third string of D and so on. By this method, you tune two strings
every time you reset your mute.

When through with the temperament, the next step is usually that of
tuning the bass; but while we are in the treble we will proceed to
give the method of setting the mutes in the upper treble beyond the
temperament. All three strings have yet to be tuned here, and we have
to use two mutes. The unisons are tuned in regular succession upward
the same as in the example above. The mute that is kept farthest to
the left, is indicated by the letter A, and the one kept to the right,
by the letter B, as in diagram below.

(T e m p e r a m e n t ) 1 2 3 4 5 6 7 &c.
*** *** *** *** *** *** A B
/// /// /// /// /// /// /// /// /// /// /// /// /// ///
C♯ D D♯ E F F♯ G &c.

The mutes are first placed in the places indicated by the figures 1
and 2, thereby muting first and third strings of the first unison
beyond the temperament, which is 3C♯. The middle string of this unison
is now tuned by its octave below. (If you have left imperfect unisons
in your temperament, rendering it difficult to tune octaves by them,
it will be well to replace your continuous mute so as to tune from a
single string.) Having tuned the middle string of C♯, move mute B to
place 3 and tune third string of C♯. Then, move mute A to place 2 and
tune first string of C♯. Your mutes are now already set for tuning the
middle string of D. After this is done, proceed to move mute B first,
then mute A; tuning middle string, then third, then first, moving step
by step as indicated in example above until the last unison is
reached. By this system you tune three strings every time the mutes