6 H. W. Poole on Perfect Harmony, ete. 
instruments which accompany will be followed by better vocal 
usic, . 
11. For understanding what is to follow, I would have it © 
borne in mind, that I consider that all musical ratios derived 
from the primes 3, 5, and 7 are appreciable by the ear, and may 
be used in all their combinations and transpositions into differ- 
ent keys, which is already done in a series of perfect fifths. 
The next prime, the eleventh, does not present sufficient claims 
to be admitted to the musical canon, except under regulations 
which as yet I would not undertake to define. I can tune it, 
Series I. Key-Notes. Roman capitals, A, B. 
“« II. Thirds (major) to key-notes, series I, Roman lower-case, 4, b- 
“ Til. Perfect sevenths to key-notes, “ I, Gothic capitals, A, B. 
(These constitute the major scales.) 
“ TV. Dominant thirds (major),in the minor 
mode, being major thirds to II, Italic lower-case, a, b. 
* . fas i .% rj J 
cle nh, 
being perfect sevenths to ~ Gothic lower- b. 
(These two ibetedanpiets the men eee ee a 
18. This being understood, it will be known that the same 
letter in the same type is always the same sound, and its rela- 
tion evident; that the same letter in Roman lower-case is a 
comma lower than the same in capitals, and a quarter (0°256) of 
acomma higher than the seventh in Gothic capitals. A letter of 
the iit series, in Italics, is two commas below the same in the 
{ series, or one comma below that of the II. The sevenths of 
the V are one comma below those of the Ifl; the lower-case 
letter indicating this difference below the capital, ees 
_ 14. Among the names which have to be remembered as ad- 
and just ideas in music, per s the 
Ba 
-vocates of perfect harmony and just ideas in m 
first in modern times is duet Gae Pens 
Cee 
