366 Oil the Nomenclature of Musical Intervals. 



As prefixes to the term Comma, when it is retained as a familv 

 Name, we now have in the Tables, the lesser y (9), the minor g 

 (10), the major c (1 1), and the maximum ti (12) ; which com- 

 pounds, Of their doubles, triples, &c. n.ay themselves also be em- 

 ployed, as j)refixes to the Numerals. 



thus, for example, Mr. L's Interval C' «G\ = 289S + 6f+25m, 

 is either IV — t), or T) — 2 c, and may either bear the name of, the 

 Maximum-comma-defective major Fourth, or, the Double-com- 

 ma-deficient minor Fifth ; and so of others. 



The remaining and least Interval of this family, which has beezs 

 mentioned, might, in order to carry on the analogy, have been 

 called the minimum Comma S (1) ; and in like manner also,m (0) 

 might have l)een called the subminimum Comma; but I have 

 been unwilling to load these two small Intervals, so important in 

 the new Notation, with com.pound Names, instead of their pre- 

 sent simple ones, of Schisma and Minute. 



All the class of Commas, which I have been mentioning, as 

 well as a great many other Intervals belonging thereto, by being 

 without any f in their Notation, maj', like, or analogically to, 

 the most known Interval among these, the major Comma e(ll), 

 (which is the difference of a Tone major T, and a Tone minor t) 

 be derived, from deducting some one of the several 'Fanes ►j!(y3), 

 t (93), T (104), or .''J'(ll5), (each having two f's), from an- 

 other of these 'Jones. 



Or, from deducting some pair of these several Semitones, r(25), 

 o(2(J), 0(.3G), L(46), 53(47), S.(57), P(50), or S((^8) (each 

 having o?ie f) from some one of these Tones (or vice versa), in ail 

 their varieties of combinations. 



It would too much encroach on my present leisure, and on 

 your pages, to enlarge on this mode of deriving the whole class 

 of Commas ; but the following examples may somewhat serve to 

 explain it, viz. 10 t +22 S-21T = m, 2T-t-2 S = 2, 4S + t 

 -3T = y, 2S -T = e, T-t = c, 3T-2t-2S = Ci, 2S- 

 t = c, 4S-T-t=^, T-h2S-2t=/, 2T + 2S-3t = A, T-|- 

 4S-3t = E, &c. 



The whole class of Tones (or major Seconds) thus defined by 

 means of their two f's, includes, in fact, a numerous family of other 

 Intervals besides the four which are so named in my Tables ; of 

 these we have one other example in the Table (having no m), 

 viz. M> =52 + 2f- which is=T — 9c, or II — 9c, and maybe 

 called, either the Nine-comma-deficient major To7ie, or the Nine- 

 comma-deficient major Second. 



The entire class of Semitones thus defined, as containing 

 each one f in its new Notation, is by no means confined to the 

 six which are so named in the Tables, with the prefixes maxi- 

 mum, major, medius, minor, minimis, and subminimis ; and two 



intermediate 



