Music Trade Review
Issue: 1945 Vol. 104 N. 8 - Page 29
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
FIRST AID IN PIANO
Tuning School to Open
In Clearfield, Pa.
REPAIRS
By ALEXANDER HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of the National Association of Piano
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
IT seems as though we never get
through with intervals. It's only the
beginning.
We need them badly for our chord
building, and a satisfaction in one re-
spect, it insures a primary musical
background for the beginner, a more
serviceable aid to know where and
how to correct mistakes.
The circle of fifths is the means of
bringing us close to the related keys
and into tone relationships that covers
such a vast area, it is impossible to
give full scope to this infinite prin-
ciple.
Suggestion
First of all, particular attention
should be given to the notes, numbers
and arrows, as presented on the music
staff for our design, what they mean,
and how they apply to your tuning and
why we can't have perfect fifths, thirds
and octaves by tuning these intervals
perfect, or just intonation.
Observe the open white notes on the
staff, also the black ones, that serve to
guide us in our demonstration.
One of the prime features of tun-
ing practice, is to work out certain
flexible methods that will suit and
stand the test of the various trials
involved.
Of course, it is only an individual
opinion and advice upon the subject.
We have 15 examples, with a test at
the end, for a practice period based
upon a design of notes set to music
(so it seems) but only intervals of
fifths.
The point is this, if you can succeed
at the end of your practice lessons
that C and E marked test can be tem-
pered to harmonize, without making
the interval too flat, or too sharp. Re-
member, the E is going to sound very
harsh to the ear and can be altered by
lowering the E, a very small degree,
how much cannot be gauged to an
exactness, this is accomplished through
the manipulation of the tuning ham-
mer, a sort of technique.
Let's get to work.
Tune middle C from the octave above
THE MUSIC TRADE REVIEW, AUGUST, 1945
marked number 8, using the tuning
fork. Shown in our design.
Next, tune C below middle C marked
number 2.
Then tune G number 3, the black
note, a perfect fifth from C number 2.
Next, tune D, number 4, the black
MIDDLE
G
T^
o
v^
s
OCTAVE
A
e o v e.,. ,
WIDULE.C
note from G, number 3.
Note these two fifths are in the bass
clef.
Remarks
Don't forget to follow the arrows,
numbers, signs and design in general.
Also be sure to practice your lesson,
with interest and try to analyze what
you are doing.
Open white notes denote they have
been tuned and follow each other by
black notes that have not been tuned.
* * * *
Continuing our lesson in the treble
clef.
Tune D A 5 from D 4. Next tune
E 6 from A 5. Then tune and test to
your ability the third C and E that
should sound not too perfect and not
too rough, but a blend that will have
an effect upon the ear, to prove tuning
E an octave below marked with an *
something will be out of musical bal-
ance. There is a mathematical reason
ffor this . . . one always figured out
with the monachord a device discovered
by the Greek philosopher, Pythagoras.
This you can read about in any text
book, a chapter on sound or the various
useful text books on piano tuning by
William Braid White and Alfred H.
Howe that can be bought at the lead
ing piano supply houses.
The Rockwell School of Tuning has
been established in Clearfield, Pa., by
C. A. Rockwell, who has been an in-
dependent tuner in that city for many
years. The school will open on Sep-
tember 1, 1945, and will occupy a
modern fireproof building at 315 Mar-
ket St., Clearfield. It will occupy eight
rooms, will be modernly equipped, and
Mr. Rockwell states he will be able to
teach a class of 15 students at one
time. He also states that the course
which will run 26 weeks will be pat-
terned after that suggested by the
Manpower Training Committee of the
National Piano Manufacturers Asso-
ciation.
"My school," he said, "has been
approved by the Department of Pub-
lic Instruction of the State of Penn-
sylvania. The tuition for 26 weeks
will be $250.
"It is my belief that training is only
the preparation for the experience
that eventually produces the good
workman in any art or trade. My
territory here is such that every stud-
ent will get some actual experience be-
for he leaves the school and will get
a good picture of what is required
from work that comes into my shop
every day.
"With reference to the environment
for study, Clearfield is a community
of 10,000. Churches and recreational
facilities are of the best and there is
ample opportunity for musicians who
want to take part in some musical
activity. The cost of living is reason-
able.
"Naturally I am interested in hav-
ing a successful school. The answer
is efficient and reliable graduates. To
that end we will bend every effort."
Regarding his experience Mr. Rock-
well said:
"As my father was one of the pio-
neer school music supervisors, I began
with the benefit of a musical environ-
ment. Serving my apprenticeship in
school organizations directed by my
father, I started playing profession-
ally in 1920. I believe that the condi-
tion of most of the pianos we had to
use and the average tuner's inability
to answer questions concerning the in-
strument influenced my decision to
enter this field. In 1928 I completed
the course given by the Faust School
of Tuning in Boston. Incidentally,
the value and practicability of Mr.
Faust's teachings have been appar-
ent constantly while building my busi-
ness and many of his ideas and meth-
(Turn to column 2, page 301
29
FIRST AID IN PIANO
Tuning School to Open
In Clearfield, Pa.
REPAIRS
By ALEXANDER HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of the National Association of Piano
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
IT seems as though we never get
through with intervals. It's only the
beginning.
We need them badly for our chord
building, and a satisfaction in one re-
spect, it insures a primary musical
background for the beginner, a more
serviceable aid to know where and
how to correct mistakes.
The circle of fifths is the means of
bringing us close to the related keys
and into tone relationships that covers
such a vast area, it is impossible to
give full scope to this infinite prin-
ciple.
Suggestion
First of all, particular attention
should be given to the notes, numbers
and arrows, as presented on the music
staff for our design, what they mean,
and how they apply to your tuning and
why we can't have perfect fifths, thirds
and octaves by tuning these intervals
perfect, or just intonation.
Observe the open white notes on the
staff, also the black ones, that serve to
guide us in our demonstration.
One of the prime features of tun-
ing practice, is to work out certain
flexible methods that will suit and
stand the test of the various trials
involved.
Of course, it is only an individual
opinion and advice upon the subject.
We have 15 examples, with a test at
the end, for a practice period based
upon a design of notes set to music
(so it seems) but only intervals of
fifths.
The point is this, if you can succeed
at the end of your practice lessons
that C and E marked test can be tem-
pered to harmonize, without making
the interval too flat, or too sharp. Re-
member, the E is going to sound very
harsh to the ear and can be altered by
lowering the E, a very small degree,
how much cannot be gauged to an
exactness, this is accomplished through
the manipulation of the tuning ham-
mer, a sort of technique.
Let's get to work.
Tune middle C from the octave above
THE MUSIC TRADE REVIEW, AUGUST, 1945
marked number 8, using the tuning
fork. Shown in our design.
Next, tune C below middle C marked
number 2.
Then tune G number 3, the black
note, a perfect fifth from C number 2.
Next, tune D, number 4, the black
MIDDLE
G
T^
o
v^
s
OCTAVE
A
e o v e.,. ,
WIDULE.C
note from G, number 3.
Note these two fifths are in the bass
clef.
Remarks
Don't forget to follow the arrows,
numbers, signs and design in general.
Also be sure to practice your lesson,
with interest and try to analyze what
you are doing.
Open white notes denote they have
been tuned and follow each other by
black notes that have not been tuned.
* * * *
Continuing our lesson in the treble
clef.
Tune D A 5 from D 4. Next tune
E 6 from A 5. Then tune and test to
your ability the third C and E that
should sound not too perfect and not
too rough, but a blend that will have
an effect upon the ear, to prove tuning
E an octave below marked with an *
something will be out of musical bal-
ance. There is a mathematical reason
ffor this . . . one always figured out
with the monachord a device discovered
by the Greek philosopher, Pythagoras.
This you can read about in any text
book, a chapter on sound or the various
useful text books on piano tuning by
William Braid White and Alfred H.
Howe that can be bought at the lead
ing piano supply houses.
The Rockwell School of Tuning has
been established in Clearfield, Pa., by
C. A. Rockwell, who has been an in-
dependent tuner in that city for many
years. The school will open on Sep-
tember 1, 1945, and will occupy a
modern fireproof building at 315 Mar-
ket St., Clearfield. It will occupy eight
rooms, will be modernly equipped, and
Mr. Rockwell states he will be able to
teach a class of 15 students at one
time. He also states that the course
which will run 26 weeks will be pat-
terned after that suggested by the
Manpower Training Committee of the
National Piano Manufacturers Asso-
ciation.
"My school," he said, "has been
approved by the Department of Pub-
lic Instruction of the State of Penn-
sylvania. The tuition for 26 weeks
will be $250.
"It is my belief that training is only
the preparation for the experience
that eventually produces the good
workman in any art or trade. My
territory here is such that every stud-
ent will get some actual experience be-
for he leaves the school and will get
a good picture of what is required
from work that comes into my shop
every day.
"With reference to the environment
for study, Clearfield is a community
of 10,000. Churches and recreational
facilities are of the best and there is
ample opportunity for musicians who
want to take part in some musical
activity. The cost of living is reason-
able.
"Naturally I am interested in hav-
ing a successful school. The answer
is efficient and reliable graduates. To
that end we will bend every effort."
Regarding his experience Mr. Rock-
well said:
"As my father was one of the pio-
neer school music supervisors, I began
with the benefit of a musical environ-
ment. Serving my apprenticeship in
school organizations directed by my
father, I started playing profession-
ally in 1920. I believe that the condi-
tion of most of the pianos we had to
use and the average tuner's inability
to answer questions concerning the in-
strument influenced my decision to
enter this field. In 1928 I completed
the course given by the Faust School
of Tuning in Boston. Incidentally,
the value and practicability of Mr.
Faust's teachings have been appar-
ent constantly while building my busi-
ness and many of his ideas and meth-
(Turn to column 2, page 301
29
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