1884.J ,Ytv t-harmonic Musical Scales. 385 



divisions of the Octave, just as in Europe we so consider our 12 Semi- 

 tones.* Hence these divisions are taken, and are used as 



C 200 D 100 E\> 100 E 100 F, 

 200 300 400 500 



as they would be played on the pianoforte. 



This Report contains an account of the Japanese scale, from which, 

 to complete this notice of Japan, although not tonometrically observed, 

 I may cite the following, where all notes may be provisionally con- 

 sidered as those on the piano. 



Classical Scales. 



Eiosen D E F G$ A B CJf d 



In descending often Z> E F G- A B C$ d 



Pentatonic D E F A B d 



Eitsusen D E F G ABC d 



Pentatonic D E a A B d 



Popular Scales Heptatonic. 



First Heptatonic D E\> F G A B]y C d 



Second D E\> F G A\> B\> C d 



Popular Scales Pentatonic. 



Hiradioshi G A B\) D E\> G 



Akebonol G A B\> D E G 



AkebonoII A B\> D E F A 



Kumoi I G A'\> C D E\) G 



Han-Kumoi G, A C D E^ G 



Iwato G A\) C D\> F G 



Han-Iwato G A\> C D F G 



where observe the numerous examples of the most ancient Greek 

 tctrachord of Olympos, consisting of a Semitone followed by a major 

 Third. 



* Professor Ayrton, F.R.S., who was present when this paper was read, and who 

 had returned from Japan only a few years ago, made some remarks to which with 

 his permission I will here refer. He said that it was a mistake to suppose the 

 Japanese musical intervals to be like the European. He had examined Japanese 

 instruments when tuned in their different ways by natives, and taken the pitches of 

 the notes by means of a siren, and he had found the intervals very different. My 

 paper in this -part merely professes to give Mr. Isawa's theory, without citing his 

 confirmatory experiments, which I did not consider conclusive. A. J. E. 



