Bauhaus-Universität Weimar

Titel:
Essay on Perfect Intonation; with Remarks, Showing the Practicability of Attaining it in the Organ; Together with a Brief Description of the Enharmonic Organ, of Messrs. Alley and Poole
Person:
Poole, Henry Ward
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/image/lit39335/17/
Essay on Perfect Intonation, 
17 
In addition to the diatonic scales, we have added three columns, 
viz., the leading notes or sevenths of the minor scales—the perfect 
sevenths—and the dominant sevenths, (or the perfect sevenths 
upon the dominants.) 
Signatures. 
| 
Key I Major 
Notes. Seconds. 
1 
| 
Major 
Thirds. 
Dominant 
Sevenths. 
Perfect 
Tourths. 
1 
! 
Perfect 
Fifths. 
| 
Leading notes, 
Minor scales. | 
Major 
Sixths. 
Perfect 
. Sevenths. 
Major 
Sev¬ 
enths. 
Octaves. 
5 Sharps. 
B3 
C#3 
I)*2 
E 7 
E3 
F#3 
F+l 
iG#2 
| 7 
A#2 
B3 
4 Sharps. 
E3 
Ffj3 
GM2 
| A 7 
!A3 
B3 
B#1 
c#2 
Ü 7 
n#» 
E3 
3 Sharps. 
A3 
B3 
C^2 
|D7 
D2 
E3 
Er 1 
\fW 
G7 
G*2 
A3 
2 Sharps. 
D2 
E3 
F#2 
!g 7 
G 2 
A3 
A*1 
B2 
G 7 
C#2 
I)2 
!_„ i 
1 Sharp. 
G2 
;A3 
B2 
;C7 
C2 
D2 
i 
Dr-1 j 
E2 
F 7 
fS2" 
g2 ; 
Natural. 
C2 
Ï)2 
E2 
;ft_ 
F2 
G2 
G*1! 
A2 
B1)7 
B2 
O2 I 
1 Flat. 
F2 
G2 
A2““ 
!ßbr 
Bb2 
C2 
ct1 
D1 
Eb7 
E2 
F2 
2 Flats. 
Bb2 
C2 
D1 
E^ 7 
Eb2 
p2 S 
p 1 ( 
G1 
Ab7 
A2 
Bb2 i 
3 Flats. 
Eb2 
F2 
G1 
;A^7 
Ab2 
Bb2 
B1 1 
C1 
Db7 
DÏ 
Eb2 ! 
4 Flats. 
Ab2 
Bb2 
C1 
P^7 
Db2 
Eb2 
E1 
IF1 
Gb7 
G1 
Ab2| 
5 Flats. 
Db2 
Tb2 
T1 
Ci'D2 
Ab2 
A1 
Bb1 
cbT 
C1 
Pb2 ! 
In the above table, the column marked “major sixths,” con¬ 
tains also the key-notes of the minor scales. These key-notes, 
as will be seen, are a comma lower than the notes of the same 
letter, which are key-notes of major scales, e. g., the key-note of 
C minor (being the relative minor of Eb, in the scale of three 
flats) is C, comma lower than C3, the key-note of C major, in 
the natural scale. Consequently the leading notes of the minor 
scales (which are diatonic semitone below their key-notes, and 
major third above the major third of the relative major scale,) are 
lower than the key-notes of the major scales by the same inter¬ 
val, viz., a comma. In the column of “ perfect sevenths,” and 
“dominant sevenths,” the figures are attached to the letters arbi¬ 
trarily, and not according to the system adopted for the others, 
(24.) Being derived from a prime different from the notes 
of the diatonic scale, they will not vary from them by even com¬ 
mas. They are marked 7, and their pitch is aboipt a comma and 
a quarter* below that of the letters of the same name in the col¬ 
umn of “perfect fourths,” and each is always used (as a seventh 
only) in one chord and no other. 
26. Having explained our system of notation, and having before 
us a table, which contains the exact relative pitch of every note, 
in eleven major, and eleven minor scales, we are prepared to re- 
* The ratio of this interval is 63:64, and consequently larger than the comma, 
80:81. 
3
        

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