/ 
212 H.W. Poole on Perfect Musical Intonation. 
hat many who now assume to play the organ im our churches, 
would find difficulty in playing their music and making the requi- 
site changes with the pedals, we have not the shadow of a doubt. 
To such we would recomend a course of study, on the scientific 
principles of music; but that any intelligent organist can readily 
make these changes, after a few hours’ practice, has now been 
the first key below the one which gives the second. It can 
obtained also by the usual fingering—if the player prefers—by 
changing the pedal as before directed. To obtain the grave 
Ss scale, viz., D', we either touch the DD finger- 
key, which is first below the second, D2, or we put down the 
F pedal and touch the D finger-key. Each scale is furnished, in 
like manner, with its grave second. 
49. The action—which is the chief mechanical peculiarity in 
the construction of the organ, and on which the patent is found- 
ed—is of such a nature, that it operates as perfectly in practice 
as we designed it in theory, and it is so substantial in its con- 
struction, that it will bear almost any amouut of use, and stand 
almost any number of years, without getting out of order, or 
needing repairs. Tt can be applied to the largest instruments, as 
those which contain the four organs, viz., the Great, the Swell, 
the Choir, and the Pedal Organs; a single set of pedals will ope- 
rate, as described, upon the whole at once. 
uch of this paper we have devoted to considering, what 
sounds are necessary to a certain number of perfect scales? On 
these points we have asked not so much, what is authority? as, 
what is truth? We have been compelled to differ from teachers 
in this science, to whom we look up with veneration and respect. 
So far as our views on these points are original, we commit them, 
without anxiety, to the world, to share such a fate as their 
merits deserve. But a distinction must be made between our 
theory, and our invention. The value of our invention will not 
be endangered even if our theory of the musical scale should fail. 
Our instrument plays the scale which we believe to be correct. 
