202 H. W. Poole on Perfect Musical Intonation. 
appears from the table that notes which vary by smaller rnc 
than a semitone, result from combining these four prime chords. 
In temperament, these four chords are disposed of in the follow- 
ng manner. ‘The octave is tuned perfect. For the perfect sev- 
nth, no provision is made, and it is rejected altogether. ‘The 
thirds and fifths remain, to which alone temperament is applied. 
ig notes, 
inor scales. 
Perfect | Perfect 
fourths. Fifths. 
Key | Major | Major Major 
Sixths, 
7 Signatures, Nores ‘Seconds Thirds. 
Perfect 
Sevenths, 
Octaves, 
Dominant 
Sevenths. 
Leadin. 
M 
5 Sharps. |B C#3 |D#2 [e7 |E3 |Fe#3 
4 Sharps. |E? FH? (GH? |az (AS |B? [pet E 
3 Sharps. |A? B? |C#2 \p7 D? |E? |es1|F#? G7 |G#? |A% 
2 Sharps. |D | D 
1 Sharp. |G? |A% |B? |c7 C2 (D? (p#1|E? |r7 |F#? G? 
Natural, [C2 D2 |B? Fr F2 |G? |g#/A2 |p>7|B? |C? 
Flat. |F r 7 
2 Flats. |Bh? C2 |D1 jBPM}? |F2 jr#1|G1 |ab7)A2 |Bh? 
8 Flats. |Eh? F2 (Gi lab7/Ap? (Bh? [pt IC? 'pb7/D1 |b? 
4 Flas. |Ab? Bp? (C? (ob? Dp? |Bp?is! Fi cb7iGt /Ab? 
5 Flats, \Dp? |Ep? |F? (cb? Gh? |Ap? (at [Bp lcbz|Ci (Dp? 
= exetivie on which it is applied will be seen by the follow- 
xainple. In the table there appear two E’s, one obtaine 
ey ag a major third from C?, viz., E?, and the other, ES, a 
comma higher than the first, obtained by tuning a series of fifths 
from the same C?. It is roposed i in tem perament to use one E for 
these two. It is anident that if E be tuned rey as a major third 
it will be a comma too flat, in a series of fifths; and also, if it be 
tuned truly in a series of fifths, it will be a comma too sharp, as 
Le >| 
| 
NN] we 
clr 
a) 
| & 
eS cat 
jes) 
eo 
a major third. As the error of a comma is intolerable,* if occur- 
ring in one place, it is usually divided among the four fifths, and 
correcting opinions on this Prof Pek which, wi e think, are erroneous, we have 
already. and shall a again secs ne Peirce’s oktiek “on Sound ;” not because the 
which we ta to, or o ith him. hey are 
seo: fo ey in other works of f the kind do high authority. We — referred to Prof. 
pai eee because it is more common, and the learned Professor is at hand to 
us if we err. In treating teageuneas in § 108, he says, “ “The principle on 
Wich the ban ction of notes is made, is, that if the notes differ from each other by 
only one vibration in eighty, [or a comma,] the ear can hardly perceive the difference 
between them, and the substitution of one of them for ng es ty will not ne fatal 
Oe 
to harmony.” This is another point which the ear must e, and we must se 
against the Professors woes Ae vt “onl our own, but the experience of every 
tuner. —_ tea ne error of a in me | an inte aap so small that “the ear 
can scarcely entach . the einen,” ¥ s twelfth a comma:can be, and is, perceived 
core geese tun “a ny hag iat 5 by hich’ es ie a the fifth fiat, in 
— rament. ta afth a whole comma fiat, or sharp, is probably + 
F fatal to icdammny” as any possible interval. 
Pr sae en 
