﻿1874.] 
  Mr. 
  A. 
  J. 
  Ellis 
  on 
  Musical 
  Duodenes. 
  27 
  

  

  instrument. 
  The 
  arrangement 
  of 
  tones 
  is 
  managed 
  as 
  before. 
  Suppose, 
  

   for 
  example, 
  we 
  have 
  to 
  play 
  the 
  succession 
  of 
  chords 
  egc' 
  g', 
  ffc' 
  a', 
  

   d 
  g 
  f 
  b', 
  and 
  c 
  g 
  e' 
  c' 
  in 
  the 
  duodene 
  of 
  C, 
  this 
  duodene 
  would 
  be 
  

   written 
  and 
  the 
  tones 
  would 
  be 
  distributed 
  among 
  the 
  four 
  instru- 
  

   ments 
  as 
  follows 
  : 
  — 
  

  

  (ii.) 
  

  

  tB[> 
  

  

  D 
  

  

  n 
  

  

  fEb 
  

  

  a 
  

  

  B 
  

  

  fAb 
  

  

  c 
  

  

  E 
  

  

  Db 
  

  

  E 
  

  

  A 
  

  

  (III.) 
  

  

  (IV.) 
  

  

  (I.) 
  

  

  (II.) 
  

  

  (III.) 
  

  

  (IV.) 
  

  

  9 
  9 
  

  

  — 
  gd 
  

  

  c'f 
  f 
  

  

  — 
  V 
  

  

  Quintoni 
  have 
  five 
  instruments, 
  (I.) 
  to 
  (IV.) 
  being 
  tuned 
  as 
  in 
  Quar- 
  

   toni, 
  and 
  (V.) 
  added 
  when 
  by 
  some 
  extraordinary 
  vagaries 
  of 
  modulation 
  

   more 
  than 
  48 
  tones 
  are 
  needed. 
  (V.) 
  is 
  tuned 
  thus, 
  where 
  the 
  synonyms 
  

   show 
  the 
  meaning 
  of 
  the 
  arrangement 
  : 
  — 
  

  

  (V.)tDbb 
  JbfllfttEbb 
  tfbb 
  ttFb 
  tGbb 
  \%%% 
  ttAbb 
  ttBbb 
  tcbb 
  \k%% 
  

  

  =ttC 
  Jtcfl 
  ttD 
  tteb 
  tttE 
  ttF 
  ttG 
  \\g% 
  tttA 
  ttbb 
  J}B 
  

  

  The 
  tuning 
  of 
  (V.) 
  is 
  effected 
  thus 
  : 
  — 
  Tune 
  ft 
  Abb 
  as 
  a 
  ma 
  j° 
  r 
  Third 
  

   below 
  f 
  Cb 
  on 
  (I.), 
  and 
  then 
  work 
  up 
  by 
  Eifths 
  to 
  tfEb 
  an( 
  i 
  down 
  to 
  

   tEbb> 
  verifying 
  by 
  the 
  major 
  Thirds 
  above 
  in 
  (I.) 
  and 
  (II.). 
  Then 
  tune 
  

   £A## 
  as 
  a 
  major 
  Third 
  above 
  +E## 
  in 
  (III.), 
  and 
  work 
  up 
  by 
  Eifths 
  to 
  

   $E###, 
  verifying 
  by 
  the 
  major 
  Thirds 
  below 
  in 
  (III.). 
  The 
  notation 
  

   of 
  the 
  tones, 
  though 
  inevitable, 
  is 
  frightful 
  ; 
  but 
  the 
  tuning 
  is 
  -very 
  

   simple, 
  and 
  the 
  use 
  of 
  the 
  duodenal 
  leaves 
  the 
  old 
  staff-notation 
  un- 
  

   changed. 
  It 
  is 
  most 
  probable 
  that 
  the 
  fifth 
  instrument 
  would 
  never 
  be 
  

   wanted. 
  

  

  7. 
  Great 
  and 
  Small 
  Duodenary 
  Harmonium. 
  Although 
  the 
  mode 
  just 
  

   explained 
  places 
  just 
  intonation 
  at 
  the 
  immediate 
  command 
  of 
  three 
  or 
  

   four 
  performers, 
  yet 
  it 
  seems 
  necessary 
  to 
  suggest 
  a 
  mode 
  of 
  putting 
  all 
  

   the 
  17 
  or 
  29 
  duodenes 
  at 
  the 
  command 
  of 
  a 
  single 
  performer. 
  I 
  suggest 
  

   the 
  following 
  for 
  consideration. 
  It 
  seems 
  practicable, 
  but 
  would 
  doubt- 
  

   less 
  require 
  much 
  mechanical 
  treatment 
  from 
  harmonium-builders 
  before 
  

   it 
  would 
  act 
  properly. 
  It 
  will 
  be 
  enough 
  to 
  indicate 
  the 
  form 
  of 
  the 
  

   great 
  duodenary. 
  

  

  Take 
  four 
  sets 
  of 
  vibrators, 
  tuned 
  as 
  for 
  Quartoni, 
  and 
  placed 
  one 
  

   behind 
  the 
  other, 
  each 
  opening 
  with 
  a 
  separate 
  valve 
  connected 
  with 
  

   a 
  digital. 
  Sometimes 
  two 
  digitals 
  will 
  have 
  to 
  be 
  connected 
  with 
  

   the 
  same 
  valve. 
  Conceive 
  the 
  manual 
  as 
  a 
  set 
  of 
  29 
  " 
  steps," 
  with 
  

   |-inch 
  " 
  tread 
  " 
  and 
  |-inch 
  " 
  rise," 
  the 
  lowest 
  step 
  next 
  the 
  per- 
  

   former. 
  Each 
  step 
  for 
  the 
  length 
  of 
  an 
  Octave 
  is 
  divided 
  into 
  12 
  

   digitals 
  corresponding 
  to 
  the 
  columns 
  in 
  Table 
  III. 
  The 
  width 
  of 
  

  

  