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ON C0N8TANT TRIADS.
Rules for the employment of vibration-fractions, |§ 94-96— Inversion of intervals, § 97—Definition of a consonant triad, § 98— Determination of all the consonant tonic triads within one Octave, :« 99—Arrangement in two groups, § 100—Mutual relation between the members of each group, § 101—Notation of Thorough-Baas, § 102—Fundamental and inverted positions of common-chords, § 103—Effects of Major and Minor chords, § 104.
ON PURE INTONATION AND TEMPERAMENT.
Successive intervals of the Major scale, § 105—Requisites for pure intonation in keyed instruments, §§ 106-108—Tempering and temperament, § 109—System of equal temperament, § 110—Its defects, § 111—Its influence on vocal intonation, § 112—Cum-brousness and inefficiency of the established pitch-notation for vocal music, § 113—The 'Tonic Sol-Fa ' pitch-notation, § 114—Its simple and effective character, § 115—Relation of the physical theory of consonance and dissonance to the aesthetics of Music § 116—Importance of extreme discords; conclusion, § 117.