And, of the four intermediate sharp thirds above mentioned, the remaining 

 two are nearer to a perfect third than to a bi-equal. Those two last mentioned 

 thirds are, 1. D, F sharp, which is the same key as G flat; 2. F, A. See 

 page 23. 



The reader will therefore perceive, that, in my temperament, the most 

 easy keys have, for thirds of the key, those thirds which are the most perfect. 



The two thirds of the key which are quite perfect are in the following keys, 

 viz. 



C major, which is without either flat or sharp ; 

 G major, which has only one sharp. 



The two sharper thirds of the key which are the nearest being perfect are 

 in the following keys, viz. 



D major, which has only two sharps ; 

 F major, which has only one flat. 



The two still sharper thirds of the key which come next in respect to 

 sharpness are in the following keys, viz. 



A major, which has three sharps ; 

 B flat major, which has two flats. 



And those six sharpest thirds of the key, each of which I term a bi-equal 

 third, are in the following keys, viz. 



E major, which has four sharps ; 

 B major, which has five sharps ; 

 E flat major, which has three flats ; 

 A flat major, which has four flats ; 

 D flat major, which has five flats ; 

 G flat major t, which has six flats. 



As there is not, in my temperament, any third, any fourth, or any 

 quint, less perfect than those specified above and in the following tables; it 

 is evident that this new mode of tuning must be excellent for transposition, and 

 for modulation. This fact has been established by regular and repeated experi- 

 ments, made in presence of many of the best judges. Between sixty and seventy 

 of the very first professional persons, of both sexes, and of the ablest connoisseurs 

 in England, have given to this new temperament their decided approba- 

 tion. It answers well, both in the major and in the minor keys. 



t Some authors call the key of G flat major, the key of F sharp major with six sharps. 

 But it is more systematic and methodical, to consider (as Dussek does) the five short key» 

 as flat keys in the major mode. 



S ( 18 ) 



