82 On Perfect Musical Intonation. 
In addition to the diatonic scales, we have added three columns, 
viz., the leading notes or sevenths of the minor scales—the perfect 
sevenths—and the dominant sevenths, (or the perfect sevenths 
upon the dominants. ) , 
| ea |g ioe i | a 
Sigman [errs sua kG, EE Furie | ihe 3 MCE E| ER | 
z wa 1 Sepa 
5 Sharps. |B? C#9 |D#? lev ES (FHS r+! GH? jay |A#? BS 
4 Sharps. |E3 F#% G#2 |a7 |A3 —_|B3 Be! CH? pz |D#? E3 
3 Sharps. |A® BS (C#2 [pr (D2 |E3 n#1\/F#? \e7 |G#? |A® 
2 Sharps. |D? E? |F#? |e7 G2 |A® |a#7B? cr |C#? |D? 
1 Sharp. |G? |A® |B? [cr C? |D? p#t BE? rr |F#? G? 
e 
I Flat. _|F?G? A? [a7 Bp? (C2? oF! D? _ab7in? (FA 
2 Flats. |Bh? C2 (D2 |eb? Ep? |F2 [r#1G1 [ab7/A? | (Bb? 
3 Flats. /Ep?/F2 (G1 |ab7/Ah? |Bb? Bt (C2 pb7iD!  |Eb? 
4 Flats. |Ab?/Bb? (C1 |pb7)Dp? |Ep?|e! |F1 |cb7jG! Ab? 
5 Flats. Dp? 9? |Eb? Fi |qb7 Gh? |Ab? la} Bb? |cb7|Ci Dh? 
In the above table, the column marked “major oe ”” con- 
tains also the key-notes of the minor scales. These key-notes, 
as will be seen, are a comma lower than the notes of the same 
letter, which are key-notes of major scales, e. g., the key-note of 
minor (being the relative minor of ED, i n the scale of three 
flats) is C', comma lower than C?, the Revere of C major, in 
the natural scale. Consequently the leading notes of the minor 
scales (which are diatonic semitone below their key-notes, and 
major third above the major third of the relative major scale,) are 
lower than = key-notes of the major scales by the same inter- 
val, viz.,a comma. In the column of “ perfect sevenths,” and 
« dominant becale? the figures are attached to the letters arbi- 
(24.) Being derived from a prime different from the notes 
of the diatonic scale, they will not vary from them by even com- 
mas. ‘They are marked 7, and their pitch is about a comma an 
a quarter* below that of the letters of the same name in the col- 
umn of “ perfect fourths,” and each is always used (as a seventh 
only) in one chord and no other. 
6. Having explained our system of notation, and having before 
us a table, which contains the exact relative pitch of every note, 
in eleven major, and eleven minor scales, we are prepared to re- 
cur to the illustration we gave concerning the “diminished sev- 
enidacs utio of tis 
80:81. 
