Piano Tuning | Page 2

as a text-book for schools and colleges which give personal training in the care of the piano.
To the talented individual of either sex who is ambitious to acquire a dignified and profitable profession, to the scientifically-inclined musician who is eager to learn the fundamental principles underlying all musical harmony, and finally to the non-professional who loves to read because of a fondness for science, the book is submitted; if it should prove a boon to the former, a benefit to the second, or a pleasure to the latter, I shall feel rewarded for the work of its preparation.
THE AUTHOR.

CONTENTS.
page
LESSON I. 7 Introduction.
LESSON II. 11 General construction of the piano and something of its evolution and history,
LESSON III. 20 Technical Names and Uses of the Parts of the Upright Action,
LESSON IV. 32 Action of the Square Piano. Action of the Grand Piano. Instructions for Removing the Square and Grand Piano Actions,
LESSON V. 43 Regulating and Repairing. Faults in Pianos aside from the Action and their Remedies. Regulating and Repairing the Upright Action,
LESSON VI. 56 Regulating and Repairing the Square Action. Miscellaneous Repairs,
LESSON VII. 66 The Study and Practice of Piano Tuning,
LESSON VIII. 72 The Temperament. Beats, Waves, Pulsations. The New System of Temperament. The Octave. The Fifth. Pitch. Diagram of the Fischer System of Temperament,
LESSON IX. 85 Specific Instructions in Setting Temperament. The Continuous Mute,
LESSON X. 97 Theory of the Temperament. Equal Temperament. Unequal Temperament,
LESSON XI. 109 Technique or Modus Operandi in Piano Tuning. Manipulation of the Tuning Hammer. Setting the Mutes or Wedges in the Upright Piano. Setting the Mutes or Wedges in the Square Piano,
LESSON XII. 126 Mathematics of the Tempered Scale. Rationale of the Temperament. Proposition I,
LESSON XIII. 139 Rationale of the Temperament, Concluded. Proposition II. Proposition III. Numerical Comparison of the Diatonic with the Tempered Scale. Various Mathematical Tables and Examples,
LESSON XIV. 150 Miscellaneous Topics Pertaining to the Practical Work of Tuning. Cause of the Beats. Finishing up the Temperament. Tuning the Treble. Tuning the Bass. False Waves,
LESSON XV. 163 Miscellaneous Items Pertaining to the Practical Work of Tuning, Regulating, and Repairing. Comparison of the Different Systems of Temperament. System A. System B. System C. Final Inspection. Loose Pins. Split Bridges. Stringing. Wire Splicing,
LESSON XVI. 178 Tuning and Repairing the Reed Organ. Cleaning. Stops. Examination. Sticking Keys. Leaks. Pedal Defects. Sympathetic Vibrations. Tuning,
LESSON XVII. 193 Concluding Professional Hints. Peculiar Expressions Used in Designating Qualities of Tone. Questions often Asked the Piano Tuner. Seasons for Tuning,
INDEX, 199

LESSON I.
INTRODUCTION.
Undoubtedly every human being is fitted for some sphere of usefulness--some industry by which he can benefit mankind and support himself in comfort. Just what we are fitted for must, almost invariably, be decided by ourselves; and the sooner the better, else we may plod among the thousands whose lives are miserable failures for the reason that "they have missed their calling."
In the consideration of Piano Tuning as a profession, one should first determine if he possesses the necessary qualifications, the most important of which are a musical ear and some degree of mechanical ability. Having these, all else may be acquired by study. It is not necessary to possess a musical education or to be a musician; although a knowledge of music will be found a great aid. Still, an elementary knowledge of the principles of music is a necessity to the student of this course, as it has been found impossible to avoid the use of a few technical terms. In most cases, however, they are set forth in such a way that they will be readily apprehended by anyone who has even a slight knowledge of the fundamental principles of music.
In teaching Piano Tuning, it is the custom of the "Central School of Piano Tuning," for which these lessons were originally prepared, to have all students prepare two lessons in harmony as a test of their acquaintance with the intervals and chords used in tuning. The lessons are not difficult, and they embody only those principles which are essential to the proper understanding of the key-board: the intervals of the diatonic scale and the major common chord in the twelve different keys, C, D, E, F, G, A, B, B-flat, D-flat, E-flat, G-flat, and A-flat. In connection with the harmony lessons, we use as a text-book "Clarke's Harmony,"[A] and the student is required to master the first two chapters and prepare manuscripts upon each of the lessons. Below is a number of the most important questions selected from those lessons upon which manuscripts have been written:
1. Every white key on the piano represents an "absolute pitch." By what names are these pitches known? How are the black keys named?
2. How many tones constitute the diatonic scale? Give numerical names.
3. Intervals are measured by steps and half-steps. How many steps from 1 to 3 in the diatonic scale? 1