ore easily through the
upper, than the lower bridge. There are two reasons for this: One is,
that the construction of the lower bridge is such as to cause a
tendency in this direction, having two bridge-pins which stand out of
line with the string and bear against it in opposite directions; the
other is that the lower bridge is so much farther from the point where
the hammer strikes the string that its vibration does not help it
through as it does at the upper bridge.

Now, the thing desired is to have the tension equally distributed over
the entire length of the string. Tension should be the same in the
three different sections. This is of paramount importance. If this
condition does not obtain, the piano will not stand in tune. Yet, this
is not the only item of importance. The tuning pin must be properly
"set," as tuners term it.

By "setting the pins," we mean, leaving it so balanced with respect to
the pull of the string that it will neither yield to the pull of the
string nor tend to draw it tighter. Coming now to the exact
manipulation of the tuning hammer, there are some important items to
consider.[F] Now, if the tuning hammer is placed upon the tuning pin
with the handle straight upward, and it is pulled backward (from the
tuner) just a little, before it is turned to the right, the tension
will be increased somewhat before the pin is turned, as this motion,
slight as it may seem, pulls the pin upward enough to draw the string
through the upper bridge an infinitesimally small distance, but enough
to be perceptible to the ear. Now if the hammer were removed, the
tendency of the pin would be to yield to the pull of the string; but
if the pin is turned enough to take up such amount of string as was
pulled through the bridge, and, as it is turned, is allowed to yield
downward toward the pull of the string, it will resume its balance and
the string will stand at that pitch, provided it has been "rendered"
properly over the bridges.

[F] Bear in mind, the foregoing and following instructions are
written with reference to the upright piano. The square does not
permit the observance of these suggestions so favorably as the
upright.

We set forth these details that you may have a thorough understanding
of what is meant by setting the pins, and while it is not always
advisable to follow this method in tuning, there are some pianos that
will stand more satisfactorily when treated in this way. This meth