keys, our scale must be constructed greatly to the detriment of the
"remote" keys. While a chord or progression of chords would sound
extremely harmonious in the favored keys, they would be so unbalanced
in the remote keys as to render them extremely unpleasant and almost
unfit to be used. In this day, when piano and organ music is written
and played in all the keys, the unequal temperament is, of course, out
of the question. But, strange to say, it is only within the last half
century that the system of equal temperament has been universally
adopted, and some tuners, even now, will try to favor the flat keys
because they are used more by the mass of players who play little but
popular music, which is mostly written in keys having flats in the
signature.

Upon the system table you will notice that the first five tones tuned
(not counting the octaves) are C, G, D, A and E; it being necessary
to go over these fifths before we can make any tests of the complete
major chord or even the major third. Now, just for a proof of what has
been said about the necessity of flattening the fifths, try tuning all
these fifths perfect. Tune them so that there are absolutely no waves
in any of them and you will find that, on trying the chord G-C-E, or
the major third C-E, the E will be very much too sharp. Now, let your
E down until perfect with C, all waves disappearing. You now have the
most perfect, sweetest harmony in the chord of C (G, C, E) that can be
produced; all its members being absolutely perfect; not a wave to mar
its serene purity. But, now, upon sounding this E with the A below it,
you will find it so flat that the dissonance is unbearable. Try the
minor chord of A (A-C-E) and you will hear the rasping, throbbing
beats of the too greatly flattened fifth.

So, you see, we are confronted with a difficulty. If we tune our