your mind and the system is easy to understand and remember. Keep
within the bounds of the two octaves laid out in Lesson X. Tune all
fifths upward; that is, tune all fifths by their fundamentals. For
example, starting on 1C, use it as fundamental, and by it, tune its
fifth, which is G; then, having G tuned, use it as fundamental, and by
it tune its fifth, which is D, and so on through. After tuning a
fifth, always tune its octave either above or below, whichever way it
lies within the bounds of the two octaves. After going through one or
two experiments in setting temperament you will see the simplicity of
this system and will, perhaps, not be obliged to refer to the diagram
any more.

For various reasons, it is better to try your experiments on an
upright piano, and the better the piano, the more satisfactory will be
the result of the experiment. You should have no hesitancy or timidity
in taking hold of a good piano, as you cannot damage it if you use
good judgment, follow instructions, and work carefully. The first
caution is, be very careful that you draw a string but slightly
sharper than it is to be left. Rest the heel of the hand against some
stationary part of the piano and pull very slowly, and in a direct
right angle with the tuning pin so as to avoid any tendency to bend or
spring the pin. We would advise now that you find an upright piano
that is badly out of tune, if you have none of your own, and proceed
to set a temperament.

The following instructions will suffice for your first experiments,
and by them you may be able to get fairly good results; however, the
theory of temperament, which is more thoroughly entered into in Lesson
XII, must be studied before you can have a thorough understanding of
the causes and effects.