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FIRST AID IN PIANO REPAIRS
By ALEXANDER HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of ihc Natiotial Association of l'i(uw
Tuners
EDITOR'S NOTE: Dealers and tuners can pick up some
extra practical training by addressing Mr. Hart, c/o
Music TRADE REVIEW, 1270 Sixth Ave., New York 20, N.Y.
The Elementary Phases of Piano
Tuning in its Relation to Music
Remarks
Remarks
I AST month we had for our practice
What is meant by a sharp fifth?
a temperament built on A-440-V.P.S. First, tune the interval perfect as you
Don't forget to have the tuning fork can, then augment the F slightly,
listening for certain sharpness that
handy.
The temperament for this month as would qualify, without disturbing the
you will observe is
TNE TEMPERAMENT.
based on C 523 V.P.S.
If you do not have a
bo
C fork, use the A just
^s:—•"""
the same.
V /
1. Tune A octave be-
low middle C, then A
the octave above.
2. Then tune middle
C from A above, this
give you a major sixth
and a minor third in-
cluding the octave.
3. From A below
middle C tune E, this
give you another major
3rd and test A-E as
a fifth.
4. Tune C octave below middle C interval F and D a major sixth, which
and the octave above middle C. This distinguishes them in musical quality.
gives you a radius of two octaves to
Remarks on F-A-C
work on.
11. Note the signs that indicate
5. Now tune octave below the E just sharpness and flatness viz. C and G
tuned.
have waves under the slur, so does D
6. From middle C tune G below a and A, but not F and C , the wave is
fourth, then the octave above, equal- over the slur which of course means
izing the 4th and fifths in relationship that particular interval is to be tuned
to the octaves.
sharp. The trial itself F-A-C shows
7. So far, you have tuned the inter- a tremolous effect.
vals CEG EGC GCE CEG and EGC,
12. Tune B flat a fourth above F na-
all contained within two octaves in the tural also on the sharp side of inter-
key of C major and their inversions, val.
or different positions.
13. Test F,B flat.D and G,B flat, D,
8. Tune D from G, a fifth slightly taking B flat as another tonic, we have
flat.
B flat,D,F, B flat the full chord in B
9. Test A below D a fourth, between flat major.
the two A's. You will note one is a
As an example, C serves not only in
fourth and one is a fifth.
its own key, but in many others for
Taking the fifth below A you have instance, it is related to C minor, also
the octave of D, and next to it C which B flat major and B flat minor, a fla'
is also a major sixth, then you can test major and A minor, as well as G major,
E as a fourth.
and G minor. C can serve in F major
10. Return to C natural our start- and F minor, E flat major, E minor or
ing point, tune F below a sharp fifth. D flat major and C sharp minor.
M
MUSICAL MERCHANDISE MAGAZINE, OCTOBER, 1945
14. To prove a few intervals with
B flat, test C-E major 3rd for tremelo
than associate it with B flat, for B flat,
C,E,G, then octave below, for G,C,E,
or A, C,D,F, testing for a fifth B flat
and F.
15. Tune B from D and test G,B,D.
From B, tune F sharp. Try F sharp,
B., D. Now tune C sharp from F sharp
a fifth then associated with A,C sharp
and E,A.
16. Here you have the common
chord of A major. A further test is
to harmonize their thirds when you
try A,C sharp,F.
17. Harmonize F sharp, A sharp, C
sharp, F sharp, the chord of F sharp
major.
18. Tune G sharp, from C sharp,
then compare G sharp, with the key-
stone C as a major third, also as the
chord in A flat, viz. A flat, C, D flat,
A flat, then, test E from middle C, an-
other third.
19. For further test, you can equal-
ize through thirds viz. A flat, C, C, E,
E, A flat.
20. Next, tune E flat from B flat,
then test G, B flat, and E flat or G, A,
sharp, D sharp which is enharmonic.
Go over this temperament several
times.
21. Before concluding, here are a
few don'ts, worth memorizing, for in-
stance,—forgetting to place the tuning
hammer on the right tuning pin.
22. Don't turn the hammer . . .
a. Until you are quite ready.
b. Strike the key first, listen for
sound.
c. Move the hammers accord-
ingly, and with caution.
d. You might as well save your-
self many a headache.
The cultivated ear recognizes musical
character in the different keys. The
thirds, sixths and tenths characterize
these differences.
To be contirwd
in November
The ROCKWELL
SCHOOL OF TUNING
a modern school offering
a 26-week course in all
phases of piano tuning
and repairing.
•
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C.
A . ROCKWELL
315 Market St.
Clearfield, Pa.
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