Music Trade Review
Issue: 1945 Vol. 104 N. 9 - Page 29
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 National Association of Piano
Tuners
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.
EDITOR'S NOTE:
The Elementary Phases of Piano
Tuning in its Relation to Music
Method No. 3
For the sake of variety, let us make
a new start on A major.
First, tune A from A above which
is set by the "tuning fork."
Next tune E from A, this is a fifth
to be tuned on flat side of perfect.
Next tune Ctt from E, this is a third,
and gives us 1,2,3,4, tones, or a major
chord on A for a trial.
the third, also very prominent, i.e.,
fast beats.
Try chord Db, F and Ab. IMPORT-
ANT NOTE: The last named tones
have to be incidentally tuned. In other
words, the tremolos or beats involved
in our trials are enharmonic, viz:
CJf,Git,E$ is equivalent to Db,F and Ab,
to repeat C£,Db is the same tone, G#,Ab
is identical so it seems to the ear, and
8 Trial.
val, can be thus explained to the be-
ginner.
First, make the interval pure or just
intonation, then move the tuning ham-
mer to the right, this places more
tension on the string raising the pitch.
The same movement of the hammer to
the left lessens the tension or lowers
the pitch.
Of course in any instance the move-
ment is very little to alter the interval
from perfect to imperfect or putting
the string slightly out of tune.
Now try B, D# and Ft. Here we
have two more strings incidentally
tuned, viz, Eb and Gb and the trial
B,DJf,FU or B,Eb,Gb. Next tune Eb
from G, tune this sharp, then proceed
to C, tune sharp.
Now try the trial chords C,E,G and
C,F,A.
These trials vouch for a good tem-
perament.
If there is a wolf hanging around in
one of the chords it will be loads of
fun to find it. This is only accom-
plished by getting familiar with them.
Don't forget to practice as much as
you can.
Remember once again, it is the "ear"
that decides.
A
Braunsdorf Issues
New Price List
Trial.
10 11
Trial.
Notes on the First Trial
Having tuned A, C£,E,A, there must
exist harmony in each interval, N.B.
A. From A to A as we know is to
remain perfect.
B. From A to E a little flat.
C. From A to C# one can have a
tremolo.
D. When you try this chord, four
tones will blend leaving the third most
prominent of the three intervals.
Next tune D from A, a fourth. Then
tune Ft from D.
Notes on Second Trial
Having tuned two more intervals A
to D, D to Ft, these must also be
watched closely, as one is a fourth and
the other is a third with tremolpus
effect on the "ear." This gives us to
trials 5 and 6, viz.: A,D,F#,A, resolv-
ing to A,CC,E,A.
Tune Gtf from Cfl a perfect fifth, and
Elf or F for C$ tune sharp side.
Notes* on Trials 7 and 8
The last two intervals CJf to Gtf and
C# to E# or Ft there is a noticeable
contrast here, the perfect fifth is quiet,
THE MUSIC TRADE REVIEW, SEPTEMBER, 1945
12 13
Trials.
E# or F= must serve for both scales.
This chain of circumstance clearly
shows when you have tuned intervals
perfect, they have got to be tempered
or put slightly out of tune, otherwise
the intervals could not be divided to
such an even proportion that would
form an even scale with the octave
remaining perfect. Now tune Bb from
B, a fourth sharp.
Notes on Trial 9
Try chords Bb, D and F; you will
find a tremolo existing in this major
third, especially from B'j to D and a
tremolo from D to Ft, another major
third already established.
Be careful not to interfere too much
with D that is in a neutral position,
and is to be ready at all times.
Now, tune B from Fjf, then tune
D3J from Ff.
Notes on Trials 10 and 11
Tune B$, sharp side, and DS also
tuned sharp side of perfect.
SPECIAL NOTE: What is meant
by sharp side or flat side of the inter-
George W. Braunsdorf, Corona, L.I.,
the veteran piano supply man who is
known throughout the industry as "The
Tuners Friend" has just issued a new
sample card and price list on punch-
ings and bridle straps made of both
bushing cloth and all leather. "We
will send samples on request," said Mr.
Braunsdorf who has been serving the
piano industry for over 50 years, "but
the prices will naturally be subject to
change without notice owing to pre-
vailing conditions. The new prices
shown on this new card are somewhat
lower than we have been compelled to
ask recently and we hope that from
now on they will remain lower."
Mr. Braunsdorf has actually been ac-
tive in the piano supply business for
54 years and has employees with him
as much as thirty seven years. Assist-
ing +iim now with the business as man-
ager is Mrs. W. Turnbull who is fa-
miliar with all items which are now
manufactured and capable of facilitat-
ing orders as they are received.
Although some items have been diffi-
cult to secure during the war the
Braunsdorf business has been continu-
ously on the increase, ways and means
having been found by Mr. Braunsdorf
to secure essential parts required by
the tuning profession.
29
FIRST AID IN PIANO REPAIRS
By ALEXANDER HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of Ihc National Association of Piano
Tuners
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.
EDITOR'S NOTE:
The Elementary Phases of Piano
Tuning in its Relation to Music
Method No. 3
For the sake of variety, let us make
a new start on A major.
First, tune A from A above which
is set by the "tuning fork."
Next tune E from A, this is a fifth
to be tuned on flat side of perfect.
Next tune Ctt from E, this is a third,
and gives us 1,2,3,4, tones, or a major
chord on A for a trial.
the third, also very prominent, i.e.,
fast beats.
Try chord Db, F and Ab. IMPORT-
ANT NOTE: The last named tones
have to be incidentally tuned. In other
words, the tremolos or beats involved
in our trials are enharmonic, viz:
CJf,Git,E$ is equivalent to Db,F and Ab,
to repeat C£,Db is the same tone, G#,Ab
is identical so it seems to the ear, and
8 Trial.
val, can be thus explained to the be-
ginner.
First, make the interval pure or just
intonation, then move the tuning ham-
mer to the right, this places more
tension on the string raising the pitch.
The same movement of the hammer to
the left lessens the tension or lowers
the pitch.
Of course in any instance the move-
ment is very little to alter the interval
from perfect to imperfect or putting
the string slightly out of tune.
Now try B, D# and Ft. Here we
have two more strings incidentally
tuned, viz, Eb and Gb and the trial
B,DJf,FU or B,Eb,Gb. Next tune Eb
from G, tune this sharp, then proceed
to C, tune sharp.
Now try the trial chords C,E,G and
C,F,A.
These trials vouch for a good tem-
perament.
If there is a wolf hanging around in
one of the chords it will be loads of
fun to find it. This is only accom-
plished by getting familiar with them.
Don't forget to practice as much as
you can.
Remember once again, it is the "ear"
that decides.
A
Braunsdorf Issues
New Price List
Trial.
10 11
Trial.
Notes on the First Trial
Having tuned A, C£,E,A, there must
exist harmony in each interval, N.B.
A. From A to A as we know is to
remain perfect.
B. From A to E a little flat.
C. From A to C# one can have a
tremolo.
D. When you try this chord, four
tones will blend leaving the third most
prominent of the three intervals.
Next tune D from A, a fourth. Then
tune Ft from D.
Notes on Second Trial
Having tuned two more intervals A
to D, D to Ft, these must also be
watched closely, as one is a fourth and
the other is a third with tremolpus
effect on the "ear." This gives us to
trials 5 and 6, viz.: A,D,F#,A, resolv-
ing to A,CC,E,A.
Tune Gtf from Cfl a perfect fifth, and
Elf or F for C$ tune sharp side.
Notes* on Trials 7 and 8
The last two intervals CJf to Gtf and
C# to E# or Ft there is a noticeable
contrast here, the perfect fifth is quiet,
THE MUSIC TRADE REVIEW, SEPTEMBER, 1945
12 13
Trials.
E# or F= must serve for both scales.
This chain of circumstance clearly
shows when you have tuned intervals
perfect, they have got to be tempered
or put slightly out of tune, otherwise
the intervals could not be divided to
such an even proportion that would
form an even scale with the octave
remaining perfect. Now tune Bb from
B, a fourth sharp.
Notes on Trial 9
Try chords Bb, D and F; you will
find a tremolo existing in this major
third, especially from B'j to D and a
tremolo from D to Ft, another major
third already established.
Be careful not to interfere too much
with D that is in a neutral position,
and is to be ready at all times.
Now, tune B from Fjf, then tune
D3J from Ff.
Notes on Trials 10 and 11
Tune B$, sharp side, and DS also
tuned sharp side of perfect.
SPECIAL NOTE: What is meant
by sharp side or flat side of the inter-
George W. Braunsdorf, Corona, L.I.,
the veteran piano supply man who is
known throughout the industry as "The
Tuners Friend" has just issued a new
sample card and price list on punch-
ings and bridle straps made of both
bushing cloth and all leather. "We
will send samples on request," said Mr.
Braunsdorf who has been serving the
piano industry for over 50 years, "but
the prices will naturally be subject to
change without notice owing to pre-
vailing conditions. The new prices
shown on this new card are somewhat
lower than we have been compelled to
ask recently and we hope that from
now on they will remain lower."
Mr. Braunsdorf has actually been ac-
tive in the piano supply business for
54 years and has employees with him
as much as thirty seven years. Assist-
ing +iim now with the business as man-
ager is Mrs. W. Turnbull who is fa-
miliar with all items which are now
manufactured and capable of facilitat-
ing orders as they are received.
Although some items have been diffi-
cult to secure during the war the
Braunsdorf business has been continu-
ously on the increase, ways and means
having been found by Mr. Braunsdorf
to secure essential parts required by
the tuning profession.
29
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