Piano Tuning | Page 3

to 4? 1 to 5? 3 to 5? 5 to 8? 1 to 8?
4. Why is there no black key between E and F, and between B and C?
5. From 1 to 3 is called an interval of a third; from 3 to 5, also a third; from 1 to 5, a fifth: they are so called because they include, respectively, three and five members of the diatonic scale. What is the interval 3 to 6? 2 to 5? 5 to 8? 2 to 6? 1 to 8?
6. Thirds are of two kinds: major (larger) thirds embrace two whole-steps; minor (smaller) thirds embrace a step and a half. What kind of a third is 1-3 in the diatonic scale? 2-4? 3-5? 6-8?
7. What do we mean by the term, Fundamental of a chord? What is added to it to complete the common chord?
8. What absolute pitches comprise the common chord of C? What kind of interval between the first two members? What between the first and last? What between the second and last?
9. What tones would you use if told to strike the common chord of C in four-part, close harmony, using the fundamental for the highest tone?
10. How many keys (white and black) are there between the fundamental and the third? How many between the third and the fifth? How many between the fundamental and the fifth when the fifth is played above the fundamental?
11. How many keys (white and black) are there between two keys comprising a perfect fourth?
12. (Most important of all.) What keys of the piano keyboard comprise the common chord founded upon G as the fundamental? Upon F? Upon F[#]? Upon G[#]? Upon B[b]? Upon D[b]? Upon E[b]? Upon D? Upon E? Upon A? Upon B?
If one is able to answer these questions correctly he is qualified to begin the study of Piano Tuning.
[A] Published by Theodore Presser, Philadelphia, Pa.

LESSON II.
~GENERAL CONSTRUCTION OF THE PIANO; SOMETHING OF ITS EVOLUTION AND HISTORY.~
The piano of today is, unquestionably, the most perfect, and consequently the most popular and beloved of all musical instruments.
That enchanting Queen of the home, Whose place in the hearts of the family Is as dear as though it could speak In words of joy and sorrow, Sadness or consolation; Soothing, animating, enrapturing, Charming away the soul From its worldly weight of cares, And wafting it softly Into the realm of celestial dreams.
The untiring efforts of genius for over a century have succeeded in producing a musical instrument that falls little short of perfection. Yet other inventions and improvements are sure to come, for we are never content with "good enough."
The student of these lessons may, in his practice, discover defective mechanical action and by his ingenuity be able to improve it; he may likewise see where an improvement can be made in acoustic construction; where a better scale can be drawn; or where different and perhaps new materials may be used for the component parts of the instrument. The possibilities are numerous along these lines, and in addition to bestowing a favor upon the general public, the man who has the originality to produce something new, places himself beyond want.
The inevitable inference is that the piano is an evolution of the harp principle. This instrument was known centuries previous to the Christian era. From the best history obtainable, we learn that about three hundred years ago, the first effort was made to interpose a mechanical contrivance between the performer and the strings whereby it would only be necessary to strike the keys to produce tone from the strings, thereby decreasing the difficulty in finding the strings and picking them with the fingers, and greatly increasing the possibilities in musical rendition.
History gives credit to Italy for the first productions of this kind, about 1600 A.D., when the faculty of music was beginning to manifest itself more boldly. Scientists saw that wonderful developments were possible, and we have reason to believe that experiments were made in England, France, Germany and all civilized countries about this time, for the production of the instrument which we call, in this day, a Pianoforte. (Piano e forte: soft and loud.)
At this time communication between the different countries was, of course, slow and uncertain, and experiments of this kind were probably unknown outside of the immediate neighborhood in which they were tried; therefore, much valuable and interesting history has not come to light. However, from the specimens which we have had the pleasure of seeing, and some of which we have had the opportunity to work on, we infer that about the same line of difficulties presented themselves to all of these early experimenters, most of which were not efficiently overcome until in the last century, and the most important of which it fell to the lot of American inventors to