H. W. Poole on Perfect Musical Intonation. 205 
36. The following table will exhibit the temperament of the 
principal chords and intervals in the two systems. 
EQUAL TEMPERAMENT, SYSTEM, 
coca +4 of comma Flat. | } of comma Flat. 
Fourths, dy Ta “© Sharp. oc «Sharp. 
a” een. «© Sharp Perfect. 
Minor Sixths, $d igo i Baas: Perfect. 
Minor Thirds, fea: “ Flat. | $ of comma Flat. 
Major Sixths, ats “ Sharp} 3 ‘ “© Sharp. 
Perfect Sevenths, LA “ “  Sharp.j12 “ “© Sharp. 
Major tones and Ninths, 2“ S Blabe dud oF “Flat. 
Minor ones, 2 6 “c Sharp 4 66 “ Shar 
Diatonic Semitones, | 4 “ “ Flat. | 3 “  “ Sharp 
Chromatic Semitones,  * “ Sharp. 14 “ “« Flat 
Grave chro. Semitones, 155 “ «© Sharp.| ¢ “ Pa 
37. If we extend the science of music and musical ratios be- 
yond the limits referred to in (8.) the errors from temperament, 
in the mean-tone system, will be increased by the addition of the 
diésis. As no provision is made in either system of temperament 
38. In whatever manner the temperament is set, the best chords 
are given imperfect, and this imperfection is so obvious that the 
common ear, entirely unskilled in music, can most readily distin- 
guish between chords that are tempered, and those that are tuned 
Perfectly. We are so constituted, however, (and wisely so, of 
It is for the natural and uncontaminated, as well as for the culti- 
vated, ear to appreciate fully the beauty and perfection of pure 
armony. The best tuners, in our large manufactories are free 
to confess that there is but little musical satisfaction in leaving 
