string somewhat, but usually almost in line with the string and almost
directly over it, and the manipulation of the hammer is much the
same, though the tuner is at a greater disadvantage, the pins being
farther from him and he has not such a good rest for his hand. Many
old squares have the oblong pin. In this case, use the double hammer
head. On the one side the hole in the head is made with the longer
diameter in line with the handle, and on the other side the hole is
made with the longer diameter at right angles with the handle; so that
if you cannot get a favorable position with one end you can with the
other.

We have said nothing about which hand to use in striking the keys and
in wielding the hammer, but it is customary to handle the hammer with
the right hand and it is always advisable for two very good reasons:
It gives the tuner a much more favorable position at the instrument;
and, as the right hand is more used in ordinary every-day operations
and is more trained in applying degrees of force and guiding tools, it
is more easily trained to manipulate the hammer properly. Training the
hand in the skilful use of the hammer is of the utmost importance and
comes only by continued practice, but when it is trained, one can
virtually "feel" the tones with the hammer.

At first, the young tuner is almost invariably discouraged by his slow
progress. He must remember that, however fine his ear and however
great his mechanical ability, he has much to acquire by training in
both, and he must expect to be two or three times longer in finishing
off a job of tuning at the outset than will be necessary after he has
had a few months' practice. You can be your own trainer in these
things if you will do a little rational thinking and be content to
"hasten slowly." And as to using the left hand, we would not advise it