No subject of so great importance in the whole realm of musical science has been so strangely neglected as the method of setting a temperament. Even musicians of high learning, in other respects, give little attention to scale building, and hence they differ widely on this topic. There can be but one "best way" of doing a thing, and that best way should be known and followed by the profession; but, strange to say, there are a half dozen systems of setting the temperament in vogue at the present time. The author has, in his library, a book on "Temperament" which, if followed, would result in the production of a scale in which every chord would be unbalanced, harsh and unbearable. This is mentioned merely to call attention to the fact that great differences of opinion exist among scientific men regarding this important subject.
In the author's practice, he was curious to try the different methods, and has tuned by all the systems of temperament in vogue at the present, or that have ever been used extensively. His experience has proved that all but one is hampered with uncertainty, difficulty of execution or imperfection in some respect.
A system which will positively insure the strictest uniformity of difference in pitch of any given interval in all the keys, and that makes use of the fewest intervals in tuning and the easiest onesthose in which a discrepancy is most readily perceived by the ear, is the best system to adopt and follow. Such a system is the one followed by the author for years with the most satisfying results. He does not claim any high honor by this statement, but does claim that, while his system differs but slightly from some of the others, it is more certain to produce the best results, is the simplest to understand, is the easiest to follow, and, consequently, is the best.
To become a piano tuner of the highest skill, many things are necessary; but what may be lacking at the outset may be acquired by study and practice. More depends upon the ear than upon anything else; but no person, however talented, has a sufficiently acute perception to tune perfectly without some culture. Some practice in tuning is necessary to bring the ear to that acuteness of perception so indispensable in certain portions of the instrument. It may also be said that no extraordinary talent for music is absolutely necessary, since many of the best tuners are not musicians in any sense of the word. Patience and perseverance, associated with conscientiousness and an insatiable desire to excel, are among the foremost requirements. Having these it only remains to gain a thorough knowledge of every detail of the work; a little practice will bring skill and dexterity.
Finally, we would impress the student with the strenuous importance of thoroughly mastering the lessons which immediately follow. You should be inspired with the utmost confidence, both in yourself and in the possibilities of the profession to those who merit a reputation. And, while this lesson contains little technical instruction, if by its study the pupil is impressed with the maxims herein presented, and is inspired to make earnest effort in his future work, both in acquiring and in practicing the art of Piano Tuning, the author will feel that its mission is, by no means, the least significant one in the course.