ng the hammer at a short
distance from the string, a felted piece of wood suspended on a wire,
called the back check, rises when the key is depressed, and returns
when the key is released, allowing the hammer to regain its resting
position.

A damper, for stopping the tone of the string when a key is released,
must leave the string just before the hammer strikes, and return the
instant the key is released.

A means must be provided for releasing all the dampers from the
strings at the will of the performer. The loud pedal, as it is
called, but more properly, the damper pedal, accomplishes this end by
raising the dampers from the strings.

In the square and the grand piano, the action is under the
sound-board, while the strings are over it; so the hammers are made to
strike through an opening in the sound-board. In the upright, the
strings are between the action and the sound-board; so no opening is
necessary in the latter.

The "trap-action" consists of the pedals and the parts which convey
motion to the action proper.

QUESTIONS ON LESSON II.

1. What have been some of the salient obstacles necessary to
overcome in producing the perfected piano?

2. Of what use are the dampers? Explain their mechanical action.

3. Mention several of the qualities necessary to a good action.

4. Describe the building of an upright piano.

5. Contrast the musical capacity and peculiar characteristics of
the piano with those of the organ, which has the same keyboard.

LESSON III.

~TECHNICAL NAMES AND USES OF THE PARTS OF THE UPRIGHT PIANO ACTION.~

In the practice of piano tuning, the first thing is to ascertain if
the action is in first-class condition. The tuner must be able to
detect, locate and correct the slightest defect in any portion of the
instrument. Any regulating or repairing of the action should be
attended to before tuning the instrument; the latter should be the
final operation. As a thorough knowledge of regulating and repairing
is practically indispensable to the professional tuner, the author has
spared neither means, labor nor research to make this part of the
lessons very complete, and feels sure that it will meet with the
hearty approval of most, if not all, students. The piano tuner who
knows nothing of regulating and repairing will miss many an
opportunity to earn extra money.

The illustration accompanying this lesson is from a Wessell, Nickel
and Gross Upri