506 Musical Intonation and Temperament. 



the game as from Do to Re. Compounding these, we have the inter- 

 val Mi to Sol, •") : 6, as before. 



The interval between Sol and Si is still larger, 4 : 5, the same as 

 from Do to Mi. We will put in a sound La, the same as the Re be- 

 tweeu Do and Mi, making Sol : La :: 8 : 9, and La : Si :: 9 : 10. La 1 , 

 then, makes 26§ vibrations a second 



We have now established 7 pitches between Do 1 and Do . They 

 are found in capitals in the table of Diatonic Scales. The ratios of 

 vibrations, and the intervals between them, are placed at the bottom. 

 We see there only '] kinds of intervals, 8 : 9 and 9 : 10, both called a 

 Tone, (which we distinguish by calling one the greater Tone, and 

 the other the lesser Tone,) and 15 : 16, called in barbarous mixture of 

 (>reek and Latin, Semitone, but more properly Hemitone. The in- 

 terval from any of these pitches to the next above or below is called 

 ;i . ';.< ond ; to the next but one, a Tiiikd, &c. ; and to the eighth 

 above or below, an Octave. Thus from Fa 1 to Fa a is an octave ; 

 from Si 1 to Re* is a third, &c. Every pitch resembles its octaves 

 more than it does any other pitch. Thus Fa 8 can be readily told 

 from Mi° or Sol", but is in one sense identical with Fa 6 and Fa\ 

 Hence they all bear the name of Fa. So of all the rest. 



Amy series of 8 pitches whatever, having between them the seven 

 intervals, Tom. Tone, ETemitone, Tone, Tone, Tom:. Homitone, 



ailed a Diatonic Scale. \ny Diatonic Scale beginning and 

 ending with Do, as that in the table, is called the l)i itonig Scale 

 of Do; and music composed of these pitches is said to be in the Key 

 OP Do. The firsl and last note of any Diatonic scale is called Toxic, 

 the second Si psbtonic, &c. We give the names at the head of the 

 table. Four more ndtes are occasionally wanted in each octave. 

 These are a grave second, a flat th, a sharp fourth, and a sharp 



fifth. Thej are accordingly added { > the table. 



Furnished frith these sounds, we can produce the air of any un- 

 modulated pie< ic we choose. Suppose, now, Archdale were 

 written in the of Do, of which we have given the Diatonic 



The highest note is an octave 



ove, and the lowest a fourth below. If the first sound word Do*, 



the highest would be Do": much higher than the female voice can 



well reach. Bui ifthe firs! note be taken on Do 4 , the lowest would 



Other key, as of Sol, 



