Music Trade Review
Issue: 1945 Vol. 104 N. 10 - Page 37
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
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.
•
Send for Prospectus
Rockwell School of Tuning
C.
A . ROCKWELL
315 Market St.
Clearfield, Pa.
37
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.
•
Send for Prospectus
Rockwell School of Tuning
C.
A . ROCKWELL
315 Market St.
Clearfield, Pa.
37
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