Source: Die Nothwendigsten Anmerckungen und Regeln wie der Bassus Continuus oder General-Bass wol könne tractiret werden (Ascherselben: 1698)

Original text in German
English translation

Werckmeister’s treatise on playing continuo includes an appendix entitled Kurtzer Unterricht und Zugabe wie man ein Clavier stimmen und wohl temperiren könne, which he says he feels he must include precisely because the novice may not know what a “tempered keyboard” is. It is very interesting that this temperament is both more elegant and – for a novice – considerable more complex than his famous quasi-circulating “Werckmeister III”. His instructions are somewhat open to interpretation, but the possibilities always remain within certain limits which are fairly easy to determine. At its most conservative, it resembles the mollified meantones of the French authors, although the worst tonality is shifted one fifth to the left, from G# major to C# major, making the first flat keys a bit better. When pushed to the other extreme, it begins to resemble the quasi-equal rational circulating temperaments of Neidhardt and Sorge. I provide it here in five different versions, from more-meantone-like to more-equal-like.

Werckmeister's mollified meantone

Werckmeister's mollified meantone

Werckmeister's mollified meantone

Werckmeister's mollified meantone

Werckmeister's mollified meantone