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c scale. If we divide the string into three parts, the result will be a sound called the large fifth; a division into four parts gives the next higher octave of the bass; into five, gives the sound known as the large third, commonly called major third; into six, the octave, or next higher repetition, of the large fifth; into seven, the small seventh; into eight, the third repetition of the octave of the bass. The progression thus far is hence: Bass--1st octave of bass--large fifth--2d octave of bass--large third--1st octave of large fifth--small seventh--3d octave of bass. Employing the alphabetical names of the notes (always ascending): C--C--G--C--E--G--B flat--C. This progression may truly be called _natural_, as it is that into which the string naturally divides itself when stricken. An attentive ear can readily distinguish the succession of sounds as far as the small seventh. The longer bass strings of any piano of full tone and resonant sounding board will suffice for the experiment. These are also the natural notes as found, with differences in compass, in the simple horn and trumpet, and the phenomenon is visibly shown in the well-known experiment of grains of sand placed on a brass or glass plate, and made to assume various forms and degrees of division under the influence of certain musical sounds. This is not the place to elaborate the subject, or to show the progression of the natural scale as produced by further subdivisions of the string. Suffice it to say that the remaining notes of the common diatonic scale are _selected_ (with some slight modifications) from sounds thus produced. This scale cannot then be considered, in all its parts, as the fundamental, natural one. Nature permits to man a great variety of thought and action, provided always he does not too far infringe her organic laws. She may allow opposing forces to result in small perturbations, but fundamental principles and their legitimate consequences must remain intact. No one can ponder upon the above-mentioned harmonic foundation of the musical scale without conceiving a new idea of the beauty and significance of that glorious art and science which may be proved to be based upon laws decreed by the Almighty himself. The one consideration that, in all probability, no single musical sound comes to us alone, but each one is accompanied by its choir of ascending harmonic sequences, is sufficient to afford matter for many a wholesome and de
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