<HTML>List, With the gracious and gratuitous help of Jason Kanter and my own puzzle solving efforts, I came up with a slightly amended version with which I am satisfied.  Jason says it's a little more like the Vallott-Young than the plain Young and I can see what he means but really, it's not exactly like either one.  That means I've done it again, I've just gone around and made up my own temperament.  But it does satisfy all the rules of WT tuning and it is 18th Century style. As a practical matter, I don't believe anyone could tell the difference between mine, the Young or the Vallotti-Young when music is played.  The real value of this idea is that a modern aural tuner can use the skill he/she already has in tuning ET, adapt those skills easily to this temperament and know that the pitch is where it should be, A-440. I'll get this posted on my website as soon as I can get my editing program back.  Until then, enjoy and have a Happy New Year. Bill Bremmer RPT Madison, Wisconsin <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> Tuning a Representative 18th Century Well Tempered Tuning 1.  Tune A4 to A-440 pitch source. 2.  Tune A3 from A4, a 6:3 octave.      Test for 6:3 octave:  play A3 and C4, then C4 and A4.  When both intervals beat      exactly the same, the octave is correct. 3.  Temper F3 from A3,  a widened 3rd to beat at 4 beats per second. 4. Tune C4 from F4, a pure 5th.  The A3-C4 minor 3rd will beat faster than      the F3-A3 Major 3rd (at 6 beats per second). 5.  Tune F4 from C4, a pure 4th.  This will form a perfect 4:2 octave, F3-F4. 6.  Tune Bb3(A#3), a pure 5th from F4.  This will also make a pure 4th, F3-Bb(A#3). 7.  Tune Eb4(D#4), a pure 4th from Bb3(A#3). 8.  Tune Ab3(G#3), a pure 5th from Eb4(D#4). 9.  Tune Db4(C#4), a pure 4th from Ab3(G#3). 10. Tune Gb3(F#3), a pure 5th from Db4(C#4). 11.  Temper E4 from C4, a widened 3rd to beat at 4 beats per second. 12.  Temporarily tune B3 to E4, a pure 4th. 13.  Listen to the F#3-B3 4th and notice the beating. 14.  Flatten B3 until both 4ths, F#3-B3 and B3-E4 beat exactly the same. 15.  Temper G3 from B3, a widened 3rd to beat exactly the same as the two        previous 3rds, F3-A3 and C4-E4, (exactly 4 beats per second). 16.  Temporarily tune D4 from A3, a pure 4th. 17.  Notice the beating between G3 and D4. 18.  Sharpen D4 until both the G3-D4 5th and the A3-D4 4th beat exactly the same. </HTML>