The attempt to reduce the size of errors shows no tendency toward preferred intervals, such as those of a fourth or a fifth. On the contrary we find the overwhelming majority of the errors to be those of a semitone, and the larger the error the less its frequency in consecutive order from the halftone error to those over two octaves in magnitude. In a few cases octave errors show a slight increase in number over the errors of the major seventh, and in still fewer cases the rise in number of octave errors brings the frequency of this interval error next in order to that of the semitone or the whole tone.