H. W. Poole on Perfect Musical Intonation. 211 
enth upon thestonic. So long as a composition uses no other 
chords than these, there will be no necessity, of course, to change 
the pedal. But most compositions either modulate into the ad- 
joming key, (usually the dominant,) or at least pass into an ad- 
Joming scale, by using chords which belong to that scale. When 
a complete modulation is made, it is so apparent in the written 
music, that no musician of ordinary intelligence can fail to know 
it. But as certain chords are borrowed from an adjoining scale, 
without a complete modulation being made, and without the 
change being indicated by accidentals, the whole difficulty in 
playing the organ, will be in not understanding when these chords 
occur. A little attention to this point will make it perfectly clear. 
47. The chords referred to are only two, viz., the chord of the 
relative minor of the subdominant, and the chord of the dominant 
seventh. 'The first chord will be found in the subdominant 
pedal—the first pedal to the left; the second will be found in the 
dominant pedal—the first pedal to the right. Examples of the 
chords we will write in the key of C, including the two last, 
which would be likely to occur in a composition in that key; 
we will write also the notes, which compose each chord, and the 
ound. The chord of the relative 
pedals in which each are f 
2 Sei eri a a 
fe i] — = bh -| ia 
me Om 4 A — 8 AR a ea Oe 
ihe Ald Rass oO eo 7S ee 
~@p+ co oS ac aii 
C PEDAL | - + « im =. “<2. se. F pep G PED. 
Bb7 F7 
G2} D? | Cc? | BE? | B2] B? G2 || A? D? 
E2| B2. | A?.| C2 | G2]. G#1] E? |} F2 |} B? 
C2 | G2 F2 | A2 | B2] E2 C2 Di G2 
minor of the subdominant, is founded, mot upon the second of the 
Scale, but upon the sixth of the subdominate scale, which note is 
4 comma lower than the second of the scale, and is called the 
Srave second ; and this chord is called, for brevity, the chord o 
grave second. In the example, it will be seen that the only 
Teason for pressing the F' pedal is to change the second of the 
Seale of C, viz., D2, into the grave second, D', the sixth of the 
Scale of F’, Again, in the chord of the dominant seventh, the G 
pedal is put down to change the fourth of the C scale, F'*, into 
the perfect seventh of the G scale, F'’. ! 
48. All other chords, than these two, occurring in music, which 
require a change of pedal, are indicated in notation by chromatics : 
and it is believed that what has already been said is sufficient 
to enable any one, who possesses sufficient knowledge to play 
the common organ understandingly, to play the euharmonic organ. 
