422 KdlmaniCs Opposition to all the preceding ImproverhentS, 



modern " scale of nature," or 1 2 sounds only in the Octave^ 

 placed at equal distances, on which his " new Theory" 

 appears entirely built, that he so pompously and incessantly 

 compares with the best writings of British Musicians, to 

 their disadvantage, in his Quarterly Review; which *' ft'ora- 

 deiful compound of twelve Diatonic Chromatic Enhar- 

 monic Scales inane!", it is admitted by Mr. K. nmst be 

 abolished, as the first consequence of the establishment of 

 the " artificial Temper amenis" of Hawkes, Loeschman, and 

 Liston /, and therefore, he takes especial pains to cry them 

 all down as useless and absurd. 



What a lamentable case ! that the progress of Science and 

 Improvement in one of the most delightful of arts, should 

 render the sale less certain, of the voluminous works of 

 this profound Theorist !, who, to the honour, or disgrace 

 rather of the age, broadiy asserts, that violins, violoncellos, 

 and voices, ought not to make any difference between Ab 

 and G*, Db and C*, &c. !!, but should use, '* as nearly 

 equal a temperament f as possible," or in other words, 

 *' follow the (his) true standard scale, on which all modern 

 music depends." Not doubting but the scientific and de- 

 monstrable principles advanced in the " Essay on perfect 

 Intonation," will make their way, confirmed as they are in 

 every case, by an appeal to experiment, unimpeded by such 

 antiquated and unphilosophical, not to say interested, op- 

 position, as that 1 have been alluding to, 

 I remain, sir. 



Your obliged and very humble servant, 



12, Upper Crown- Street. Westminster, JoHN FaREY Sen. 



June 4, 18l2. 



"P. S. In conversation a few days ago with Mr. Loesch- 



\ A Temperament as nearly ec/ual as it is possible for the ear to judge of 

 it, results from taking each Fifth a schisma flat, or making the sartie tb cou- 

 iist of 2t + 3H, as first mentioned in your 28th volume, p. 65 (see also 

 xxxvi. p. 48). Now, in Mr. Liston's Scale above descri bed, there are li 



pairs of notes exactly at this distance apart, viz. C* & A'b, C* & Ab, 



i^* & A, D' & Bl.b, D'* & Bb, E' & Cb, E* & c", E'* & c, F'* & db, 

 F'*«. & d', O'* & e'b. A' & f~b, A'« & f, B' & gb, and B'* g\ And 15 

 pairs of equal temperament Fourths, the complements of the above, as A"b 

 ic C«, Ab & C'{<, &c. whose value is 3T-H or '255X + 5f + 22m. 



Twenty-six major Thirds and as many minor Sixths ar6 found in his scale 

 that differ only 32 from the equal Temperament, and 24 minor Thirds and 

 as many major Sixths that differ only 2X from these favourite chords of 

 Mr. KoUmann, but no concords except I, VIII, V and 4, that exactly agree 

 with that Scale. I am not aware, how far the construction of Mr. L's new 

 Organ, admits of trying the notes together, of the above eq[ual temperament 



Scale. man. 



