: 
7 
4 
3 
: 
‘ 
H. W. Poole on Perfect Harmony, etc. 15 
cians sometimes learn by intuition, and contrary to what they are 
taught. So people are found just and amiable in spite of bad 
political or theological creeds and education 
26. Fig. 8 gives a section through the center of the third 
quarter of the key-note of fig. 2, and through all the notes, 
major and minor, of the signature to which it corresponds, 
circumstance that a section in this place will cut all these notes 
and no others, might be considered remarkable and even won- 
derful, were it not for the fact that tis as the first principle _ 
which the system ts based. In constructing the board a 
number of parallel spaces are laid down from left to right, ata 
one space is assigned to each signature intended to be provided 
for. In the natural signature, C, the key-note, has its place of 
necessity. But C is the fourth of 1# and accordingly is pro- 
longed backward,—toward what would be the top of a page or 
the north point of a map—over the space of 14. As it is the 
fifth of 1b, and the second of 2b, it is brought forward to cover 
the spaces ‘of these two signatures also, and the whole key now 
is four times as long as the space originally assigned to each si 
nature—which I have taken at nine-tenths of an inch, but which 
might have been more or less. So every other note wanted in 
a signature is placed here, and if wanted in adjoining ones it is 
protracted into them. Thus the e of the natural key is in all 
the spaces occupied by its root C, except in that of 2b, where it 
is not used. ‘The perfect sevenths and dominant thirds and 
sevenths of the minors being used each in one signature only, 
are not extended beyond it. Many simple rules for the relative 
position of the finger-keys could be given, which quickly fix 
their location in the mind, like the following: 
27. Rules.—1. From the back half of a white key to the ad- 
joining white key, on the right, is a major tone, 8:9, e.g, Do 
to Rx, fig. 2, C to D, fig. 1, and wie versa. 2. From ‘the front 
half of a white key to the nearest black key, on the right, isa 
minor tone, 9:10; e.g., RE to mi, fig. 2, D toe, fig. 1, and vice 
versd. 8. From the forward part of any black key to the ad- 
joining white key into which it is half inserted, on the right, is 
a diatonic semitone, 15:16; e.g., mi to Fa, fig. 2, e to F, fig. 1, 
and vice versé, 4, From the back aa. of me black key to rhe 
next black key on the right, is a major tone; e. g., la to si, fig. 2, 
to f#, fig. 1, and vice versé@. The dist stance to the sis Es or left, 
for whole tones is always the same, viz., the width of the white 
_ key or 0-993 in. Other rules will suggest themselves to the ae 
uffice 
dent, and these s pecimens will s 
28. The finger-keys supposed to be cut by the section AB, 
have their remaining portion in the rear, ~— in perspective, 
and are marked with their names and the relative vibrations of 
their sounds. Below is indicated their pea in the mt 
