N.B. - The flat comes here by the prime 5, and the comma by the prime 3. Now we have the key of D provided for:-

The interval F G A, which in the scale of A was a 9-8-comma interval, must take the place of C D E of the scale of A, which is an 8-9-comma interval; and in order to do this, G has been mathematically lowered a comma. As the middle of the dominant in the major is raised a comma, so the root of the subdominant is lowered a comma. The interval A B C, which in the scale of A was a 9-5-comma interval, is here to take the place of E F G in the scale of A, which is a 5-9-comma interval; and in order to do so, B is lowered 4 commas, and so becomes ?B; and this mathematical process makes the new scale exactly like the old one. This is the way of the minors when calculated as a descending series of scales, which is their natural way.
     If the minors are to be developed by sharps in an ascending series of fifths, then the mathematical process must be, as in the majors, by multiplying the top of the dominant by 3 and by 5, and they will then follow the majors. But the Genesis must first necessarily be produced by the descending process.

     The effects of different positions of chords. The first position is clear and solid; the second is light and pretty. The notes which have the most varied effect in a stream of harmony are the upper and under notes, the edges of the stream; the two outlines determine the effect:-