﻿26 
  

  

  Mr. 
  A. 
  J. 
  Ellis 
  on 
  Musical 
  Duodenes. 
  [Nov. 
  ]9, 
  

  

  already 
  described, 
  without 
  difficulty, 
  at 
  a 
  day's 
  notice. 
  The 
  music 
  is 
  to 
  

   be 
  marked 
  with 
  the 
  proper 
  duodenals, 
  and 
  the 
  duodenes 
  thus 
  indicated 
  

   are 
  to 
  be 
  transcribed 
  separately, 
  and 
  divided 
  into 
  parts 
  by 
  transverse 
  

   lines, 
  corresponding 
  to 
  the 
  tones 
  existing 
  on 
  the 
  different 
  instruments. 
  

   The 
  copyist 
  writes 
  out 
  a 
  separate 
  part 
  for 
  each 
  performer 
  (which 
  had 
  

   better 
  have 
  an 
  indication 
  of 
  the 
  complete 
  harmony 
  annexed), 
  in 
  which 
  

   only 
  those 
  notes 
  that 
  belong 
  to 
  his 
  own 
  instrument 
  are 
  written. 
  Thus, 
  

   suppose 
  that 
  the 
  duodene 
  is 
  Eft, 
  and 
  the 
  lines 
  show 
  what 
  tones 
  lie 
  on 
  

   (II 
  ) 
  fE 
  Grft 
  Bft 
  ^ 
  ne 
  instrument 
  (I., 
  II., 
  III.), 
  as 
  in 
  the 
  mar- 
  

   gin. 
  Suppose 
  that 
  the 
  succession 
  of 
  chords 
  

  

  f 
  A 
  C# 
  

   (I.) 
  D 
  Eft 
  

  

  a 
  b 
  

  

  Eft 
  4 
  9% 
  V 
  c'% 
  /ft 
  c% 
  a!% 
  c'% 
  and 
  B 
  %$% 
  /ft 
  b' 
  

  

  Aft 
  (III-) 
  has 
  to 
  be 
  played. 
  The 
  tones 
  will 
  be 
  distri- 
  

   buted 
  as 
  in 
  the 
  margin. 
  Considerable 
  practice 
  

   would 
  be 
  necessary 
  to 
  take 
  up 
  the 
  notes 
  truly 
  at 
  the 
  right 
  moment, 
  but 
  

   f 
  c"ft 
  f 
  c"ft 
  f 
  b' 
  there 
  is 
  no 
  longer 
  any 
  instrumental 
  or 
  digitational 
  

   (I.) 
  \b' 
  < 
  c'ft 
  < 
  /'ft 
  difficulty 
  in 
  playing 
  in 
  just 
  intonation. 
  

  

  [ 
  /ft 
  [B 
  Leaving 
  Duoni 
  aside 
  as 
  sufficiently 
  indicated 
  

  

  j 
  j 
  . 
  77 
  in 
  the 
  two 
  last 
  cases, 
  and 
  of 
  only 
  experimental 
  

  

  - 
  interest, 
  and 
  JSestoni 
  as 
  practically 
  not 
  required, 
  

  

  (III.) 
  e% 
  a'ft 
  td'% 
  ft 
  w 
  iH 
  be 
  enough 
  to 
  explain 
  the 
  tuning 
  of 
  

   Trioni, 
  Quartoni, 
  and 
  Quintoni. 
  

  

  Trioni. 
  Tune 
  the 
  three 
  instruments 
  thus 
  : 
  — 
  

  

  (I.)' 
  C 
  t&\> 
  D 
  te\> 
  E 
  fE 
  igb 
  Gr 
  U\) 
  fA 
  tb[> 
  B 
  

   (II.) 
  ±0 
  dt> 
  $D 
  e\> 
  fE 
  E 
  gt> 
  tG 
  a|? 
  A 
  b\> 
  fB 
  

  

  (mo 
  m 
  ic# 
  ten 
  td# 
  fE 
  m 
  m 
  t%% 
  tm 
  4 
  jb 
  

  

  Then 
  (I.) 
  is 
  in 
  the 
  duodene 
  of 
  G-, 
  No. 
  10, 
  and 
  (II.) 
  in 
  that 
  of 
  E|?, 
  

   No. 
  14 
  of 
  Tables 
  IT. 
  and 
  III. 
  ; 
  and 
  this 
  readily 
  gives 
  the 
  method 
  of 
  

   tuning 
  them. 
  (III.) 
  consists 
  of 
  12 
  tones 
  forming 
  consecutive 
  Eifths 
  from 
  

   Eft 
  to 
  JE, 
  col. 
  7, 
  lines 
  q 
  to 
  y, 
  and 
  from 
  tGr## 
  to 
  £B#, 
  col. 
  8, 
  lines 
  q 
  to 
  t 
  of 
  

   Table 
  I. 
  Eor 
  (III.) 
  begin 
  by 
  tuning 
  +Gr# 
  a 
  major 
  Third 
  without 
  beats 
  

   to 
  E 
  in 
  (I.), 
  and 
  then 
  work 
  up 
  to 
  Eft 
  and 
  down 
  to 
  +E 
  by 
  Eifths, 
  verifying 
  

   with 
  the 
  corresponding 
  major 
  Thirds 
  below 
  in 
  (I.) 
  and 
  (II.). 
  Then 
  tune 
  

   ±Bft 
  a 
  major 
  Third 
  above 
  +Gr# 
  , 
  and 
  tune 
  up 
  by 
  Eifths 
  to 
  tGrftft, 
  verifying 
  

   by 
  the 
  major 
  Thirds 
  below, 
  which 
  lie 
  all 
  in 
  (III.). 
  By 
  this 
  the 
  three 
  

   instruments 
  are 
  completely 
  in 
  tune, 
  and 
  give 
  the 
  17 
  duodenes, 
  Nos. 
  10 
  to 
  

   26, 
  Table 
  II., 
  containing 
  Mr. 
  Poole's 
  scale 
  of 
  36 
  tones.. 
  

  

  Quartoni 
  are 
  much 
  simpler, 
  because 
  they 
  contain 
  the 
  four 
  independent 
  

   duodenes, 
  

  

  (I.) 
  of 
  fB|?, 
  No. 
  1, 
  (III.) 
  of 
  Aft, 
  No. 
  25, 
  

  

  (II.) 
  o£ 
  G|>, 
  No. 
  5, 
  (IV.) 
  of 
  tEft, 
  No. 
  29 
  

  

  in 
  Table 
  III., 
  where 
  the 
  corresponding 
  lines 
  give 
  the 
  tuning 
  of 
  each 
  

  

  