which portion of the instrument has fallen the most. The overstrung
bass strings generally stand better than any other, and in most cases
you will find the C which is two octaves below middle C to be higher
(relatively) than any other C in the piano. If so, take it as a basis
and tune by perfect octaves up to 3C.

The supposition is, that all strings in an instrument gradually grow
flatter; and in a well-balanced instrument they should do so; but the
fact is, that in certain cases some of the strings will grow sharper.
The cause is this: The tension of the strings on one side of a brace
in the metal plate or frame is greater than on the other side; and if
there is any yielding of the structure, the result is that the
overpowered strings are drawn tighter. This condition, however, is
rare in the better grade of pianos. Here is a rule which is safe, and
will prove satisfactory in ninety-nine per cent. of your practice
where no specific pitch is prescribed:

Take the three Cs included in the temperament and the C that is an
octave below 1C, and try each of them with its octave until you
ascertain which is the sharpest with respect to the others; then,
bring the others up to it. You now have your pitch established in the
Cs and can begin on 1C and proceed to set the temperament. Before
applying this rule, it is well to try 3C with tuning pipe or fork to
see if the piano is below international pitch. We would not advise
tuning any modern piano below international pitch. Aim to keep within
the bounds of the two prescribed pitches; never higher than concert,
nor lower than international. If, however, you should be called on to
tune an old instrument that has become extremely low, with very rusty
strings, and perhaps with some of them broken, that by all appearances
will not stand even international pitch, you may be compelled to leave