There are some few facts, in particular, which throw such light upon the 

 science of music, that I think it proper to mention them. On an excellent 

 piano-forte, tuned in my manner, that favourite portuguese hymn, called 

 Adeate Fideles, which is commonly printed in A major, was played successively 

 in that key, in the key of A flat major, in C major, and in D flat major. 

 The following was the result of this comparison. 



First, the piece was the most characteristic and sublime in the key of A flat. 

 It was better in that key even than in the original key of A. 



Secondly, the hymn was comparatively intolerable in the key of C ; although, 

 according to my temperament, the key of C is tuned perfect; having a 

 perfect third, a perfect fourth, and likewise a perfect quint. 



Thirdly, the piece was better even in the key of D flat than in the key 

 of C ; although the pitch of the key of D flat (being higher up) is less suited 

 to the character of that solemn composition than the pitch of the key of C. 



That is to say, in other words, that the intermediate key of C, although it 

 be tuned perfect, is less proper for that piece of music than either D flat or 

 A flat; one of which has a higher, and the other a lower pitch. And this fact 

 is the more remarkable, on account of the following illustrative circumstance. 

 Each of those three major keys, namely, D flat, C, and A flat, has, according 

 to my temperament, a perfect fourth, and a perfect quint. Therefore, it is 

 evident that the difference in the effect produced could result neither from the 

 respective fourths, nor from the respective quints. 



Consequently, the striking difference between those three keys, which every 

 person with a good ear must feel, results principally from the thirds, and from 

 the sixths, in each key respectively. And those two keys, namely, D flat, and 

 A flat, where the third in each is imperfect, and is of the exact value of a 

 bi-equal third, are beyond comparison better suited to the solemn character of 

 the hymn than the key of C, where the third is, on the contrary, tuned quite 

 perfect. 



We have been in the habit of considering what is commonly termed THE 

 WOLF as an inherent imperfection in every instrument which has exactly twelve 

 fixed keys in each septave. Whereas, the very remarkable fact just mentioned, 

 and several others of a like kind, most clearly prove, that, so far from the 

 five wolves being imperfections, it is precisely the proper distribution of 

 those wolves which produces that charming and essential VARIETY OF 

 CHARACTER, between the different keys, which is one of the chief requisites 

 in a well tuned instrument. 



Thus it is, that, from our ignorance and narrow prejudices, the perfection 

 of the principles which are to be found in nature are by us very frequently 

 unobserved. But the more thoroughly we learn to understand them, the more 

 v. c ought to feel gratitude towards the SUPREME BEING for enabling us to 

 perceive the sublime excellence of llieir wonderful arrangement. 



' ( If) ) 



