A most original and interesting study of the music of the great Falls was made some years ago in a more or less technical way by Eugene Thayer.[7] It had been this gentleman's theory that Niagara had never been heard as it should be heard, and his mission at the cataract was accomplished when there met his ears, not the "roar," but, rather, a perfectly constructed musical tone, clear, definite, and unapproachable in its majestic proportions; in fact Mr. Thayer affirms that the trained ear at Niagara should hear "a complete series of tones, all uniting in one grand and noble unison, as in the organ, and all as easily recognisable as the notes of any great chord in music." He had heard it rumoured that persons had been known to secure a pitch of the tone of Niagara; he essayed to secure not only the pitch of the chief or ground tone, but that of all accessory or upper tones otherwise known as harmonic or overtones, together with the beat or accent of the Falls and its rhythmical vibrations. All the tones above the ground tone have been named overtones or harmonics; the tones below are called the subharmonics, or undertones. It will be noticed that they form the complete natural harmony of the ground tone. What is the real pitch of this chord? According to our regular musical notation, the fourth note given represents the normal pitch of diapason; the reason being that the eight-foot tone is the only one that gives the notes as written. According to nature, I must claim the first, or lowest note, as the real or ground tone. In this latter way I shall represent the true tone or pitch of Niagara.