H. W. Poole on Perfect Musical In 
third, the organ being a comma and a quarter to rp.* The 
discord is more conspicuous when the organ plays the voce 
as above, than when it plays a separate a paniment, as is 
sometimes done. A tempered instrument, as a piano-forte, may 
properly used in this manner, as an accompaniment y, with- 
out impairing materially the perfection of a melody, which is 
sung by a voice. * 
r many reasons, some of which we have oni. has 
long been believed by musicians, that if the organ could be con- 
structed to play in perfect tune, and could be managed by the 
organist, it would be exceedingly valuable for aiding the songs of 
Sacred praise in our churches. It would afford to singers: er- 
tain guide and test, and would harmonize perfectly with their 
voices, when they sing in a manner most satisfactorily to them- 
selves and to all who hear. Having ascertained the notes which 
This 
ae by Joseph Alley of Newburyport, Mass., and the writer of 
is 
pleasure, to all who may take an interest in the progress of musi- 
Cal science. It plays perfectly within the limits of five s 
* Any one, who will notice the singing of a good quartette with a tempered organ, 
may perceive the variation and discord of the organ upon these thirds and sevenths, 
Particularly the last. For this reason these notes are oftentimes omitted, as in 
chants, to the great improvement in the general effect. sood natural singers, who 
Sive their thirds and sevenths correctly, on first singing with an organ, have been 
d by organists and conductors ignorant of the matter, of singing fat, because 
; temperament these notes on the organ were too sharp 
Stconn Series, Vol. IX, No. 26.—March, 1850. 
27 
