Reply to the Rev. Mr. Smyth on Tuning. 113 
diily one equal temperament, but there are as many unequal 
temperaments as we please.” 
The temperament according to which I tuned a harp 
was nearly the equal. Since reading Mr. Smyth’s Reply, 
I have endeavoured to tune that system on a piano-forte, 
by the melody alone, striking the finger-keys singly, and ini 
a gradual succession only. I have tried the experiment 
but once. Twenty-four sounds, near the middle of the 
general scale of the instrument, were so tuned within 
fifteen minutes, in the presence of two experienced tuners, 
who afterwards compared the sounds in one octave with 
the sounds of a monochord having a scale divided de- 
cimally, and found the corresponding lengths of the wire 
to be as follow: 
C 1000, Cx939, D 886, Dx836, E793, F749, Fx704, 
G 664, Gx628, A 596, Ax559, and B 530; while those of 
the equal temperament are nearly, C 1000, C944, D891, 
Dx841; £794, F750, Fx707, G 667, Gx630, A 595, 
Ax561, and B 530*. 
I have no doubt but that, with practice, it would be 
possible to tuhe any system in the same manner, were it 
hecessary. 
Dr. Bemetzrieder, in his silly and useless directions for 
tuning, says, that the interval called a ‘¢ coma-(comma £9 
is the smallest space perceptible by the ear, any thing leas 
ds not in its teach.” p. 3. I believe, however, that the ut- 
‘most degree of accuracy of this organ has never yet been 
determined. 
I feel obliged to Mr. Smyth for, having; in compliance 
with my request, given a Table of Beats of the Mean Tone 
Temperament. Tables of beats furnish the most ¢ertain 
means of tuning ahy system ou the organ, if adapted to 
the pitch of the instrament; but for instruments with wires, 
they are, perhaps, entirely useless., 
The extract from Dr. Burney’s History I eonsider as 
the least praiseworthy part of Mr. Smyth’s Reply. First,. 
it was quite unnecessary, because I did not fefer to Exi-, 
mino’s works, but gave his words; merely as an exposition 
of opinions common with some tuners: Secondly, it was 
* D’Alembert, speaking of the equal temperament, preferred by Ra- 
meau, says, “ Si dans le temperament ordinaire on rencontre des tierces 
moins alterées que daus celui de M. Rameau, en récompense les quints ¥ 
sont beaucoup plus fausses, et plusieurs tierces le sont aussi; de manitre que 
sur uu clavecin aecordé par le temperament ordinaire, il y a cing ou six 
modes wsvpportatles, et dans lesquels on ne peut riea exécuter.” p. 56. 
Elemens de Musique. Lyon, 1779. 
Vol, 37. No. 154, Feb. 1811. H not 
