Hanky Panky

HINTS FOR PUBLIC SPEAKERS.

In a large room, nearly square, speak from one corner to the other corner, diagonally. In ordinary rooms, the lowest pitch that will reach across the room is best. In the same, speak along the length. Low ceilings carry sound better than the high.

THE MERIDIAN ALARUM.

There are other ways of utilising the burning-glass to give a signal than to adjust it so that the rays, at noon, shall fire off a cannon, as at the Palais Royal, Paris. For instance, let the action of the focussed light and heat operate on a delicate spring retaining the hammer of a bell, the valve of a chamber of compressed air, with its outlet forming a whistle, &c., &c.

A jet of water, passing through a hole in a brass plate fixed at the end of a glass tube will emit a musical sound, in consequence of the intermittent flow of the liquid through the orifice. Again, a slender vein of water, some twelve inches long, on being allowed to fall vertically from a vessel, will break at the lower end of the vein into drops. This vein of water should be brightly illuminated from above by a beam of light sent through it from an electric lamp, so that the thread of water will look like a line of light, from the end where it breaks into drops to the orifice from which it issued. A musical note of constantly-increasing pitch being then set up by means of the wind instrument known as a “syren,” when the note reaches a sufficiently high pitch, the sound will act upon the luminous column of water, which will shorten itself by four or five inches, in response to the one particular sound to which it was sensitive. The same jet of water will respond to the beats produced by two organ-pipes, &c.

THE ÆOLIAN WHISTLE.

The Chinese fasten a whistle to their kites, so that the mouth always faces the wind, and the sound is almost continuous.

SIMPLE ÆOLIAN HARP.

Fasten the ends of a length of waxed saddler’s silk to pegs or nails, which insert in the crack between the two sashes midway in a window, so as to stretch the cord well. The entering air will call out the musical vibrations.

Double a length of gutta percha tubing, say two yards long, and cut a slit in the centre, where you insert one end of another piece of tubing, of the same or a greater length.

In the two end openings put whistles, and make the whole air-tight. Place the free end of the long piece around the nozzle of a bellows, and on forcing the air from which into this novel instrument a double succession of sounds can be produced. The whistles should be pitched differently, and more than two can be used.

ECHOES.

A good ear cannot distinguish one sound from another unless there is an interval of one-ninth of a second between the arrival of the two sounds. Sounds must, therefore, succeed each other at an interval of one-ninth of a second in order to be heard distinctly. Now, the velocity of sound being eleven hundred and twenty feet a second, in one-ninth of a second the sound would travel one hundred and twenty-four feet. Repeated echoes happen when two obstacles are placed opposite to one another, as parallel walls, for example, which reflect the sound successively.

A certain river has a bend in it, avoided by every one, as it was supposed to be haunted. At a certain hour in the evening, for many years, terrible curses were distinctly heard. Suddenly they ceased. Hearing an account of the strange phenomena, Mr. H. Panky determined to ascertain the cause, and carefully examined the river on each side for about a mile above and below the bend. He ascertained that at about the time the sounds ceased an old fisherman, who had lived on the opposite side of the river, full a mile from the spot where the curses where heard, had died. He was told that the fisherman was in the habit of crossing the river to a village, where he found a market for his fish, and where he spent his money for liquor; and that after drinking freely on his way home, while rowing across the river at night, he would swear terribly. This gentleman then persuaded a friend to go down the river to the place where the curses were formerly heard, while he remained in a boat on the river at the point at which the old man usually crossed. He then played on a bugle and sang several songs. His friend soon returned, and with eager delight exclaimed, “O, Hanky, such glorious music fills the air, just where the oaths used to be heard!” The neighbours came rushing down to hear it, and some fell on their knees, praying. They said, “The angels have driven the devil away.” Mr. Panky then asked what were the songs they heard. His friend described them correctly, and said he understood even the words, one of them being the famous Marseillaise, another a German song. The foreign words made the ignorant more sure that the sounds were supernatural. The magician then played on the bugle, and sang again the same songs, while his friend stood by; but his friend said the music was not equal to that he had heard below, where the sounds had really seemed heavenly.

The peculiar configuration of the river-banks had concentrated the sounds, and the distance and the water had softened them.

WHISPERING GALLERIES.

As a rule a smooth-walled room of an elliptical shape will be found most probably gifted in this mysterious way.

THE INTELLIGENT ECHO.

Find a building, with a wall at an angle where an obstacle will send the voice from the one side around to the other instead of reflecting it as an echo. Then have a friend able to imitate voices concealed round the corner, so that, when your victim calls out, “Who are you?” the answer will come, apparently from echo, in the questioner’s own voice, “I, A or B, of course.”

TO SHIVER GLASSES BY SINGING.

It is known that glasses may be broken by the note, powerfully sounded, which is that given when it is struck, or the octave of that note. Thin and convex glasses are best. But, to make sure, nick or scratch the object with a diamond to start the fracture. A trumpet will not succeed while a violin will.

THE WOODEN HARMONICON.

On a firm stand erect a three-inch soft wood board, a yard high and half a yard broad, in which stand twenty deal rods. The longest should be about five feet. The ones representing semi-tones should be painted a different colour from the others, which can be left plain.

Rub the fingers in rosin-dust and set the rods vibrating with friction, and you will have a manageable instrument, sweet and expressive.

THE STONE HARMONICON.

Stones must be found which, when freely suspended, are sonorous when struck, and those giving out the notes and half-notes of the diatonic and chromatic gamut are to be hung in a frame in proper order.

They are played upon with blows of a little hammer.

Hard wood can be also employed, mounted on a frame, and struck at one end, being the “bones” of the African under another phase.

A proverb assures us that a teller of untruths should be skilled in mnemonics.

We exclaim, quite apropos of this remark, that we have a mystic harp which retains for our pleasure the airs which it has heard or played.

Amidst the murmur of incredulity, take the lyre and hang it to a wire luckily pendent from the ceiling.

On the unbeliever placing his ear close to it, the air is heard as of a whole band, at a distance, brilliant in its minuteness.

Explanation.—In the upper room is a piano, a square or grand being preferable: a wire runs directly from its sounding-board to the room below where the lyre is suspended. For convenience, the wire can be bent or formed of several portions overlapping where the join occurs.

Granting any two sounds are drawn from two instruments at the same time, there will be heard a third sound, the more perceptible as the listener is near the middle of the distance between them.

If the two sounds are succeeding ones in the order of consonance, as, for instance, the octave and the twelfth, the double octave and the seventeenth major, &c., the sound resulting will be the octave of its principal.

THE DEMON VIOLIN.

Hang a fiddle behind a partition, and, on striking a note on a second instrument on the other side of the wall, the unseen one will sound in unison.

Andy Andy’s adventure with the trumpet will be remembered. Hardly less amusing experiments are practised in the orchestras of theatres, especially when a play has run its hundred nights and time hangs heavy.

A handful of bluebottle flies inserted within the bass-vial, or the greasing the fiddle-bows to make the instrument play a perpetual mute, may be numbered among them. A little lather put into a cornet will be blown out into soap-bubbles when it is played.

THEATRICAL THUNDER.

Suspend a sheet of iron, five feet wide by six or seven feet long, from the centre of one end by a cord. At the lower end, about five feet from the ground, fasten a handle. On seizing this, and shaking the sheet so that it shall wave in horizontal rolls from your hand upwards, the sound of thunder will be heard, and you will say, with Gainsborough, “Our thunder is decidedly the best.”

Another Way.—Make a square drum-head of wood, a yard long by half as much wide, over which you spread and firmly glue a sheet of parchment, rather thick, wet on being put on, so as to dry very tight. Hang this up, and, on tapping it with your fingers, the reverberation will imitate a thunder-peal closely. Thus, in the theatre, a tap on the big drum often serves for this purpose.

TO IMITATE THE CRASH OF A THUNDERBOLT STRIKING.

It may have happened to you to have been present when a servant’s awkwardness has let a Venetian blind come down by the “run,” when you surely cannot have failed to notice the terrific noise resulting. By a similar fall of slats, of which the sudden contact gives a number of sharp clatters, blended by the rapidity of their succession into one crash, the semblance of a thunderbolt’s fall is given.

A A, stout iron rods, to which is fastened, at the lower ends, a board C; they rise perpendicularly, and are fastened above, being about 10 feet in length. B B are ropes, to which, at E E, are fastened firmly the slats D D (of which but two are represented, but there are as many as will cover the whole space enclosed in the rods, set 6 or 10 inches apart). These slats slide freely up and down the rods. The ropes, when drawn up taut, retain the slats apart, but, on being released, the slats fall, each striking the under one, and all coming down on C with a fearful crash.

THE CRASH BAG.

To excite a laugh, you may pretend to be angered by the stupidity of your assistant, whom, at the end of your recrimination, you thrust out of doors. Suddenly a frightful sound is heard, a clatter of broken glass, and you exclaim in horror, “He has gone clear through the window!” (He shows his face at a door or window at the other side of the room, and laughs.) This illusion of a broken window is made in two ways; one by an enlarged watchman’s rattle, the ratchet-wheel of which is turned rapidly by hand; and by your letting a stout bag, partly filled with old metal and glass, suspended by a rope, fall a few feet, and be abruptly checked in its descent.

TO IMITATE RAIN AND HAIL.

Out of stout pasteboard cut twenty circles, five inches wide, and cut them all from the edge to the centre, as marked.

Bore a hole through them an inch wide. Join them together by glueing the cut side C of circle A to the cut side D of circle B, and so on, till all the circles form but one piece, which, being thus lengthened, has the shape of a screw. Let them dry. Through the hole run a wooden rod to thread them, and set them three or four inches apart; glue them in that position. Cover them along their outer edge, and at one end with parchment-paper, wet, so as to dry tight, like a drum-head. When dry, put in about a pound of fine shot, more or less, according to the size of the instrument, and close the open end with strong paper.

The lead being at one end of this case, horizontally, if you lift it up gently by the end with the shot, they will run slowly to the other end in the road formed between the circles, and their strokes against the paper cover will closely imitate the patter of rain. If the case is tilted up suddenly, the much louder sounds will resemble hail. By alternately depressing and elevating the case, to keep the shot in motion, the effect can be made continuous.