On Perfect Musical Intonation. sl 
23. To transpose the scale to the fifth above ; the sixru must 
be raised a comma, and the rouRTH @ CHROMATIC sEMITONE to 
Jorm the seconp and seventu of the new scale. 
And . choy es it to the fifth below, the process must be re- 
versed : : the seconp must be lowered a comma, and the srv- 
\ ENTH @ eee SEMITONE, to form the sixTH and FOURTH of 
; the new scale. 
this system of transposition we obtain two or more 
different notes expressed by the same letter—two A’s for in- 
: Stance, as we have shown above. ‘To make it obvious to the 
eye, which of several notes of the same letter belongs to any re- 
quired scale, we have adopted the following system of notation. 
Every note of the diatonic scale of o we mark with a figure 2; 
as thus; C2, 2, E?, F2, G2, A?, en in wri x ; 
tion one of these notes is raised a comma, enharmonically,* 
is marked with the higher number 3; and when it is re a 
comma it is marked with 1. Thus A® will signify a note a 
comma higher than A2, the A of the C scale; and D', a note a 
comma lower than D?.. The sharps and flats will also be marked 
2, when they first pepe in transposing from C to the keys above 
oct below. We now exhibit the scales of C, and of G and F, 
whose Hale Rie are ah fifths above and below C, with the 
hames of the notes of each, and their intervals. It will be — 
that the order of the intervals from the key-note is made t 
same in each, by the alteration of the two notes in each adjoin. 
‘ing scale. 
‘ 
4 5 6 7 Key ae 
( es | Minor T, | MajorT. | 8. | Major. | Minor T. a 5. ie, 
D? BK? Fe? G? A? C? 
ale of 
1# 
FS Rn St ae ee ne 
rs of — Lo Major T. [Minor T. | 8. | Major T. | Minor T.| MajorT. | S. | 
oe Pe ee ee 
Gs 
i 6 aE e,  S S 
Fr © Ol TMinorT. | MajorT. |S. | Major. |MinorT.| S. | Major. | 
1D Ga Din. BB « Ms bot Ebtan OF 
n Enharr change ny interval smaller than a dlivcintls 
or wn Hee eens as eis inti: fe the “erence between the major a — ogre 
tones—between G# and Ab—the fourth of a scale e and its dominant seventh, dc. 
enharmonic an are not usually expressed in tech excep > the 
signature, but t they ar ecessary to perfect ect intonation, to brin, ring the “into 
harmony,” which is Siblied in the derivation of the term, # and épyo' 
Srconp Serres, Vol. IX, No. 25.—Jan., 1850. 
