Piano Tuning - A Simple and Accurate Method for Amateurs by J. Cree (Jerry Cree) Fischer
page 89 of 160 (55%)
page 89 of 160 (55%)
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in any event.
SETTING THE MUTES OR WEDGES IN THE UPRIGHT. As stated in a previous lesson, the mutes should be so placed that only two strings are heard at one time: the one the tuner is tuning, and the one he is tuning by. It is true that this is an easy matter, but it is also true that very few tuners know how to do it in a way to save time and avoid placing the mutes two or more times in the same place. By using a little inventive genius during early practice the author succeeded in formulating a system of muting by which he accomplished the ends as stated above, and assures the reader that a great deal of time can be saved by following it. After removing the muffler or any other instrumental attachment which may be in the piano in the way of placing the mutes, the first thing to do is to place the continuous mute so that all the outside strings of the trios are damped. The temperament is then set by tuning the middle strings, of the twenty-five trios comprised in the two-octave temperament as demonstrated in a previous lesson. After satisfying yourself by trials or test that the temperament is true, you then remove the continuous mute and proceed to bring the outside strings in unison with the middle one. Now, your 1C is sometimes found to be the first pair in the over-strung bass, which usually has two strings to a key, while in other pianos, 1C is the first trio in the treble stringing, and in many cases it is the second trio in the treble. For illustration, we will say it is the second in the treble. In speaking of the separate strings of a trio we will number them 1st, 2d, and 3d, from left to right, as in foot-note, page 89, Lesson IX. Setting the |
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