( 7°4 )

Accordingly; supposing mi to stand in B-fn-l^mi ( which is accounted itsNnturel Seat) the Sounds oscach Pipc are to bear these Proportions to eadiother, t j-

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And fo in each OFlavc fucceisrvely following. And it the Pipm in eachOclnve be sitted to Sounds in these Proportions of Gravity and Acutencjs , itwill be stippoled ( aecording touhis Hypetbeßs to be perfeclly Proportioned.

But, instead of these successive Proportions for each Hcmi-tone ; it is foundneeeffary (if I do not mistake the Practice) so to order the 1 3 Pipes 'containingix Intcrvnls which they call Ilemi-toties ) as that their Sounds ( as to Grnvityand Acutencss ) be in Continual Proportion, . ( each to its next following, inone and the fame Proportion ;) which, all together, stiall compleat that ofan Oclnve or Dia-pnson , as x to 1. Whereby it comes to pass that- each Pipcdoth not exprefs its proper Sound, but very near it, yet semewhat varyingfrom it; Which they call Bcncingy Which is semewhat of Imperlection in■this Neble bißrument ; the Top or all.

It may be asked, Why may not the Piper be fo ordered, as to have theirSounds in just Proportion, as well as thus Benring ?

I answer, It might very well be se, if ali Multes were Ccmprsed to the sen eKey, or (as the Grcel^s call it) the fame Mode', As for Instance, if, in aliCqmpoGtions, mi, were always placed in Bfn-b-mi. For then the Pipes mightbe ordered in such Proportions as I have now designed.

But Muficnl Composuions are made in great Variety of Modcs, or with greatDiverfity in the Pitch. Mi, is not always placed in B-fn-b-mi ■ but lerne timesin E-ln-mi , semetimes in A-ln-mi-rc , &c. And ( in Summ ) there is noneof these 1 x or 13 Pipes but may be made the Sent of mi. And if they were

exactly