hammer
head. On the one side the hole in the head is made with the longer
diameter in line with the handle, and on the other side the hole is
made with the longer diameter at right angles with the handle; so that
if you cannot get a favorable position with one end you can with the
other.

We have said nothing about which hand to use in striking the keys and
in wielding the hammer, but it is customary to handle the hammer with
the right hand and it is always advisable for two very good reasons:
It gives the tuner a much more favorable position at the instrument;
and, as the right hand is more used in ordinary every-day operations
and is more trained in applying degrees of force and guiding tools, it
is more easily trained to manipulate the hammer properly. Training the
hand in the skilful use of the hammer is of the utmost importance and
comes only by continued practice, but when it is trained, one can
virtually "feel" the tones with the hammer.

At first, the young tuner is almost invariably discouraged by his slow
progress. He must remember that, however fine his ear and however
great his mechanical ability, he has much to acquire by training in
both, and he must expect to be two or three times longer in finishing
off a job of tuning at the outset than will be necessary after he has
had a few months' practice. You can be your own trainer in these
things if you will do a little rational thinking and be content to
"hasten slowly." And as to using the left hand, we would not advise it
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,