Music Trade Review

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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
TT* THE first third tuned or tern-
C
".Capered K-B-C-l- can be taken
as an example for other thirds that can
MIDDLE C
t
be closely matched when listening for
tremolos.
Once you get the angle of hearing
the various degrees of sharpness, corre-
sponding to the fine distinctions in the
flatness, that is necessary with the fifths,
it is then extremely helpful to continue
practicing what you hear by exercising
the "ear".
Harmonizing in the key of D, we
need the tones F#, K.B.C.-4, and G-K-
BC-3. The D stands out as a dominant
and controlling factor in the key of G.
D must be taken into account with its
nearest relatives as B- and G fitting in-
to the picture, for a tryout as a fourth
to the first E tuned K.B.C.3, and fourth
to A.K.B.C.5. D continues to hold as a
bold sixth to A, the same liveliness that
maintains the quality in the thirds,
sixths and tenths.
Without this animated texture the
beauty of the chord is lost.
A fine tuning job can exemplify this
statement through the art of listening
for the harmonics existing in the upper
tones.
Reverting to K.B.C.5, D continues to
be a central figure on K-B-C-4.
Observing closely, two major thirds
are to the left and two major thirds to
the right, with nine half-tones apart,
leaving D in the center.
Also from that vantage point, we can
test various intervals and chords that
CHORDS CAN BE CLOSELY MATCHED, THUS FORMING A GOOD BRIDGE BETWEEN
require slight changes, viz. from D- test
THE AUGMENTED CHORDS. THE TUNING CAN BE CHECKED CLOSELY AT EVERY
POINT AND THE CONSTANT ENHARMONIC CHECKS WILL NOT ALLOW THE ERRORS
A above, a fifth to correspond to first
OF JUDGMENT TO ACCUMULATE
E tuned K.B.C.l, then C#— K.B.C-5 in
the key of A major A.C#E A. keeping
sure A# and E# will sound smooth to
close as you can to E-. Bb K.B.C. 4—
it would be impossible to judge the
A and E—two fifths, also F and A# a
or A* and Bb winds up the rounds of
range of another's hearing, whether he
fourth should be on the plus side of
intervals and chords to be tempered,
be a pianist or a tuner.
interval, the F above could be shaded
pnd a final test.
Many indeed have no ear for music,
to favor G# a sixth and a third C# in
Bb - A# should have all the promi-
nor can they sing in harmony wilh
key of A. The main idea of equal tem-
nence when connected with G as a ma-
others. Vocalists who have a tendency
perament is to obtain a smooth scale in
jor sixth K.B.C.3 a minor third and a
to sing sharp are not uncommon.
all keys—fitting all the intervals neatly
perfect fourth. F-A the major third in
Piano tuning is not only an art but
into the octaves.
the key of F, F.A.C-F, can be tried with
a
science.
the chords F-A#-D-F or E#, then be
In summing up the situation, in brief,
(Turn Over)
THE MUSIC TRADE REVIEW, JULY, 1952
53