1.

Tune your a' (thats the one in the octave above middle c' of course, but you knew
that!) to a tuning fork, and tune a in absolute perfect tune an octave below it.
2. Now we want to find the f a third below that a: Tune it perfect first of all, but then
widen the interval by flattening the f until you hear three distinct beats per second. Look
at the second hand on your watch if you must, and you should be able to match the slow
wow-wow-wow of the interval without too much trouble.
3. Tune all the fifths from the flat side of F around the circle of keys absolutely perfect.
Dont stop halfway and change direction like you did with Kirnberger, but continue
right around until you hit B.
4. Take a moment to contemplate what
you have to do now. Look at the diagram
and you will see all the fifths in the circle
between F and A which must be
narrowed somewhat, but not quite as
much as the quarter comma to which you
have become so adept. Some people will
make a great to do about various checks
and things to get all these tempered fifths
exactly the same amount narrow, but
lets not get involved with that. There is
also the position of the E to determine
between the already in-tune A and B, so
lets begin there.
5. Tune e' pure to a, then lower it a little,
squeezing the interval so it has a perceptible but not overly blatant wave. Drop down the
octave now to e, which of course must be tuned perfect. Check this lower note against
the b. If you are somewhere close, this interval of a fifth will also be a little narrow, and
leisurely beating about once per second for those who would like to count such things.
If its not, dont move the b! Try shuffling the e around a little instead: Put it exactly
where you want it, but remember if you move your e, you must also move your e',
otherwise you will have a very noticeable octave out of tune, spoiling the rest of your
good efforts.
6. Middle c' comes next. Tune it a perfect fifth above your f, and then squeeze it a little
so the resulting fifth with f sounds quite similar to the already tuned eb intervalIf
anything, you could make it appear to beat just a tad faster, just a little more restless
sounding.
7. All that remains now is the G and D, floating around somewhere in the middle of the
circle as yet undetermined. Find your g' above middle c', again tuning the fifth perfect
and then squeezing it. (Youre a good deal higher up the keyboard now, so bear in mind
that if this interval is the same theoretical size as the last, its going to beat just that
more faster and trick you into thinking you have actually tuned it rougher: Every octave
you go up doubles the beat speed.) Drop down the octave to the perfect g.

8. Your d' is left. Jam it in between the g and the a', if that is the right phrase to use.
First of all, tune it perfect to g, and then just for fun observe what it sounds like when
played with the a': This latter interval should obviously be (and sound) way too narrow.
Commence your juggling act, lowering your d' little by little until your fifth gd'
sounds about the same as your expertly tuned fc'.
9. If youve done reasonably well, your resulting d'a' will probably just beat a little
faster than c'g', and the beat-counters will be pretty happy if when you check all your
tempered fifths, each one seems to beat just a little more than the previous as you
ascend the keyboard from eb, fc', gd', ae', c'g' & d'a'. All the other intermediate
ones are pure: fc', ae', etc.
10. Take a breather now, put the rest of your instrument in tune with your bearings area,
and play a well-earned piece.

These later well-temperaments do involve a bit more fussing, but are deservedly popular
because of their versatility: Vallotti is one of the most often requested temperaments for
ensemble use in late baroque and classical repertoire. If you dabble with fortepianos,
you might like to try Vallotti for music as late as Beethoven and even some Schubert.