Gn Musical Temperament. 195 
TABLE XII. 
Fase, | Temperaments of the |} Length \. Vibra Beats in 10 Seconds of the 
Vihs}y |1Llds # Sds [) |: Strings. | Second |. Vths { lds Sds 
B | 143 | 675 | 149 || 53446| 449,04/44,0 |352,8 | 92,4 
[Bb | 105 | 69 |1114 | 59954, 428,92/30,8 | 34,0 |155,24 
A | 138 | 10.b| 154 || 59787] 401,42138,6 | 4,6b; 85,2 
} G# | 387#! 833 | ass || 65712! $76,79/98,7# ,360,5 |155,4 
| “ae "106 43 | 175 66874 358,88/26,4 | 17,6 | 86,8 
FH | 160 | 954 | 150 || 71496|339,68157,2 |372,8 | 69,8 
Ir | 4941 30 | 957 | 747861520,92[27,6 | 10,8 |143,04 
E | 108 | 180 | 151 || 79970] 300,10/22,2 | 66,6 | 62,0 
i Eb (1363 311 | 818 || 84194! 285,06//26,64|102,2 |186,64 
D | ia! 6 | 174 89384, 268,50/126,6 | 2,2 | 64,0 
c# | s2# 1009 | 128 95682| 250,831|10,94|295,3 | 44,8 
¢ Liss | |_ 16 | 446 100000 240,00//22,4 | 4,0 |147,0_ 
Nothing in the above tables will need explanation, except 
€ anomalous sharp beats of the 3ds, in the last column. 
! hese are derived from the perfect ratio 6: 7, because these 
Sds are, in reality, much nearer to the ratio of 6: 7 than to 
that of 5: 6 3 and hence could their beats be counted, they 
Would be those of the table, and not those which would be 
derived from considering these 3ds as having flat tempera- 
Inents of the ratio 5:6. But although the beats are slower, 
the nearer they approach the ratio 6: 7, this ought not to be 
regarded as any sufficient reason for admitting so large fem: 
Peraments into the scale, were it not absolutely necessary, 
order to accommodate those 3ds which are of far more fre- 
