FOOTNOTES[A]Published by Theodore Presser, Philadelphia, Pa.[B]There are two sections of the lower bridge, one for the treble and one for the overstrung bass.[C]The three strings composing the trio or unison are numbered 1st, 2d or middle, and 3d, from left to right.[D]The chromatic scale is a succession of all the half steps in the compass of one octave. Counting the octave tone, it contains thirteen tones, but we speak of twelve, as there are only twelve which differ in name.[E]In making these suggestions, no calculation is made for the liability of the tones tuned to fall. This often happens, in which case your first test will display a sharp third. In cases like this it is best to go on through, taking pains to temper carefully, and go all over the temperament again, giving all the strings an equal chance to fall. If the piano is very bad, you may have to bring up the unisons roughly, inuring this portion of the instrument to the increased tension, when you may again place your continuous mute and set your temperament with more certainty.[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.[G]When the bushing of the center-pin of the hammer butt becomes badly worn or the hammer-flange becomes loose, or the condition of the hammer or flange becomes so impaired that the hammer has too much play, it may so strike the strings as to tend to produce the phenomenon described in the above paragraph. When in such a condition, one side of the hammer may strike in advance of the other just enough to throw the vibrations in opposition. Once you may get a strong tone, and again you strike with the same force and hear but a faint, almost inaudible sound. For this reason, as well as that of preventing excessive wear, the hammer joint should be kept firm and rigid.
[A]Published by Theodore Presser, Philadelphia, Pa.[B]There are two sections of the lower bridge, one for the treble and one for the overstrung bass.[C]The three strings composing the trio or unison are numbered 1st, 2d or middle, and 3d, from left to right.[D]The chromatic scale is a succession of all the half steps in the compass of one octave. Counting the octave tone, it contains thirteen tones, but we speak of twelve, as there are only twelve which differ in name.[E]In making these suggestions, no calculation is made for the liability of the tones tuned to fall. This often happens, in which case your first test will display a sharp third. In cases like this it is best to go on through, taking pains to temper carefully, and go all over the temperament again, giving all the strings an equal chance to fall. If the piano is very bad, you may have to bring up the unisons roughly, inuring this portion of the instrument to the increased tension, when you may again place your continuous mute and set your temperament with more certainty.[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.[G]When the bushing of the center-pin of the hammer butt becomes badly worn or the hammer-flange becomes loose, or the condition of the hammer or flange becomes so impaired that the hammer has too much play, it may so strike the strings as to tend to produce the phenomenon described in the above paragraph. When in such a condition, one side of the hammer may strike in advance of the other just enough to throw the vibrations in opposition. Once you may get a strong tone, and again you strike with the same force and hear but a faint, almost inaudible sound. For this reason, as well as that of preventing excessive wear, the hammer joint should be kept firm and rigid.
[A]Published by Theodore Presser, Philadelphia, Pa.
[B]There are two sections of the lower bridge, one for the treble and one for the overstrung bass.
[C]The three strings composing the trio or unison are numbered 1st, 2d or middle, and 3d, from left to right.
[D]The chromatic scale is a succession of all the half steps in the compass of one octave. Counting the octave tone, it contains thirteen tones, but we speak of twelve, as there are only twelve which differ in name.
[E]In making these suggestions, no calculation is made for the liability of the tones tuned to fall. This often happens, in which case your first test will display a sharp third. In cases like this it is best to go on through, taking pains to temper carefully, and go all over the temperament again, giving all the strings an equal chance to fall. If the piano is very bad, you may have to bring up the unisons roughly, inuring this portion of the instrument to the increased tension, when you may again place your continuous mute and set your temperament with more certainty.
[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.
[G]When the bushing of the center-pin of the hammer butt becomes badly worn or the hammer-flange becomes loose, or the condition of the hammer or flange becomes so impaired that the hammer has too much play, it may so strike the strings as to tend to produce the phenomenon described in the above paragraph. When in such a condition, one side of the hammer may strike in advance of the other just enough to throw the vibrations in opposition. Once you may get a strong tone, and again you strike with the same force and hear but a faint, almost inaudible sound. For this reason, as well as that of preventing excessive wear, the hammer joint should be kept firm and rigid.
Transcriber's NoteOn page 197, 'tones' has been misspelt in the original text as 'tonse'.
On page 197, 'tones' has been misspelt in the original text as 'tonse'.
On page 197, 'tones' has been misspelt in the original text as 'tonse'.