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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor in
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
rate for an exact propor-
T left HE tion to beat
of sound on the ear must be
practical discernment, i.e., the
ability to judge the best rates between
K and A*- A b to C and C to E. When
these three thirds are pulsating in con-
formity with the active, you can take
the next procedure and harmonize G-.
C and E. Viz.—It is taken for granted
that all intervals have been tuned per-
fectly. When this is done, observe
closely how these intervals act upon
sufficient to give the desired result.
If you follow the Diagram No. 5,
G-C-E has been harmonized for equal
temperature.
Now comes the rest. How can one
tell when C and E- is right, and how-
can one proceed further?
(a) Tune E to C perfect. When this
is done, raise E and hear the roughness,
(b) Lower it again to perfect. Then
note the difference. Raising the pitch,
the vibrations are faster and the beats
the drum of the ear. (1) C and E
will sound rough, C and A b will sound
rather smooth. (2) Your best bet is
to flatten the A b until it is beating on
the lower side of neutral.
N.B.—When intervals are tuned, per-
fect beats are heard above or below,
and one must be on guard least his
ear measures on the wrong side of the
perfect interval.
Lowering the E to C requires but
little changing, i.e.. moving the wrench
minutely, and don't move the pin until
you are sure what you are listening
for. On the diagram the white line ex-
tends from G to E, a major sixth. This
interval should sound like a vibrator
or a tremolo.
The G from C generally remains
perfect, with little altering, because the
G usually flattens by itself especially
when pianos get old. However, the G
should beat once every second. This is
pretty close for any ear to recognize.
A good pound on the key might be
are quicker. Ic) Keep on doing this
until your ear decides the exact amount
of vibrato that will compare with the
E and G a sixth. There should be
enough sparkle in the third and sixth,
to satisfy the ear without destroying
the smoothness of a fifth and pure
octave.
The fifth have three beats in five
seconds. This is approximate to a cer-
tain extent.
However, looking at the diagram
once again we observe equal interval
distances, i.e.: D-flat, A-flat, and E-flat
are all equal fifths, having the required
half steps.
Again, from E to A h , A b to C, then
to E. All the thirds are in proportion
to the fifths.
From middle G our starting point,
and note in particular that you can
take A-flat as a new tonic or keynote
and harmonize E* to A* a fifth, then
cross over to B-natural.
You will find as in other intervals
THE MUSIC TRADE REVIEW, AUGUST, 1953
that 13 is too rough, and if not it must
have just the right amount of vibrato
to compare with, and as a third of
(/-major.
c
a
# D
"TW, TTWIHTI
A
Remember the G has been tuned, or
let us presume so, consequently and
without much effort, three major thirds
have again been established.
If you want to exercise your ear.
tune octave G, just tuned, and then
harmonize G- to B, B to FA VJ' to G.
Then proceed to harmonize the D
forming the triad of G major.
Be sure to neutralize the G- and D
a fourth, creating a fine smooth chord
G . B . D . G.
NOTK: Keep in mind that C is now
and then written as B* or l) hh . also keep
up the practice for clean octaves—uni-
sons — and smooth fifths, always use
continuous felt mute when practicing
and keej) the diagrams.
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