1 70 On Timing an Equal Temperament. 



Here f*A beats 137, and DF* beats 160 times. 



12. " From the last F* tune c* a flat fifth, and try it 

 with A and F* until you have Ac* a good third, and c* F* 

 a good fourth." 



The fifth F*c* beats 8|, and the major third Ac* 

 120; of course the fourth C* F* beats 17, the same 

 with its complemental fitth above it. 



13. "From C* tune g* a fiat fifth, and try it with E 

 and B until you have Eg* a good third, and g*B another 

 good third." 



The fifth C*g* beats 12 times; also Eg* beats 180, 

 and g*B beats 308. 



14. " From G* tune g* below it, a perfect octave, and 

 try it with E and B." 



g*B beats 154, the half of the above, and EG* 180 

 as above, and the repetition, and the whole of this 

 step is unnecessary, 



<c As you now proceed by tuning the fifths downwards, 

 the lower "note is to be sharpened, which is the same thing 

 in effect as flattening the upper note, when tuning up- 

 wards." 



15. "From C above middle C, tune f rather sharper 

 than a perfect fifth, and try it with A and C, until you 

 have f A a good third, and Cf a good fourth." 



Here the fifth f C beats 16 times, and so does the 

 fourth Cf, and the trial of it is useless and fallacious, 

 for proving whether f C is sharpened the proper quan- 

 tity for an equal temperament of the scale. But f A 

 beats 190, and this furnishes a check of some use. 



16. " From F tune a* a sharp fifth, and try it with D, 

 until vou have a*D a good third, without sensibly injuring 

 the fifth." 



The fifth a*F beats 10§ times, and the third a*D 

 beats 127 times. 



17. "From A* tune a* above it, a perfect octave, and 

 try it with D and F." 



Here A*D beats 127 times as above, and a*F 10J 

 times, the same as the last, which shows this to be a 

 useless step. 



18. From the last tuned A* tune d* a sharp fifth, and 

 try it with G and A* (below) until you have A*d* a good 

 fourth, and d*G a good third." 



Here 



