Music Trade Review
Issue: 1954 Vol. 113 N. 9 - Page 29
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
(Many requests have been made for
previous articles in this series
which have now been revised and
simplified by using one keyboard
chart. The first article is published
herewith.—Editor's Note.)
E of the main objecives will be to
learn how to harmonize the strings,
consisting of 8 common chords, which
will embrace the remaining 4. In order
to do so, the best way is through and
by the use of the keyboard chart and
examples that should be followed in
their respective numbers which are
plainly marked on each and every key
to be tuned.
a continuous felt wedge to be inserted
between strings silencing one and three.
Later on. when we take up tuning a
circle of fifths and octaves will be men-
tioned.
I
again to No. 2 string that remains in its
right pitch, not having been touched.
When you raise the string just low-
ered, pull it up gently and listen for a
pulsating effect on the "ear", a sort of
wow, wow, wow, wow. Then listen at-
tentively until you hear the string you
are raising approaching the tone of its
mate and agrees with it.
Regarding Unisons
The Elementary Phases of Piano
Tuning
Learning to tune unisons clear can-
not be overemphasized.
In the first place there are 88 unisons,
comprising three strings to be definite-
ly and justly harmonized in true in-
tonation. Furthermore, this is and must
be considered the real first step in tun-
ing and utmost importance for training
the ear.
.
Part I
Suggestion
Vt e are going to try to tune a series
of eight common chords, which will em-
brace the remaining four. The Common
Chord unites (1) the octave, (2) a ma-
jor third. (3) a minor third, a perfect
fourth, perfect fifth, a minor sixth and
eight unisons.
An attuned "ear" would soon recog-
nize intervals out of tune which make
up the common chord, the foundation of
all the chords.
In order to try our hand at this hum-
ble beginning we must first start with
pulling up one string that is out of
tune with the others, and learn to har-
monize three strings called a unison.
You will not need the keyboard chart
for this operation.
Referring to the diagram, the arrow
opposite "A" points to the tuning pin
to be lowered about an eighth of a tone,
enough to put the string quite out of
tune with the one next to it. "B" indi-
cates strings to be left open or free to
vibrate.
Note at the left of letter "B"' there
are two straight lines and two arrows
pointing to the strings—one and two
are to be kept open—the two marked
"3" and "4". "C" with arrow showing
THE MUSIC TRADE REVIEW, SEPTEMBER, 1954
Don't try to absorb a whole lot at
one time. Spend a little time practic-
ing what you have learned.
Tuning the Strings to Just
Intonation
How to start tuning unisons:
1. Place the wrench on tuning pin.
2. Hold it steady.
3. See that it is firm on pin.
4. Do not move it until you observe
the following rules.
The only change in procedure is to
tune the middle string and silence " 1 "
and " 3 " . See diagram, note "C" and
arrow pointing to the continuous felt
mute between " 1 " and " 3 " , leaving No.
2 free to vibrate.
Important
Special Note
A. First strike the key.
B. Listen for the sound of string.
C. Then move the pin accordingly.
D. Be sure the hammer is on the right
pin befor you start to move it. Cau-
tion: Do not. under any circumstances,
touch pin No. 2 during unison practice.
In other words, the No. 2 strings later
on will be called Center string for tun-
ing other intervals.
You are still on ear training. Remem-
ber to leave all the center strings open
and absolutely free to vibrate. How
can one tell when I am tuning a fifth
to just intonation? You have been prac-
ticing bringing up one string to the
other, making two strings to sound ex-
actly alike without hearing any beats.
The difference in this procedure is to
turn your tuning hammer a small degree
more so that you can feel, as well as
hear, the pitch of the string approaching
its neighbors, as they do so and come
near one another (nearly in unison) on
the tone distance of a fifth, i.e., an in-
Demonstration
Practice pulling each string you have
lowered to the one to be tuned, i.e., the
No. 1 you put out of tune, to be raised
29
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
(Many requests have been made for
previous articles in this series
which have now been revised and
simplified by using one keyboard
chart. The first article is published
herewith.—Editor's Note.)
E of the main objecives will be to
learn how to harmonize the strings,
consisting of 8 common chords, which
will embrace the remaining 4. In order
to do so, the best way is through and
by the use of the keyboard chart and
examples that should be followed in
their respective numbers which are
plainly marked on each and every key
to be tuned.
a continuous felt wedge to be inserted
between strings silencing one and three.
Later on. when we take up tuning a
circle of fifths and octaves will be men-
tioned.
I
again to No. 2 string that remains in its
right pitch, not having been touched.
When you raise the string just low-
ered, pull it up gently and listen for a
pulsating effect on the "ear", a sort of
wow, wow, wow, wow. Then listen at-
tentively until you hear the string you
are raising approaching the tone of its
mate and agrees with it.
Regarding Unisons
The Elementary Phases of Piano
Tuning
Learning to tune unisons clear can-
not be overemphasized.
In the first place there are 88 unisons,
comprising three strings to be definite-
ly and justly harmonized in true in-
tonation. Furthermore, this is and must
be considered the real first step in tun-
ing and utmost importance for training
the ear.
.
Part I
Suggestion
Vt e are going to try to tune a series
of eight common chords, which will em-
brace the remaining four. The Common
Chord unites (1) the octave, (2) a ma-
jor third. (3) a minor third, a perfect
fourth, perfect fifth, a minor sixth and
eight unisons.
An attuned "ear" would soon recog-
nize intervals out of tune which make
up the common chord, the foundation of
all the chords.
In order to try our hand at this hum-
ble beginning we must first start with
pulling up one string that is out of
tune with the others, and learn to har-
monize three strings called a unison.
You will not need the keyboard chart
for this operation.
Referring to the diagram, the arrow
opposite "A" points to the tuning pin
to be lowered about an eighth of a tone,
enough to put the string quite out of
tune with the one next to it. "B" indi-
cates strings to be left open or free to
vibrate.
Note at the left of letter "B"' there
are two straight lines and two arrows
pointing to the strings—one and two
are to be kept open—the two marked
"3" and "4". "C" with arrow showing
THE MUSIC TRADE REVIEW, SEPTEMBER, 1954
Don't try to absorb a whole lot at
one time. Spend a little time practic-
ing what you have learned.
Tuning the Strings to Just
Intonation
How to start tuning unisons:
1. Place the wrench on tuning pin.
2. Hold it steady.
3. See that it is firm on pin.
4. Do not move it until you observe
the following rules.
The only change in procedure is to
tune the middle string and silence " 1 "
and " 3 " . See diagram, note "C" and
arrow pointing to the continuous felt
mute between " 1 " and " 3 " , leaving No.
2 free to vibrate.
Important
Special Note
A. First strike the key.
B. Listen for the sound of string.
C. Then move the pin accordingly.
D. Be sure the hammer is on the right
pin befor you start to move it. Cau-
tion: Do not. under any circumstances,
touch pin No. 2 during unison practice.
In other words, the No. 2 strings later
on will be called Center string for tun-
ing other intervals.
You are still on ear training. Remem-
ber to leave all the center strings open
and absolutely free to vibrate. How
can one tell when I am tuning a fifth
to just intonation? You have been prac-
ticing bringing up one string to the
other, making two strings to sound ex-
actly alike without hearing any beats.
The difference in this procedure is to
turn your tuning hammer a small degree
more so that you can feel, as well as
hear, the pitch of the string approaching
its neighbors, as they do so and come
near one another (nearly in unison) on
the tone distance of a fifth, i.e., an in-
Demonstration
Practice pulling each string you have
lowered to the one to be tuned, i.e., the
No. 1 you put out of tune, to be raised
29
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