522 TRANSACTIONS OF THE AMERICAN INSTITUTE. 



on the same key, because on keyed instruments the same note representiS 

 both F sharp and G flat. 



For a full explanation of the tempered and the true systems the speaker 

 referred tliose interested to a work by him published several years since, 

 entitled "Musical Treatise and Tonometer" in which the intervals are 

 measured to the eye, so that even one who has no "ear for music" may 

 easily comprehend the system. 



The speaker also proposed a reform in the solfeggio. The syllables now 

 used are meaningless, but by a slight change they will be always asso- 

 ciated with the names of the several chords. Instead of do, re, mi, fa, sol, 

 la, si, use To, Ke, Mi, Fa, Do, La, Si; then To will always be the Tonic; Re, 

 the first related tone; Mi, the Mediant; Fa, the falling or sub-dominant; 

 Do, the Dominant; La, the latent tonic, or tonic of the relative minor mode; 

 Si, the serial note closing the series. These syllables used in the solfeggio, 

 may be substituted with great advantage for the figures now employed to 

 express chords; for instance the only three major common chords, are 1st. 

 the tonic common chord To, Mi, Do; 2d. The dominant common chord Do, 

 Si Re; 3d. The sub-dominant common chord Fa, La, To. The first interval 

 in a major' common chord is always measured by four grades, and the 

 second interval by three grades, while in a minor common chord the lengths 

 of the intervals are reversed, the first having three grades and the second 

 four grades. This statement will explain why there can be only three 

 minor common chords, viz: La, To, Mi; Re, Fa, La, and Mi, Do, Si. These 

 with what is called the imperfect fifth. Si, Re, Fa, having two intervals of 

 three grades each, make up the seven triads of the Septave. If the octave 

 sound so called, of the first sound of a perfect triad be added to such 

 triad the last interval will always consist of five grades; but if instead of 

 a sound forming a five-grade interval, a sound forming an interval of four or 

 of three grades be added to the triad, four classes of dissonant chords are 

 formed called Sevenths. The further pursuit of these questions relating to 

 Thorough-base may be considered too intricate. The Chairman concluded 

 by expressing the hope that the time was not far distant, when the system 

 now partially explained will be generally received. 



Musical Instruments. 



The discussion on this subject was opened by Mr. Samuel C. Swartz, who 

 devoted his remarks to instruments of the reed class, particularly to those 

 manufactured by Messrs. Carhart, Needham & Co. This firm submits the 

 following article, embracing many interesting statements which deserve a 

 permanent record. 



INSTRUMENTS USED BY THE ANCIENTS. 



The human voice is the most wonderfully constructed, variable and efli- 

 cient producer of melodious sounds.* The ingenuity of man has, however, 

 from the most early periods of time, invented a vast series of instruments 

 that are constantly nearing perfection. It would take years of time and 

 volumes of space, to even briefly mention the various apparatus that have 

 been placed before the world under the appelhition of jnusical instruments. 

 The Egyptian flute was only a cow horn with three ©r four holes bored in 



