His residence at Venice was rendered memorable to him, by the arrival of the celebrated Veracini (the younger) in that city. The performance of this “homme marquant” awakened a vivid emulation in Tartini, who, though he was acknowledged to have a powerful hand, had never heard a great player before, nor conceived it possible for the _bow_ to possess such varied capabilities for energy and expression. Under this feeling, he quitted Venice with prompt decision, and proceeded to Ancona, in order to study the use of the bow in greater tranquillity and with more convenience than at Venice, as he had a place assigned him in the operatic orchestra, of that city. In the same year (1714), his studious application enabled him to make a discovery—that of the phenomenon of the _third sound_—which created a great sensation in the musical world, both in his own time and long afterwards, though it has led to no important practical results. This phenomenon of the third sound is the sympathetic resonance of a third note, when the two upper notes of a chord are sounded. Thus, if two parts are sung in thirds, a sensitive ear will feel the simultaneous impression of a bass or lower part. This effect may be more distinctly heard, if a series of consecutive thirds be played on the violin perfectly in tune. “If you do not hear the bass,” said Tartini to his pupils, “the thirds or sixths which you are playing are not perfect in the intonation[25].” This mysterious sympathy, by which sound is enabled to call up a fellowship of sound, may be fancifully expressed in a line from the old poet, Drayton:— “One echo makes another to rejoice!” His diligence and exemplary devotion to his art, while at Ancona, led also to another prominent occurrence in his career—the appointment, in 1721, to the distinguished place of first violin, and master of the band, to the church of St. Anthony, of Padua. To St. Anthony, as his patron saint, he consecrated himself and his instrument, with a species and a constancy of attachment, that may find not only their excuse, but their credit, in the nature and sentiment of the times he lived in. His extending fame brought him repeated offers from Paris and London, to visit those capitals; but, holding to his conscientious allegiance, he uniformly declined entering into any other service, and was, like St. Anthony himself, a pattern of resistance to temptation. By the year 1728, he had made many excellent scholars, and established a system of practice, for students on the violin, that was celebrated all over Europe, and increased in reputation to the end of his life. Great numbers of young men resorted to Padua from different countries, in order to receive instruction from him in music, but chiefly in the practice of the violin.