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FIRST AID IN PIANO REPAIRS
By ALEXANDER
HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
EDITOR'S NOTE : Dealers and tuners who have a fair work-
ing knowledge of this art, can pick up some extra practical
training by Mr. Hart, c/o Music TRADE REVIEW, 1270 Sixth
Avenue, New York 20, N. Y.
The Elementary Phases of Piano
Tuning in its Relation to Music
"THE best we can do in these columns
is to give our experience, remarks,
occasional hints and suggestions on
the subject pertaining to piano tuning
and its practice as an art, and not to
teach it. This cannot be accomplished
without some guidance and practical
application.
When a piano tuner goes out into
the field to earn the fee for his serv-
ices, he represents the music and mus-
ic industries.
Three important factors enter into
account, that is, to know his work, do
it, and be careful not to gossip to
customers.
His best asset is to keep the piano
in good tune and warrant return busi-
ness.
The Common Chord
In this article, we will write of the
common chord, to be definitely har-
monized, as an example, C,E,G, these
three intervals combined are, as we
know, intended to produce one sound.
C to E a major third; E to G a
minor third; and C to G a perfect
fifth.
If either of these intervals do not
measure up to its true sound, the
chord will not be in its fine character.
Inverting the same chord, we have
E,G,C, the same identical tones, but
producing different combinations of
its intervals.
As an example, E to G, a minor
third, G to C a perfect fourth, E to C
a minor sixth.
Inverting again the same tones, we
have G,C,E, that is, beginning on the
fifth tone from C viz., G to C a perfect
fourth. C to E, a major third, and G
to E a major sixth.
As you can note by the inversions,
there are no less than seven intervals
in each common chord, and being
twelve of these chords in the chromatic
scale, we have in the aggregate of
eighty-four intervals, to be intoned to
satisfy the cultivated ear.
The dominant seventh chord, always
prominent in fine music, must be prop-
THE MUSIC TRADE REVIEW, JULY, 1945
erly harmonized. This chord built on
its base G,B,D,F.
In this chord, we have G to B, a
major third, B to D, a minor third,
D to F, another minor third, G to F,
a minor seventh.
A beautiful combinational effect is
produced when this chord is pleasing
to the ear.
Inverting this chord, we have D,F,-
G,B, two minor thirds, a minor sixth
and a perfect second.
Again D,F,G,B, a minor and major
third, a major sixth, and perfect sec-
ond.
One can but reflect and note the
great variety of combinations that is
possible through, and by aid of in-
verted intervals.
In order to harmonize a series of
eight common chords, with the other
four, incidentally tuned, can only be
done in combinations with intervals
just spoken of.
It may be stated here, that the tun-
er must begin his work on some meth-
od, and it is always advisable to tune
all intervals uerfectly and work with-
in a range of two octaves.
It will surprise you when tuning a
circle of fifths absolutely perfect, and
then withdrawing the continuous felt
wedge.
There is plenty to do, i.e., tuning
unisons. This procedure requires a
good deal of practice. Make no mis-
take about this, for piano tuning is
not learned overnight.
The tuner is primarily interested in
the arrangement of intervals and
chords, not composition.
Clean cut tuning is highly appre-
ciated by the musician.
We can now return to our circle of
fifths, a very interesting study in-
deed, especially the technical names
for the notes of the scale.
Let us do a bit of construction of
the Major Scale.
A succession of eight tones, a dis-
tance of either a whole step or a half
step apart.
The smallest interval formed upon
the keyboard is the half step or semi-
tone i.e., from any key to the next
one white or black, that is C to D flat,
E to F, A sharp to B and so on.
A whole step is as large as two half
steps, that is C to D: E to F sharp,
G sharp to A sharp, B flat to C.
When playing the scale of C from
the 3rd to 4th degree, from the 7th
and 8th degree are half steps, between
all the other degrees are whole steps.
This is why the eight notes of the
scale are called degrees. They are
TO T H f
i
4
A
D
n
A
C I K C LE.
OF
F I F T H S
N
G,
D
SHARPS
7
numbered from the loivest or key note
to the octave keynote.
With this explanation it is to be re-
garded as a rule and guide for the
construction of a major scale or dia-
tonic scale, no matter what note of
departure.
For instance, should be begin on G,
instead of C, the formula is
37