manipulation of the tuning hammer, there are some important items to
consider.[F] Now, if the tuning hammer is placed upon the tuning pin
with the handle straight upward, and it is pulled backward (from the
tuner) just a little, before it is turned to the right, the tension
will be increased somewhat before the pin is turned, as this motion,
slight as it may seem, pulls the pin upward enough to draw the string
through the upper bridge an infinitesimally small distance, but enough
to be perceptible to the ear. Now if the hammer were removed, the
tendency of the pin would be to yield to the pull of the string; but
if the pin is turned enough to take up such amount of string as was
pulled through the bridge, and, as it is turned, is allowed to yield
downward toward the pull of the string, it will resume its balance and
the string will stand at that pitch, provided it has been "rendered"
properly over the bridges.

[F] Bear in mind, the foregoing and following instructions are
written with reference to the upright piano. The square does not
permit the observance of these suggestions so favorably as the
upright.

We set forth these details that you may have a thorough understanding
of what is meant by setting the pins, and while it is not always
advisable to follow this method in tuning, there are some pianos that
will stand more satisfactorily when treated in this way. This method
is recommended where the string has become rusty at the upper bridge,
as it is loosened at the bridge before it is started to wind around
the pin which prevents it breaking at that point. We believe that
ninety per cent. of strings break right where they start around tuning
pin. A very good way to draw a string up is to give the hammer an
alternate up and down motion, pulling the handle lightly to you, then