§ 5 Harmonic Sounds of Flame
A singing flame yields so freely to the pulses falling upon it that it is almost wholly governed by the surrounding tube; almost, but not altogether. The pitch of the note depends in some measure upon the size of the flame. This is readily proved, by causing two flames to emit the same note, and then slightly altering the size of either of them. The unison is instantly disturbed by beats. By altering the size of a flame we can also, as already illustrated, draw forth the harmonic overtones of the tube which surrounds it. This experiment is best performed with hydrogen, its combustion being much more vigorous than that of ordinary gas. When a glass tube 7 feet long is placed over a large hydrogen-flame, the fundamental note of the tube is obtained, corresponding to a division of the column of air within it by a single node at the centre. Placing a second tube, 3 feet 6 inches long, over the same flame, no musical sound whatever is obtained; the large flame, in fact, is not able to accommodate itself to the vibrating period of the shorter tube. But, on lessening the flame, it soon bursts into vigorous song, its note being the octave of that yielded by the longer tube. I now remove the shorter tube, and once more cover the flame with the longer one. It no longer sounds its fundamental notes, but the precise note of the shorter tube. To accommodate itself to the vibrating period of the diminished flame, the longer column of air divides itself like an open organ-pipe when it yields its first harmonic. By varying the size of the flame, it is possible, with the tube now before you, to obtain a series of notes whose rates of vibration are in the ratio of the numbers 1:2:3:4:5; that is to say, the fundamental tone and its first four harmonics.
These sounding flames, though probably never before raised to the intensity in which they have been exhibited here to-day, are of old standing. In 1777, the sounds of a hydrogen-flame were heard by Dr. Higgins. In 1802, they were investigated to some extent by Chladni, who also refers to an incorrect account of them given by De Luc. Chladni showed that the tones are those of the open tube which surrounds the flame, and he succeeded in obtaining the first two harmonics. In 1802, G. De la Rive experimented on this subject. Placing a little water in the bulb of a thermometer, and heating it, he showed that musical tones of force and sweetness could be produced by the periodic condensation of the vapor in the stem of the thermometer. He accordingly referred the sounds of flames to the alternate expansion and condensation of the aqueous vapor produced by the combustion. We can readily imitate his experiments. Holding, with its stem oblique, a thermometer-bulb containing water in the flame of a spirit-lamp the sounds are heard soon after the water begins to boil. In 1818, however, Faraday showed that the tones are produced when the tube surrounding the flame is placed in air of a temperature higher than 100° C., condensation being then impossible. He also showed that the tones could be obtained from flames of carbonic oxide, where aqueous vapor is entirely out of the question.