the upright. In tuning the treble, if the piano has three strings, the
same system is used as has been described for the upright. When the
piano has but two strings to a unison, as is usually the case, employ
the system described for the bass of the upright, but reversed, as you
are proceeding to the right instead of to the left.

Remove the shade before beginning to tune a square piano, and if
necessary, lay the dampers back and trace the strings to their pins so
as to mark them. Certain pins are marked to guide the tuner in placing
his hammer. The way we have always marked them is as follows:

Mark both pins of each pair of C strings with white crayon. Mark only
one pin of each pair of G's. Knowing the intervals of the other keys
from the marked ones, you can easily calculate correctly, upon which
pin to set your hammer to tune any string desired. For instance, if
you are striking D[#], next above middle C, you calculate that, as
D[#] is the third chromatic interval from middle C, you are to set the
hammer on one or the other of the pins belonging to the third pair to
the right of the pair marked as middle C. B would be first pair to the
left, F[#] would be first pair to the left of the marked G, and so on.
It is usually necessary to mark only those pairs near the middle of
the piano, but we advise the beginner to mark throughout the scale, as
by so doing he may avoid breaking a string occasionally by pulling on
some other than the one he is sounding. This will occur in your early
practice if you do not use caution. And for safety, some tuners always
mark throughout.

QUESTIONS ON LESSON XI.

1. By what means is the tuner enabled to make the strings draw
through the bridges and equalize the tension throughout their
entire length?

2. State conditions that may result from a tuning pin's not being
properly set.

3. In this system of muting, state definitely which string is
tuned first after the continuous mute is removed. Which second?
Which third?

4. After the unisons are finished in the temperament, which string
is tuned next, if we go immediately from the temperament to the
over-strung bass? Which second? Which third?

5. Upon beginning to tune the treble beyond the temperament, which
string is tuned first? Which second? Which third?

6. (a) How many mutes are used in tuning outside the strings of
the temperament?

(b) In what prop