Piano Tuning | Page 2

comprehensive manner,
literary excellence being a secondary consideration.
While the book is designed for self-instruction, the systematic
arrangement of the text, and the review questions with each lesson,
suggest its use 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