from you, as you draw it up; not enough to bend or break the pin or to
crush the wood around the pin, but just enough to make the string take
on its increased tension equally.

In regard to the lower bridge, the strings will rarely "render"
through them properly unless brought to a tension a little higher than
it is desired they shall be left. If this is done, a few sharp blows
of key will generally make them equalize all right; then press the
hammer gently to the left, not enough to turn the pin in the socket,
but to settle it back to a well-balanced position. After a little
practice the tuner can generally guess precisely how much
over-tension to allow. If the pin is left slightly sprung downward,
its tendency will be to spring upward, thereby sharpening the string;
so be careful to leave the pins in perfect balance, or as tuners say,
"properly set."

The foregoing, while applicable to the whole scale, is not so urgent
in the over-strung bass. The strings are so heavy and the tension is
so great that they will generally "render" quite freely over the
bridges, and it is only necessary to bring them up to pitch, handling
the hammer in such a manner as to leave the pins well balanced; but it
is not necessary to give them over-tension and beat them down again;
in fact it is not advisable, as a rule. At all times, place the hammer
on the pin as far as it will go, and strike the key while drawing a
string up.

In tuning the square piano, it is not possible to set the hammer upon
the pin with the handle in line with, and beyond the string, as is the
rule in the upright. Where the square has the square pin, the hammer
(with star head) can always be set with the handle to the right of the