§ 2. _Transverse Vibrations of a Rod fixed at One End_ Let us now pass on to the case of a rod fixed at one end and free at the other. Here also it is the elasticity of the material, and not any external tension, that sustains the vibrations. Approaching, as usual, sonorous vibrations through more grossly mechanical ones, I fix this long rod of iron, _n o_, Fig. 53, in a vise, draw it aside, and liberate it. To make its vibrations more evident, its shadow is thrown upon a screen. The rod oscillates as a whole to and fro, between the points _p p′_. But it is capable of other modes of vibration. Damping it at the point _a_, by holding it gently there between the finger and thumb, and striking it sharply between _a_ and _o_, the rod divides into two vibrating parts, separated by a node as shown in Fig. 54. You see upon the screen a shadowy spindle between _a_ and the vise below, and a shadowy fan above _a_, with a black node between both. The division may be effected without damping _a_, by merely imparting a sufficiently sharp shock to the rod between _a_ and _o_. In this case, however, besides oscillating in parts, the rod oscillates as a whole, the partial oscillations being superposed upon the large one. [Illustration: FIG. 53.] [Illustration: FIG. 54.] [Illustration: FIG. 55.] You notice, moreover, that the amplitude of the partial oscillations depends upon the promptness of the stroke. When the stroke is sluggish, the partial division is but feebly pronounced, the whole oscillation being most marked. But when the shock is sharp and prompt, the whole oscillation is feeble, and the partial oscillations are executed with vigor. If the vibrations of this rod were rapid enough to produce a musical sound, the oscillation of the rod as a whole would correspond to its fundamental tone, while the division of the rod into two vibrating parts would correspond to the first of its overtones. If, moreover, the rod vibrated as a whole and as a divided rod at the same time, the fundamental tone and the overtone would be heard simultaneously. By damping the proper point and imparting the proper shock, we can still further subdivide the rod, as shown in Fig. 55. § 3. _Chladni’s Tonometer: the Iron Fiddle, Musical Box, and the Kaleidophone_ And now let us shorten our rod, so as to bring its vibrations into proper relation to our ears. When it is about four inches long, it emits a low musical sound. When further shortened, the tone is higher; and, by continuing to shorten the rod, the speed of vibration is augmented, until finally the sound becomes painfully acute. These musical vibrations differ only in rapidity from the grosser oscillations which a moment ago appealed to the eye.