﻿1874.] 
  

  

  Mr. 
  A. 
  J. 
  Ellis 
  on 
  Musical 
  Duodenes. 
  

  

  25 
  

  

  4. 
  Helmholtz's 
  Harmonium 
  (Tonempfindungen, 
  p. 
  496). 
  Two 
  sets 
  of 
  

   vibrators 
  are 
  tuned, 
  the 
  back 
  set 
  to 
  the 
  duodene 
  of 
  E|? 
  or 
  D#, 
  No. 
  14, 
  

   Tables 
  II. 
  and 
  III., 
  and 
  the 
  front 
  set 
  to 
  duodene 
  of 
  tC\) 
  or 
  B, 
  No. 
  18, 
  of 
  

   the 
  same. 
  This 
  instrument 
  contains 
  the 
  eight 
  trines, 
  Nos. 
  14 
  to 
  21, 
  and 
  

   the 
  five 
  duodenes, 
  Nos. 
  14 
  to 
  18, 
  Table 
  II. 
  The 
  " 
  tilting 
  action 
  " 
  pro- 
  

   duces 
  a 
  most 
  useful 
  experimental 
  instrument, 
  which 
  is 
  far 
  easier 
  to 
  use 
  

   than 
  Helmholtz's 
  own 
  double 
  manual 
  instrument, 
  because 
  it 
  has 
  only 
  

   one 
  manual, 
  and 
  requires 
  no 
  alteration 
  in 
  ordinary 
  fingering. 
  For 
  this 
  

   purpose 
  the 
  stops 
  may 
  be 
  reduced 
  to 
  four, 
  each 
  changing 
  a 
  trine 
  instead 
  

   of 
  a 
  single 
  note. 
  

  

  5. 
  Gueroulfs 
  Harmonium 
  (Comptes 
  Eendus, 
  1872, 
  p. 
  1188). 
  This, 
  

   again, 
  may 
  be 
  treated 
  as 
  the 
  last 
  by 
  means 
  of 
  Mr. 
  Saunders's 
  "tilting 
  

   action." 
  Two 
  sets 
  of 
  vibrators 
  must 
  be 
  used, 
  the 
  back 
  set 
  tuned 
  to 
  duo- 
  

   dene 
  iDlp 
  or 
  C#, 
  No. 
  16, 
  and 
  the 
  front 
  to 
  iBtyp 
  or 
  A, 
  No. 
  20, 
  of 
  

   Tables 
  II. 
  and 
  III. 
  M. 
  Grueroult 
  tuned 
  the 
  B£ 
  of 
  duodene 
  No. 
  16 
  as 
  

  

  54638 
  

  

  B'# 
  = 
  54575^^, 
  so 
  as 
  to 
  make 
  the 
  combinational 
  tone 
  of 
  Gr£ 
  and 
  B'jf 
  the 
  

  

  same 
  as 
  that 
  of 
  B'# 
  and 
  Ep>, 
  the 
  other 
  tones 
  being 
  tuned 
  in 
  just 
  intona- 
  

   tion 
  from 
  C. 
  Omitting 
  this 
  as 
  unnecessary, 
  the 
  instrument 
  contains 
  the 
  

   eight 
  trines, 
  Nos. 
  16 
  to 
  23 
  of 
  Table 
  II., 
  and 
  the 
  five 
  duodenes, 
  Nos. 
  16 
  

   to 
  20. 
  M. 
  Grueroult 
  arranged 
  the 
  tones 
  somewhat 
  differently 
  for 
  two 
  

   manuals. 
  

  

  6. 
  Duoni, 
  Trioni, 
  Quartoni, 
  Quintoni, 
  Sestoni. 
  The 
  Eussian 
  horn-band 
  

   which 
  visited 
  London 
  some 
  years 
  ago, 
  and 
  produed 
  great 
  effects 
  by 
  each 
  

   performer's 
  playing 
  a 
  single 
  tone 
  only 
  (and 
  hence, 
  probably, 
  in 
  just 
  

   intonation), 
  and 
  the 
  customs 
  of 
  hand-bell 
  and 
  church-bell 
  ringers, 
  who 
  

   each 
  play 
  a 
  single 
  note 
  in 
  a 
  melody, 
  have 
  suggested 
  to 
  me 
  the 
  use 
  of 
  two, 
  

   three, 
  four, 
  Jive, 
  or 
  six 
  harmoniums 
  or 
  pianofortes, 
  indicated 
  by 
  the 
  above 
  

   names, 
  for 
  the 
  purpose 
  of 
  playing 
  in 
  skhistic 
  or 
  unequally 
  just 
  intonation, 
  

   by 
  means 
  of 
  two, 
  three, 
  four, 
  five, 
  or 
  six 
  performers, 
  among 
  whom 
  the 
  

   tones 
  are 
  distributed. 
  The 
  Duoni 
  are 
  intended 
  for 
  two 
  independent 
  duo- 
  

   denes, 
  as 
  in 
  the 
  two 
  last 
  cases, 
  the 
  Quartoni 
  for 
  four 
  such, 
  playing 
  the 
  

   whole 
  48 
  tones, 
  the 
  Sestoni 
  for 
  six, 
  in 
  the 
  almost 
  impossible 
  case 
  of 
  72 
  

   tones 
  being 
  required. 
  The 
  Trioni 
  supplement 
  the 
  Duoni 
  by 
  using 
  12 
  

   additional 
  tones, 
  forming 
  consecutive 
  Eifths, 
  and 
  hence 
  not 
  constituting 
  

   a 
  duodene, 
  by 
  which 
  means 
  the 
  36 
  tones 
  of 
  Mr. 
  Poole's 
  compass 
  can 
  be 
  

   played. 
  The 
  Quintoni 
  supplement 
  the 
  Quartoni 
  in 
  a 
  similar 
  manner 
  ; 
  but 
  

   the 
  first 
  8 
  tones 
  are 
  those 
  in 
  col. 
  2, 
  lines 
  p 
  to 
  x, 
  and 
  the 
  last 
  4 
  those 
  

   in 
  col. 
  9, 
  lines 
  p 
  to 
  s 
  of 
  Table 
  II. 
  — 
  giving 
  60 
  tones 
  on 
  the 
  whole, 
  

   chosen 
  so 
  as 
  to 
  supplement 
  without 
  changing 
  the 
  arrangement 
  of 
  the 
  

   Quartoni. 
  

  

  In 
  each 
  case 
  separate 
  harmoniums 
  or 
  pianos 
  are 
  used, 
  with 
  no 
  change 
  

   in 
  existing 
  mechanism 
  or 
  fingering, 
  but 
  only 
  in 
  intonation 
  ; 
  so 
  that 
  the 
  

   instruments 
  could 
  be 
  obtained 
  and 
  tuned 
  in 
  unequally 
  just 
  intonation, 
  as 
  

  

  