This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 edition. Excerpt: ...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...
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If you have a note that has dropped in pitch, do you have to call in the tuner? A stuck key? Sympathetic rattle? Missing bridles? A broken hammer shank? An unglued ivory? The answer, in each case, is no: you can make all of these repairs yourself!
This is the clearest and most complete book available for beginning tuners and amateur pianists. It explains all the basic processes practically and with model clarity. A non-musician can use this book without too much difficulty.
You will learn how upright, grand, and square actions work, and how to take care of the smallest repairs -- repairing stuck keys, poorly adjusted bottoms and capstans, crowded back checks, felts and leather on the hammers, hammer stems; softening damper and hammer felts; installing new bridles; eliminating "sympathetic rattle"; all with a minimum of tools and training.
You will learn a professional method of tuning based on slightly flattened fifths, where only the octave and the upward fifth intervals are used. This is one of the easiest systems to learn, one capable of a great deal of control, and one perfectly suited to adjusting one or two keys. It is a tested method especially right for amateurs working without a teacher, and a method that trains the ear for other recommended systems. The author also explains "beats," the theory of the tempered scale, and useful experiments you can make with harmonic phenomena.
If you want to experiment with tuning a piano, there is no better book to start with. It will help performers and teachers make occasional repairs and learn the structure and scale of the piano. Those who want to know how pianos work will find this book both clear and useful.
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