Piano Tuning | Page 3

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 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,