tuned here, and we have
to use two mutes. The unisons are tuned in regular succession upward
the same as in the example above. The mute that is kept farthest to
the left, is indicated by the letter A, and the one kept to the right,
by the letter B, as in diagram below.

(T e m p e r a m e n t ) 1 2 3 4 5 6 7 &c.
*** *** *** *** *** *** A B
/// /// /// /// /// /// /// /// /// /// /// /// /// ///
C[#] D D[#] E F [F#] G &c.

The mutes are first placed in the places indicated by the figures 1
and 2, thereby muting first and third strings of the first unison
beyond the temperament, which is 3C[#]. The middle string of this
unison is now tuned by its octave below. (If you have left imperfect
unisons in your temperament, rendering it difficult to tune octaves by
them, it will be well to replace your continuous mute so as to tune
from a single string.) Having tuned the middle string of C[#], move
mute B to place 3 and tune third string of C[#]. Then, move mute A to
place 2 and tune first string of C[#]. Your mutes are now already set
for tuning the middle string of D. After this is done, proceed to move
mute B first, then mute A; tuning middle string, then third, then
first, moving step by step as indicated in example above until the
last unison is reached. By this system you tune three strings every
time the mutes are set twice.

The over-strung bass usually has but two strings to a unison and only
one mute is needed. In the extreme low or contra-bass, pianos have but
one string, in tuning which the mute is discarded. Set the mute as
indicated by the figures 1, 2, 3, etc., in the diagram below, always
tuning the string farthest to the right by its octave above; then move
the mute to its next place and tune the left string by the right.
Here, again, you tune two strings every time you reset your mute. The
I's represent bass strings.

9 8 7 6 5 4 3 2 1
I I I I I I I II II II II II II II II II
C C[#] D D[#] E F F[#] G G[#] A A[#] B C
Contra-Bass. Bass. Treble.

SETTING THE MUTES IN THE SQUARE PIANO.

In setting the temperament in the square piano, simply mute the string
farthest to the left and tune the one to the right until the
temperament is finished, then set the mutes in the bass the same as in