every interval should be made perfect; but it is impossible to make
them so, and get a correct scale, as we shall see later on.

Now tune 2G by the 1G just tuned, to a perfect octave. Remember that
all octaves should be left perfect--all waves tuned out. Now try 2G
with 2C. If your octaves are perfect, this upper fifth will beat a
little faster than the lower one, but the dissonance should not be so
great as to be disagreeable. Proceed to your next fifth, which is 2D,
then its octave, 1D, then its fifth and so on as per directions on the
system card. You can make no chord trials until you have tuned E, an
interval of a major third from C.

Having tuned 2E, you can now make your first trial: the chord of C. If
you have tempered your fifths correctly, this chord will come out in
pleasing harmony, and yet the E will be somewhat sharper than a
perfect major third to C. Now, just for experiment, lower 2E until all
waves disappear when sounded with 2C. You now have a perfect major
third. Upon sounding the chord, you will find it more pleasing than
before; but you cannot leave your thirds perfect. Draw it up again to
its proper temperament with A, and you will notice it has very
pronounced beats when sounded with C. Proceed with the next step,
which is that of tuning 1B, fifth to 1E. When tuned, try it as a major
third in the chord of G. At each step from this on, try the note just
tuned as a major third in its proper chord. Remember, the third always
sounds better if lower than you dare to leave it; but, on the other
hand, it must not be left so sharp as to be at all unpleasant when
heard in the chord. As to the position of the chord for these trials,
the second position, that is, with the third the highest, is the most
favorable, as in this position you can more easily discern excessive
sharpness of the third, which is the most common occurrence. When you