6. With what results have you demonstrated the experiments in this and the previous lesson?

LESSON XI.

~THE TECHNIQUE OR MODUS OPERANDI OF PIANO TUNING.~

At this juncture, it is thought prudent to defer the discussion of scale building and detail some of the requirements connected with the technical operations of tuning. We do this here because some students are, at this stage, beginning to tune and unless instructed in these things will take hold of the work in an unfavorable way and, perhaps, form habits that will be hard to break. Especially is this so in the matter of setting the mutes or wedges. As to our discussion of scale building, we shall take that up again, that you may be more thoroughly informed on that subject.

Some mechanics do more work in a given time than others, do it as well or better, and with less exertion. This is because they have method or system in their work so that there are no movements lost. Every motion is made to count for the advancement of the cause. Others go about things in a reckless way, taking no thought as to time and labor-saving methods.

In spite of any instruction that can be given, the beginner in piano tuning will not be able to take hold of his work with the ease and the grace of the veteran, nor will he ever be able to work with great accuracy and expedition unless he has a systematic method of doing the various things incident to his profession.

In this lesson, as its subject implies, we endeavor to tell you just how to begin and the way to proceed, step by step, through the work, to obtain the best results in the shortest time, with the greatest ease and the least confusion.

MANIPULATION OF THE TUNING HAMMER.

It may seem that the tightening of a string by turning a pin, around which it is wound, by the aid of an instrument fitting its square end, is such a simple operation that it should require no skill. Simply tightening a string in this manner is, to be sure, a simple matter; but there is a definite degree of tension at which the _vibrating section_ of the string must be left, and it should be left in such a condition that the tension will remain invariable, or as near so as is possible. The only means given the tuner by which he is to bring about this condition are his tuning hammer and the key of the piano, with its mechanism, whereby he may strike the string he is tuning.

The purpose of the tuning hammer is that of altering the tension. The purpose of striking the string by means of the key is twofold: first, to ascertain the pitch of the string, and second, to equalize the tension of the string over its entire length. Consider the string in its three sections, viz.: lower dead end (from hitch pin to lower bridge), vibrating section (section between the bridges), and upper dead end (from upper bridge to tuning pin).

When placing the hammer on the tuning pin and turning to the right, it is evident that the increased tension will be manifest first in the upper dead end. In pianos having agraffes or upper bridges with a tightly screwed bearing bar which makes the strings draw very hard through the bridge, some considerable tension may be produced in the upper dead end before the string will draw through the bridge and increase the tension in the vibrating middle. In other pianos the strings "render" very easily over the upper bridge, and the slightest turn of the hammer manifests an alteration of pitch in the vibrating section. As a rule, strings "render" much more easily through the upper, than the lower bridge. There are two reasons for this: One is, that the construction of the lower bridge is such as to cause a tendency in this direction, having two bridge-pins which stand out of line with the string and bear against it in opposite directions; the other is that the lower bridge is so much farther from the point where the hammer strikes the string that its vibration does not help it through as it does at the upper bridge.

Now, the thing desired is to have the tension equally distributed over the entire length of the string. Tension should be the same in the three different sections. This is of paramount importance. If this condition does not obtain, the piano will not stand in tune. Yet, this is not the only item of importance. The tuning pin must be properly "set," as tuners term it.

By "setting the pins," we mean, leaving it so balanced with respect to the pull of the string that it will neither yield to the pull of the string nor tend to draw it tighter. Coming now to the exact manipulation of the tuning hammer, there are some important items to consider.[F] Now, if the tuning hammer is placed upon the tuning pin with the handle straight upward, and it is pulled backward (from the tuner) just a little, before it is turned to the right, the tension will be increased somewhat before the pin is turned, as this motion, slight as it may seem, pulls the pin upward enough to draw the string through the upper bridge an infinitesimally small distance, but enough to be perceptible to the ear. Now if the hammer were removed, the tendency of the pin would be to yield to the pull of the string; but if the pin is turned enough to take up such amount of string as was pulled through the bridge, and, as it is turned, is allowed to yield downward toward the pull of the string, it will resume its balance and the string will stand at that pitch, provided it has been "rendered"

properly over the bridges.

[F] Bear in mind, the foregoing and following instructions are written with reference to the upright piano. The square does not permit the observance of these suggestions so favorably as the upright.

We set forth these details that you may have a thorough understanding of what is meant by setting the pins, and while it is not always advisable to follow this method in tuning, there are some pianos that will stand more satisfactorily when treated in this way. This method is recommended where the string has become rusty at the upper bridge, as it is loosened at the bridge before it is started to wind around the pin which prevents it breaking at that point. We believe that ninety per cent. of strings break right where they start around tuning pin. A very good way to draw a string up is to give the hammer an alternate up and down motion, pulling the handle lightly to you, then from you, as you draw it up; not enough to bend or break the pin or to crush the wood around the pin, but just enough to make the string take on its increased tension equally.

In regard to the lower bridge, the strings will rarely "render"

through them properly unless brought to a tension a little higher than it is desired they shall be left. If this is done, a few sharp blows of key will generally make them equalize all right; then press the hammer gently to the left, not enough to turn the pin in the socket, but to settle it back to a well-balanced position. After a little practice the tuner can generally guess precisely how much over-tension to allow. If the pin is left slightly sprung downward, its tendency will be to spring upward, thereby sharpening the string; so be careful to leave the pins in perfect balance, or as tuners say, "properly set."

The foregoing, while applicable to the whole scale, is not so urgent in the over-strung ba.s.s. The strings are so heavy and the tension is so great that they will generally "render" quite freely over the bridges, and it is only necessary to bring them up to pitch, handling the hammer in such a manner as to leave the pins well balanced; but it is not necessary to give them over-tension and beat them down again; in fact it is not advisable, as a rule. At all times, place the hammer on the pin as far as it will go, and strike the key while drawing a string up.

In tuning the square piano, it is not possible to set the hammer upon the pin with the handle in line with, and beyond the string, as is the rule in the upright. Where the square has the square pin, the hammer (with star head) can always be set with the handle to the right of the string somewhat, but usually almost in line with the string and almost directly over it, and the manipulation of the hammer is much the same, though the tuner is at a greater disadvantage, the pins being farther from him and he has not such a good rest for his hand. Many old squares have the oblong pin. In this case, use the double hammer head. On the one side the hole in the head is made with the longer diameter in line with the handle, and on the other side the hole is made with the longer diameter at right angles with the handle; so that if you cannot get a favorable position with one end you can with the other.

We have said nothing about which hand to use in striking the keys and in wielding the hammer, but it is customary to handle the hammer with the right hand and it is always advisable for two very good reasons: It gives the tuner a much more favorable position at the instrument; and, as the right hand is more used in ordinary every-day operations and is more trained in applying degrees of force and guiding tools, it is more easily trained to manipulate the hammer properly. Training the hand in the skilful use of the hammer is of the utmost importance and comes only by continued practice, but when it is trained, one can virtually "feel" the tones with the hammer.

At first, the young tuner is almost invariably discouraged by his slow progress. He must remember that, however fine his ear and however great his mechanical ability, he has much to acquire by training in both, and he must expect to be two or three times longer in finishing off a job of tuning at the outset than will be necessary after he has had a few months' practice. You can be your own trainer in these things if you will do a little rational thinking and be content to "hasten slowly." And as to using the left hand, we would not advise it in any event.

SETTING THE MUTES OR WEDGES IN THE UPRIGHT.

As stated in a previous lesson, the mutes should be so placed that only two strings are heard at one time: the one the tuner is tuning, and the one he is tuning by. It is true that this is an easy matter, but it is also true that very few tuners know how to do it in a way to save time and avoid placing the mutes two or more times in the same place. By using a little inventive genius during early practice the author succeeded in formulating a system of muting by which he accomplished the ends as stated above, and a.s.sures the reader that a great deal of time can be saved by following it.

After removing the m.u.f.fler or any other instrumental attachment which may be in the piano in the way of placing the mutes, the first thing to do is to place the continuous mute so that all the outside strings of the trios are damped. The temperament is then set by tuning the middle strings, of the twenty-five trios comprised in the two-octave temperament as demonstrated in a previous lesson. After satisfying yourself by trials or test that the temperament is true, you then remove the continuous mute and proceed to bring the outside strings in unison with the middle one. Now, your 1C is sometimes found to be the first pair in the over-strung ba.s.s, which usually has two strings to a key, while in other pianos, 1C is the first trio in the treble stringing, and in many cases it is the second trio in the treble. For ill.u.s.tration, we will say it is the second in the treble. In speaking of the separate strings of a trio we will number them 1st, 2d, and 3d, from left to right, as in foot-note, page 89, Lesson IX. Setting the mutes in bringing up the unisons in the temperament is exceedingly simple.

The following diagram will, we think, demonstrate clearly the method employed:

Upper row---- o o o o o o o o o o Tim-

Middle row--- o o o o o o o o o o ing

Lower row---- o o o o o o o o o o Pins.

------------------------------------------ Bridge.

* 1 * 2 * 3 * 4 * 5 * 6 * 7 * 8 * 9 * &c /// /// /// /// /// /// /// /// /// /// Treble stringing.

B C C? D D? E F F? G G? &c

The upper row of O's represents the upper row of tuning pins. To these are attached the first string of each unison. To the middle row are attached the second or middle strings, and to the lower row are attached the third strings. The diagonal lines represent the three strings of the unison (trio). The asterisk on the middle one indicates that it has been tuned.

But one mute is used in tuning these unisons. It is inserted between the trios in the order indicated by the figures 1, 2, 3, etc. When inserted in place 1, between unisons B and C, it will mute the first string of C; so the first string of the trio to tune is always the third. Then place your mute in place 2 and tune the first string of C.

Then, without moving your mute, bring up third string of C?, then third string of D and so on. By this method, you tune two strings every time you reset your mute.

When through with the temperament, the next step is usually that of tuning the ba.s.s; but while we are in the treble we will proceed to give the method of setting the mutes in the upper treble beyond the temperament. All three strings have yet to be tuned here, and we have to use two mutes. The unisons are tuned in regular succession upward the same as in the example above. The mute that is kept farthest to the left, is indicated by the letter A, and the one kept to the right, by the letter B, as in diagram below.

(T e m p e r a m e n t ) 1 2 3 4 5 6 7 &c.

*** *** *** *** *** *** A B /// /// /// /// /// /// /// /// /// /// /// /// /// /// C? D D? E F F? G &c.

The mutes are first placed in the places indicated by the figures 1 and 2, thereby muting first and third strings of the first unison beyond the temperament, which is 3C?. The middle string of this unison is now tuned by its octave below. (If you have left imperfect unisons in your temperament, rendering it difficult to tune octaves by them, it will be well to replace your continuous mute so as to tune from a single string.) Having tuned the middle string of C?, move mute B to place 3 and tune third string of C?. Then, move mute A to place 2 and tune first string of C?. Your mutes are now already set for tuning the middle string of D. After this is done, proceed to move mute B first, then mute A; tuning middle string, then third, then first, moving step by step as indicated in example above until the last unison is reached. By this system you tune three strings every time the mutes are set twice.

The over-strung ba.s.s usually has but two strings to a unison and only one mute is needed. In the extreme low or contra-ba.s.s, pianos have but one string, in tuning which the mute is discarded. Set the mute as indicated by the figures 1, 2, 3, etc., in the diagram below, always tuning the string farthest to the right by its octave above; then move the mute to its next place and tune the left string by the right.

Here, again, you tune two strings every time you reset your mute. The I's represent ba.s.s strings.

9 8 7 6 5 4 3 2 1 I I I I I I I II II II II II II II II II C C? D D? E F F? G G? A A? B C Contra-Ba.s.s. Ba.s.s. Treble.

SETTING THE MUTES IN THE SQUARE PIANO.

In setting the temperament in the square piano, simply mute the string farthest to the left and tune the one to the right until the temperament is finished, then set the mutes in the ba.s.s the same as in the upright. In tuning the treble, if the piano has three strings, the same system is used as has been described for the upright. When the piano has but two strings to a unison, as is usually the case, employ the system described for the ba.s.s of the upright, but reversed, as you are proceeding to the right instead of to the left.

Remove the shade before beginning to tune a square piano, and if necessary, lay the dampers back and trace the strings to their pins so as to mark them. Certain pins are marked to guide the tuner in placing his hammer. The way we have always marked them is as follows:

Mark both pins of each pair of C strings with white crayon. Mark only one pin of each pair of G's. Knowing the intervals of the other keys from the marked ones, you can easily calculate correctly, upon which pin to set your hammer to tune any string desired. For instance, if you are striking D?, next above middle C, you calculate that, as D? is the third chromatic interval from middle C, you are to set the hammer on one or the other of the pins belonging to the third pair to the right of the pair marked as middle C. B would be first pair to the left, F? would be first pair to the left of the marked G, and so on.

It is usually necessary to mark only those pairs near the middle of the piano, but we advise the beginner to mark throughout the scale, as by so doing he may avoid breaking a string occasionally by pulling on some other than the one he is sounding. This will occur in your early practice if you do not use caution. And for safety, some tuners always mark throughout.

QUESTIONS ON LESSON XI.

1. By what means is the tuner enabled to make the strings draw through the bridges and equalize the tension throughout their entire length?

2. State conditions that may result from a tuning pin's not being properly set.