ON TEMPERAMENT. 169 



"has always been found unmanageable. It has the power, 

 according to his own statement, of performing correctly in 

 twenty-one keys with a minor to each. 



If you look at the keyboard in passing, you will see three 

 rows of ordinary keys, coloured in various ways. There are, in 

 fact, three keyboards ; there are also the quarrils, buttons, and 

 flutals named above. With, all the mass of mechanism which 

 looks like a large organ, it only possesses one speaking stop. 

 This seems a very small result for such enormous magnitude, 

 and you can now appreciate what St. Paul's or any other 

 large organ, with perhaps eighty speaking stops besides 

 couplers, would be if it were magnified in the same ratio. 



I have now to speak of two harmoniums, first that of Mr. 

 Bosanquet, and secondly one, which I am happy to be able to 

 show you to-day, of Mr. Colin Brown, Professor of Music in 

 the Andersonian University of Glasgow, who has been kind 

 enough to come all the way from Scotland to play it to you. 

 In both these we seem more within bounds of practicability. 

 Two things are aimed at in both these harmoniums which are 

 not in those I first named ; in the first place to get correct 

 intonation, and in the second to generalize the keyboard. 

 You do away with that distinction between black and white 

 notes which causes so much confusion to learners. Mr. 

 Bosanquet certainly has black and white notes still left after 

 a fashion, so as to guide the eye, but you never play as you 

 do on the common piano in six flats or five sharps and so on. 

 You do not feel your way by the black and white notes as 

 you have to do on the ordinary piano. There is only one key 

 or scale on each ; it is a little complicated, but when you have 

 once learned it all positions are the same, and that is why Mr. 

 Bosanquet terms his instrument a generalized keyboard. I 

 have heard persons say, " I cannot play in five flats; I can play 

 in one flat, five are too difficult." Here there is no such diffi- 

 culty ; five flats are no more difficult than one flat. You have 

 only to get the right pitch and all scales are in the same posi- 

 tion for the hand. I think I have stated that Mr. Bosanquet 

 has fifty-three sounds in the octave, though there are eighty- 

 four keys. This harmonium possesses also some very beautiful 

 characteristics, of which one is the power of getting the har- 

 monic seventh. Nevertheless he does not look upon it as an 

 instrument for great execution. It is more intended as a 

 sort of well-spring and fountain from which can be drawn 



