274 On an Organ for perfect Harmony. 
gentleman’s manuscript work I have perused, with much 
pleasure and satisfaction, and conceive that I shall be domg 
an acceptable service to many of your readers, in presenting 
a Table of the 60 notes, (for he omits bF, and its grave and 
acute), calculated according to the following tuning process, 
in a notation of my own, which I some time ago adopted, 
as the simplest for these kind of musical calculations, and 
therefore called it the ‘* Elements of perfect Tune,”’ wherein 
no interval smaller than the Schisma (2) occurs, and 
wherein the miner comma, (@, or 10E + ns of my other no- 
tation) is another interval frequently occurring, particularly 
in conjunction with the schisma, to make a major comma; 
and the semitone sulminimis of Overend ({*, or 235 + f + 
2m) which ts the interval generally occurring between the 
groups of notes belonging to the different finger-kcys: for 
it will be observed, that in this or even still more extended 
perfect scales, the notes aré at very unequal distances apart, 
though their relations may almost all be expressed by the 
above fotation, and all calculations thereon performed 
thereby, without negative signs, or any unnecessary compli- 
cation of numbers. 
The values of the intervals are contained in two columns 
in the middle of the table, the left hand ones are those of the 
20 principal notes in each octave, whose letters, names, and 
marks succeed in proceeding outwards: the second column 
contains the 40 sounds, produced by raising and by depressing 
each note in the first, a major comma, or O 1}, in this 
notation, and the letters ard marks (’ and‘ to express this 
raising and depressing by a comma, called acute and grave) 
of these and the names, succeed each other outwards. 
My nomenclature or names of several of these intervals, 
above C, will be found to differ somewhat from those of 
the author, who considers the terms in use among practical 
musicians, as to be preferred for bis purposes, though 
somewhat Joose and indefinite, to others free of ihis defect, 
which they might have to learn. The major and minor 
intervals are fixed, by the nature of the scale, and to these 
all my names refer, by schisma 0 0 1 (2); minor comma 
© 1 0 (102 +m); inajor comma O 1 1 (11 +m); 
or superfluous ! 1 1 (362+ f+ 3m) the minor semi- 
~ tone; all by fixed and invariable appellations. 
A principal improvement by Mr. Liston consists im his 
mode of obtaining the,20 notes of the scale for his present 
' * We have here, for the convenience of printing, substituted the old 
English f, instead of the script long s, used in the copy and in the engraved 
Table Plate V, in our xxviiith volume.—EopirT, . 
organ, 
