7.  What do we mean by the term, Fundamental of a chord?  What is
     added to it to complete the common chord?

     8.  What absolute pitches comprise the common chord of C?  What
     kind of interval between the first two members?  What between the
     first and last?  What between the second and last?

     9.  What tones would you use if told to strike the common chord of
     C in four-part, close harmony, using the fundamental for the
     highest tone?

10.  How many keys (white and black) are there between the fundamental and the third?  How many between the third and the fifth?  How many between the fundamental and the fifth when the fifth is played above the fundamental?

     11.  How many keys (white and black) are there between two keys
     comprising a perfect fourth?

12. (Most important of all.) What keys of the piano keyboard comprise the common chord founded upon G as the fundamental?  Upon F?  Upon F[#]?  Upon G[#]?  Upon B[b]?  Upon D[b]?  Upon E[b]?  Upon D?  Upon E?  Upon A?  Upon B?

If one is able to answer these questions correctly he is qualified to begin the study of Piano Tuning.

    [A] Published by Theodore Presser, Philadelphia, Pa.

LESSON II.

GENERAL CONSTRUCTION OF THE PIANO; SOMETHING OF ITS EVOLUTION AND HISTORY.

The piano of today is, unquestionably, the most perfect, and consequently the most popular and beloved of all musical instruments.

    That enchanting Queen of the home,
      Whose place in the hearts of the family
    Is as dear as though it could speak
      In words of joy and sorrow,
    Sadness or consolation;
      Soothing, animating, enrapturing,
    Charming away the soul
      From its worldly weight of cares,
    And wafting it softly
      Into the realm of celestial dreams.

The untiring efforts of genius for over a century have succeeded in producing a musical instrument that falls little short of perfection.  Yet other inventions and improvements are sure to come, for we are never content with “good enough.”

The student of these lessons may, in his practice, discover defective mechanical action and by his ingenuity be able to improve it; he may likewise see where an improvement can be made in acoustic construction; where a better scale can be drawn; or where different and perhaps new materials may be used for the component parts of the instrument.  The possibilities are numerous along these lines, and in addition to bestowing a favor upon the general public, the man who has the originality to produce something new, places himself beyond want.

The inevitable inference is that the piano is an evolution of the harp principle.  This instrument was known centuries previous to the Christian era.  From the best history obtainable, we learn that about three hundred years ago, the first effort was made to interpose a mechanical contrivance between the performer and the strings whereby it would only be necessary to strike the keys to produce tone from the strings, thereby decreasing the difficulty in finding the strings and picking them with the fingers, and greatly increasing the possibilities in musical rendition.