That some few have already felt how the intervals of the Series of Seven might be differently arranged (graduated) is manifested in isolated passages by Liszt, and recently by Debussy and his following, and even by Richard Strauss. Strong impulse, longing, gifted instinct, all speak from these strains. Yet it does not appear to me that a conscious and orderly conception of this intensified means of expression had been formed by these composers. I have made an attempt to exhaust the possibilities of the arrangement of degrees within the seven-tone scale; and succeeded, by raising and lowering the intervals, in establishing _one hundred and thirteen different scales_. These 113 scales (within the octave _C-C_) comprise the greater part of our familiar twenty-four keys, and, furthermore, a series of new keys of peculiar character. But with these the mine is not exhausted, for we are at liberty to _transpose_ each one of these 113, besides the blending of two such keys in harmony and melody. There is a significant difference between the sound of the scale _c-d♭-e♭-f♭-g♭-a♭-b♭-c_ when _c_ is taken as tonic, and the scale of _d♭_ minor. By giving it the customary _C_-major triad as a fundamental harmony, a novel harmonic sensation is obtained. But now listen to this same scale supported alternately by the _A_-minor, _E♭_-major, and _C_-major triads, and you cannot avoid a feeling of delightful surprise at the strangely unfamiliar euphony. But how would a lawgiver classify the tone-series _c-d♭-e♭-f♭-g-a-b-c_, _c-d♭-e♭-f-g♭-a-b-c_, _c-d-e♭-f♭-g♭-a-b-c_, _c-d♭-e-f-g♭-a-b♭-c_?--or these, forsooth: _c-d-e♭-f♭-g-a♯-b-c_, _c-d-e♭-f♭-g♯-a-b-c_, _c-d♭-e♭-f♯-g♯-a-b♭-c_? One cannot estimate at a glance what wealth of melodic and harmonic expression would thus be opened up to the hearing; but a great many novel possibilities may be accepted as certain, and are perceptible at a glance. * * * With this presentation, the unity of all keys may be considered as finally pronounced and justified. A kaleidoscopic blending and interchanging of twelve semitones within the three-mirror tube of Taste, Emotion, and Intention--the essential feature of the harmony of to-day. * * *