield a sing or exterior sound the  former be pen by some other body the latter be pen in by his own density and  therefore we see that when the wind blow hollow it be a sign of rain the flame  as it move within it self or be blow by a bellows give a murmur or interior  sound there be no hard body but strike against another hard body will yield a  exterior sound great or lesser in so much as if the percussion be over soft it  may induce a nullity of sound but never a interior sound as when one tread so  soft that he be not hear where the air be the percutient pen or not pen  against a hard body it never give a exterior sound as if you blow strong with  a bellows against a wall sound both exterior and interior may be make as well  by suction as by emission of the breath as in whistle or breathe it be evident  and it be one of the strange secret in sound that the whole sound be not in  the whole air only but the whole sound be also in every small part of the air  so that all the curious diversity of articulate sound of the voice of man or  bird will enter at a small cranny inconfused the unequal agitation of the wind  and the like though they be material to the carriage of the sound further or  less way yet they do not confound the articulation of they at all within that  distance that they can be hear though it may be they make they to be hear less  way than in a still as have be partly touch over great distance confound the  articulation of sound as we see that you may hear the sound of a preacher  voice or the like when you can distinguish what he say and one articulate  sound will confound another as when many speak at once in the experiment of  speak under water when the voice be reduce to such a extreme exility yet the  articulate sound which be the word be not confound as have be say I conceive  that a extreme small or a extreme great sound can be articulate but that  articulation require a mediocrity of sound for that the extreme small sound  confound the articulation by contract and the great sound by disperse and  although as be former say a sound articulate already create will be contract  into a small cranny yet the first articulation require more dimension it have  be observe that in a room or in a chapel vault below and vault likewise in the  roof a preacher can be hear so well as in the like place not so vault the  Cause be for that the subsequent word come on before the precedent word vanish  and therefore the articulate sound be more confuse though the gross of the  sound be great the motion of the tongue lip throat palate c which go to the  make of the several alphabetical letter be worthy enquiry and pertinent to the  present inquisition of sound but because they be subtle and long to describe  we will refer they over and place they among the experiment of speech the  hebrews have be diligent in it and have assign which letter be labial which  dental which guttural c as for the Latin and grease they have distinguish  between Semi vowel and mute and in mute between Mute tenuis media and aspirata  not amiss but yet not diligent enough for the special stroke motion that  create those sound they have little inquire as that the letter b p f m be not  express but with the contract or shut of the mouth that the letter n and b can  be pronounce but that the letter n will turn into m as Hecatonba will be  Hecatomba that m and t can be pronounce together but p will come between as  Emtus be pronounce to buy and a number of the like so that if you inquire to  the full you will find that to the make of the whole alphabet there will be  few simple motion require than there be letter the lung be the most spungy  part of the body and therefore able to contract and dilate it self and where  it contract it self it expel the air which through the Artire throat and mouth  make the voice but yet articulation be not make but with the help of the  tongue palate and the rest of those they call instrument of voice there be  sound a similitude between the sound that be make by inanimate body or by  animate body that have no voice articulate and diverse letter of articulate  voice and common man have give such name to those sound as do allude unto the  articulate letter as tremble of water have resemblance with the letter l  quench of hot metal with the letter z snarl of dog with the letter r the noise  of scritchowls with the letter Sh voice of cat with the Dypthong yew voice of  cuckoo with the Dypthong on sound of string with the letter hang so that if a  man for curiosity or strangeness sake will make a puppet or other dead body to  pronounce a word let he consider on the one part the motion of the instrument  of voice and on the other part the like sound make in inanimate body and what  conformity there be that cause the similitude of sound and by that he may  minister light to that effect