Pitch.—It is a matter of importance in tuning an instrument that it be tuned to a pitch that will adapt it to the special use to which it may be subjected. As previously explained, there are at present two different pitches in use, international pitch and concert pitch, the latter being about a half-step higher than the former. The tuner should carry with him a tuning pipe or fork tuned to 3C in one or the other of these pitches. The special uses to which pianos are subjected are as follows:
Ist, As a concert piano.—In the opera house, music hall, and occasionally in the church, or even in a private dwelling, the piano is used along with orchestral instruments. All orchestral instruments are supposed to be tuned to concert pitch. The stringed instruments can, of course, be tuned to any pitch; but the brass and wood-wind instruments are not so adjustable. The brass instruments are provided with a tuning slide and their pitch can be lowered somewhat, but rarely as much as a half-step, while the clarinet should not be varied from its fixed pitch if it can be avoided. It is desirable, then, that all pianos used with orchestra should be tuned to concert pitch if possible.
2d, As an accopaniment for singing.—Some persons use their pianos mainly for accompanying. It may be that singers cannot sing high, in which case they are better pleased if the piano is tuned to international pitch, while others, especially concert singers, have their pianos at a higher pitch. Where a piano is used in the home to practice by, and the singer goes out to various places to sing with other instruments, we have always advised to have the piano tuned as near concert pitch as it would bear, for the reason that if one practices with an instrument tuned to concert pitch he may feel sure of reaching the pitch of any instrument he may be called upon to sing with elsewhere.
The great majority of pianos are left entirely to the tuner's judgment in regard to pitch. The tuner knows, or should know, to what pitch to tune the piano to insure the best results. The following suggestions will be found entirely safe to follow in deciding the question of the pitch to which to tune:
Ascertain if the piano is used with orchestra, and if clarinets and cornets are used. If so, and the piano is not too much below concert pitch, and bids fair to stand the tension, draw your 3C up to concert pitch and proceed to lay your temperament. If the piano is nearly as low as international pitch, do not try to bring it up at one tuning to concert unless the owner demands it, when you may explain that it will not stand in tune long. The slightest alteration possible, in the pitch of an instrument, insures the best results, so far as standing in tune is concerned.
If everything be left to your judgment, as it generally is, and the instrument is for general, rather than special use, set your temperament at such a pitch as will require the least possible alteration. This may be arrived at in the following way: Ascertain which portion of the instrument has fallen the most. The overstrung bass strings generally stand better than any other, and in most cases you will find the C which is two octaves below middle C to be higher (relatively) than any other C in the piano. If so, take it as a basis and tune by perfect octaves up to 3C.
The supposition is, that all strings in an instrument gradually grow flatter; and in a well-balanced instrument they should do so; but the fact is, that in certain cases some of the strings will grow sharper. The cause is this: The tension of the strings on one side of a brace in the metal plate or frame is greater than on the other side; and if there is any yielding of the structure, the result is that the overpowered strings are drawn tighter. This condition, however, is rare in the better grade of pianos. Here is a rule which is safe, and will prove satisfactory in ninety- nine per cent. of your practice where no specific pitch is prescribed:
Take the three Cs included in the temperament and the C that is an octave below IC, and try each of them with its octave until you ascertain which is the sharpest with respect to the others; then, bring the others up to it. You now have your pitch established in the Cs and can begin on IC and proceed to set the temperament. Before applying this rule, it is well to try 3C with tuning pipe or fork to see if the piano is below international pitch. We would not advise tuning any modern piano below international pitch. Aim to keep within the bounds of the two prescribed pitches; never higher than concert, nor lower than international. If, however, you should be called on to tune an old instrument that has become extremely low, with very rusty strings, and perhaps with some of them broken, that by all appearances will not stand even international pitch, you may be compelled to leave it somewhat below.
The Continuous Mute.—Do not try to set a temperament without a continuous mute. Its purpose is to mute all outside (1st and 3d*) strings of all the trios included in the temperament so that none but the middle strings sound when struck by the hammers. The advantage of this can be seen at once. The tuner tunes only the middle strings in setting the temperament and thereby avoids the confusion of hearing more than two strings at once. The continuous mute is then removed and the outside strings tuned to the middle. Without the continuous mute, he would be obliged to tune all three of the strings of the unison before he could tune another interval by it, and it would not be so safe to tune by as a single string, as there might be a slight discrepancy in the unison giving rise to waves which would confuse the ear. The tuner should hear but two strings at once while setting a temperament; the one he is tuning by and the one he is tuning. A continuous mute is a strip of muting felt of the proper thickness to be pushed in between the trios of strings. Simply lay it across a portion of the strings and with a screwdriver push it in between the trios just above where the hammers strike. In the square piano, which has but two strings to a key, the continuous mute cannot be used and you will be obliged to tune both strings in unison before leaving to tune another interval. This is one of the reasons why the square piano does not, as a rule, admit of as fine tuning as the upright.
It is presumed that you are now familiar with the succession of tones and intervals used in setting the temperament. Fix these things in your mind and the system is easy to understand and remember. Keep within the bounds of the two octaves laid out in Lesson X. Tune all fifths upward; that is, tune all fifths by their fundamentals. For example, starting on IC, use it as fundamental, and by it, tune its fifth, which is G; then, having G tuned, use it as fundamental, and by it tune its fifth, which is D, and so on through. After tuning a fifth, always tune its octave either above or below, whichever way it lies within the bounds of the two octaves. After going through one or two experiments in setting temperament you will see the simplicity of this system and will, perhaps, not be obliged to refer to the diagram any more.
For various reasons, it is better to try your experiments on an upright piano, and the better the piano, the more satisfactory will be the result of the experiment. You should have no hesitancy or timidity in taking hold of a good piano, as you cannot damage it if you use good judgment, follow instructions, and work carefully. The first caution is, be very careful that you draw a string but slightly sharper than it is to be left. Rest the heel of the hand against some stationary part of the piano and pull very slowly, and in a direct right angle with the tuning pin so as to avoid any tendency to bend or spring the pin. We would advise now that you find an upright piano that is badly out of tune, if you have none of your own, and proceed to set a temperament.
The following instructions will suffice for your first experiments, and by them you may be able to get fairly good results; however, the theory of temperament, which is more thoroughly entered into in Lesson XII, must be studied before you can have a thorough understanding of the causes and effects.
After deciding, as per instructions on pitch, which C you will tune first, place the tuning hammer (using the star head if pins are square) on the pin with the handle extending upwards or inclined slightly to the right. (The star head, which will fit the pin at eight different angles, enables the tuner to select the most favorable position.) To raise the pitch, you will, of course, pull the hammer to the right. In order to make a string stand in tune, it is well to draw it very slightly above the pitch at which it is to remain, and settle it back by striking the key repeatedly and strongly, and at the same time bearing gently to the left on the tuning hammer. The exact amount of over-tension must be learned by practice; but it should be so slight as to be barely perceptible. Aim to get the string tuned with the least possible turning of the hammer. The tension of the string should be evenly distributed over its entire length; that is, over its vibrating middle and its "dead ends" beyond the bridges. Therefore it is necessary to strike the key strongly while tuning so as to make the string draw through the bridges. By practice, you will gain control of the hammer and become so expert that you can feel the strings draw through the bridges and the pins turn in the block.
Having now tuned your three Cs, you will take 1C as a starting point, and by it, tune 1G a perfect fifth above. Tune it perfect by drawing it gradually up or down until all pulsations disappear. Now after making sure you have it perfect, flatten it until you can hear slow, almost imperceptible waves; less rapid than one per second. This flattening of the fifth is called tempering, and from it comes the word "temperament." The fact that the fifth must always be tuned a little flatter than perfect, is a matter which always causes some astonishment when first learned. It seems, to the uninitiated, that every interval should be made perfect; but it is impossible to make them so, and get a correct scale, as we shall see later on.
Now tune 2G by the 1G just tuned, to a perfect octave. Remember that all octaves should be left perfect-all waves tuned out. Now try 2G with 2C. If your octaves are perfect, this upper fifth will beat a little faster than the lower one, but the dissonance should not be so great as to be disagreeable. Proceed to your next fifth, which is 2D, then its octave, 1D, then its fifth and so on as per directions on the system card. You can make no chord trials until you have tuned E, an interval of a major third from C.
Having tuned 2E, you can now make your first trial: the chord of C. If you have tempered your fifths correctly, this chord will come out in pleasing harmony, and yet the E will be somewhat sharper than a perfect major third to C. Now, just for experiment, lower 2E until all waves disappear when sounded with 2C. You now have a perfect major third. Upon sounding the chord, you will find it more pleasing than before; but you cannot leave your thirds perfect. Draw it up again to its proper temperament with A, and you will notice it has very pronounced beats when sounded with C. Proceed with the next step, which is that of tuning 1B, fifth to 1E. When tuned, try it as a major third in the chord of G. At each step from this on, try the note just tuned as a major third in its proper chord. Remember, the third always sounds better if lower than you dare to leave it; but, on the other hand, it must not be left so sharp as to be at all unpleasant when heard in the chord. As to the position of the chord for these trials, the second position, that is, with the third the highest, is the most favorable, as in this position you can more easily discern excessive sharpness of the third, which is the most common occurrence. When you have gone through the entire system and arrived at the last fifth, 1F-2C, you should find it nearly as perfect as the rest, but you will hardly be able to do so in your first efforts. Even old tuners frequently have to go over their work a second or third time before all fifths are properly tempered. By this system, however, you cannot go far wrong if you test each step as directed, and your first chord comes up right. If the first test, G-C-E, proves that there is a false member in the chord, do not proceed with the system, but go over the first seven steps until you find the offending members and rectify. Do not be discouraged on account of failures. No one ever set a correct temperament at the first attempt.