[F] Bear in mind, the foregoing and following instructions are written with reference to the upright piano.  The square does not permit the observance of these suggestions so favorably as the upright.

We set forth these details that you may have a thorough understanding of what is meant by setting the pins, and while it is not always advisable to follow this method in tuning, there are some pianos that will stand more satisfactorily when treated in this way.  This method is recommended where the string has become rusty at the upper bridge, as it is loosened at the bridge before it is started to wind around the pin which prevents it breaking at that point.  We believe that ninety per cent. of strings break right where they start around tuning pin.  A very good way to draw a string up is to give the hammer an alternate up and down motion, pulling the handle lightly to you, then from you, as you draw it up; not enough to bend or break the pin or to crush the wood around the pin, but just enough to make the string take on its increased tension equally.

In regard to the lower bridge, the strings will rarely “render” through them properly unless brought to a tension a little higher than it is desired they shall be left.  If this is done, a few sharp blows of key will generally make them equalize all right; then press the hammer gently to the left, not enough to turn the pin in the socket, but to settle it back to a well-balanced position.  After a little practice the tuner can generally guess precisely how much over-tension to allow.  If the pin is left slightly sprung downward, its tendency will be to spring upward, thereby sharpening the string; so be careful to leave the pins in perfect balance, or as tuners say, “properly set.”

The foregoing, while applicable to the whole scale, is not so urgent in the over-strung bass.  The strings are so heavy and the tension is so great that they will generally “render” quite freely over the bridges, and it is only necessary to bring them up to pitch, handling the hammer in such a manner as to leave the pins well balanced; but it is not necessary to give them over-tension and beat them down again; in fact it is not advisable, as a rule.  At all times, place the hammer on the pin as far as it will go, and strike the key while drawing a string up.

In tuning the square piano, it is not possible to set the hammer upon the pin with the handle in line with, and beyond the string, as is the rule in the upright.  Where the square has the square pin, the hammer (with star head) can always be set with the handle to the right of the string somewhat, but usually almost in line with the string and almost directly over it, and the manipulation of the hammer is much the same, though the tuner is at a greater disadvantage, the pins being farther from him and he has not such a good rest for his hand.  Many old squares have the oblong pin.  In this case, use the double 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.