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