18 H.W. Poole on Perfect Harmony, etc. 
33. Consequently, there is equal facility as in the tempered : 
organs for managing the pedals, for the swell organ, for bringing 
on and taking off the stops, ete. Without considering that dif 
ficulty should stand in the way of accomplishing a desirable — 
object which is possible and worth the expense, I would submit — 
to those interested that it is practicable to manage an organ con- 
structed on the principles I have proposed, and that it would give | 
general satisfaction to the lovers of music—nearly the whole 
civilized world—to listen to it. I consider that the only great 
difficulty is in getting the requisite money applied to its cost. 
Still it is not impossible that-some one who believes, or knows, 
what the result will be, will some time be able to build a great 
organ worthy of its name. If it will help its suecess—in view 
of the reluctance of organists to learn a new key-board—it 
might have, in addition to the enharmonic ke -board, the com- 
mon one with selecting apparatus, like that of the organ of 1849, 
to be managed by the feet of the organist, or 
RGAN WITH 
EY- 
by the fingers of the director. One of these ‘sean, Exnaxwome 
AND Common. 
key-boards, with the draw-stops and all neces- 
sary might be in front of the organ, facing for- |Eaharm. | 
ward, and the organist by turning on his seat 
could play on either, or another player could 
play at the same time. 
. I propose to add to my organ—which | Babarmonic Organ. 
now has the common key-board and transposi- 
tion pedals—the enharmonic key-board ; which 
will then be as represented here. But I think the new key- 
board alone sufficient. . 
35. In the theory I have advocated, the major keys are based 
on the first series of sounds (§ 12), and the minor keys on the 
sixths of the major keys, or on the series II. That there must 
be such a relation and order is inevitable. But respect for other 
Sear ene them Rey. Henry Liston, and especially 
| Common} 
pai 
np ot eee ee ae a 
