the Temperament of Mufical Injlruments , 253 
ufed ; and for this reafon mod: of the modern compofitions in 
mufic are written in thofe keys. 
So far the common method of tuning anfwers fome pur- 
pofe ; for as long as the performer is to play in certain keys 
only, it is much better to have them tuned in the mod; advan- 
tageous manner, than to let thofe be tuned in a lefs perfect man- 
ner for the fake of others, which he does not intend to ufe. Hence 
the great harpfichord players generally have their inftruments 
tuned in a peculiar manner, viz. fo as to give the moff advan- 
tageous effect to thofe concords which they more frequently 
ufe in their compofitions. And hence alfo, the harplichords 
and organs are always tuned different from each other, unlefs 
they be tuned by the fame perfon with equal attention, and 
without any particular inftrudtions. 
This pradtice cannot conveniently be laid afide, viz. when 
the inffrument is to be tuned for folo playing; and for a cer- 
tain ftyle of mufic, it is very proper to tune it fo as to give the 
greateft effedt to thofe combinations of founds, which are moffly 
ufed in thofe compofitions. But the cafe is far different when 
the inffrument is to ferve for accompanying other inffruments 
in every fort of mufic, or the voices of good fingers ; for then 
the difagreement becomes very audible ; and for this purpofe 
the harpfichord or organ ought to be tuned according to the 
above demonftrated temperament of equal harmony, which is 
%he only one that can pofiibly take place. 
When the compofitions of old mafters are performed in con- 
cert, and with the organ or harpfichord tuned in the common 
manner, the effedt is frequently very difagreeable. This is 
particularly the cafe with the fongs of Handel, Galluppi, 
Leo, Pergolese, and others, who wrote in a great variety 
Mm2 of 
