ly against the tongue
at the point B, but said tuning wire will not be subjected to any
abnormal strain.

Turning to Figure 32, if we use the reed knife and slightly lift the
tuning wire at the point C, friction against the tongue at the point B
will prevent said point B from moving upward. (In this connection it
must be borne in mind that the co-efficient of friction in repose is
much greater than the co-efficient of friction in motion.)

In consequence of the drawing up of the tuning wire at point C, and the
frictional resistance at point B holding the latter steady, the lower
part of the tuning wire will assume the shape shown in Figure 32, and
point A will in consequence move farther away from the tongue.

Now, if the reeds be left in this state and the organ be used for any
length of time, it will be found that point B of the tuning wire will
have risen upward until the abnormal strain upon the tuning-wire spring
has been satisfied. In consequence of this, this particular note will
be sounding flatter in pitch than it ought to do.

Conversely, if the portion of the tuning wire lettered C be slightly
driven down, as in Figure 33, the retarding effect of the friction of
repose at point B will cause the lower portion of the tuning wire to
approach nearer the tongue than it should do.

If now this reed be left in this state, after the pipe has been used
for some time and the tongue has been vibrating, it will be found that
point B on this tuning wire will have traveled nearer to the tip of the
tongue, in order to relieve the abnormal strain upon the lower portion
of the tuning wire. Point A will then have resumed its normal position.

In Figures 32 and 33, the defective action of the lower portion of the
tuning spring has been purposely exaggerated in order to make the point
clear. This bending of the tuning wires, however, takes place to a
much larger extent than most organ builders imagine. It is the chief
reason why reeds fail to stand in tune.

When point A on the reed tuning wires is rigidly supported and held by
force in its normal position, reeds can be made to stand in tune almost
as well as flue pipes.

Figure 34 represents the Hope-Jones method of supporting the tuning
wire at point A. It consists of having a brass tube T inserted in the
block moulds before the block is cast. This tube T therefore becoming
an integral part of the block itself. The inside bore of tube T is of
such diameter tha