315 On different Tempcrainc7if$ 



ceivahly niore gratifying to the car^ tiian any modificatiun 

 of twelve notes within an octave possibly can be. 



Secondly, before we can reason as to the proper tempera' 

 ments to be applied to the harmony of the conchords (which 

 are seven, viz. 3d, HI, 4th, V, 6th, VI, and VIII, within 

 the octave), it is absolutely necessary to determine the exact 

 number of fixed sounds, which we mean to admit in an oc- 

 tave : in any one mode or key, practical musicians admit but 

 seven notes, yet for the purposes of modulation, or changing 

 of the key, they have extended the number to twelve, by 

 the admission of five half-notes marked either b or *, di- 

 stinguished on keyed ins'ruments by shorter finger-keys; 

 and to this system of twelve notes within the octave, the 

 writing of music throughout the civilized vv'orld is, I be- 

 lieve, confined, and almost all the instruments with fixed 

 tones which are in use, are adapted to this system ; yet at- 

 tempts have not been wanting to remedy the glaring defects 

 of this arbitrary svsteni, by the introducticn of more fixed 

 tones within the octave, as at the church in the Temple, and 

 the chcpel of the Foundling Hospital, L(;ndon, where four- 

 teen notes are said to be admitt.'d ; in the instruments ma- 

 nufac-tured some years ago by Mr. Claggct, of Soho, (of 

 whose principles and construction I should be glad to read 

 some account,) where more tones v.'ere admitted ; and in 

 Dr. Robert Smith's harpsichords, where 21 notes within 

 the octave were used: ail these being for the purpose of tetter 

 tmiptring the harvony, and not for avoidivg all tempera- 

 ments in the harmony, (as IVjaxwell's scheme proposes,) by 

 throvvine: the same ?i,/o the inelody, where ordinary ears 

 ■would not be able to perceive ihcm, any more than in per- 

 formances by voices and perfect instruments, by which last, 

 temperaments of the linrmxmy cannot be ttTccted, accord iilg 

 Co anv svstcni, unless by acco?npanying in unisons, the fixed 

 upper notes of an irnperiect instrument, which I think no 

 one would wish to recomnjend. 



Thirdly, unless th- exact number of twelve notes in an 

 octave be assumed for tempered systems of fixed tones, to 

 adapt them to the musical language and instruments in use, 

 we arc under the necessity; either of instructing musicians to 

 \,,. ■;.•.. perform 



