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When the vibration is not simple but compound, in consequence of the blending of vibrations corresponding to various harmonics or partial tones, the ear has the power of resolving this compound vibration into its elements.

Compare what Helmholtz says regarding the repetition and coincidence of partial tones.

The brilliant sonorousness and roundness of the timbre of the horn are due to the strength and predominance of the partial tones up to the 7th or 8th.

The higher sounds that accompany the fundamental are called sometimes harmonics, sometimes upper partial tones, but generally overtones.

High sounds cannot obliterate low ones, but, on the contrary, the sensation of each partial tone of which compound musical sounds is formed is diminished by all the tones below it in pitch.