EVOLUTION OF THE MUSICAL SCALE. 



8l 



assume that the first three harmonics only are prominent 

 enough to require consideration. L,et us assume 240 vibra- 

 tions per second for the low note (a very low note indeed) for 

 the sake of avoiding large figures. The modern major chord, 

 corresponding to C, K, G, C, would then have vibration 

 periods as follows : — 



C, 240 E, 300 G, 360 C, 480 

 Accompanying each of these are the three faint overtones 

 according to the above assumption, so that the number of 

 notes to be taken into account is twelve. In addition every 

 one of these notes will form beats or resultant tones with 

 every other, so that the total number of combinations is large. 

 We will consider only a few of them, however, and for illus- 

 tration may form the following table. The primary notes are 

 printed in large type, the harmonics in medium size and the 

 resultants in small tj'pe. Practically only the first, second and 

 third lines amount to much, except as regards the timbre of 



the chord. 



MAJOR CHORD 



*Tlie resviltants in this line are derived from the primaries 240, 360, 

 and 3CXJ, 480, respectively. 



