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CORNELL
UNIVERSITY
LIBRARY
MUSIC
ML
3809.B74
An elementary
treatise
on musical
Interv
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TEMPERAMENT
R. H.
M.
BOSANQUET
S'uZ^C
AN ELEMENTARY TREATISE
M
ON
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MUSICAL INTERVALS
TEMPERAMENT
WITH AN
ALSO OF AN
R.
H.
M.
Fellow qf
St.
1875
BOSANQUET
yohn's
College,
Oxford
MACMILLAN AND
1876
\All rights reserved\
CO.
f,
f:f: f
OXFORD:
BY
11.
OL-'
Freylich wiirde der Gesang noch mehr gewinnen, wenn wir die
die
sich
der Zuhorer,
sie
viel starker
werden konnen.
Kirnherger,
Greateb
Alsdenn
hatten.
certainly
their
if
vol.
we
i.
p. 19.
really
had
them
it
be
possible, in
much
many
stronger.
cases, to
make
the
Cornell University
Library
The
tine
original of
tiiis
book
is in
restrictions in
text.
http://www.archive.org/details/cu31924022233088
PREFACE.
The
which
this
scientific point of
view
i.e.
from
first,
it.
commend
this
arrangement does
may be
itself;
read independently of
it.
The
general treatment
elementary throughout
and
repetition
adopted
is
is
is
so that
much
it
introduced as
much
may be hoped
reduced.
is,
III,
that
The arrangement
But
if
correct order
them
is
once forsaken,
it is
impossible to separate
the
The
relations
subject
The
for
unknown
to
Of
to them.
The
'
own
ideas,
and
stick
ba
'
PREFACE.
vin
mine at the
paper of
nounced that
equal temperament
the kind was
scale
even
said,
was
much
the
that
all
less
board.
As
emphatically as
temperament
equal
that
is
my
it is
not the
to wit
two
same thing
'black-board'
against the
protest
conidea
why
no force
The
and there
in
subject founded
It
to say.
things,
is
scale
all
wrong by
can be no reason
There
disclaim
emphatically do
so
siderations,
its
tendency
There
towards
is
will
always
proper
of
the
different
instruments
in
an
orchestra.
Dr. Stainer's*
is
'
Harmony Founded on
Tempered Scale
the
takes up
The
position
may be
bilities.
and
let
This
of the equal
put thus
our music
is
rtiade of certain
is
Deeper than
temperament to a science of
classification the
present
give
work
precisely analogous.
will
I
harmony
classification
The
know, which
artificial things,
us these,
and
the
classified.
go.
PREFACE.
others in connexion
by Helmholtz and
questions discussed
because
IX
I fail to
I shall
any
by
and that
such
for
by
experience, and on
to equal
endeavoured to explain
it
clear to those
The
tion
it
is
who
in
an appendix,
This
perament.
is
That
some
is
classi-
is
have
it is
hope of making
but
in the
The
treatment appropriate
Such
fifths
and although
is
the type,
are produced
by a
mean-tone system,
the employment of
imperfection
is
most
fifths
it
is
sensible.
For
effects
instance,
advisable to avoid
scale,
where their
PREFACE.
X
The remarks made by
For
of the facts.
preface,
stated that,
it is
chords
doubtful
could
if
not
exist,
The whole
in several keys.
it
to be
feasible,
mathematical
'because
by misapprehension
tune
strictly in
Now
although
is
it
scales
above
is
chord
in
which
there
is
it
made
point of view.
key
And, as a matter of fact,
playing Bach on the mean-
supposed to
be.
tone system.
my
The
adapting music to
and
thirds, arises
if
has
it
;
the
and
it is
In fact
chord
itself.
Enharmonic changes
is
and
we
will
find,
'
The tempered
its
ears,
*
The
ofc.)
and
allied scales
(d
its
\ a in
sounds
the key
; '
PREFACE.
xi
rea_L
pleasure Is^-^A"
Now my own
attention
was
first
by taking
my own
pedal).
The
process of
trial
in
tuning
tuning of an organ,
of the present
and that
who
methods are
closer approximations to
matter of great
interest.
startling
tion
which
note he
used
is
to sound to
all this
new
time enough to
its
generator
when genius
then
shall
it
have
will
be
matical basis.'
This admirable
passage,
of
me
The
in
directing
theory of the
studied;
be indicated, and
no new notation.
it
PREFACE.
xii
but I have
from the notion of a harmonic scale
with
incompatible
it
is
not used anything of the kind, and
arises
by
derivation
The new
may
material
may
not
it
then,
till
Take
is
steed,
the
on
observer,
the
theoretical
of
it is
do so under
but
treated in the
opinion) treats
it.
way
It is
in
is
not a theory at
a classification.
all
so long
by
The word
'
in
my
theory'
it
would
also,
in
this application
'
being
Theory of Numbers.'
we
PREFACE.
xiii
be
will
admitted to be erroneous.
On
mean-tone system
tion of the
may summarise
will
Of the
positive
perfect fifths
and
or
those
with
approximately
have
little
now being
are
systems,
thirds,
these,
it
Instruments
constructed with
comma
valves
designing
in
tions
fifths
or perfect thirds.
perfect
trumpet
some progress has been made with the clarionet, and on the
whole it seems likely that we shall have the instruments
ready before we have the compositions. The notation of this
work is the only one hitherto proposed which is competent
The example at the
to deal with this question practically*end shows how it may be used. With the violin it will be
only a matter of study. Harmoniums, such as the large one
now
in
interest
means
for
it
and beauty of
for the
will
their effects,
seem
to
be needed as
The
it
could be in this
way
tone system
more
is
The meanbeing
less
cannot be said to be
practical, in
my
opinion.
PREFACE.
xiv
number
As
likely that
all
it
is
it
is
at
one of
But
it
the
equal temperament
is
really offensive;
is
and as these
is
not heard at
be regarded as
cannot
likely
all,
to
when
even this
great
offer
advantages.
at
some length
especially as regards
The
its
into
the history of
relations with
have
the subject,
The
principal
authority
generally accessible,
by Hofmeister at
July
28,
clearing
as
by
is
I
life
by
is
not
C. L. Hilgenfeldt, published
1850;
later biographers.
by Forkel
obscure
left
as well
ments,
it
is
who
all
objects strongly to
investigations in
we
do.
An
we
eminent musician,
acoustics in general,
and to
my
that
standard
As
will
to
who
is
to
be the judge,
PREFACE.
more
finely strung,
to say,
is
if
and more
man
can
XV
me
tell
That
any instrument
ganisation
is
to refer to,
As
whom
perament
and
am
acquainted
is
ception of error
be
out
concerned.
is
The standard
to the standard.
may
in or
It
is
is
about
said that
much
this
public performances.
With
my
from musicians of
commonly
artists,
the
orchestras,
When we
it is
errors
of this
especially
by ordinary
to
say
rare to hear
whose
instiricts
fine organisa-
a satisfactory result.
sequence of the
and
facilities
And
take
which exist
it,
for
it
is
only in con-
employing every-
Of
course
is
am
either
speaking only of
made by
in-
the player,
PREFACE.
XVI
The method
by making
gifts.
The
first
It
if
action,
in
will
that
is
is
steady;
as
is
and
rise,
an instrument as the
to such
at
which
as
in
it
will
remain
every instant
We may
clarionet.
rather before
the tuning
is
effected.
cupboard at
The
actual
tended
to
illustrate, consists
title
of
the
construction
in their places.
of
the
have had
Loan Ex-
recognition of
its
at
is
all
Oxford where
it
now
remains.
Oxford,
7
1
CONTENTS.
CHAPTER
I.
HARMONIOUS CHORDS.
PAGE
Intervals
Consonant
defined.
intervals
The
distinguished.
Duodenes
....
CHAPTER
II.
EQUAL TEMPERAMENT.
Equal temperament semitones.
Departure and Error defined.
in tuning
CHAPTER
PERFECT FIFTHS.
Experiment on
Pjrthagorean
Ordinary
circle
of twelve
comma.
comma
III.
PYTHAGOREAN SYSTEM.
fifths.
Major tone
........
Pythagorean
or
dissonant
Pythagorean semitone.
Apotomfe Pythagorica.
sixth.
........
temperament
Experiment
...
Thirds
Fifths.
third.
Pythagorean
Hebnholtz's
comma, and
skhisraa
.........
fifths.
System of 53
Note on the calculation of Intervals
Note on the calculation of Beats
Rule of difference tones
Beats of equal temperament fifth.
Beats of difference tones of equal temperament triad
.
10
1
12
14
15
.
18
CONTENTS.
xviii
CHAPTER
IV.
.....
Symmetry
Dimensions.
in
all
and departure
position,
keys
19
20
Diagram
Diagram
I.
II.
Plan, section,
generalised keyboard
23
CHAPTER
MEAN-TONE SYSTEM.
Rule of system.
......
History
System of Handel.
Smith's note on
Temple organ
The clavichord considered
Bach.
The organ
24
origin
its
Additional keys in
Wolf.
V.
25
26
as his instrument
27
31
CHAPTER
32
VI.
Rule of system
33
Ellis's
harmonium
35
37
flats.
34
34
37
....
organ
Tuning
38
40
CHAPTER
VII.
HARMONIC SEVENTH.
Departure of harmonic seventh.
Approximation by perfect
fifths
^i
Approximation by mean-tone
4a
CONTENTS.
CHAPTER
XIX
VIII.
Perfect
page
most
fifths
Unsymmetrical arrange-
ments
43
Thompson's En-
harmonic organ
Key
44
45
46
47
48
.......
arrangement by
generalised keyboard
intervals.
CHAPTER
ENHARMONIC HARMONIUM.
The
Duodenes.
50
IX.
53.
51
Number
of semitones that
duction of system of 53
Rule for
make an
De-
octave.
52
identifications in system of
53
of
perfect
fifth
systems to
53
54
55
56
57
harmonium and
Description of enharmonic
organ
58
CHAPTER
X.
Error.
Regular Systems.
intervals.
Positive.
Regular Systems
Theorem
Theorem
Regular
Equal temperament.
Departure.
Negative.
cyclical
systems.
Expression of
Order of systems
60
I,
II.
On semitones in octave
On difference of semitones
61
61
CONTENTS.
XX
Regular Cyclical Systems
Theorem
On
III.
paqe
difference of semitones
Peduction of systems of
Cor.
On
Theorem IV.
first
departure of
fifth.
62
62
Approximate
mean-tone system
62
system.
first
63
and second
64
orders
Theorem
Number
VII.
Re-
of units in semitones.
is
65
satisfied
Theorem
tion of
VIII.
Theorem IX.
Deducthirds)
65
Deduction
....
66
66
66
66
Theorem
XIII.
67
On
CHAPTER
...
68
XI.
Example.
Minor
Major
Minor
third.
sixth.
Major
sixth.
Minor
seventh.
Use of
69
70
third
elevation
Comma
scale.
in the signature
.
71
Major seventh
Examples of dif.
72
73
74
Musical example
75
76
77
APPENDIX.
On
81
CHAPTER
I.
HARMONIOUS CHORDS.
When
form an
relatively to each
interval.
continuous
(a)
of intensity or quality,
The
more or
less rapid.
by
musicians.
heard.
The
may be said
and of inter-
music.
To
first
we
it is
accessories to each,
and so
on.
HARMONIOUS CHORDS.
It
exact
is
;
small quantities.
'
sharp or
flat
their
made
derivatives are
The
fifths
it
also easy to
is
make a
all
fifth
For
Conception of a
The Major
may
Scale
Major
Scale.
to
it
by
fifths,
Thus
thirds.
in the
key of C we have
F-C-G-D
related
by
fifths
and
A-E-B
which form major thirds above the
Conception of a
The Minor
four
three
first
Scale
CGD;
we
three.
Minor
Scale.
may
Al'
If
first
write
down
all
Eb
Bb
Bb
HARMONIOUS CHORDS.
If
we then
fill
up the bracketed
places,
name
we have
a scheme of
a duodene *
calls
and
above written
provided.
The system
of
duodenes forms
a practicable
mean
B %
taken to
CHAPTER
II.
EQUAL TEMPERAMENT.
This
method
the
is
instruments.
The
simplest
way
of considering
it is
keyed
to observe
made
is
We
c* d d' e f f g g* a a* b c.
'
Perfect Fifths
It
and
Thirds.
ratio 2
1,
2,
perfect thirds
ratios are
From
these principles
the perfect
fifth is
is
.13686
7)
51
E. T. semitones (say
*-7^3)-
The E.
is
a very
T.
fifth is
little
instrument.
perfect third
The
is
E. T. third
little less
is
four semitones
so that the
instrument.
*
fifth
See note
at the
end of Chap.
III.,
and Appendix.
EQUAL TEMPERAMENT.
The
Thus the
perfect fifth
is
said to
may
be called Departure.
upwards
51
from E. T.
Error
may be
down.
called
So the
51
is
down
7.3
E. T. third
is
up.
7.3
The
is
that the E. T.
generally
number
difl[icult
in the
beats of the
in the
to
distinguish
as
beats;
is
five
per second*.
The
To
*
obtain
some
their
same region
first
clearly
error
;
sound
c'-g'
that
table
EQUAL TEMPERAMENT.
of equal temperament chords
is
comparison.
To
major
first
raise
the
little,
ever a third
their octaves.
Any
F-A-C
under the reed so as to hold it fast. The pure chords obtained by the above process offer a remarkable contrast
to any other chords on the instrument.
This experiment is perhaps the most striking practical
mode
in
by
inferior in excellence to
use are
much
perfect tune.
CHAPTER
SYSTEM OF PERFECT FIFTHS.
III.
PYTHAGOREAN SYSTEM.
the
harmonium
is
and
it is
made be
recommended
thus verified
experimentally.
Tune
gb
fifths
db
or fourths,
f*.
Then
octave apart.
Major
c
is
is
down
octave
arrived
at
1
or 2 x 7-
51
12
51
is
-
12 = 2
ol
and
tone.
the Pythagorean
2
=6x2
comma.
Pythagorean comma.
We
Pythagorean comma,
by supposing
that
we tune
down.
twelve
fifths
J
fifths, directly,
12X7--7X12=-,
or a
little less
The
than - of an E. T. semitone.
accurate
value
12 x. 01955
is
(Note.
that
The
we use
fifth
=
is
23460.
accurately
as an approximation only.)
f a, c e, g b, and
third.
by tuning
four
thirds,
51
Pythagorean
fifths
o 1.1
or sometimes
g, c
a,
'
dissonant
we hear
thirds.
'
sharp third.
Ordinary comma.
The comma
is
The Pythagorean
third.
1
third
is
7 2 x
O
perfect third
the ^
so that the
is
12
4
= 4
o
i.
7.3'
comma becomes
4
11
M+^=4:6""^''^y5
or,
+ .13686 =
21506.
SYSTEM OF PERFECT
This number
may
also
FIFTHS.
this
) of
Apofonie Pythagorica.
It is
Pythagorica.
Its
magnitude
is
1
51
51
1
7x7;^- 48 = 1-:^
.
or 1- nearly.
In decimals, 1.13685.
Pythagorean Semitone.
Its
i.
five fifths is
given by
a b''.
e.
magnitude
it
is
less
36 5x
is
=1 5
1
51
51
t^;
of a semi-
tone*.
In decimals,
1 .09775.
Pythagorean Sixth.
The
interval c
is
commonly
Its value is
i.
e. it
-12 = 9
3x7
51
51
The
an
(5 01955)-(4--13686)=l-11731 = l^
major tone,=2-03910
is
is
M1731 = l--0782]=l-r-g
nearly.
JO
Helmholtzs Theorem.
The
In a series of perfect
Helmholtz.
fifths,
Thus
we
if
g' with a
I',
take an
f'
is
nearly perfect.
d f*,
then
by
c' with
d'',
For
five
= 60-8x7^
51
= 60-56
51
8
is
or
51
1
6.4
less
is
less
,
nearly.
^
by
The
difference of these
same as the
error of
numbers
one E. T.
is
nearly *
or nearly the
51
fifth,
the E. T. third.
= -15640
13686
01954.
This quantity
is
=
=
Chromatic Semitone =
=
Pythagorean Comma =
=
Diatonic Semitone
Pythagorean Semitone
Apotomb Pythagorica
Apotomb Pythagorica
+ Comma
Skhisma.
Comma.
Skhisma.
Comma
+
+
Apotomfe Pythagorica
Pythagorean Semitone
Skhisma.
Pythagorean
Semitone.
These
values.
1
;
SYSTEM OF PERFECT
are therefore very nearly perfect
FIFTHS.
us to contrast in an effective
Notation for
As
series
of Fifths.
\d' \bl' \f vc vg vd \a \e \b^f.' c' g'dJ bl' f-c g d a e b-/f* /c /g' /d* /bl'
the
f*, c',
pitch with
gi',
g",
dl?,
2!",
(i'
/f /c /g /d-/a /e /b //f.
The notes comprised in any one series
f*
up to
b, all
is
'')
In each series
a c,
e-g*,
we have
fifths.
d f,
b d*.
we have eight major thirds
2>\c, el" vg, b*' \d, f-\a, c \e,
such
g-vb.
We may
right of
but
all
embody
any
series
other thirds
lie in
adjoining series.
word
head,
which
left
may be employed
for the
12
is
essential
when
thirds
are employed.
^^^
Example.
System of 53.
It is
fifths
fifty-
without
fifths,
make 372
units,
is
12
53
of an E. T. semitone.
is
the
departure of twelve
(for in
Hence
E. T. twelve
fifths
seven octaves).
fifth
fifths
=
53
12
=;
result.
fifth
fifth
of 53
nearly.
=
51
53
2703
1
1352
nearly,
an inappreciable
SYSTEM OF PERFECT
FIFTHS.
'
p.
423.
some small
inaccuracies
well to correct.
on
this subject
p.
which
may be
be alluded to
p.
as
161,
mean-tone system.
an octave.
(1)
This is not correct. Dividing 12 by "21506 (the value of a
comma), we find that 55'8 commas very nearly make an
octave.
(2) The successive sounds of the diatonic scale have,
by the aid of these commas^ been shown to be separated by
intervals of the following " sizes" or comparative dimensions.'
Then the scale is set out, with the major tone represented by
nine units, the minor tone by eight, and the diatonic semitone
by five. This is the scale of the system of 53, as is easily
seen by counting up the intervals. But it is not the diatonic
scale, only an approximation to it, and the difference of the
The diatonic
thirds and sixths in the two is very sensible.
The
scale is such that thirds fifths and sixths are perfect.
scale of 53 coincides very closely with that of a system of
perfect fifths, but its thirds and sixths are not very close approximations to those of the diatonic scale, though sufficient
will
The comma
is
'
for
many
In
fact,
by
notes
too
flat
perament
purposes.
third determined
or .01954.
fifths, is
approximate methods of importance, yet a fundamental exposition in which it is entirely overlooked can only be
regarded as erroneous. The state of things in the system of
53 is very nearly the same as in the system of perfect fifths.
The
NOTE ON THE CALCULATION OF INTERVALS.
14
who
Those
referred
to the
Appendix, on
Note on
To
the theory
the Calculation
of Intervals.
tones.
The
vibration ratio
3010300
of the octave
and we admit
is
the logarithm of 2
is
is
Then,
one
into another
only to
and con-
is
facility.
Rule
To
I.
T.
semitones.
Take
thereof,
common
the
and
the
call this
first
of the
improved
first
value.
improved value
of the
first
subtract
From
(F. I. V.).
the
The
T. semitones correctly to
five
places.
Rule
To
II.
an
interval given in E.
T.
semitones.
To
The
the given
for this
Approximate Rule
To
Divide by 40,
itself.
less accurate
form
the
some:
I.
Take
is
common
T. semitones,
to be correct.
subtract
The
15
To
Example.
of which
is
3
is -,
and of a perfect
fifth,
the
l6
Ellis's translation
interval
numbers.
notes of the
note
its
may be
is
that with
which we
identify the
tones.
Fundamental
tionate vibration
many
The
;
it
and
the successive tones which
in semitones.
vibration
compound note
their order.
Interval from
pitch
and the
make up
lowest of these
is
The
air.
Name.
is
called
ly
easily verified
is
c* of a Pedal
;
To find
the beats
c'g'.
(c'=
256.)
The
c',
fifth is flat,
since an exact
contains 7-01955
fifth
semitones.
To
for the
interval
-01955,
we
0195500
0000652
19
4
-
10000
40>0196171
^logarithm of vibration
The
vibration
log.
0004904
-01955 semitones.
ratio for
log. ratio
log^ vibration
The number
is
768.
c' is
768
=
=
=
=
2-8853613
-0004904
2-8848709
log.
767-133
numbers
768-000
767-133
-867
60
52-02 =number of beats in one minute.
Rule of
When
number
Examples To
vibration
major
Difference Tones.
third c'
is
is
produced, whose
first
two.
By Rule
II.
of preceding note
tempered
also
we
third,
1003433
256=2-4082400
log.
2-5085833=log. 322-54
which
is
the vibration
e'.
322-54
Whence,
256-00
66-54
64 would be
this is
g',
g'is 383.57
e'is 322.54
61.03
difference tone
Example.
To
temperament
By
minor
lie
cause beats.
triad c'
e'
g'.
Taking the
each other
66.54
61.03
5.51
or
nearly.
and
we have
CHAPTER
IV.
at the
with
fifths
fifths
it is
actually applied
shown
This keyboard
is
same
same
relative position
The
its
position in the E. T.
is
the
same
as usual.
c-gis7^:
C 3
ao
7 corresponds
the E. T.
to
g,
is
higher.
51
In the keyboard
- of an inch
v^fith c.
itself this is
further
back and
much
as
on
of an
12
Thus
it
in
is
and so
c,
being placed
fifth
the series of
when we come
it
c.
to /c,
we
fifths.
find
it
dis-
a position
vertical
is
E. T.
selected as
step
S.
Two
nearly.
missing from
importance
their
represents
itself.
are
notes
It will
small
is
the
well seen.
portion
of the
be desirable here to
fix
fifths
From
this
it
follows
And more
than
fingers in
common
whatever key
%l
it is
played.
a
exactly the same form, no matter what view be taken of
this,
its
perfect fifths
condition
but
E. T.,
is
is
not a necessary
any con-
tinuous series of
As an
it
fifths.
its
we
will
But as
this system is one of the most important with which we have
to deal, we will first devote some space to an account of
its history and properties.
We shall recur later to the
properties of systems of perfect and approximately perfect
consider
22
I.
12.
subscripts
^, 3
23
II.
Section.
\c
EleVftbloTV
ic.
'/
-IL.
Id?
IC"
9
i'^
:f
^e
\df
\9
Plan
\c
CHAPTER
MEAN-TONE SYSTEM.
(c
We
e),
comma
of comma).
If
V.
fifths
then
we make each
comma
flat,
the
mean between
fifths
is
certainty as far as
this
tone
flat.
is
the
It
The
historical interest
From
its
comma
very great-
two
the rule of
is
are all 7 of a
of this system
antiquity.
This
third.
It is called
arithmetic
is
some claim
time
it
for
it
much
higher
is
We
may have
fifths
in pitch.
systems
off
has
practically identical
make
to
and perhaps
origin;
difficult
Arezzo, to
is
historical
in
d'
whom
too defective
much upon.
to build
The
would not be
it
35
'
Tempering
He
p. 161, is
'
be no doubt that
temperament*.
The
it
is
the fact
was the system employed by Handel and his contemporaries under the form known as
the old unequal
temperament,' and that it kept its ground in this country
until within the last few years.
There are still organs remaining which are tuned in this manner f- Indeed we may
say with considerable accuracy that this system was the
language of music for nearly two hundred years.
There can be no doubt that, with the musicians of Handel's
time, the good keys of the old unequal temperament, i.e.
the mean-tone system, formed the ideal of the best tuning
that
it
'
The
on the
following note
'
tells
us,
origin of the
when he was
that
Rome, he found
at
it
soon
mean-tone system
is
p. 37.
it,
till
he
the
first
discovered
it,
and
after
After his return into Spain, Salinas applied himself to the Latin
and Greek languages, and caused all the ancient musicians to be read
to him, for he was blind; and in 1577 he published his learned work
upon music of all sorts ; where treating of three different temperaments of a system, he prefers the diminution of the fifth by a quarter
of a
comma
to the other
two
But
temperament
In Smith's
'
system of
own
mean
'
tones,' in
speaking of
St.
this
temperament.
and
MEAN-TONE SYSTEM.
36
The proof
attainable.
of this
is
The organ
Temple Church
a
possessed
The
arrangement.
similar
Here
explained subsequently.
principle
be
will
it
at
the
by Father Smith,
will
sufficient
be
to cite
by Hopkins*,
organ
'
The
Smith
the
to
fine
organ
1688.
in
the
instrument
;
coverable
it
is,
in
it
in
built
regard
addition to the
common number
G and
the notes
unequal
that
by Father
in
It
ElJ.
The general temperament of the
the same as that of most English instruments
but the real beauty of the quarter tones is disis
by playing
in the
keysf of
*>
and
Al",
where
in
consequence of the thirds being so true we have that perfection, that cannot be met with in common organs.
It gives a
peculiar brilliancy also to the keys of
and E in 3 or 4
sharps J. These quarter tones are produced by the ordinary
G and EiJ keys being divided crossways in the middle; the
Hopkins,
On
448; 2nd
ed.,
1870,
452.
is slightly modified so as to make the sense clear.
Reference to Christian Remembrancer, 1833; from which the
t This passage
X
For
37
perament.
The
about
unfortunately
little
to clavichord, harpsichord,
is
of
can be ascertained
it.
As
(1)
It
importance
great
us.
and piano.
'
'
'
Hilgenfeldt, p. 135.
t Ibid.
'
p. 36.
gebunden
'
This
is
is
given,
The
worci
is
word
used in
is unintelligible.
MEAN-TONE SYSTEM.
28
and we
himself;
is
now
find
this
ment
himself.
To
He
con-
sidered
it
expressive in tone
It
is
is
said to
It was said
which so endeared the instrument to Bach*.
It is much
that it could hardly be heard at any distance.
to be wished that some such instrument existed for purposesof study in the present day. The qualities of the clavichord
temperament.
was kept
exceedingly faint
and four
in the bass.
At
p.
six strings
37 we find
per octave
it
or mean-tone system,
*
'
Hilgenfeldt,
harpsichord," not
p.
'
'
as were
43.
all
grand pianoforte.'
'
Flugel
p. 42,
'
means
39
by the extra
that
it
pressure
was impossible
and
its
out a subject,
method of tuning.
Now
it
occasionally said,
is
temperament
'
and
his authority
was such
it
'
is
as
we have
described
it
with
intervals
modern
which
piano.
is
The account
up
at the
in its worst keys to annoy Silberwhich further allusion will be made, confirms this
view. This is the same condition of ear with respect to
melodic intervals which might be expected to be attained
according to the method indicated in the sentence from Kirnberger prefixed to this book a condition which might well
admit of a power of appreciating the distinctions of diff"erent
systems, and a reference for correctness to the harmonies,
instead of to an arbitrary melodic standard.
So far as Bach's clavier music is concerned therefore, the
appeal to his authority in favour of the equal temperament
mann,
to
MEAN-TONE SYSTEM.
30
falls
respects.
title
'
wohltemperirte Clavier,'
as applied to the 48
The two
composed
at
times, as
different
parts were
The
independent works.
when
first
The
fifty
years
time
was then for the
printed together with the second, and the title thus got
carried over.
But it is probable that Bach did not intend
and wrote the second
the first part to be published at all
part
first
first
in
Praeludia and
1722.
part
is
'xxiv
of the
title
first
part
Fuga durch
It
'
The
alle
The
Tone und
Semitonia,' &c.
als kleinen
Hilgenfeldt's
There
last years.
is
evidence that
when Bach
first
became
or that
it
for study.
We know
* Hilgenfeldt, p. 85.
There
round
is
to play
Potsdam.
Ibid. p. 73.
t Ibid. p. 123.
on
all
the
Forkel, p. 10.
Bach
in the palace at
31
first
idea, excellent
to take
it is
later period,
The
step
is
why
to the piano.
came into
It was an
not be taken,
(2)
The
if
we can
find such.
matter to Silbermann,
the organs unequally.
who
nevertheless continued
There
is
to
tune
The
There
is
is
key of
I',
key.
'
In the
last third
t Hopkins on
Hilgenfeldt, p. 44.
MEAN-TONE SYSTEM,
32
It
is
when the
As
these
are
both
in
minor,
is
it
We
now
shall
'
wolf
discuss
'
have practically
dis-
in
the
different
Major Keys.
Eb Bb F
13
G D A
7
Minor Keys.
18
G D A E B
5
CHAPTER
VI.
We
fifths is
a.
comma
quarter of a
being perfect;
comma
sharp
(for
if
the
flat,
are exact,
four fifths
by
by definition
by
four fifths up
is
up
a
of comma).
We will
generalised keyboard.
I'
arrangement.
See Diagrams
HI and
D
IV.
III.
(ab)
eb
bb
2
3
i
5
6
7
8
9
fj
10
en
11
12
g)l
(d()
IV.
(ab)
eb
bb
10
11
12
g
(dj)
35
The
third.
each
latter is
fifth of
The
downwards
downwards*.
IV
- E. T. S.
and
in
Diagram
line represents
We
rise
can
by
one E. T. semitone.
now examine
term
'
wolf; and we
suppose that we are dealing with the ordinary twelvekeyed board, i. e. with the unbracketed notes only.
There are two kinds of disturbed intervals one fifth and
will
four
major
is
is
The
marked g* el'
notes
g'
thirds.
false
in the
fifth
that
The
made by
We
the
see that
the
departure of this
fifth
diagrams.
consequently
is
29.0
The
- of a semitone nearly t-
This
is
is
wolf,
The
b e^
b'',
c* f, g* c
In decimals,
in
fifths
made by
to tuning.
the diagrams.
It
will
be
36
seen
are
there
that
eight
steps
between
members
the
of
each
pair,
temperament
is
The
thirds,
- of a semitone. The
false third
b el'
is
a terrible annoyance
it
is
it
major and
of,
as the flat
keys beyond B'' are practically unavailable fWe can now very well understand how great was the gain
obtained
IV), as at the
fifth
intelligible
somewhat
-034215
8
27372
13686
41058
t It once fell to the writer's lot to play the Wedding March of
Mendelssohn on the organ at Turvey, which is tuned in this manner.
The portion in B major produced a horrible effect which will not
soon be forgotten,
chiefly
on account of
b-
elJ.
It
37
constructed
the
'
Foreboard,' in
fig.
II
of the
separate tract
on the
it
commend
itself as
terruption of the
a desirable one.
The
perpetual in-
We
will
now
Diagram IV, when the notes are placed in the order of the
scale, yet we can by reversing one of our fundamental conventions, reduce this to the same form as that illustrated in
Diagram I. We have only to take distances drawn upwards
to correspond to flattened pitch, and drawn downwards to
That is, we represent now a fall by a rise,
sharpened pitch.
and a rise by a fall, instead of rise by rise and fall by fall,
Or we may
as in the original application to perfect fifths.
downward
series of fifths.
The advantage
38
Secondly,
set of keys.
the form, which the scale and chords of the mean-tone and
similar systems
this case
remarkable for
to the hand.
The sequence
II
of the white
unmarked
naturals in
is
series of notes
quarter of a
comma
flat), is
(fifths
remember
Diagram
when a
c,
we must
c,
first
notes as c* and
fifths
upward,
and
flats
through
fifths
The term
'
negative
strictly represented
fifths,
by an arrangement
i.
e.
to
'
is
fifths
such as are
of the form of
Diagram
IV.
39
alt.
and there are forty-eight keys per octave,
though only thirty-six were used for the mean-tone stop.
The result of this is a range from dl'i' to dCM, if we start from
the middle of the three c keys as c. Or recurring to the more
intelligible system of denoting position in the series of fifths
by the notation before described, we have a range fromxc to
//f vc becoming A^ when translated into ordinary notation,
and Hi becoming d***. The instrument will be further de-
tenor c to c in
on
this
scales.
The movements
in all
necessary study.
To
first
part,
not practicable.
But
this
it
is
kind shews
itself specially
of value.
any massive harmony, not excluding counterIt is only necessary to remember that we
point, tells well.
have here the original system, which belongs from the very
beginning of modern music onward to our musical notation,
to see that by employing it we have the true interpretation of
our notation we have the actual sounds that our notation
conveyed to Handel, to all before Bach, and many after him,,
only cured of the wolf, which was the consequence of their
The
chorale,
imperfect methods.
It will be unquestionably the case that the modern educated
He will not
musician will pronounce these notes out of tune.
complain of the chords they are better than equal temperament chords. On examination it will be found that, all the
intervals employed being of necessity different from equal
temperament intervals,, the ear which is highly educated to
;
right,
considers
all
40
others wrong
a result
The semitone
The mean-tone semitone is
example.
is
considerably greater
it
is
about
- E. T.
6
semitones.
Handel.
The
rationale
is,
that
come
to
interest
if
people
who
right
all.
By
more accurate
and according
much
in their
CHAPTER
VII.
HARMONIC SEVENTH.
Hitherto we have
octave,
and third
fifth,
but in
all
opens a path
by the
we can
introduction
well
is
as
f,
The
note
thus determined
is
the
same
as the seventh
harmonic of a
string,
notes
is
4:7.
If
we
g f
ment
than - of an equal
little less
temperament semitone.
If
we
g by two
fifths
fifths,
nearly,
or
more
accurately,= .03910.
If
we
pass from
fifths),
we
get a de-
Now
though
this
is
departure
near to
it
in respect of consonance.
yet
it
is
sufficiently
much
HARMONIC SEVENTH.
44
we can use
f in
limitations
on
Rule.
But the
is
bad.
approximations.
all
the
its
ratio
of
fifths.
It
is
mean-tone and
The
allied systems.
departure of one
fifth
little
is
seventh.
great caution
in full
chords.
Page 35,
note.
CHAPTER
VIII.
We
We
shall
assume
made by eight
Helmholtz's Theorem
and we
third
is
properly
of
error of about
fifths
shall
down, according to
disregard
the small
is
Though some
more
fifths,
member
of the class in a
We
will
include also in
this
discussion those
practical
for these
fifths is
not aimed
notation.
Unsymmetrical arrangements.
APPLICATIONS OF
44
This
4,
of the
may
Ellis's
horizontally.
The
/ab
principal key-note
was
f.
up
all
different shapes,
AS
quarrills, flutals,
and buttons.
Not only has every key a different form, but in all cases
where keys or parts of them occur on two or more keyboards
the forms are different on the different keyboards.
astonishing that
so
much
It
is
Thompson
of the key.
Key
besides.
in this direction
Journal,'
July
An
1867.
account of
it is
The keyboard
given in
does not
will be desirable to
This appears to have
it
We may refer
one
vertical,
in
by
key-note
series,
tones separately.
*
The
different
fifths, p. 9.
in
APPLICATIONS OF
46
is
any key-note by
fifths,
thus
V.
Poole's Keyboard.
Colin
Browns Keyboard.
Arrangement of Key-notes.
i.
e.
Si
47
APPLICATIONS OF
48
The
C and
\E, \A,
G; and the
scale of
thirds are
\B
VII.
Knighfs-move arrangement in Colin Brown's Keyboard.
C minor
major to
/El'
required
for
He
Poole's board.
that
it
is
difficulties.
is
the
this
first
change
The
will at
49
once
The
does
proposes however,
in-
exist
on
Mr,
musicians decide
them
as additional auxiliaries.
which
may
Now
consider a modulation
The performer
The
is lost.
/El'
is
Example.
Again
^^^^^gg
it
will
two
In
fact, if
we
same
harmonic sevenths, his scheme of position relabecomes absolutely identical with Mr. Brown's. This
not so odd as far as the symmetrical arrangement of the
series of
tions
is
all
in the
same way
same
little different,
absolutely identical.
It
notes,
and
The forms
appears
that
Diagram VII.
of
50
The
objections
made
to Mr. Poole's
equal force to Mr. Brown's, except that the size of the keys
in the latter
is
somewhat
smaller, so that a
more extended
With
is.
command
of the com-
series.
is
The
in the
Duodenes of Mr.
make
is
embodied
is
make
steps
See
Ellis *.
In these,
fifths
The
now
CHAPTER
IX.
ENHARMONIC HARMONIUM.
was
in the
Loan
at
STOP.
South Kensing-
built in 1872-3.
It possesses a
indicated generally
by Diagrams
of the distribution in a
is
tuned accord-
now
fifths.
We will
rectness of which
we
c, viz.
we
seven
tuning five
is
a semitone
c /c"
determined by tuning
fifths
up,
made up
of tones
Now
scales are
semitones each
less,
The only
general
way
ENHARMONIC HARMONIUM.
5a
therefore
by which
all
is
have an interval
common
We
to
for, is
Now
with perfect
proximately
29
this is
fifths,
is
ap-
7
-,
and the
five-fifths
semitone
51
ratio
for the
two
and
77
oA
intervals
is
58
the
46 or
23;
and
and
X 23 = 115,
X 29== 116
semitone nearly as 5
is
to the five-fifths
perfect
fifths.
We may
and the
five-fifths
by
intervals without
fifths.
Now
added
octave.
tell
We easily see
that this
is
true.
exact octave.
If
we then
and four
five seven-fifths
and seven
semitones
five-fifths
units
We
ENHARMONIC HARMONIUM.
53
c /c'
is
five units,
and
each
five-fifths
semitone such as
c d^"
or
c c'
is
four
units.
We
of fifths to the
different
position entirely
by the
The
note V\c
is
names
d>,
dl*,
taken as the
first
note of the
number 1. Then
assigned by the above
and
and the
series,
c is 4,
process.
It is
lowest V\c.
It is
now
seen that a
number
Rule for
freedom
of modulation which
is
characteristic
of cyclical
VIII.
/b,
/Oa
/a,
/d,
/g3.
/c.
/c.
/i
/bb
/eb
/ab.
/o
/fJi
a^
bb
ab,
f.
\b,
Ve,
\a.
\d,
Vg
\o,
\0,
\f,
bb,
\eb
\ab;
\o
VfK:.
V\b
>\ej,
ENHARMONIC HARMONIUM.
55
IX.
VXo
;;
ENHARMONIC ORGAN,
^6
is vertical,
The
is
completely obviated.
by which the instrument was tuned is rather
an account of it is given in Proceedings of the
process
complicated
p.
144.
As
but in order to
by
was
was
laborious.
recommended
Enharmonic Organ,
Positive Stop.
May
1,
is
all
'
POSITIVE STOP.
mentioned, to the mean-tone
class,
57
which have
strictly
flatter
fifths
represented
by
Diagram IV.
With
of perfect thirds
sometimes
it is
it is
system
down
is
made
tempered by -
t)f
the
pering of each
fifth is
of a semitone, the
- of a semitone
nearly
tem-
an interval
by
this
is a difference of opinion on
owing to the dislike which some persons entertain
to the somewhat sharp quality of the harmonium reeds. The
large majority of persons- however prefer the harmonium.
this subject
The
reason
is
certain
ENHARMONIC ORGAN,
5^
class.
It is
to illustrate in a striking
in
sensitive
to
tuning,
manner the
the quality
and
the
is
difference
between chords
general
somewhat
effect
is
now*
at the
monotonous.
General Thompson's organ, which
Exhibition, South Kensington,
is
Loan
The
quality of tone
is
is
chords
space
for
which must be
in-
to the organ on
scale.
The mean-
systems have special applicability to the harmonium, and also, in all probability, have a wide field
before them in connection with the orchestra.
The small enharmonic organ which contains the two abovementioned stops is designed on a principle which is general,
and susceptible of extension to instruments of greater size.
The keyboard is arranged in four tiers the tails of each tier
fit without attachment under the fronts of a row of squares,
the other corners of which hang down, and pull directly on
the principal trackers. In consequence of this arrangement
the entire keyboard can be lifted out and replaced in a couple
The principal trackers run from the lower ends
of minutes.
perfect-fifth
of the squares,
parallel
tiers
1876.
POSITIVE STOP.
59
is
little
The windchest
is
above the roller board it is about 2 ft. 6 in. wide, and 6 ft.
from back to front the keys are in the narrow front. The
pull-downs are arranged in two rows along the long sides of
;
got at at once.
trackers,
'
A square
block
is fitted
fit
middle of each
and
screw.
they are
right
When
The
object
the pipe
is
is
to
nearly
CHAPTER
X.
all
notes can
their
be
Error
is
Departure
are
Intervals
semitones
semitone as
is
written as
1 2,
and the E. T.
1.
Intervals taken
positive,
taken down-
wards, negative.
Fifths are called positive
i.e.
if
if
negative
if
than E. T.
fifths;
fifths.
i.e. if
they are
less
positive.
Regular
cyclical
* This Chapter
IV
may be
omitted
if it
is
desired to
r*''
order,
confine the
when twelve
fall
of the approximate
by
fifths
61
of
r units of
the system.
Thus
if
then
fifth,
12x31 = 372,
7x53 = 371,
fifths
the system
is
by two
units,
fifths fall
is
second order.
Cor.
of twelve fifths
is
r units of the
Regular Systems.
Theorem
I.
Theorem II. In any regular system the difference between the seven-fifths semitone and the five-fifths semitone
is the departure of twelve fifths, having regard to sign.
For if we subtract the five-fifths semitone from the sevenfifths
semitone,
the
E. T. semitones
cancel
each
other;
GENERAL THEORY OF
6%
if
the
fifths
are negative.
Theorem III.
+ r, the difi"erence
fifths
definition of
r*'^
order.
Cor.
of
principal
known systems
PC
units.
=y
^^^^ ofumts
semitone
Five-fifths
units.
17
29
41
53
65
lis
Primary Negative.
1
19
31
Secondary Negative.
3
The mode
50
is
obvious.
60,
of the system
is
- E. T.
of the system be
8.
Then
fifth
semitones.
^^
126 = r.
of 53
is
12
twelve semitones,
is
Hence
We have
=1 28 = r
fifths
corollary;
octave, which
fifth
is
definition or
= -n
of an
by
or
units
E. T. semitone; this
is
fifth
of the system
a particular case of
downward
(p. 35),
r=\, is T7:
or
fifth
-,
fifth
is
by an amount which
differ
is
insensible in practice.
Theorem
V.
If in a
system of the
Let
the
is
(^
12
is
the
fifth,
and8 = -byTh.
n
Hence
6.
be
and
a multiple of
12,
Then ^.
fifth;
number
^*''.
is
=7+
in the fifth.
6, if
IV.
=7 + -,
* = --,
^12
or
n
n
an integer by hypothesis
and ^
is
remainders
GENERAL THEORY OF
64
n
65
may
7,
19, 31
or
be effected by
we thus
by depressing d
fifths;
Theorem
VII.
n be the number of
If
by
1 2,
and
^*''
will
order,
divisions in the
then n
7r will be
12
n+7r
is
a multiple of 12.
then
12
^.=1-1-78=1 + 7-
x=
whence
and the proposition
is
Theorem VIII.
by
n+7r
,
proved.
perfect
is, it
third
is
.13686
or
falls
7,0
by
fraction of
this
systems the
fifth is
of the form
Cor.
result
I,
by
48= .13686
6= .034215
F
GENERAL THEORY OF
66
Cor.
II.
The
system n of order
Theorem
^ is 4-y
IX.
perfect thirds
by
The
But
in positive
five
form
systems
Positive
approximately
systems the
fifths
down
.13686.
is
of the form 7
fifth is
give 60
4- 8
and
8(7 + 8) = 4 86,
Cor.
I.
The
88=
6=
Cor.
II.
The
.13686
.0171075.
system
n of order y
^
is
8-
For
8 X. 01955=
fifth.
.15640
.13686
01954 which
The
quantity .01954
is
is
nearly=
01955.
down and
Concords of Regular
and Regular
67
Cyclical Systems.
may
viz.
this A, putting
We
all cases,
We will
call
A=126.
The
comma ( ^
if
is
21506.
introduced in
It is
com-
its
place
departure of twelve
Name,
Order,
fifths
=a
A = 125,
or 12-
17
comma.
Error of
fifth,
S -01955
Error of
Error of har-
monic seventh,
13686-88. 31174-148.
third,
68
Theorem
XIII.
If a symmetrical arrangement like
or VIII be constructed, the dots being all considered as notes, and the vertical distance between two dots
Diagram
51
represent
and
will
it
order of approximation.
is
612
units.
as
made up of fifty-one
by the dots of
a horizontal
line.
The
fifth,
51.151
The
third,
lower note,
-,
7.3064'
ment.
*
J.
perfect fifth
is
which has
its
its
is
4
or 4
51
manner may be
It
is
7.286
in this
one
7, and the
is
all
the positions
filled in
The importance
Herschel, F.R.S.
of
this
CHAPTER
XI.
The
following
example
is
p.
12, as
g,
withxf,
The last two crotchets of the first bar are the chords of c
major and minor.
The chord at the beginning of the second bar is the
augmented sixth, rendered peculiarly smooth in its effect by
employment of the approximate harmonic seventh for the
interval (/a'' f).
v^=vJ=vJ;WT*
eEe^ -^
:tt^
^
J^.
3i3f
-I
We
ment of the
aff"ecting
the employ-
principal intervals.
70
two
First,
when the
fifths
Secondly, one
fifth
down
(c f), and
5_10
2
3
which
is
3~
'
when the
fifths
and
The
ratio of
\d
then
is
10_81
9"^~9'"'80'
which
We
an ordinary comnia.
must remember that our systems only give approxima-
is
very
close.
which
chord
an
f \a \d,
effect of
Minor
the
exchange of d
may be
fifths,
for
\d
f \d,
and
in the
produces
Third.
The
minor third
is
is
very
by beats. In chords formed of successions
of minor thirds, almost any form of the interval may be employed
and as matter of fact the minor third which comes
below the harmonic seventh in the series of harmonics (7:6),
is one of the smoothest forms of this interval,
c xe'' is an
approximation to such a chord, where the ve'' is derived by
fifteen fifths down.
But in minor common chords the condition is that the major third or sixth involved shall be
approximately perfect
and this gives the triad c /e''
where the /el' is derived by nine fifths up. The intermediate
form, e**, gives a minor third not quite so -smooth as either of
the other two but it is capable of being usefully employed in
strictly defined
by many
it
is
pre-
ferred
71
3!*te2=
Example.
W.
Major Third.
the note taken
This
is
interval has
that formed
by
is
U^
=F
it
unless
we
which
case,
fifths
down from
the key-note,
by
we may
retain the
normal position. The most judicious course depends on whether the fifth is" suspended or not. Thus, if the
fifth in its
fifth is
suspended,
we may
write
J~J-j
*j
For
if
sixth
^dE
f^-H-^
POSITIVE SYSTEMS HAVING PERFECT
73
U^
1^
s^
Minor
Sixth.
usual form
This interval
which
is /a'',
is
is
got
&c.
The
by
eight fifths up
the key-
down.
make
so as to
.sensitive.
Minor
Seventh.
To
seventh.
There
fundamental
h^
two
xbt*
fifths
fourteen
up
are
three
forms of the
b'',
and
minor
\b''
or natural seventh.
Rule.
The natural or harmonic seventh on the dominant'
must not be suspended, so as to form a fourth with the keynote.
Major
There
Seventh.
in
OR APPROXIMATELY PERFECT FIFTHS.
resulting semitone
less
is
73
of a semitone.
An
ap-
is
pended,
The
avoided
partly
how
in the
example.
It is to
The
keyboard.
be
be
down the
many
is,
more
Some examples
for ordinary
(1)
music
may
The opening
The second
be
first
instanced
bars of the
first
(2)
^
g's,
ex-
little
organ.
to which attention
is
:&c.~
is
m,^^^^
The two
illustrate
pipes of the
It
make a
The g
is
But the
first
here required
key
(\d),
and
condition requires
POSITIVE SYSTEMS HAVING PERFECT
74
and
g,
comma somewhere.
it
It
is
may
first
only a passing note but with the keen tones of the harmonium such dissonances strike through everything, even on the
is
to the writer to
prominent.
effects less
(3)
The
third phrase of a
i
=5^g
^ "^-
well-known chant
--^-
To keep
in the
second chord
g
>p-
key of
f,
'iig:
f-s=
the g should
fall
to
Vg
at the
comma
is
raised a
and the chant concludes in the key of (i, as it is not possible anywhere to
descend again with good effect. This would be inadmissible
in practice, as the pitch would rise a comma at each repetition.
The resources of the system of 53 admit of the performance of repetitions in this manner, but the case is one in
which the employment of this effect would be unsuitable.
On the organ it might be possible to take the last chord
written above \g^\d \g bl', which would get rid of the
difficulty.
On the harmonium, however, this drop from the
minor chord of g to that of \g is inadmissible.
In the example of music written for the positive systems, it
is to be noted that the notation-marks are used as signatures,
exactly as flats and sharps are in ordinary music. The sign
adopted for neutralising them is a small circle ( => ), which is
analogous to the ordinary natural. If the general pitch had
to be raised or depressed by a comma, the elevation or depression mark would be written large over the beginning of
at this point
the suspension
the staff :^
harmony
are regarded as
experi-
75
The
following points
may be
P-77-
At
thus
it would be natural, in
from the preceding chord,
a,
^T
r^^-A
y=^
:&c.
As however
Bar
19.
first
is
dominant, p. 42.
Bar 24. This singular change
of the chord
Bar
by a
it is
is
pleasing in
its effect
when
rest.
The
is
Bars 34 and
make
the bass
35.
Here
^^TTT-r^
POSITIVE SYSTEMS HAVING PERFECT
76
the
We
at our
d as the
unless
we
fifth
raise the
a passage
is
to g,
\a
and
to
a.
repeated as here,
different pitch.
The
This
is
it
It
if
suspension
is
is
effect
it
where
in a slightly-
therefore avoided.
Bar
37.
is
Comma
The
Scale.
is
writer has
intervals
^^^^^^
m^
&c.
N|?^^olrJ^J^J
w^J^
::
EE
iPE23^^
The chord
fect thirds
to which attention is called consists of two perand the octave. The third Vg' c has a departure
'
77
thus
It
'
c \e g(f c.
The two
prefers the
first
arrangement.
It is
a matter of
the writer
taste.
or inversion thereof.
J.a
J-
^m^4^^--^w=Ft^^^
Imo.,
-Jiej
^ fe^.U_yAAJ
^^B
--pp-
2do.
^^
I
^^
78
y ^ ;::f^-r-ri-r^
r->
53^
i^^^
'^^
Hj
J. _h
^-Jx,^/j_J -^
rr
frp^--F=F=^
,K
19
^^=4=^r^=^?ir-f i^^=rf^=r^
^
^=i^S^^^^^^^fe^^^E3^
iSE=^
5
24
^i^^f^^^^tegES
si
:SIIZ33~
SE
r-^=^g
E&
=F=^
d^^
-r-r-^5-
1^
I
^^?^g
t^TTrrj
il
feb^
IE2Z
30
^f
I
!
W=i^
Hi
iaf
B^guxqs:!r-r,^:tP:f-g-r '.frrrf
ii
^ife^
3P^
-4-
-g-
79
f r> y-y-ff-r'-zog
^^^
-^^Lj^j:^
^^
S
r-piTL
APPENDIX.
ON THE THEORY OF THE CALCULATION,
OF INTERVALS.
When
we
num-
lengths of string,
we
12
octave,
and - of that -
us the
sum
of octave
or
and
--
fifth
that
sum
is
to say, in order to
of two intervals,
we have
This
to our experimental
fractional
8a
ON.
In the same
way
THE THEORY OF
numbers
or,
knowledge
may be
of the pro-
may
latter
come
(e. g.
It
is,
e.
g.
difficulties,
we
in principle
(e. g.
the
series,
thus
Geometrical Progression
times into
the above,
83
Then, forming a
series like
itself,
be equal to
we have
Geometrical Progression
2.
ON THE THEORY OF
84
In
practice
we
these
derive
by-
Passing for a
moment from
We
made
_E.
T.
semitones
we had
first,
to find the
together,
the table,
We
2,
by
itself
by
any number
reduced to multiplying the number of equal semitones by the number of times the multiplication is desired to
of times
is
...
extraction of a root
raising to a
power
to subtraction,
and
to division,
to multiplication.
purposes,
we do not
construct a
THE CALCULATION OF INTERVALS.
85
addition,
however proceed,
I shall
by
who
by
which an arithmetician
may
himself.
The
first
method
of proceeding further
is
very simple in
we
will dispense
It consists
square roots.
by
continual extractions of
we should
by
on the right
Ratio.
obtain
left,
and
86
Thus
ON THE THEORY OF
represented
is
0625
by
iy;tr
03125
XI
00390625
^^^x
001953126
'^^l/x
1-099609375
1-1 is
X X
For the
1000
^X
16/
/~
^X
32/
256
X sJX X
612
/~
^x.
tions require to
X be
if
system of logarithms
then,
^(-i^-l
,x-\^
^s^=^fe+3fe)
Where
l/;tr-lN5
5(^)^
smaller,
and
Suppose we have a
then
if
we
put
'S^-^to +
3te)+5to)+
and
this
Thus
logarithm of
must be
12.
is,
that the
87
a=2, 3=1,
ab
-333 3333
.037 0370
= _L
f^y
\a+d/
3x9
(^V=
1
b^ _
Va + d/ ~
\a + (5/
3x9*
/a
X 93
/g-3\"_
Va + 3/
3x9^
=.004 1152
-000 4572
-000 0508
-000 0056
Whence
b\ _
~
\a + b/
/a
/a b^ _
"
\^b)
/ab^ _
~
\^+b)
/a b^
\J+b)
333 3333
012 3457
000 8230
_
~
000 0653
ab\^ _
\a + b)
000 0056
11 \a + b)
000 0005
346 5734
is
= Cx
C=
whence
=
which
for
is
the
-346 5734
12
346 5734
34-62469
computation
logarithms.
of
the
E. T.
C in
equation (A),
semitone
system
of
ON THE THEORY OF
88
whose vibration
this
3
ratio is
ah
a-^b
-^3
/aoY
_
expressed in E. T. semitones.
5x25
b\^
\a + b)
/ab\}
(
r)
\a + b)
25^
1
5
6x25^
Whence,
\a^b)
perfect
-008
-000 32
=.000 0128
however we consent
in
that,
to use these,
we have
89
much more
It is
any one system of logarithms can be transformed into any other by multiplication by some factor,
which is called the modulus of transformation.
This relation is easily shewn to exist between E. T. semitones and any other system of logarithms, e. g. the common
that
to say,
is
system.
then,
x
f be the logarithm of
2 i will be the logarithm of x^
if
and so on
and
third
.
,2^,3^
2,
This
is
easily
logarithm of
2,
transformed.
The
required factor
is
12
consequently,
39-86314
3010300
It is
any
ratio
by
this
common
logarithm of
in
E. T.
semitones.
We
or
may,
we may
perhaps a
if
we
divide
little shorter.
on p.
employing an arithmetical artifice.
When we have obtained, by any of these methods, the
values of the fifth and third, all questions connected with the
intervals of the diatonic scale can be solved by means of
in the note
ON THE THEORY OF
90
addition, subtraction,
numbers.
By means
same
of the
and
third,
and
inter-
vals derived
facility.
Those who are acquainted with the use of common logarithms often employ them, instead of semitones, for these
purposes
and it has been frequently proposed to use the
;
which the
common
member however,
by means of
necessary to re-
in
this,
five,
and sometimes
any lower
be
liable to error.
all intervals
The
to be investigated, will
it
its
fails
fifths
to
are
systems of
For these purposes at least five places of
logarithms must be taken and where the E. T. system has
relations of any interest, the E. T. semitone is vastly superior
at all for the demonstration of the properties of
an approximate method which has been occawhich it seems worth while to discuss
with the view of obtaining some criterion of its accuracy.
The discussion will lead us, by analogy, to the deduction
from equation (A) of a new approximate formula, of considerable accuracy for small intervals.
There
is
sionally employed,
The
old
method
it
between
as a measure of
THE CALCULATION OF INTERVALS.
Thus, in a major tone, whose ratio
8'
91
is
'i'
We
shall
show that
this
is
first
(B)...log/^.i/{(^-l)-^b-l)^ + i(j^-l)-...|
value of J/ is always half that of
The
C in
equation (A)
so
M = 17-31235
If
we
then
8
1
(^-i/=.
8^
and so
on.
Q
Again,
tone,
if
we
y =
take -
series into
the
form.
The
value
is
downwards.
Here, in successive terms,
1
and so
on.
-^1
93
is
taken
ON THE THEORY OF
93
To compare
If
we
>
then
and
17
/ab^
/ab^'^ _
\a-\-b)
and so
ab
a+b
17
on.
and there
(C)
is
given index, since the terms with even powers are not in
Consequently by twice as
series (A).
(B) or (C)
we do
many
terms of either
by any
we made
use of above.
of (B)
is
128
be neglected
in
is
/ab\^
IKa + b)
3x17^
1
14739
approximate formula,
/y
34-6247 X
where j
is
h
;
a-vb
the vibration
equation (A).
number
ratio,
of E. T. semitones
93
possess
considerable accuracy.
To compute
Exanlple.
comma
in E. T. semitones
81
a-b _
a-\-b
34-6247
161
which
is
On
80
161
^
^
E. T.
-21506
semitones,'
we compute
if
fifth,
-,
by
th
is
method, we get
-^-^
6-9249 E. T. semitones.
The
correct value
7-01955
is
-09465
error
comma.
get,
'-^^^ =
=\
11.5412
To
^
Puttmg
ab
f
3,
we
find,
a
1
If
then
we
_ 1+2
~ \-z'
by
this process.
^=
For
34-6247
(^^)
whence
ab
a+b
;)
X
34-6247
=z
we can
94
THEORY OF CALCULATION.
whence we can
from
A.
T.
(special experience in
Constructor
Bosanquet's
of
pneumatic mechanism.)
Enliarmonic
Harmonium and
Organ.
Mr. Jennings is prepared to undertake the construction of Harmoniums or Organs with Bosanquet's generalised keyboards for playing
with improved intonation.
With
all
is
the same in
keys.
Where
prices are
named they
mean -tone
tlie
system.
N.B.
The
fingering of the
Harmoniums
mean-tone system
is
remarkably easy.
compass 4J octaves.
36
I.
52
70
90
108
126
I. Suitable for use with the mean-tone system; or for
performance of limited extent with perfect-fifth systems.
II.
illustration, or
instrument.
III. Suitable for
an extensive
command
IV. V, VI. Suitable for such systems as the division of the octave into
53 equal
intervals,