ean by the term, Fundamental of a chord? What is
added to it to complete the common chord?

8. What absolute pitches comprise the common chord of C? What
kind of interval between the first two members? What between the
first and last? What between the second and last?

9. What tones would you use if told to strike the common chord of
C in four-part, close harmony, using the fundamental for the
highest tone?

10. How many keys (white and black) are there between the
fundamental and the third? How many between the third and the
fifth? How many between the fundamental and the fifth when the
fifth is played above the fundamental?

11. How many keys (white and black) are there between two keys
comprising a perfect fourth?

12. (Most important of all.) What keys of the piano keyboard
comprise the common chord founded upon G as the fundamental? Upon
F? Upon F[#]? Upon G[#]? Upon B[b]? Upon D[b]? Upon E[b]? Upon D?
Upon E? Upon A? Upon B?

If one is able to answer these questions correctly he is qualified to
begin the study of Piano Tuning.

[A] Published by Theodore Presser, Philadelphia, Pa.

LESSON II.

~GENERAL CONSTRUCTION OF THE PIANO; SOMETHING OF ITS EVOLUTION AND
HISTORY.~

The piano of today is, unquestionably, the most perfect, and
consequently the most popular and beloved of all musical instruments.

That enchanting Queen of the home,
Whose place in the hearts of the family
Is as dear as though it could speak
In words of joy and sorrow,
Sadness or consolation;
Soothing, animating, enrapturing,
Charming away the soul
From its worldly weight of cares,
And wafting it softly
Into the realm of celestial dreams.

The untiring efforts of genius for over a century have succeeded in
producing a musical instrument that falls little short of perfection.
Yet other inventions and improvements are sure to come, for we are
never content with "good enough."

The student of these lessons may, in his practice, discover defective
mechanical action and by his ingenuity be able to improve it; he may
likewise see where an improvement can be made in acoustic
construction; where a better scale can be drawn; or where different
and perhaps new materials may be used for the component parts of the
instrument. The possibilities are numerous along these lines, and in
addition to