Tune: G#36 → C#41. Count 7+ in 7 seconds, with 'seven' slightly before the seventh second is up.
Test: A37-C#41, theoretically 8.7 beats per second, in practice 8.5bps or slower.
Note—i. The third should fit between the surrounding thirds, G#36-C40 and A#-D42, making a smooth progression.
Note—ii. The A cannot change, as that is the starting note. If C# needs to go up or down to fit, then G# and D# may need to be adjusted to suit.
It is often necessary to raise G# slightly to get C# in the right relation to A. Raising G# will be the third G#-D might be slow, so compromise the D by making it slightly faster than 7 in 7 seconds.
Note—iii. As the 4th A37-D42 is fundamental to the tuning, try to make the adjoining 4th, G#-C# match it by adjusting G#, and perhaps C to make the G#-C third fit.
Tune: C#41 → F#34 (4th). Count 4½ in 7 seconds.
Test: F#34-A#38 should fit between F33-A37 and G35-C40.
A second test would be the sixths F33-D42 and F#34-D#43.
Tune: F#34 → B39. Count 6 in 7 seconds.
Test: B can be tested as a third G35-B39, and as a third B39-D#. D# is most likely to need adjustment as it was not tested when first set.
Tune: B39 → E44. Count 7½ in 7 seconds.
Test: C40-E44 should fit between the surrounding thirds, and should also run as a sixth.
Tune: C40 → F45. Count 7½ in 7 seconds.
Test: C#41-F45 should run as a third and as a sixth, and of course will make an octave with F33.
It can be useful to start setting F45 by playing it with A#36, close to pure, then lowering it to 7½ in 7 seconds. This technique is often applied in the next section, where the temperament is extended up to A49.
The inharmonicity is greater here than in the lower part of the temperament area, so set speeds are irrelevant. Instead one relies on hearing a progression of speeds in the sixths, while keeping the pitch of a note not sharper than pure as a fifth, and certainly never slower than 1bps as a fourth.