314 On different Temperaments 



the stating of general and definite propositions, which do in- 

 clude the true principles of temperament. 



First, then, I conceive that we may fairly throw out of 

 this consideration every thing relating to full performances 

 by voices, violins, and other perfect i??siniments, or those 

 whereon each performer can at will, make any gradation of 

 pitch, however minute, in order to produce a perfect chord 

 with the note of some one other of the performers, who, 

 either from taking the principal part in the piece under per- 

 formance, from the opinion entertained of his superior skill 

 (if performing a subordinate part,) from the early, firm, or 

 loud striking or sounding of his Note, happens to lead the 

 harmony in that instance; it being far from universally 

 true, that the upper parts always attemper ih^'n melody , or 

 leaps from note to note, so as ly that means to make har- 

 mony with the bass part; but it as often happens, perhaps, 

 that a bass voice or violoncello performer, finds himself 

 obliged to yield the note which his, perhaps superior, judg- 

 ment and dexterity would have struck, or indeed nascently 

 did strike, and instantaneously to slide a little higher or 

 lower, to avoid a false or tempered harmony with some early 

 and loud soprano, counter-tenor, or tenor voice Note, or that 

 of some instrument under the same circumstances : — where 

 obligatos for particular instruments with fixed tones, as for 

 flutes, oboes, &c. are introduced, the occasional tempera- 

 ments in the melodies of the parts, for voices or perfect in- 

 struments, are still further multiplied; as they are again by 

 the frequent lowering, and sometimes raising of the pitch 

 altogether, in performances entirely vocal ; and respecting 

 which I feel justified, on the authority of Dr. Rohison, in say- 

 ino- that the nicest ears are incapable of judging of intervals 

 in melody within one-third of a comma (an error which pro- 

 duces a disagreeable jar in harmony), and in asserting tliat 

 a frequent and perhaps perpetual undulation of pitch fakes 

 place in such performances : on all which accounts, the in- 

 tervals of melody which are actually introduced in such per- 

 formances, probably amount lo several .'. un dreds \\\th\n the 

 octave! How absurd, then, to think of limiting such to 

 twelve intervals within the octave; notwithstanding that the 



very 



