of the twenty-five trios comprised in the two-octave
temperament as demonstrated in a previous lesson. After satisfying
yourself by trials or test that the temperament is true, you then
remove the continuous mute and proceed to bring the outside strings in
unison with the middle one. Now, your 1C is sometimes found to be the
first pair in the over-strung bass, which usually has two strings to a
key, while in other pianos, 1C is the first trio in the treble
stringing, and in many cases it is the second trio in the treble. For
illustration, we will say it is the second in the treble. In speaking
of the separate strings of a trio we will number them 1st, 2d, and 3d,
from left to right, as in foot-note, page 89, Lesson IX. Setting the
mutes in bringing up the unisons in the temperament is exceedingly
simple.

The following diagram will, we think, demonstrate clearly the method
employed:

Upper row---- o o o o o o o o o o Tim-

Middle row--- o o o o o o o o o o ing

Lower row---- o o o o o o o o o o Pins.
------------------------------------------ Bridge.

* 1 * 2 * 3 * 4 * 5 * 6 * 7 * 8 * 9 * &c
/// /// /// /// /// /// /// /// /// /// Treble stringing.
B C C[#] D D[#] E F F[#] G G[#] &c

The upper row of O's represents the upper row of tuning pins. To these
are attached the first string of each unison. To the middle row are
attached the second or middle strings, and to the lower row are
attached the third strings. The diagonal lines represent the three
strings of the unison (trio). The asterisk on the middle one indicates
that it has been tuned.

But one mute is used in tuning these unisons. It is inserted between
the trios in the order indicated by the figures 1, 2, 3, etc. When
inserted in place 1, between unisons B and C, it will mute the first
string of C; so the first string of the trio to tune is always the
third. Then place your mute in place 2 and tune the first string of C.
Then, without moving your mute, bring up third string of C[#], then
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