SES ee a 
H. W. Poole on Perfect Harmony, etc. 17 
31. With the key-board that has been described, all the play- 
ing is done with the hands, without aid from the feet, and there 
is nothin vent the use of the feet for pedal bases. But 
the iste as is not best for fingers and for feet, especially 
with the large number of its sounds, many of which are not 
called for in pedal bases, while others are constantly req : 
have therefore devised an enharmonic pedal key-board which is 
sufficient and convenient for the pedal parts. The notes most 
needed = the key-notes. These are ar- 
n front in a straight line and in 
the coe of the fifths ascending from left Eb? pbt pe 
to right. Behind these and in a higher 
row and between the key-notes are the ; 
major thirds of the keys in front and to 
the left of each. Still above ie thirds, 
Fig. 4.—Ennarmonic Pepa 
KeEyY-BoaRp. 
ie 
RRB 
lal is an inch wide and as and * 
a half inches from center to center apart. The arrangement of 
the notes in the three series is as in the fig. 4, and in the follow- 
ing sketch: 
Order of the Pedal notes. 
Fby ob? @b? pb ab" eb Bb: F Cc" Gc” D’ A’ E’ B' 
Sevenths. 
bf € et se ee oe YW 
(Ee Ge ee ee 
q@>: D> ab eB) oF (0 6 BASE B Py Cy 
K 2 eo © fF 2S: 
82. The most important notes of a pedal base, after the key-note, 
are the fifth above and below; these are found here on the right 
and left of the heegehctts The third—in the second row—is on 
the right of its key-note, and the tonic of the males 
tive minor on the left. So with the relative minor: Kr. 1. 
its dominant is on its right as in the major — mi 
If a base requires the common chord in successive |Do___ Sox 
notes, or in arpeggio, they come easily thus (Ex. 1), Ex. 2. | 
the keys being all together. The chord of the sev- | Se . 
pie 
pa be played in their melodic order, Do, Re, mi, |p, ae o 
pabilities in this ea ioeal bea appear as it is stndieek 
Am. Jour. Sci.—SEconp Srrizs, Vou. XLIV, No. 130,—Juzy, 1867. 
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