Music Trade Review

Issue: 1954 Vol. 113 N. 10

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
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
Procedure for Tuning a
Circle Fifths and Octave
Place the Keyboard Chart behind
the black keys and follow the numbers
religiously that are on the white and
from Cl to C3, viz, the last string
tuned was E—, and if we tuned E—
above instead of E— below, being the
octave, we would find ourself out of
the circle, instead of inside it.
Should you find yourself without a
then octave above. Next tune F (13)
natural from A # (12) then octave
below. Note: When arriving at F # we
continually raised each fifth one half-
tone, consequently the F had to be
raised to it. We call it E#. Next to
Practical Piano-lunind KeiiLoarct C h d j t
U
FIRST C
BELOW MIDDLE C
black keys. Viz, tune No. 1 to fork,
No. 2 to Middle C, then C below xNo. 3.
The sign under " 3 " denotes last string
tuned. Next tune G-4 from C-3, then
tune the octave abo\>e marked " 0 " .
Next tune No. 5 from G-4, then
the octave below.
Next tune string marked "A" (6)
from D below just tuned, then the
octave, also marked by the letter " 0 " .
Next tune E (7) from A (6), then
octave below. Note: It is not difficult.
Follow this routine of tuning a circle
of fifth and octaves. Our goal is to keep
these intervals within the boundary
THE MUSIC TRADE REVIEW, OCTOBER, 1954
FIRST C
ABOVE MIDDLE C
Chart and you have only your keys on
the piano for guidance. Use this for-
mula, (a) When tuning the interval of
a fifth, count 8 half-tones, (b) When
tuning octaves, count 13 half-tones.
To continue with our Tuning, next
tune B (8) a fifth, from E below, just
tuned, then the octave above.
Next tune F # (9) another fifth from
B (8), then octave above, next tune
G # (11) from C # (10) another fifth,
then octave, then Gqff above. Next tune
D # (11) another fifth from G # be-
low. Then the octave below. Next tune
A # (12) from D # (11) a pure fifth,
by
-rlI CoPYRICrHT
19
54
or F natural octave below. From
we return to our original starting
point which was C natural, now it's
B#.
Suggestion for Practice Period:
Don't be in a hurry. Try to make
the demonstration whether the interval
is a unison, a fifth or an octave.
Don't try experimenting on pianos
not your own.
Don't be without a tuning fork.
Don't try to raise the pitch one-half
tone when strings are rusty {turn over)
25
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
Remarks Preceding Equal
Temperament
In these short articles it becomes
necessary to bypass the learned trea-
tises and elaborate series of mathemat-
ical calculations as the same can be
read and studied at the public libraries.
In fact, there are a few that can be
purchased at the piano supply houses,
and they are very helpful to gain a
clear insight into the terminologies that
should be of importance when one is
talking about waves, pulsations, beats,
resonance, partial-tones, over-tones,
pure-tones, relative, also summation
and differential tones. All this certainly
exists between intervalic relationships,
but the human "ear" must give way
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to scientific research, in fact all "ears"
do not hear alike.
Tuned in Fifths
Keyboard instruments are tuned in
fifths—if continued for 12 steps B #
will be reached which is the same as
C. The tuner at the beginning learns
to tune each fifth perfect, without any
beats. He then finds B$: would be
higher than C.
The cycle of fifths can be started
again, arriving after twelve more steps
at A double sharp. This process could
be carried on indefinitely arriving where
we left off.
The expert tuner divides the inter-
val of one fifth of a semitone into
twelve parts and makes each semitone
one sixtieth flat, with the result that
when he reaches the B sharp it coin-
cides with the original C, producing
what is known as equal temperament.
The immortalized, and the father of
music, John Sebastian Bach, composed
the 48 Preludes and Fugues. Tuners in
general are grateful for his great de-
sire to prove that each key should be
a tonic, whether it be C, Bqf£, Dbb. An-
other way to reach Bqf£, instead of us-
ing fifth, can work through pure thirds.
Piano Traveler Wanted
Traveler Northwest for one of the
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Write for full details giving per-
sonal information and picture, if
available. Box 219, Room 510,
Music Trade Review, 1270 Sixth
Ave., New York 20, N. Y.
He would soon r e ach B # , but this would
be lower than C; therefore, all major
thirds on our keyboard are much too
large, hence the requiring of thirds be-
ing intoned to conform with in its re-
lation to intervals that we are about to
temper.
FOR
PIANO NEWS
KfcAD
THE REVIEW
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THE MUSIC TRADE REVIEW, OCTOBER, 1954

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