502 PROCEEDINGS OF THE AMERICAN ACADEMY 



sical keys, since sounded by different groups of keys on the keyboard 

 Now, if there is any characteristic difference of key under these cir- 

 cumstances due to fingering, as Helmlioltz supposes, it should be pos- 

 sible to detect a difference of this uature according to which one of 

 the two pianos the chords were sounded upon, these chords being of 

 identical pitch in both. But neither in detached nor successive chords 

 could we observe any difference whereby we could determine on which 

 of the pianos these were played, provided the eyes were closed. 

 There was a slight difference in quality of tone, which sometimes re- 

 vealed the instrument, even when but a single key was struck ; but 

 nothing beyond this. We were confirmed in our judgment by that 

 of several musicians, who were afterwards invited to listen to the 

 instruments. It would be interesting, however, to repeat the experi- 

 ment, and obtain the opinions of a large number of musical experts. 



The measurements cited go to show that any differences in key 

 which exist on instruments tuned to the isotonic scale by a good tuner 

 cannot be due to instinctive deviations from the mathematically per- 

 fect scale, whereby the alleged characteristic peculiarities of the differ- 

 ent keys are preserved. And our experiments with the pianos seem to 

 indicate that key -differences are not in this instrument caused by differ- 

 ences in fingering ; and, indeed, that any differences independent of pitch 

 do not exist at all. Moreover, I doubt very much if the character of 

 any harmony is changed in passing from a piano to an organ, and am 

 inclined to believe that harmonies upon an organ give the same im- 

 pression, so far as their key is concerned, as when played upon a 

 piano, although, as Helmholtz remarks, in the case of the oigan there 

 can be no key-differences caused by differences in fingering. Still 

 further, one can hardly see why the same characteristics of each key 

 should be found on instruments of the violin and piano families, and 

 on reeds and brass as well, if they owe their origin in each case 

 to peculiarities inherent in the manner of playing each class of 

 instrument. 



I can speak but veiy diffidently upon a subject which is so largely 

 one only to be appreciated and discussed by a musician ; but to me it 

 seems extremel}' probable that there is no absolute character pertain- 

 ing to any key. We notice the pitch of various passages, and, so far 

 as we are habituated to any particular pitch, become accustomed to 

 hear the notes of certain chords at that pitch, and so, on account of 

 the peculiar character possessed by a group of notes having those par- 

 ticular pitches, we assign that character to the key to which the chord 

 belongs. If the notes composing the chord are changed in absolute, 



