To determine which configuration of the tuning forks produces a high pitch sound that steadily becomes lower, we need to consider the relationship between the frequencies of the tuning forks. Generally, in tuning forks, a higher frequency correlates with a higher pitch and a lower frequency correlates with a lower pitch.
Without the specific frequencies of each tuning fork, we commonly assume that the forks can be arranged in either increasing or decreasing order of pitch, typically with one fork having a higher pitch than the next.
Here are the configurations analyzed for pitch progression:
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Fork 1 – Fork 2 – Fork 3 – Fork 4: This arrangement suggests that Fork 1 is the highest pitch and Fork 4 is the lowest pitch, creating a sequence of decreasing pitch.
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Fork 2 – Fork 1 – Fork 4 – Fork 3: In this arrangement, it implies that Fork 2 is higher than Fork 1, then it drops to Fork 4, and then jumps back up to Fork 3, which would not create a steady decrease.
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Fork 4 – Fork 2 – Fork 1 – Fork 3: This suggests that Fork 4 is the highest pitch and ends with Fork 3, also not creating a steady decrease in pitch.
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Fork 3 – Fork 4 – Fork 1 – Fork 2: Similar to the previous option, this arrangement does not have a steady decrease in pitch.
Given this analysis, the best sequence that would produce a high pitch sound that steadily becomes lower is:
Fork 1 – Fork 2 – Fork 3 – Fork 4.
This arrangement suggests that the pitch is decreasing from Fork 1 to Fork 4, matching the requirement for a steady change in pitch from high to low.
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