as On Musical Temperament. 
piece would render the labour of ascertaining the relative tre- 
quency of different signatures very tedious, it was thought best 
to consider all those modulations which are too transient to be 
indicated by a new signature, as belonging to the same key: 
This will account for the occurrence of the chords in the fol- 
lowing table, which are affected by flats and sharps. 
The minim, or the crotchet, was taken for unity, according 
to the rapidity of the movement. Bases of greater or less 
length had their proper values assigned them; although mere 
notes of passage, which bore no proper harmony, were gene- 
rally disregarded. The scores were taken promiscuously from 
all the different keys, and were reduced, when taken down, to 
the same tonic; the propriety of which will evidently appear 
from the foregoing remarks. The following table contains the 
result of the investigation. 
TABLE I. 
Common Chords.}| Flat Fifths 7ths. 9-sevenths. 
Baseg. : E 
Major | Minor || Maj. | Min. |] Maj. | Min,|] May, | Min 
BI 5 8sii—),— fee oe ee 
3 = N69 1 $5 i tt Fie eT oe 
bh 4 4p ae ee 
Avi —{ —t—a{—f—[—t st— 
All |} 19f 8f—{|—f 7] 2f—)|— 
A 166 588 2 1 26 5 oy in 
Gye tes oc ho 3} $80 as fol os ae 
G3 18 | eee eee laid agi he 
965 93 |} — | — |JL78 | 15 3\;— 
FY ao ane ee eee ee se ee 
352 60 —T=— Ti} ie) 77 5 
E Ill 26 Q71 |} — | — ai Se 
E 32 f B+ 24104 we ie 
DE} — —i} 2) 1t—l_—te— | — 
Da —i—| 4] —j|—)y—|— 
Dill || ° 29 pat ee ae | Be 
D 120 | 129} —|—H55 118} 6] 4 
c# as Stee e) aa Paes 
C3 2 —~|—j}—|—-}/}-—j—- 
Cc i769 | 275|}—|—] 5] 1} 4} 1 
