Igrec - Pianos Inside Out

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

Pianos Inside Out A Comprehensive Guide to Piano Tuning, Repairing, and Rebuilding

Mario Igrec


 In Tune Press

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Photo credits: Photographs, charts, and drawings are by the author unless otherwise indicated. Epigraph sources: Introduction: David Dubal, The Art of the Piano: Its Performers, Literature, and Recordings, 3rd ed. Pompton Plains, NJ: Amadeus Press, 2004, p. 3. Chapter 1: George Basalla, The Evolution of Technology. Cambridge: Cambridge University Press, 1988, p. 45. Chapter 2: Nick Gravagne, RPT, “Downbearing: A Link in the Energy Chain,” Piano Technicians Journal, April 1988, p. 29. Chapter 3: Widely quoted as attributed to Jelly Roll Morton. See Alan Lomax, Mister Jelly Roll: the Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz”, 2nd ed. Berkeley, CA: University of California Press, 1973, p. 45. Chapter 4: pianotech forum, my.ptg.org, 25 August 2011. Chapter 5: Interview with Benjamin McKlveen, RPT, by the author, July 2011. Chapter 6: Claude Montal, L’Art d’accorder soi-mème son piano, 1st ed. Paris: J. Meissonnier, 1836, pp. 107–109. Translation by Fred Sturm, RPT. Chapter 7: Matthew B. Crawford, Shop Class as Soulcraft: An Inquiry into the Value of Work. New York: Penguin Press, 2008, p. 17. Chapter 8: Larry Fine, The Piano Book, 4th ed. Boston, MA: Brookside Press, 2001. Chapter 9: Walter Pfeiffer, The Piano Key and Whippen. Trans. Jim Engelhardt. Frankfurt-am-Main, Germany: Das Musikinstrument, 1967, p. 73. Chapter 10: Widely quoted, for ex. in Gerald Klickstein, The Musician’s Way: A Guide to Practice, Performance, and Wellness. Oxford: Oxford University Press, 2009, p. 6. Closing: George Leonard, Mastery: The Keys to Long-Term Success and Fulfillment. New York: Dutton, 1991, p. 140. Appendix A: Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values. New York: William Morrow & Co., 1974, p. 5. Copyright © 2013 by Mario Igrec All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means without prior written permission from the publisher, except for brief quotations embodied in critical articles or book reviews. Edited by Richard Lehnert Published by: In Tune Press, LLC P.O. Box 2653 Mandeville, LA 70470-2653 USA http://www.pianosinsideout.com Library of Congress Control Number: 2013901467 ISBN-13: 978-0-9827563-0-0 ISBN-10: 0982756305 Printed on acid-free paper

Note to the reader: Pianos are large, extremely heavy instruments that can cause severe injury or death if not handled with care. Piano repair and rebuilding involves procedures that will expose you to dust, mold, mildew, diseases, and various toxic chemicals and their vapors. Continuous exposure to loud noises such as those generated by tools and machines, as well as by tuning, can be harmful to your hearing. Follow your local, state, and federal regulations regarding the use, storage, and disposal of toxic chemicals. The author assumes no liability for damages or losses resulting from the use of the information contained herein.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

To Seni and Doris, for all your support, understanding, and love

And in loving memory of my parents, Alojzije and Dubravka Igrec, who would have been so happy to have seen this book

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

Trademarks: 3M, ScotchBlue, Scotch-Brite, and Wetordry are trademarks of 3M. ABS Styran and ABS Carbon are trademarks of Kawai Musical Instrument Mfg. Co. Accu-Tuner is a registered trademark of Inventronics, Inc. AcryliKey is a registered trademark of Wagner Technical, LLC. Aleene’s Fast Grab Tacky Glue, Aleene’s Original Tacky Glue, and Aleene’s Quick Dry Tacky Glue are registered trademarks of Duncan Enterprises. Amazing GOOP is a registered trademark of Eclectic Products, Inc. Apple, iPad, iPod, iPhone, iTunes Music Store, and Mac OS are trademarks of Apple Inc., registered in the U.S. and other countries. Avery and 5160 are trademarks of Avery Dennison Corporation. Baldwin and Acu-Just are registered trademarks of Baldwin Piano and Organ Company. Borgato is a registered trademark of Borgato Company. Bösendorfer and Bösendorfer CEUS are registered trademarks of L. Bösendorfer Klavierfabrik GmbH. CyberHammer is a trademark of Reyburn Piano Tech. CyberTuner is a registered trademark of Reyburn Piano Service, Inc. Dampp Chaser is a registered trademark of Dampp-Chaser Corporation. Dremel is a registered trademark of Robert Bosch Tool Corporation. Dupont is a trademark, and Mylar, Teflon, and TFL-50 are registered trademarks of E.I. du Pont de Nemours and Company. Ecsaine is a registered trademark of Toray Industries, Inc. Elmer’s is a registered trademark of Elmer’s Products, Inc. Fazioli is a registered trademark of Fazioli Pianoforti srl. Flitz is a registered trademark of Flitz International Ltd. Hands Off Reserved for Performance is a registered trademark of Pianotek Supply Company. Heli-Coil is a registered trademark of Emhart Teknologies Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries. Ivoplast and Tharan are registered trademarks of Kluge Klaviaturen GmbH. Key-Brite is a trademark of Cory Care Products. LinkedIn is a registered trademark of LinkedIn Corporation. Liquid Wrench is a registered trademark of Radiator Specialty Company. LOCK-N-STITCH is a registered trademark of Lock-N-Stitch International.

LPS 1 is a registered trademark of LPS Laboratories. Mason & Hamlin and Wessell, Nickel & Gross are registered trademarks of Mason & Hamlin Piano Company. Microsoft and Windows are registered trademarks of Microsoft Corporation in the United States and other countries. Mirror Glaze is a registered trademark of Meguiar’s, Inc. The New Grove and The New Grove Dictionary of Music and Musicians are registered trademarks of Oxford University Press. Piano Technicians Guild, Registered Piano Technician, and RPT are registered trademarks of Piano Technicians Guild, Inc. Plexiglas is a registered trademark of Arkema France Corporation. Protek is a trademark of Pianotek Supply Company. QuicKey Leveler is a trademark of The Leveler Company. Simple Green is a registered trademark of Sunshine Makers, Inc. Stanwood Adjustable Leverage Action, SALA, Precision TouchDesign, and PTD are trademarks of Stanwood Piano Innovations Inc. Steinway, Steinway & Sons, the Lyre symbol, Accelerated Action, and Diaphragmatic are registered trademarks of Steinway, Inc. SuperJet is a trademark of Jet Glues, Inc. System Three is a registered trademark of System Three Resins, Inc. Testors is a registered trademark of Testor Corporation. Thera Cane is a registered trademark of Thera Cane Company. Titebond, Titebond III, and Titebond III Ultimate Wood Glue are registered trademarks of Franklin International Inc. TransTint is a registered trademark of J.B. Jewitt Co., Inc. TravelSmart is a registered trademark of Conair Corporation. Verituner is a registered trademark of Veritune, Inc. Vise-Grip is a registered trademark of American Tool Companies, Inc. WD-40 is a registered trademark of WD-40 Company. Weldbond is a registered trademark of Frank & Ross & Sons Ltd. West System is a registered trademark of Gougeon Brothers, Inc. Wixey is a trademark of Barry Wixey Development. X-ACTO is a registered trademark of Elmer’s Products, Inc. Yamaha and Ivorite White Keytop are registered trademarks of Yamaha Corporation. YouTube is a registered trademark of Google Inc. ZipWall is a registered trademark of ZipWall, LLC. All other brand names or names of products are trademarks or registered trademarks of their respective companies, organizations, or individuals.

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Table of Contents

Acknowledgments . . . . . . . . . . . . . . . . . . . . . ix About the Author . . . . . . . . . . . . . . . . . . . . xiii Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . xv How to Use This Book xvi Online Resources xvi Patent Search xvi Precautions xvi Materials and Products xvii Terminology xvii Conventions xviii Chapter 1 History . . . . . . . . . . . . . . . . . . . . . . 1 The Early Piano 1 Rising Popularity 1760–1800 8 Advances in Technology 1800–1850 11 Almost Modern 1850–1900 13 Steinway since 1880 16 Market Trends 16 Chapter 2 Construction and Design . . . . . . 19 Overview of Construction 19 Structure 24 Generating Sound 33 Strings 33 Bridges 36 Soundboard 43 Plate 50 The Piano Mechanism 57 Keyboard 58 Piano Action 63

Piano Hammers 70 Dampers, Backaction, and Pedals 74 How the Piano Mechanism Works 76 Chapter 3 Maintenance . . . . . . . . . . . . . . . . . 83 Environment 83 Preventing Damage by Insects and Rodents 88 Preventing Corrosion 89 Periodic Maintenance 89 Institutional Maintenance 90 Chapter 4 Tuning . . . . . . . . . . . . . . . . . . . . . 93 Theory 94 Inharmonicity 101 Stretch 103 Tuning Technique 107 Choosing a Tuning Hammer 109 Learning to Tune 111 Electronic Tuning 124 Special Tuning Techniques 128 Factors that Affect Tuning 129 Chapter 5 Regulating . . . . . . . . . . . . . . . . . . 135 Protection 135 Gaining Access 136 Cleaning the Interior of the Piano 141 Work in the Piano or on the Bench? 141 Guide Notes 142 Friction 142 Grand Action and Keyboard: Evaluating and Preparing for Regulation 148 Regulating Keyboard (Grands and Verticals) 158

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Contents

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Regulating Action 166 Regulating Grand Action 166 Regulating Pedals in Grands 179 Regulating Grand Damper System 180 Regulating Vertical Action, Pedals, and Dampers 189 Chapter 6 Voicing . . . . . . . . . . . . . . . . . . . . . 199 Sanding Hammers 200 Strings: Seating and Leveling 202 Mating Hammers to Strings 207 Functioning of the Piano Hammer 208 Preparing for Voicing 208 Voicing Down Dense Hammers 209 Voicing Up the Hammers 216 Chapter 7 Repairs . . . . . . . . . . . . . . . . . . . . 221 Tool Kit 221 Broken String 223 Removing a Piece of Broken Metal 233 Repairing Keys 234 Repairing Action 240 Repairing Dampers 248 Repairing Grand Pedals and Lyre 249 Repairing Vertical Pedals 252 Repairing Cracked Plate 253 Repairing Pinblock 254 Repairing Bridges 256 Repairing Rattling Soundboard 261 Extracting a Broken Agraffe 262 Touching up and Repairing Finish 263 Chapter 8 Moving a Grand Piano . . . . . . . . 267 Music Rack, Fallboard, Key Slip 267 Grand Lids 268 Putting Piano on Skid Board 268 Reassembling the Piano 270 Grand Lyre 271 Chapter 9 Touch, Geometry, Playability . . . 273 How to Proceed 274 Force or Weight? 274 Interrelated Aspects of Action and Keyboard 275 Static Touchweight (TW) 276 Action Leverage 279 Hammer Weight 283 Other Weights and Weight Ratios 287 Leads: Measuring and Calculating 295 Inertia 298 Backaction 300 Keeping It All in Perspective 301 Diagnosing Playability Problems 303 Improving Playability 306 Chapter 10 Rebuilding . . . . . . . . . . . . . . . . . . 317 Evaluating a Piano 321

Developing a Plan 323 Shop Requirements 327 Equipment and Tools 329 Materials 334 Replacing Felts and Leathers 340 Rebuilding the Keyboard 342 Restoring Key Frame 344 Replacing Key Bushings 347 Replacing Key End Felts 353 Replacing White Key Tops 354 Replacing Sharps 365 Rebuilding Grand Backchecks 368 Rebuilding Grand Action 373 Replacing Wippens and Let off Buttons in Grands 379 Replacing Grand Hammer Shanks 380 Replacing Hammers in Grand Pianos 383 Rough-Regulating a Grand Action 394 Adjusting Touchweight 396 Rebuilding Grand Damper System 400 Rebuilding Vertical Action 408 Measuring String Downbearing 416 Restringing 418 Restringing a Grand Piano 423 Restringing a Vertical Piano 430 Removing the Plate 433 Agraffes: Reconditioning and Replacing 436 Regilding the Plate 439 Replacing Grand Pinblock 440 Rebuilding the Soundboard 457 Rebuilding Bridges 472 Introduction to Refinishing 479 Appendix A Troubleshooting . . . . . . . . . . . . . 489 Buzzes and Rattles 489 Echo 490 Action Noises 490 Pedal Noises in Grands 492 Pedal Noises in Verticals 493 Missing Notes 494 Appendix B Glossary . . . . . . . . . . . . . . . . . . . 495 Appendix C Selected Bibliography . . . . . . . 509 Books, Articles, Videos, Online Resources 509 Journals 516 Online Groups and Forums 516 Appendix D Resources . . . . . . . . . . . . . . . . . . 517 Appendix E Technicians’ Organizations . . . . 523 Appendix F Measurement Conversions . . . . 525

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

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Acknowledgments

I could not have written this book without the help, encouragement, and support of my wife, Dr. Srebrenka Igrec, who gave me countless comments and ideas, helped me take photographs, and assisted me in research. She proofread the manuscript more than once. Despite my being late for more dinners than I am willing to admit, Seni never stopped supporting this project. I also thank my daughter, Doris Igrec, for reminding me countless times that “everything is going to be fine.” My special thanks go to Fred Sturm, RPT, for taking on the role of mentor and for contributing more to this project than I could have hoped for. He provided alternative perspectives, challenged me to broaden my views, and encouraged me to learn new techniques. This book would be vastly inferior without his countless ideas and suggestions. I must express my deepest gratitude to Dr. David Culbert, who read several version of the draft, offered detailed comments and suggestions, and provided invaluable support and encouragement throughout this project. Thank you, David, for helping me learn so much about writing and publishing. Two people deserve special mention because they encouraged me to finish this project when it looked as if it might never see the light of day. Mladen Janjanin, Dean of the Zagreb University Academy of Music, kept reminding me over the years that no one benefits from an unpublished book, and has been adamant that I make it available. The final push came from David Erath Jr., who made reaching the finish line look easy by suddenly publishing his own book. Although my finish line took much longer to reach, David, I am glad I heard your “Just do it.” Thank you both!

I owe a deep gratitude to Wayne Stuart, who gave me a much-needed dose of realism at a critical juncture, and who encouraged me to take this project in a different direction. Special thanks to Larry Fine, RPT, for his eye-opening yet encouraging comments throughout this project, and for sharing information that has proven invaluable in the editing, production, and publication of this book. Many thanks to Stephen Brady, RPT; Jurgen Goering; and Steven Taylor, for generously sharing their insights in publishing and marketing. I was extremely fortunate to have had as editor Richard Lehnert, a poet, music critic, and master of language and rhythm. He helped not only with copy editing, but challenged the clarity and consistency of my thinking, and taught me many fine points of typesetting. I also wish to thank Julie Gallagher for her generous help with technical aspects of the production of this book. My teachers have special places in my heart. I am for´ Stanko ever indebted to Martin Canin, Pavica Gvozdic, ´ Gilbert Kalish, Richard Kramer, Horvat, Vera Kaic, Blanka Podreka, Bernard Ringeissen, and Charles Rosen for strengthening my love for the piano and for music in general. This book would not be what it is without the help of those who read the manuscript and generously contributed their comments, criticism, and suggestions: Alexander Abel; Norbert Abel; Paul Badura-Skoda; Christian Bolduc; Stephen Brady, RPT; Wally Brooks, RPT; ´ Vince Cooke; Dave Carpenter, RPT; Branko Ciganovic; Gerry Cousins, RPT; David Culbert; Richard Dain; George “Frank” Emerson, RPT; Dale Erwin, RPT; Delwin Fandrich, RPT; Gerhard Feldman; Larry Fine, RPT;

Acknowledgments

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Robert Floyd; Edward Foote, RPT; Greg Frank; Anthony Gilroy; Katherine Hoyenga; Greg Hulme, RPT; Jim Ialeggio; Lynn Keisker; Lance Lafargue, RPT; Daniel Levitan, RPT; Laurence Libin; Jean Lockwood; Lloyd Meyer; Poppy Miles, RPT; Franz Mohr; Michael Mohr; Peter Mohr; Mike Morvan; Rick Ohlendorf; Ruth Phillips, RPT; Stewart Pollens; Paul Revenko-Jones, RPT; Dean Reyburn, RPT; Paul Sanderson; Udo Schmidt-Steingraeber; Teresa Severin; David Stanwood, RPT; Wayne Stuart; Fred Sturm, RPT; Marioara Trifan; Kent Webb; Roger Weisensteiner; Allen Wright, RPT; and John Zeiner Sr., RPT. Many thanks to everyone who let me use their photographs and drawings. I am particularly thankful to the following piano manufacturers for letting me take photos in their factories, some more than once: Bösendorfer, Mason & Hamlin, and Steinway & Sons. Thanks to Darrell Fandrich, RPT, of Fandrich and Sons Pianos; Siegfried Hofmann, of Louis Renner GmbH; and Kent Webb, of Steinway & Sons for sending me action models. Lance Lafargue, RPT, of Lafargue Pianos went out of his way to locate and lend me several action models. I also wish to thank everyone else who contributed to this book with their invaluable ideas, comments, and encouragement, especially Jack Guerry, Lance Lafargue, RPT, John Raush, Dubravka Rupnik, and Carmen Scialla. Various online resources have been extremely helpful in my research. I would like to thank all the piano technicians and designers who have shared their knowledge and experience so generously over the years at the pianotech and CAUT lists, and on pianoworld.com. The following people have been particularly helpful to me: John Delacour; Ed Foote, RPT; Dale Erwin, RPT; Delwyn Fandrich, RPT; Nicholas Gravagne, RPT; Jim Ialeggio; David Love, RPT; Ron Nossaman, RPT; and Fred Sturm, RPT. Thank you all! The UK terminology is included in the Glossary thanks to the generous involvement of Allen Wright, RPT; and John Ross, former National Manager of Technical Services, Steinway & Sons, London. I would be remiss not to acknowledge Arthur A. Reblitz, RPT, for his immeasurable contribution to the field of piano technology with his seminal book Piano Servicing, Tuning, and Rebuilding: For the Professional, the Student, and the Hobbyist. Originally published in 1976, this book has educated at least two generations of piano technicians, including myself. The second edition, published in 1993, is still remarkably relevant two decades later, and is a valuable complement to this book. The following people helped broaden my understanding of piano history, technology, and market: Norbert Abel, of Helmut Abel GmbH, for explaining the felt- and hammer-making processes and sharing information I could not otherwise have gotten; Roger Aycock, RPT, of Roger’s Piano Shop, for sharing information on American square pianos; Jack Brand, of Filzfabrik Wurzen GmbH, for explaining the intricacies of making hammer felt, and

for providing information on the history of Weickert felt and the felt industry; Wally Brooks, RPT, of Brooks, Ltd., for helping and generously sharing ideas and information; Dave Carpenter, RPT, of Veritune, Inc., for helping me better understand inharmonicity, tuning theory, and electronic tuning; Valentina Casasola, of the Fazioli showroom in Milan, Italy, for arranging a visit and sharing insights about Fazioli pianos; Vince Cooke, formerly of Bösendorfer USA, for sharing his views on piano building and rebuilding; Richard Dain, of Hurstwood Farm Piano Studios and Phoenix Piano, for sharing his thoughts on piano design and the piano industry; Carl Demler, of Beethoven Pianos, for giving me a primer in the piano market, and letting me experience their rebuilding factory and play on many interesting pianos; Peter Donhauser, curator of musical instruments at the Technisches Museum in Vienna, for letting me see, hear, and look inside many interesting historical instruments; George “Frank” Emerson, RPT, for sharing his views on piano design and his involvement with various manufacturers; Massimilliano Famoso, of Griffa & Figli in Milan, Italy, for sharing his experience and translating; Irving Faust, of Faust Harrison Pianos, for sharing his thoughts on the piano industry and for ruining his evening so that I could play on even more pianos; Sara Faust, of Faust Harrison Pianos, for her wonderful playing, for sharing her views on piano tone and the piano industry, for showing me the Faust Harrison rebuilding factory, and for letting me experience many interesting and rare pianos; Greg Frank, of Yamaha USA, for technical information regarding Yamaha pianos; Bill Garlick, RPT, formerly of Steinway & Sons, New York, for sharing his experience and ideas on rebuilding Steinway pianos; Ljubomir Gašparovic, ´ of the Music Academy in Zagreb, Croatia, for discussing rebuilding approaches, and for showing and letting me experience several interesting and unique instruments; Gianfranco Griffa, of Griffa & Figli in Milan, Italy, for arranging a visit, and sharing his views on piano tone; Sergio Griffa, of Griffa & Figli in Milan, Italy, a former president of the Italian association of piano tuners and rebuilders, for a lecture in psychoacoustics, for introducing me to the Pleyel grand action design, and for an opportunity to play on many fascinating pianos; Matt Grossman, RPT, for sharing his experience in heattreating the capo tasto bar in grand plates; Michael Harrison, of Faust Harrison Pianos, for sharing his thoughts on tuning and his Harmonic Piano, and for letting me play on many fine pianos; Alfons Huber, conservator of musical instruments at the Kunsthistorisches Museum in Vienna, for demonstrating historical instruments and for sharing his knowledge on keyboard instruments and performance practices; Eric Johnson, of PerARTS, for providing information about European piano makers and for sharing his views on the piano industry; Franz Jungbauer, formerly of Bösendorfer, for an exhaustive tour of their Wiener Neustadt factory; David Kirkland, RPT, of Steinway & Sons, for sharing information on Steinway patents and the history of Steinway pianos and factories; Dubravko Ko´ vacicek, of Piano Centar Zagreb, for teaching me and genˆ

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Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. erously helping when I was starting to work on pianos; Lance Lafargue, RPT, of Lafargue Pianos in New Orleans, for sharing information about industry trends and discussing maintenance and rebuilding techniques; Peter Lemell, formerly of Bösendorfer, for allowing me to experience the complete manufacturing process in both Bösendorfer factories and for a long conversation; Laurence Libin, editorin-chief of Grove Dictionary of Musical Instruments, for opening my eyes to the changing social role of the piano throughout its history; Rupert Löschnauer, formerly of Bösendorfer, for arranging a more recent factory visit, sharing his views on the industry, and answering many questions; Giampaolo Manera, of Griffa & Figli in Milan, Italy, for sharing information about tuning equipment and giving me an update on the market; Lloyd Meyer, of Renner USA, for generously sharing his insights into piano technology and the piano industry, and for opening doors; Poppy Miles, RPT, for demonstrating and allowing me to photograph her ivory-repair procedure, and for the encouragement; Michael Mohr, of Steinway & Sons, New York, for discussing factory procedures and providing information about servicing and repairing Steinway pianos; Peter Mohr, formerly of Mason & Hamlin, for giving me a tour of the factory and sharing his experience in piano building and rebuilding; Mike Morvan, of Blackstone Valley Piano, for discussing options and issues in keyboard restoration, and for providing countless photographs; Carlos Perez, of Beethoven Pianos, for sharing his experience in and war stories about damper and pedal regulation; Stewart Pollens, of Violin Advisor, LLC, a former

Acknowledgments

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conservator of musical instruments at the Metropolitan Museum of Art, for being my mentor in the history of the early piano and conservation of historical instruments; Gabor Reisinger, of Klavierhaus, for sharing information about piano rebuilding and for letting me experience many interesting and rare pianos; Bill Shull, RPT, of the Period Piano Center, for sharing information about the early history of Steinway; David Stanwood, RPT, of Stanwood Innovations, for providing information about felt, voicing, and various aspects of action geometry and design, and for letting me use his charts and illustrations; Elena Turrin, of Fazioli Pianoforti in Sacile, Italy, for answering many questions about Fazioli pianos, and for providing photographs; Joe Vitti, formerly of Stony Brook University, for his generous help, teaching, and support; John R. Watson, conservator and associate curator of musical instruments at the Colonial Williamsburg Foundation, for opening my mind to the concept of restorative conservation, and for allowing me to experience a fascinating collection of early keyboard instruments; Kent Webb, of Steinway & Sons, for sharing information, clarifying many fine points about the servicing and building of Steinway and Baldwin pianos, and for allowing me to experience every step of the manufacturing process at Steinway’s New York factory; Allen Wright, RPT, for sharing his research on Steinway’s short-lived London factory, and for sharing countless photographs, rebuilding techniques, and information about the restoration of modern and historical instruments.

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About the Author

Mario Igrec was born in Zagreb, Croatia. He studied composition with Stanko Horvat and piano performance with Pavica Gvozdic´ at the Zagreb Academy of Music, where he received his Bachelor of Music degree in piano performance and pedagogy in 1984. He continued his studies with Martin Canin at the State University of New York at Stony Brook, and received his Masters Degree in piano performance in 1986. He received a special prize from Jeunesse Musicale at the 1982 International Piano Competition “Rina Sala Gallo” in Monza, Italy, and he won the Sunwood Piano Competition in Old Field, New York, in 1985. Mario’s interest in piano technology was sparked at an early age by his grandmother’s Trautwein upright, which was too intriguing not to be explored in depth. He received his first training a few years later, after acquiring an old Petrof grand—a local technician, fed up with frequent string-replacement visits to the Igrec household, decided to teach Mario how to replace the strings himself. Mario armed himself with books and trained with other technicians to learn how to make the piano support, not limit his pianism. This book is part of that journey. Mario’s understanding of piano making and servicing was deepened by his visits to and informal training at the Bösendorfer factories in Vienna and Wiener Neustadt. This is where he experienced the standards of workmanship that he has strived to reach ever since. Mario continued learning as an assistant piano technician during his graduate studies in music at Stony Brook, after which he became a full-time piano technician at Loui-

siana State University in Baton Rouge. During his tenure at LSU School of Music he taught piano design, construction, and the theory of tuning and temperament, and maintained over 120 of the school’s pianos, harpsichords, and celestas. As a concert technician for the LSU Union Theater, First Baptist Church of Baton Rouge, and the Baton Rouge Riverside Centroplex Theater, he worked for many renowned artists, including Philippe Bianconi, Constance Carroll, Richard Goode, Gilbert Kalish, Jon Kimura Parker, Garrick Ohlsson, and Santiago Rodriguez. He rebuilt numerous pianos during this period, including those used in the aforementioned concert venues. In the 1990s, Mario’s career took a turn toward information technology. He became a Certified Expert for Adobe FrameMaker and a Microsoft Most Valued Professional, and has written on technology, managed long document projects, designed books, and built database applications. He partnered with Brian Gardner to form Selltis, LLC in 2000. The company develops Selltis Sales, a hosted, cloudbased, customer-relationship management software solution. Mario is the creator of HyperLinking™ technology for data contextualization. At Selltis, he heads the development group as software architect and Chief Technology Officer. When he is not at Selltis, Mario restores pianos, focusing on tone and touch, and studies historical keyboard instruments and performance practices. He welcomes comments and suggestions. Please send them via the Contact link at http://www.pianosinsideout.com.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

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Introduction

“

The pianoforte is the most important of all musical instruments; its invention was to music what the invention of the printing press was to poetry. —George Bernard Shaw

”

Musical instruments have been involved in music making since the dawn of mankind. While some have evolved modestly, others have been transformed into new instruments that dwarfed and eventually replaced their predecessors. No musical instrument better illustrates this process than the piano. From the frail and delicate harpsichord and clavichord, in only 170 years the piano metamorphosed into a means of conveying a tremendous range of musical expression. By the 1870s, the piano had become so powerful that it could hold its own against a large orchestra, while allowing the most nuanced articulation in solo or chamber music. With an ever-improving sustain, in skilled hands it could even emulate the human voice. But, as George Bernard Shaw astutely observed, the real significance of the piano transcends its musical qualities. By the late 19th century, public performance was no longer the only way “big” music could be consumed—the piano was ubiquitous, and almost everyone could enjoy his or her favorite operas, symphonies, songs, marches, or hymns in the privacy of the home. Soon, the need to learn to play the piano was obviated by the introduction of the reproducing or player mechanism. Although the phonograph and radio eventually took over, it was the piano that ushered in a new model of personal consumption of entertainment, democratizing access to music and changing the entertainment industry forever. Unlike electronic instruments, the acoustic piano rewards us with a sound that’s alive, never the same, never completely predictable. But the prize is not without a price. Built from living materials, the piano is in a constant state of flux and requires care and attention. This has been the province of professional tuners, technicians, and re-

builders who have dedicated their lives to perfecting their craft through lengthy apprenticeships, training courses, and membership in professional organizations. Although the piano technician is without doubt the most qualified person to work on the piano, there is no reason for pianists and piano owners to remain in the dark. While owners of other musical instruments replace strings, make their own reeds, change pads, and tune their instruments, most pianists leave all aspects of piano maintenance to the piano technician. As a result, they never learn about their instruments and don’t know how to communicate their needs. This should change. At the very least, pianists should know how the piano works and what they can expect from it. A pianist who understands his or her instrument is a more flexible performer and a better-informed consumer. For those who have some mechanical aptitude and sufficient physical strength, there is no reason not to regulate the action, adjust the pedals, replace a broken string, or even tune the piano. Yes, all this work requires a lot of practice, but isn’t this what you are already so good at? As much as a pianist can learn from this book, it is the technician and student of piano technology who will benefit the most from it. The skills required for piano restoration are exceedingly diverse, and few people can afford a complete, systematic training and apprenticeship. Pianos Inside Out aims to satisfy that need by offering comprehensive and concise instructions for practical work. It provides an overview of piano history, and in-depth discussion of all aspects of piano construction, design, and maintenance, followed by step-by-step instructions on tuning, regulation, voicing, repair, and rebuilding.

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Introduction

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The book was written with the novice in mind; no previous knowledge or experience is expected. It will be easier for you to follow tuning instructions if you can play the piano and have an elementary understanding of mathematics, acoustics, and music theory, but that’s not required. For repair and rebuilding, prior experience in working with wood, metal, and glues will be helpful, although, again, this is not a prerequisite. You can learn to tune, regulate, and voice pianos with a minimal toolkit, but for complex repairs and rebuilding procedures you will need an appropriate, climate-controlled shop space and a number of tools and machines. Do not underestimate the cost and the time needed to set up such a shop. As complete as this book may be, it is only a book. I encourage you to learn from an experienced piano technician or a rebuilding shop. Unless you can afford to attend a school such as North Bennett Street School, in Boston, or the Chicago School for Piano Technology, explore the opportunities for learning in your community—from apprenticing at a local piano shop, to individual training, to seminars or workshops at a local college. Consider a correspondence school such as the Randy Potter School of Piano Technology. Become a member of an association of piano technicians, such as the Piano Technicians Guild (PTG) or Europiano (see Appendix E, “Technicians’ Organizations,” on page 523), and learn from classes at your local chapter and at regional and national conferences. This way, you will also gain access to a vast array of resources and publications. Attend manufacturers’ training seminars. Participate in online forums such as pianoworld.com and those available through the Piano Technicians Guild. Attend conferences and visit music trade shows, such as NAMM (http://www.namm.org) and Musikmesse Frankfurt (http://musik.messefrankfurt.com). An inherent danger with a book such as this is that it can to be viewed as a substitute for systematic training, either self-instruction or training in a shop or school. The truth, of course, is that although this book will give you guidance, becoming competent in piano work will depend on how committed you are to learning each skill. Pianos Inside Out is not intended to encourage a casual attitude toward piano work. I hope that the book will increase your awareness not only of how to do things, but also of how not to do them. Toward that end, you will be constantly reminded of the ramifications of not performing the work completely or up to certain standards. Ultimately, though, you are the one responsible for your own standards; whether the book will empower you or make you dangerous depends on you alone.

cluding their design and manufacture, and lays the foundation for understanding the rest of the book. Chapter 3, “Maintenance,” covers various aspects of piano maintenance and provides solutions for climate control, piano cleaning, and servicing. Although written with the piano owner in mind, this chapter should interest all readers: proper maintenance and climate control are prerequisites for the successful long-term upkeep of every piano. Climate control is of critical importance in piano rebuilding and should be used in every piano shop. Chapters 4 through 10 are intended for those who want to tune, regulate, voice, repair, and rebuild pianos. These chapters have many cross references and shared illustrations, reflecting the fact that all piano work is highly interrelated. To avoid inadvertently damaging one thing while fixing another, I recommend at least skimming all of them before proceeding with any work. Chapter 9, “Touch, Geometry, Playability,” is of special importance because it discusses, from theoretical and practical standpoints, the key aspects of action design and how they affect playability. Here you will learn how to improve playability, and how to avoid perpetuating or compounding previously made mistakes. As a printed book, Pianos Inside Out is just the beginning. Much more awaits you at www.pianosinsideout.com, including search, downloads, updates, expanded coverage, and additional materials.

How to Use This Book

There are three important precautions you should take, especially if you will be working on pianos without the supervision of an experienced technician: with grands, be sure the legs are sturdy and are firmly in place. With verticals, be careful not to tip the piano over! Many repair and rebuilding procedures, as well as the tuning itself, require

Pianos Inside Out is organized in ten chapters. The first chapter, “History,” provides an introduction to the development of the piano. It is followed by “Construction and Design,” which discusses all the elements of the piano, in-

Online Resources Web links (URLs) and e-mail addresses change. You will find a complete, up-to-date list of all Internet resources mentioned in this book at: http://www.pianosinsideout.com/Links.

If a link on that page is invalid, please send us a note from: http://www.pianosinsideout.com/Contact.html.

Patent Search U.S. patents can be searched and downloaded from http://www.google.com/patents and from the U.S. Patent and Trademark Office at http://www.uspto.gov/patents/ process/search/.

Precautions

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Materials and Products

xvii

physical strength. Do not overestimate your physical capabilities—always get help when lifting a piano or its plate, when stringing a piano, or even when removing and carrying an action and keyboard.

Stay Healthy As you work on pianos, you will be exposed to dust, mold, and mildew, as well as toxic substances, from oxidized key leads and verdigris (page 246) to chemicals used for rodent and insect control. There are biological dangers as well (see “Rodents and Diseases” on page 136). The best way to protect yourself is to wear a dust mask for fine particulate. A pair of cotton gloves won’t protect you from chemicals (wear nitrile or similar gloves in those cases), but will reduce exposure and protect you from splinters, scrapes, and small wounds that could lead to exposure. Other sources of toxicity are the chemicals you will use—lubricants, glues, solvents, and finishes. Breathing toxic fumes and clogging up your lungs with dust, wool fibers, and lubricant powders will undermine your longterm health and your ability to do this work. Chemicals enter your body not only through the lungs, but also through the skin. Just consider how quickly an analgesic cream works—that’s how quickly your body will absorb a glue or solvent. It may take years for your liver to recover from careless exposure to such chemicals. Tuning and rebuilding involve repeatedly using certain groups of muscles, which can lead to injury and chronic pain. I can’t overemphasize the importance of rest and frequent breaks. Regular stretching and exercise are just as important. If you do develop pain, a self-applied triggerpoint massage may help.1

Protect Your Hearing Working on pianos can be very loud. Just as you protect your eyes or hands when using power tools, you should protect your ears from damaging noises. Particularly tough on your hearing are tuning, hammering tuning pins during restringing, and working with loud power tools and machines. Use earplugs with 30 decibel protection when you work with power tools or when you hammer tuning pins. You will find disposable foam earplugs in pharmacies (Figure 1) and corded ones in hardware stores. See “Protecting Your Hearing and Health” on page 112 for recommendations that apply to tuning.

Protect the Environment As you work on pianos, you will accumulate chemicals and generate waste, some of which will be flammable and toxic. Be careful how you store these substances. Dispose 1 Clair Davies, NCTMB, a former piano rebuilder, explains his method for treating pain with self-applied massage in The Trigger Point Therapy Workbook. Self-massage tools such as the Body Back Buddy and Thera Cane® massager are widely available.

Figure 1 Foam earplugs. Tapered plugs are easier to insert.

of toxic wastes responsibly. In the United States, toxicwaste disposal is regulated by the Environmental Protection Agency (http://www.epa.gov/osw/hazard/tsd), but individual states may impose even stricter standards. Some communities organize hazardous waste collections a few times a year. Many stores and private organizations will take paints and other chemicals. Contact your local authorities to learn what is available.

Materials and Products I don’t endorse any products mentioned in this book— competing products may be just as good or better. I received no compensation from any of the vendors or manufacturers mentioned. I encourage you to try as many different products and materials as practical, especially those that represent promising new technologies. Be careful, though, and test a new product extensively before using it for an important repair or rebuilding procedure. Make testing conditions (materials, environment, methods of application, etc.) as similar as possible to the actual application. Keep in mind that certain products vary from batch to batch, and can be affected by transportation and storage.

Terminology The terms used in this book are based on those currently in use in the U.S. See pages 22–23 for a cross-section diagram and a list of parts in the grand piano, and Figures 162 and 163 on page 64 for the names of parts in grand and vertical actions. Terms used in the UK are listed in the Glossary. They are based on input from UK technicians, on the definitions in Herbert A. Shead’s The Anatomy of the Piano, and on interactive nomenclature diagrams in H.J. Fletcher & Newman’s online catalog.2 2 Go

to http://www.fletcher-newman.co.uk/frameset.html and click “Piano Parts Catalogue,” then “Visual Product Identifier.” Grand and vertical action diagrams are available.

xviii

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Introduction

Articulation

Conventions

The touch with which you strike keys is indicated with the following articulation phrases:

Units of Measurement All measurements are expressed in standard U.S. units, with metric measurements appearing in square brackets. For example, four feet is written as 4' [1.2 m], one inch as 1" [25 mm], and thirty-two thousandths of an inch as 0.032" [800 µm or 0.8 mm].

legato

tied

hold each note until sounding the next note

staccato

sharply detached

play and bounce off the key

tenuto

held but detached

press the key and release it at approximately half the duration between the notes

Bibliographical References

Musical Nomenclature

Throughout the book, bibliographical references are given in an abbreviated format; complete references are in the Selected Bibliography on page 509, and online at http:// www.pianosinsideout.com.

This book uses scientific pitch notation: the lowest note on the piano is A0, “middle C” is C4, and the highest note is C8. To convert the names to the notation commonly used in Europe and by musicians in the U.S., see Figure 2 below. In European pitch notation, middle C is called “c1”. Each C above middle C is written in lowercase followed by a number in superscript (“c2”, “c3”, “c4”, or “c5”), and is read as “C two,” “C three,” etc. The Cs descending from c1 are: small C (“c”), great C (“C”), contra C (“C1”), and subcontra C (“C2”). Helmholtz notation is similar, except that the numbers are substituted by prime symbols. For example, c3 is written as c''' and A2 as A . '' In all three notation systems, the chromatic notes (all white and black keys) within the major 7th up from any note C have the same number (or number of apostrophes) as that C. For example, E above C6 (c3) is E6 (e3). Intervals are expressed as codes, such as “M3” or “m6,” but are spoken in full, spelled-out form; e.g., “major third” or “minor sixth,” not “em three” or “em six.” See “Intervals” on page 95 for more on this.

Dynamic Markings The force with which you strike keys in various diagnostic and regulation procedures is expressed in terms of its tonal effect, and is notated using the following dynamic markings: ppp pp p mp mf f ff fff

pianisissimo

Extremely soft

pianissimo

Very soft

piano

Soft

mezzo piano

Medium soft

mezzo forte

Medium loud

forte

Loud

fortissimo

Very loud

fortisissimo

Extremely loud

8va

&

q

? 8vb

Scientific: European: Octaves:

q q

q

A0 C1 A2 C1

C2 C

w Q

Q

Q

C6 c3

C7 c4

Q

q

C3 c

C4 c1

A4 C5 a1 c2

C8 c5

Figure 2 Names of notes and octave ranges. Notes under “8va” (“ottava”) are played an octave higher, those under “8vb” (“ottava bassa”) an octave lower.

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1

Chapter 1

History

“

”

Any new thing that appears in the made world is based on some object already in existence. —George Basalla, author of The Evolution of Technology

The Early Piano Cristofori and Followers Although the first stringed keyboard instruments in which the strings are struck1 were described as early as 1440,2 the invention of the first pianoforte is credited to Bartolomeo Cristofori, a designer and curator of musical instruments at the court of Prince Ferdinand de’ Medici, in Florence. Around 1700, Cristofori fitted a harpsichord with a mechanism that utilized small hammers instead of the usual plectra.3 With this mechanism a player could produce tones of varying volume. A prominent writer, Scipione Maffei, published a description and diagram of Cristofori’s new instrument, which he called the gravicembalo col piano e forte (harpsichord with soft and loud), in 1711.4 This invention, further refined by Cristofori in his later instruments (such as the earliest surviving one, built in 17205—see Figures 1, 2, and 4), initiated an extraordinary new chapter in the history of music. Photo by the Metropolitan Museum of Art, the Crosby Brown Collection of Musical Instruments, 1889 1 As opposed to plucked (harpsichord), struck with tangents that remain in contact with the strings (clavichord), or excited by friction belts (Geigenwerk instruments). 2 In a manuscript by Henri Arnaut de Zwolle. See Stewart Pollens, The Early Pianoforte, pp. 7–26. 3 http://www.metmuseum.org/toah/hd/cris/hd_cris.htm 4 In Giornale de’ letterati d’Italia. See

Stewart Pollens, The Early Piano-

forte, pp. 57–62. 5 Cristofori’s 1720 piano is in the Metropolitan Museum

of Art in New York, his 1722 piano in the Museo Stumenti Musicali in Rome, and his 1726 piano in the Musikinstrumenten Museum in Leipzig.

Figure 1 Cristofori’s gravicembalo col piano e forte, made in 1720.

Pianos continued to be made in Cristofori’s tradition in Florence,6 but they enjoyed much greater popularity in Portugal and Spain, where, by the mid-1700s, they were made by several makers. It may have been the Italian com6 A 1746 pianoforte/harpsichord by Cristofori’s student Giovanni Ferrini is described in Stewart Pollens, The Early Pianoforte, pp. 96–107.

2

History

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poser and keyboardist Domenico Scarlatti who introduced Cristofori’s piano in that region.7 Scipione Maffei’s letter was published in German translation in 1725.8 Whether he learned about the new instrument from this source or earlier, Gottfried Silbermann, a Dresden organ and clavichord maker, started building it in the 1730s. J.S. Bach is said to have criticized his efforts in 1736, but approved of a presumably improved design in 1747, and by 1749 had become Silbermann’s agent. The concept of a harpsichord “with piano and forte” had inspired music written expressly for the instrument by 1732.9 Harpsichords were converted to the hammer action possibly as early as 1726 (Figure 3).10 But although the new pianoforte was popular among aristocrats11 and cognoscenti, it had to become much simpler, much cheaper, and much more portable before it would gain wider acceptance.

Pantalon and Square Piano In the early 1700s Europe was swept by the expressive and apparently very dynamic playing of a hammer-dulcimer virtuoso, Pantaleon Hebenstreit. The dulcimer,12 a folk instrument, was very popular in Middle Europe, but few people had the skills to play it well. Hebenstreit’s style of performing generated demand for a similar instrument, but equipped with a keyboard that would make playing it easier. The hammer action, although crude, made the new keyboard instrument, often referred to as a Pantaleon or Pantalon, appeal to a wider audience.

Photo by the Metropolitan Museum of Art, the Crosby Brown Collection of Musical Instruments, 1889

Figure 2 Cristofori’s 1720 piano action is surprisingly similar to the modern action. Note that the hammers were replaced at a later date and do not reflect the original design, in which paper cylinders were covered with short strips of soft leather on top.

7 Michael Cole, The Pianoforte in the Classical Era, p. 15. See also David Sutherland, “Domenico Scarlatti and the Florentine piano,” p. 250. The traditional view has been that Scarlatti wrote his keyboard works for the harpsichord. However, considering that he was a teacher of Queen Maria Barbara of Spain, and the inventory at her death shows that five of her 12 keyboard instruments were pianos (although two of those were converted to harpsichord), it is very likely that Scarlatti was at least exposed to—and influenced by—the new instrument. See also footnote 9. 8 Published

in Mattheson’s Critica musica.

9 Lodovico

Giustini of Pistoia used dynamic markings, including più piano and più forte, in his 12 Sonate Da Cimbalo di piano, e forte, published in Florence in 1732 (http://imslp.org/wiki/). It is interesting to note that Giustini dedicated his sonatas to Maria Barbara’s uncle, Don Anthonio da Braganza, who was also a student of Scarlatti. A performance by Andrea Coen on a Cristofori piano replica is available on a 3-CD set (Brilliant 94021).

10 A 1696 harpsichord in the Kunsthistorisches Museum in Vienna (SAM catalog no. 845), depicted in Figure 3, was converted to the Stossmechanik (push) action, but it is not clear when. There are two inscriptions on the underside of the soundboard, indicating that some work was done in 1703 and 1726. Though the 1726 date is plausible, the conversion is more likely to have taken place later in the 18th century. See Alphons Huber, ed., Das Österreichische Cembalo, pp. 124–126, 269–286. 11 Frederick

the Great of Prussia, for example, purchased several pianos from Silbermann. 12 In

German-speaking countries, the hammer dulcimer is known as the Hackbrett, or “butcher block.”

Figure 3 Harpsichord built in 1696 and converted to hammer action, possibly in 1726. The insert shows the hammers (front), and the harpsichord jacks (back), which were converted to dampers (Kunsthistorisches Museum, Vienna).

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Christoph Gottlieb Schröter (see page 6) claimed that pantalons were made as early as 1721.13 The earliest known German-made instrument with strings and hammers, also inspired by Hebenstreit, was advertised for sale in 1731.14 Though this early pantalon was shaped like a harpsichord, pantalons soon appeared in the shape of the clavichord, a keyboard instrument that was very popular in Germany and Austria. Essentially a zither15 on a stand, with keys that struck the strings with small metal blades (tangents),16 the clavichord was capable of graduated dynamics (piano e forte), but its sound was faint. Schröter stated that pantalons had a downstriking action,17 but the term was also used for instruments with upstriking actions18 and for vertical pianos.19 The pantalon came from a tradition of playing on the open strings of a dulcimer, in which the strings were damped only occasionally. A sophisticated damper system was not a priority, if it was installed at all. By contrast, Cristofori’s pianos, which were rooted in the harpsichord tradition, didn’t even allow the lifting of all the dampers. Bear in mind that early pantalons were not loud and had a very short sustain, which made playing them without dampers quite satisfying.20 A similar instrument with an upstriking hammer action, called the Tafelklavier or square piano, became popular in the second half of the 18th century.21 Its tone, produced by leather-covered hammers, was somewhat softer and fuller than that of pantalons, which emulated the bright sound of the dulcimer with wooden hammers. The square piano was simple, inexpensive, and portable, and was able to satisfy the rising demand during the coming decades. The pantalon died out by the end of the 18th cen-

13 Schröter claimed in 1764 that instrument makers in “more than twenty towns and villages” had been making pantalons since 1721. See Friedrich Marpurg, Kritische Briefe, Vol. III, part I, p. 85, quoted in Arthur Loesser, Men, Women and Pianos, p. 107. 14 The

advertisement by Wahlfried Ficker of Zeitz, in a Leipzig newspaper, was for a metal-strung Flügel (“wing-shaped”) instrument of his own invention with down-striking hammers, which would imitate the effects of “the famous Pandalon [sic].” He called it “CymbalClavir.” See Michael Cole, “The Pantalon,” p. 69; Michael Cole, The Pianoforte in the Classical Era, p. 28; or Michael Cole, “The Twelve Apostles,” p. 22. 15 The zither and dulcimer are from the same family. Dulcimers have speaking lengths of strings on both sides of a centrally placed bridge, whereas the zither is laid out like a guitar, with an oversized body and more strings. 16 The

tangent excites the string to vibrating and remains in contact with it, becoming its speaking-length termination. 17 Arthur

Loesser, Men, Women and Pianos, p. 107.

18 Stewart 19 Michael

Pollens, Early Pianoforte, p. 169. Cole, “The Pantalon,” p. 69.

20 See Michael Cole, “The Pantalon.” I wish to thank Alfons Huber for

broadening my understanding of this topic, and for letting me play on his replica of a pantalon. 21 A

harp-shaped version was made in southwestern Germany. See Sabine Klaus, “German Square and Heart-shaped Pianos.”

3

The Early Piano

tury, while the square piano continued on for another hundred years. Possibly the earliest surviving square piano, made by Johann Socher in 1742,22 has an action of rudimentary simplicity. Socher hinged the hammers on a rail in the back, pointing them toward the player, and had them pushed up by a rigid block at the end of the key.23 Mechanically, this is similar to hanging the hammer on the end of Cristofori’s intermediate lever and forgoing his real hammer, backcheck, and movable jack (see Figure 4). Pianos like Socher’s square, with a “jack” push action (Stossmechanik) and hammers pointing toward the player, were made in southern Germany throughout the 18th century. The more sophisticated instruments of this type had a movable (escaping) jack that allowed the hammer to rebound from the strings, but they were a far cry from Cristofori’s advanced design. In another primitive action arrangement, the jack would push the hammer shank or butt directly (Figure 5). This design is more reminiscent of Cristofori’s action because the hammers point away from the player, but it lacks the intermediate lever and backcheck, and has a rigid, non-escaping jack. Dominant in northern Germany and England, this action type was improved and became the basis for the modern grand action. Yet another style of action was popular in southern Germany and Austria, not only in square pianos but in grand pianos as well: the Prellmechanik or bumping action, in which the hammer was attached to the key and the other end of its shank would bump against a fixed rail (Prellleiste).24 This type of action, later known as the “German action,” was perfected by Johann Andreas Stein of Augsburg, who replaced a fixed bumper rail with individual escapements for every hammer (Figure 12). In 1777, Mozart wrote enthusiastically to his father about Stein’s pianos with this new action.25 Stein’s design was subsequently enhanced, by his daughter Nannette and son-inlaw Johann Andreas Streicher, into the form that became known as the “Viennese action” (Figure 13). Bösendorfer and other Austrian piano makers used Viennese actions throughout the 19th century. Likely influenced by the playing of Hebenstreit Pantaleon26 and by the growing desire for expressiveness and dynamics,27 the French inventor Jean Marius applied in 1716 for a royal privilege—a patent of sorts—with the Académie Royale des Sciences to make his new invention, the clavecin à maillets. His privilege was challenged in court by the guild of master instrument makers in Paris, of which he was not a member, and he never made the instrument.28 In 1759, another French builder, Weltman (or 22 The authorship and date are disputed; see Stewart Pollens, The Early Pianoforte, p. 202. The piano is in the Germanisches Nationalmuseum, Nuremberg. 23 Rosamond 24 Walter

Harding, The Piano-Forte, p. 39.

Pfeiffer, The Piano Hammer, Figs 1–3, pp. 22–23.

25 Robert

Spaethling, ed., Mozart’s Letters, 17 October 1777, p. 77.

26 Edwin

Good, Giraffes, p. 45.

...

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...

oso, Franz Liszt, enthusiastically endorsed Érard pianos with the new action after his 1824 London concert.71 Although the concert was organized by Pierre Érard, it is reasonable to believe that Liszt’s endorsement was at least partially sincere; he continued performing on Érards for years to come. Johannes Brahms had Viennese-action pianos in his home72 and commented favorably on them in his correspondence, but for his concert performances he preferred Érard73 and, later, Bechstein74 and Steinway pianos,75 all of which had double-escapement actions.76 From today’s perspective it may be surprising that it took decades for the new action to be universally adopted. Pleyel, Érard’s rival, whose pianos were preferred by Frédéric Chopin,77 retained a single English action until the 1870s.78 After using a single-escapement and at least two variations of repetition-assisted English actions, Steinway began offering their double-escapement action around 1865, but did not discontinue their older action styles for at least 10 more years.79 Most European piano makers switched to the double-escapement action by 1900, while Austrian makers continued using the Viennese action for another decade or two.80 The first half of the 19th century was a ferment of activity: • Sébastien Érard invented the agraffe in 180881 (Figure 150 on page 58) • Pierre Érard patented his harmonic bar in 183882 • Antoine Bord of Paris patented the capo tasto bar in 184383 • Henri Pape introduced cross-stringing in 182884 71 Arthur

Loesser, Men, Women and Pianos, p. 349; see also

http://www.pianosromantiques.com/erardhistory.html.

72 George 73 Walter 74 Ibid.,

Truth:

13

New inventions were adopted quickly because they were technologically superior. As Edwin Good points out in Giraffes, Black Dragons, and Other Pianos, many successful designs took a long time to be widely adopted. Whereas designs like the compensation frame, which could be patented or used with small modifications without infringing on an existing patent, were adopted quickly, complex designs like Érard’s double-escapement action took decades to become widespread. Cost was a big factor in such decisions—manufacturers didn’t want to pay royalties or reduce their profits with a complex and expensive design.

• Henri Pape started using felt for hammers in 1826; he patented a technique for preparing felt for hammer heads in 184485 • The soundboard grew in square pianos, first extending over a few keys, and eventually over all of them (see “Evolution of the Square Piano,” page 10) • Machine covering of hammers with felt was introduced around 1835; Alfred Dolge patented an improved machine in 188786

Almost Modern 1850–1900 By 1850, America was a vibrant and growing market hungry for music and pianos. Skilled craftsmen were paid well and, unlike their European counterparts, weren’t bound by long apprenticeships and strangling guild rules. Machinery was sophisticated and plentiful, and pianos were made on an industrial scale.

Bozarth and Stephen Brady, “Johannes Brahms,” p. 42.

Frisch, Brahms and His World, p. 75.

Steinways—the Engine of Innovation

pp. 73, 74, 86.

75 George

Bozarth and Stephen Brady, “Johannes Brahms,” pp. 49–

51. 76 It’s likely that Brahms also preferred these pianos for their volume of sound. 77 See

Jean-Jacques Eigeldinger, “Chopin and Pleyel”; Arthur Loesser, Men, Women and Pianos, p. 363.

78 http://real.uwaterloo.ca/~sbirkett/pleyel_info.htm. 79 Presumably

Albert Steinway would not have patented a sostenuto mechanism for both the double- and single-escapement actions in 1875 (see sidebar, “Myth/Truth,” p. 76) if his company weren’t committed to making pianos with the single-escapement action for at least another several years. 1865 is proposed as the start of the double-escapement action in Steinway & Sons’ poster “The Touch: The Development of Action Mechanisms” [publication information unknown].

80 See

Walter Pfeiffer, The Piano Hammer, pp. 30–31. The diagram in Fig. 11 shows that August Kögler, a designer from Graz, Austria, was still trying to improve the Viennese action in 1931. 81 Edwin

Good, Giraffes, p. 167.

82 A

removable capo tasto bar. See Rosamond Harding, The PianoForte, pp. 187–188.

83 Ibid.,

Myth:

Almost Modern 1850–1900

p. 188.

Although this environment would seem to guarantee success for any newcomer, it took the diligence, business acumen, and marketing genius of the Steinways to challenge the established heavyweight, Chickering of Boston. Engelhardt Steinweg, a piano maker from Germany, formed Steinway & Sons with his four sons in 1853 in New York. By 1860 the Steinways had gained a reputation for innovation and quality, employed 350 men, and produced 35 pianos per week.87 To showcase the powerful yet singing tone of their pianos, they opened Steinway Hall in 1866. Seating 2,500, the venue served as a major concert hall until Carnegie Hall opened in 1891. After Steinway won la première médaille at the 1867 Exposition in Paris, their popularity grew in Europe, and they opened a factory in Hamburg in 1880. 84 Arthur

Loesser, Men, Women and Pianos, p. 401.

85 Rosamond

Harding, The Piano-Forte, p. 182; Edwin Good, Giraffes, p. 177. 86 Alfred

Dolge, Pianos and their Makers, pp. 99–103.

87 Ronald

Ratcliffe, Steinway, p. 40.

14

History

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Steinway & Sons innovated relentlessly, receiving 49 patents from 1860 to 1880. During this period they introduced almost all the main features that define the “modern” piano, such as the capstan screw, the full-size plate with a transverse plate bar, the nose bolt, the continuous laminated rim and metal shoe, and the laminated long bridge.88 Steinway exhibited their new concert grand at the Centennial International Exhibition in Philadelphia in 1876.89 This piano, known as the “Centennial grand,” was the precursor of the modern Steinway concert grand model D. Improved in 1884 with the continuous laminated rim, the new concert grand completed the journey to the completely modern grand piano.

Other Inventions Steinway & Sons was not the only manufacturer to innovate during this period: • Manufacturers and action makers on both continents experimented with various action designs aimed at improving reliability and repetition. French makers were particularly industrious, making remarkable advancements that culminated in the “Schwander” wippen design, which was used in many European and early Asian grands until the late 20th century. • As mentioned earlier, in 1887 Alfred Dolge patented a hammer-covering machine, which made possible the pressing of large, modern felt hammers • Mason & Hamlin produced screw stringer pianos (see below) • Richard Gertz of Mason & Hamlin patented his Tension Resonator in 1900 (see page 25). American piano makers, including Chickering, Knabe, and Steinway & Sons, fully modernized the piano by the 1880s, and, aside from relatively minor improvements, that’s the form in which they have been made ever since. While overall American and German piano production increased sharply during the late 1800s,90 the French and British shares of the market began to decline. This trend continued during the 20th century.

Figure 25 This 1878 Steinway 8'6" [259 cm] Style III concert grand is among the last “antique” Steinways with composite rim, open-face pinblock, and three-quarter plate. This model was made in parallel with the 8'9" [267 cm] “Centennial” concert grand, which had a full-size plate and was first made in 1875. Both were superseded by the composite-rim model D in 1878, and by the rescaled model D in 1884, which had a continuous, laminated rim and a full-size double cupola plate.

Screw Stringer Pianos Since they started building pianos in the early 1880s, the Boston-based keyboard-instrument maker Mason & Hamlin had utilized a system with screw tuning pins suspended by a massive plate flange (Figure 27). This system, referred to as a “screw stringer,” dispensed with the need 88 Capstan

screw: U.S. patent no. 170,645 (1875). Full-size plate with a transverse plate bar: U.S. patent no. 170,647 (1875). Nose bolt: U.S. patent no. 178,565 (1876). Continuous laminated rim and metal shoe (“tone collector”): U.S. patent no. 204,106 (1878) (both inventions were first introduced in the model A). Laminated long bridge: U.S. patent no. 233,710 (1880).

89 See Richard Lieberman, Steinway & Sons, pp.

of the Steinway booth is on p. 69. 90 Edwin

Good, Giraffes, p. 217.

63–72. An illustration

Figure 26 Modern 52" [132 cm] upright by Yamaha (model U3).

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93

Chapter 4

“

Tuning

Have you noticed that when you’ve got a piano on its back and are installing a new set of casters, that someone will walk by and ask if you are tuning the piano? Then, when you are actually tuning the piano, they say, ‘What are you doing?’ —Barbara Richmond, RPT

Tuning the piano means adjusting the pitches of the strings so that all notes sound well when played, whether individually or together in various intervals and chords. To tune, one turns a tuning pin (or other tuning device) to alter the tension of the string and thus adjust the pitch. In J.S. Bach’s time (early 18th century), harpsichords, clavichords, and early pianos were tuned by the performer. Piano tuning became a profession in the 19th century, when piano’s keyboard compass grew to over six octaves and triple stringing became prevalent. An increase in string tension caused corresponding increases in tuning pin torque and string friction, requiring a special technique to “set” the pin and the string. Equal temperament, which gained popularity during this period, required more precision, and therefore skill and experience, than had earlier temperaments. Although piano tuning is clearly not something that can be mastered in an afternoon, anyone with normal hearing and coordination, a basic understanding of music theory, and adequate physical strength can learn to tune pianos with reasonable accuracy in a few months. Learning to tune is not unlike learning to play the piano—it requires a lot of practicing. If you aspire to tune on a professional level, be prepared for lengthy training. This chapter, like the rest of this book, is written with the novice in mind. It contains detailed information about tuning aurally (“by ear”) and with the help of a simple or advanced electronic tuning device (ETD). The chapter begins by explaining musical nomenclature, intervals, and equal temperament. Inharmonicity is discussed next, including its effects on coincident partials and interval stretch. Information about aural tuning is presented in the form of lessons, which should be practiced separately and

”

systematically. The emphasis is on keeping things simple and getting results as quickly as possible, while providing enough information to develop your own system, and to explore more advanced techniques when you are ready. Tuning lessons are followed by instruction in electronic tuning and a discussion of special tuning techniques, such as raising and lowering pitch. The chapter closes with a list of issues that commonly affect piano tuning, and solutions to those problems. To practice tuning, you will need a piano in a reasonably good condition. If the piano will be used between your practice sessions, you may need to hire a piano tuner to “undo” your work. Ironically, the type of piano you are most likely to have access to—a short grand or a vertical— is much harder to tune than a concert grand. Avoid pianos with very short strings, if possible. I recommend learning from a piano tuner/technician. Even simply observing an experienced tuner at work will give you a clearer idea about recognizing beats, working with the tuning hammer, and setting the strings and tuning pins than will studying entirely on your own. Be careful not to damage the piano, the floor, or the furniture, and avoid wearing clothes or apparel that could damage the piano’s finish. If you need to remove pictures, vases, and other objects from the piano, return them in the same positions. Don’t drag the bench across the floor. Lift it, or place a folded mover’s blanket under it. For instructions on removing case parts, see “Gaining Access” on page 136. If you need to open up the piano and do any work inside the action cavity, or on the baseboard in a vertical piano, look for signs of rodent infestation. If you find any, decontaminate and clean the piano before proceeding (see page 136).

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Inharmonicity

101

Table 3: Frequencies of Equal Temperament Octave

Note

# # b C /D

0

1

2

3

4

5

6

7

8

16.352

32.703

65.406

130.813

261.626

523.251

1,046.502

2,093.005

4,186.009

17.324

34.648

69.296

138.591

277.183

554.365

1,108.731

2,217.461

4,434.922

D

18.354

36.708

73.416

146.832

293.665

587.330

1,174.659

2,349.318

4,698.636

D /E

19.445

38.891

77.782

155.563

311.127

622.254

1,244.508

2,489.016

4,978.031

20.602

41.203

82.407

164.814

329.628

659.255

1,318.510

2,637.020

5,274.041

21.827

43.654

87.307

174.614

349.228

698.456

1,396.913

2,793.826

5,587.652

23.125

46.249

92.499

184.997

369.994

739.989

1,479.978

2,959.955

5,919.911

24.500

48.999

97.999

195.998

391.995

783.991

1,567.982

3,135.963

6,271.927

C/B

# b b E/F # F/E # b F /G G

# b G /A

25.957

51.913

103.826

207.652

415.305

830.609

1,661.219

3,322.438

6,644.875

A

27.500

55.000

110.000

220.000

440.000

880.000

1,760.000

3,520.000

7,040.000

A /B

29.135

58.270

116.541

233.082

466.164

932.328

1,864.655

3,729.310

7,458.620

30.868

61.735

123.471

246.942

493.883

987.767

1,975.533

3,951.066

7,902.132

# b b B/C

tuning lessons below. See page 100 for information on how to calculate the frequencies and beat rates within the equal temperament. For your convenience, Table 3 lists the theoretical frequencies of all notes on the piano. You will learn to tune equal temperament in “Lesson 7” on page 117.

Inharmonicity The difficulties imposed by equal temperament are further aggravated by inharmonicity, which raises the pitch of overtones. Instead of being true multiples of the string’s primary frequency, as they theoretically should be, overtones get progressively higher (Figure 210). This has farreaching consequences. Cents deviation:

b=0.21

+20 15 7

10 5 0

A3

2 2

3 3

4 4

5 5

8

6

b=0.00 6

7 8

5 – 10

Figure 210 Inharmonicity raises the frequency of partials exponentially. As the curved line illustrates, the eighth partial of note A3 in a 1923 6'4" [193 cm] Steinway A is over 13 cents higher than it would be without inharmonicity. It is not unusual for the inharmonicity of that note to be twice as high in some pianos. (The visualization is based on inharmonicity charts in Daniel Levitan, The Craft of Piano Tuning.)

The classical explanation for inharmonicity is that the vibrating string breaks up into partial-generating segments that behave as virtual strings—shortened, but just as thick as the whole string. The segments are increasingly stiffer, and the stiffer they are, the more their ends resist bending. This, in turn, reduces each segment’s effective length, and that causes the pitch to rise.197 As Dave Carpenter, RPT, points out, a more accurate explanation is that vibrations move through the string as periodic (repeating) waves of energy, at a certain speed or wave velocity. Each partial has its own wavelength, which is in inverse relationship with its frequency—the higher the partial, the shorter the wavelength. In an ideal string with no stiffness, wave velocity would be constant for all partials, and they would coincide with the harmonics (mathematically perfect partials). However, an actual piano string is stiff to a certain degree (the thicker it is, the stiffer it will be), and stiffness makes it resist bending. This, in turn, creates bending force, which increases the speed with which the wave moves through the string. To understand bending force, imagine bending a short and a long wire of the same thickness. The short wire will resist the bending more and spring back with greater force and speed than the longer wire. Bending force increases as wavelength decreases, which means that wave velocity increases toward high partials. In effect, the wire exhibits greater stiffness at shorter wavelengths. This is why the frequency shift is progressive—the higher the partial, the more inharmonic it is. See the sidebar “Calculating Pitch Raise of Partials” on page 106 for sample data. Whereas the prominence of partials defines tone quality or timbre, inharmonicity imparts its own “flavor,” which can make the piano sound noisy and jarring (greater inharmonicity) or focused and clear (lower inharmonicity). High inharmonicity can make low bass notes sound downright gong-like. The tonal effect of inharmonicity changes during the life of the note because high partials die out more quickly 197 See

W.V. McFerrin, The Piano: Its Acoustics, pp. 38–40.

102

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Tuning

Table 4: Inharmonicity and How Much It Raises Partialsa (1923 6' 4" [193 cm] Steinway A III) Partial Note

Freq. (Hz)

2.

b

3.

cents

bps

cents

4. bps

cents

5.

6.

7.

8.

bps cents

bps cents

bps cents

bps cents

bps

A0

27.5

0.370

1.50

0.05

3.50

0.17

6.50

0.41 12.50

1.00

14.0

1.34

19.0

2.12

23.5

3.01

A1

55

0.160

1.00

0.06

3.60

0.34

3.70

0.47

5.60

0.89

5.60

1.07

7.60

1.69

8.20

2.09

A2

110

0.055

0.20

0.03

0.40

0.08

0.30

0.08

0.80

0.25

1.90

0.73

2.90

1.29

3.70

1.88

A3

220

0.210

0.84

0.21

1.89

0.72

3.36

1.71

5.25

3.34

7.56

5.77 10.29

9.18 13.43

13.71

A4

440

0.707

2.83

1.44

6.36

4.86

11.32

11.54 17.68

22.58 25.46

39.11 34.65

62.27 45.26

93.24

A5

880

2.294

9.18

9.36

20.65

31.68

36.71

75.44 57.36 148.22 82.60 258.02

A6

1760

6.484

25.94

53.14

58.36

A7

3520 21.561

181.02 103.75

434.79

86.25 359.62 194.05 1252.53 344.99 3,104.87

a Bass

string values (notes A0–A2) are averages of multiple readings with Verituner® 4.2.3 on an Apple® iPhone® 4S (the lowest partials, which couldn’t be measured, were estimated; an average coefficient of inharmonicity, b, was estimated from the measurements); steel string (A3–A7) values were calculated using the formula in Robert Young, “Inharmonicity of Plain Wire Piano Strings,” Equation 9. The calculations were confirmed to be very close to measurements with Verituner. For supporting data and calculations, see “Inharmonicity Measurements” at http://www.pianosinsideout.com/bonus.

than low ones. This gives the piano tone a dynamic quality in which the decrease in loudness is accompanied not only by a decrease in brightness but also a slight change in perceived pitch. The effect is especially noticeable in low bass strings, which, as Daniel Levitan, RPT, points out, have “a curious quality of continuously going flat without ever changing pitch.”198 Inharmonicity is lower overall in long pianos than in short ones. It tends to be low in the middle section, and to increase rapidly toward the top note. It also increases, though typically to a much smaller degree, from the highest to the lowest wrapped strings. Pianos that have a significant break in inharmonicity between wrapped and plain strings in the low tenor (the highest wrapped strings having lower inharmonicity than the lowest plain strings) are hard to tune in that section. Inharmonicity is not fully predictable in the bass section because bass strings are made by wrapping a copper wire around a steel core (in many pianos, the lowest strings are wrapped with two copper windings), and the wrap is subject to variations in length, tightness, and elongation of the copper wire. Other factors that make inharmonicity unpredictable are length of unwrapped ends, length of single-wrapped segments in double-wrapped strings, and length and extent of swaging—as well as factors outside of the string, such as stiffness and mobility of string terminations, and soundboard and case resonances.

Effects on Tuning Figure 211 illustrates a typical progression of inharmonicity in a well-scaled, medium-size grand piano—it increases from fairly low values at the lowest plain steel strings in the tenor (Bb2 in this piano) to very high values in the treble (“b” values indicate the coefficient of inharmonicity, which is used to calculate the pitch shift of all partials—see 198 Daniel

Levitan, The Craft of Piano Tuning, p. 46.

the sidebar “Calculating Pitch Raise of Partials” on page 106). This causes a corresponding increase in stretch toward the top note. Although inharmonicity shifts partials by a large amount in the treble, this is not as much of a problem as it may seem. As you can see in Figure 213, treble notes generate few partials, even when played loudly. Those partials decay rapidly, and only the first and second partials remain audible. As a result, the treble octaves can be tuned on the 2:1 level. When those pairs of partials are tuned beatless there are no other coincident pairs to generate beats, and the interval sounds in tune. It is much more important that the prominent coincident partials of all octaves form a smooth, uninterrupted curve. When they do, tuning is easy because all audible coincident partial pairs are nearly beatless. Compare, for example, the prominent partials of the notes A4 and A5, indicated by the dots on the A4 and A5 curves in Figure 211. The curves are difficult to discern because they practically cover each other. As you can see, the two notes are tuned beatless on the 4:2 level, but the 2:1 and 6:3 levels are also almost beatless. A scale design with such closely matched inharmonicity curves permits the tuning of octaves of exceptional purity. The other intervals, such as P5s, P4s, M3s, etc., are also easy to tune because their beat rates are clearly discernible. In our sample piano, the curves “fit” almost perfectly in all notes from A2 to A7. Note the curve in Figure 212, which connects the first partials of the notes charted in Figure 211.199 If it were practical for the strings in the bass section to continue increasing in length and thickness at the rate at which they do from the treble to the tenor, this curve would continue flattening out toward the lowest string, which would have 199 This curve looks just like the curve that O.L. Railsback presented to the American Acoustical Society in 1938, plotting average frequencies of first partials measured in multiple pianos with a chromatic stroboscope. See W.V. McFerrin, The Piano: Its Acoustics, pp. 41–42.

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Tuning

...

A: Positive interval inharmonicity Calcu l ati ng Pi tch Raise o f Pa r t i a ls

If you know a string’s coefficient of inharmonicity (b), which can be measured with some electronic tuners or calculated using Robert Young’s formula (available at http://www.pianosinsideout.com/ bonus), you can calculate the amount of pitch raise for each partial, in cents, with this formula: 25

r(cents) Z b × partial number

2

Deviation (cents)

26

6:3

25 20 15 10 5

For example, knowing that in the above piano the note A3 has a b of 0.21, we can quickly find out that its third partial is raised by 1.89 cents:

8:4

+ 35 30

8:4

Positive stretch

6:3 4:2

0

4:2

5

2:1

10

2

r Z 0.21 × 3 Z 0.21 × 9 Z 1.89 cents

– 15

To translate that to beats per second, we first calculate the theoretical frequency of the third partial with this formula: 27

f(Hz) Z f first partial × partial number

B: No interval inharmonicity 25 20

f Z 220 × 3 Z 660 Hz

15

28

Next, we use Equation 15 on page 100 to calculate the frequency increase of the third partial from the number of cents (1.89) we calculated in Equation 26, and we get 660.721 Hz:

29

f Z 660 Hz × 2

1.89----------1200

10 5

Z 660 Hz × 1.00109 Z 660.721 Hz

n Z 660.721 Ó 660.000 Z 0.721 bps

See Table 4 for pitch-raise values for up to eight prominent partials of each note A in the above piano. These values are plotted in Figure 211 on page 104. To calculate the frequency of each partial, add bps to the theoretical frequency calculated with the formula in Equation 27.

Same stretch on all levels

0

In the octave between A2 (b=0.055) and A3 (b=0.210) the multiplier is 3.82, very close to 4. There is practically no interval inharmonicity (see Figure 214B), and almost no stretch between A2 and A3 (Figures 211 and 212). But what if the multiplier was 5, 6, or more? In our sample piano, A2 is the highest note strung with wrapped strings on the tenor bridge,203 but the speaking length of those strings is almost identical to the speaking length of A#2. Because the wrapped strings of A2 have a thinner steel core than the unwrapped strings of A#2, their inharmonicity coefficient, b, is significantly lower than the coefficient of the A#2: 0.055 vs. 0.155. This sudden drop in inharmonicity across the break between steel and wrapped strings causes negative interval inharmonicity and a negative stretch, which means that instead of being widfive lowest unisons in the tenor section are strung with wrapped bichords.

2:1

10

4:2

– 15

C: Negative interval inharmonicity +30 25 20 15

2:1

4:2

10 5 0

203 The

6:3

5

And finally, we calculate the beat rate between the inharmonicityraised and theoretical frequencies of the third partial of A3 using Equation 21 on page 100: 30

8:4

+30

Without inharmonicity, the frequency of the third partial would be 660 Hz:

5 10 – 15

Negative 4:2 6:3 stretch

8:4 6:3

8:4

Octave played

Figure 214 Interval inharmonicity and octave stretch. The black curve indicates the lower note, and the gray curves show four possible tunings of the upper note. A: coefficient of inharmonicity b of upper note is less than 4 × b of the lower note. B: upper note b = 4 × lower note b. C: upper note b > 4 × lower note b. Note that in case C the stretch is positive at the 2:1 level, but negative for the 4:2, 6:3, and 8:4 levels.

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Tuning

... A

Fourths down, Fifths up

D

E

G

B

F

Fifths down, Fourths up

#

12-tone temperament C

#

C

F G

#

# D /Eb

# A /Bb

Figure 233 The 12-tone temperament circle (circle of fifths).

beating intervals as octave tests; Lesson 9 shows you how to use them to improve your temperament tuning. To tune this sequence successfully, you need to tune quickly. You will need to tune six intervals in one direction and five in the other to learn whether your beat rates are too slow or too fast. That is a lot of intervals. Your tuning technique is likely to add instability, and you may need to repeat this sequence several times. Limit the amount of time you spend on each note, even if you know you are accumulating errors. Establish a rhythm to outpace fatigue and frustration. Adjust the pitch, set and pound, and test. Repeat if needed and move on. Sit at the piano comfortably and don’t move your head while listening to beat rates. Keep in mind that you are learning several skills simultaneously—listening to intervals is just one of them. If you get frustrated, step away, and return to the piano after some rest. Press and hold the damper pedal, and insert the strip mute throughout the middle section (approximately E3 to C5, see Figure 227 on page 113). Check the A4 against the tuning fork or an electronic tuner. If it beats under 2 bps, tune it beatless to the fork; otherwise, either settle for the existing pitch, or first pull up/lower the pitch of the entire piano with an ETD (page 128). Changing the pitch by more than a few cents will destabilize the tuning and undermine your efforts. The tuning sequence is listed step by step in “Simple Temperament Tuning Sequence Using Slow-beating Intervals.” The sequence starts by tuning the middle A to the fork (see Lesson 2 above), and establishing a P5 and P4 in the octave below (steps 1–3). The octave should be just slightly wide but without perceptible beats, and the P4 should beat just slightly faster than the P5, both under 1 bps. You can spend a little more time on these two notes because they will serve as aural templates for the beat rates of the other P5s and P4s you will tune. Tune the next five notes to D#4 by tuning P4s up P5s down (steps 5–9). Make the beat rates the same as the P5 and P4 you tuned initially. Next, start at the middle A again and tune the five

notes in the opposite direction of the temperament circle (steps 10–15). Compare the last note, G#4 with D#4 (step 15). If this P4 is wider than beatless but beats under 1 bps, congratulations! If it beats at more than 1 bps, it is too wide—increase the beat rate of the P4s and P5s a touch in both directions. This will narrow the P5s and widen the P4s, and raise the notes tuned during the first half cycle, including the D#4, while lowering the notes in the second half cycle. If the P4 D#4-G#4 beats at less than 1 beat in 2 seconds, doesn’t beat at all, or is narrower than beatless, decrease the beat rates of the P4s and P5s. Make corrections until all the P4s beat at approximately the same rate, slightly faster than the P5s.

Lesson 8: Complete Tuning Procedure— Aural Tuning First, tune the temperament as explained in Lesson 7 or Lesson 9. Leave the strip mute in place and tune the octaves up chromatically from the temperament to the top note, then down to the lowest note. More detailed instructions and test intervals for each section are given below. When tuning the octaves, tune all the strings in a unison before moving to the next note. Use a rubber mute or a Papps mute to mute the unwanted string(s). Use test intervals to improve the precision of your octave tuning (page 120). When you finish, check the temperament and correct it if necessary, then correct all the corresponding octaves. Remove the strip mute and tune the unisons in the temperament section. Recheck the tuning by playing the intervals you used to tune the temperament, and make corrections as necessary. Use rubber or felt mutes to isolate individual strings and “repair” the unisons, always doublechecking the temperament.

Which String to Tune First in Unisons? When you tune whole trichord unisons, tune the shortest string first: the left string in grands, the right string in verticals. The shorter the string between the tuning pin and its speaking length, the more readily it responds to tuning hammer movements.217 The short string also isn’t affected when the middle and longest strings bend around it (see Figure 244 on page 132). Tune the middle string to the short string next, then tune the remaining string to the first two. For the notes next to plate struts, it is more practical to start with the string that is closest to the strut, regardless of its length. You can tune the bichords (all of which are typically wound strings) from right (longer) to left (shorter), in both grands and verticals. String lengths matter less in bichords, whereas reducing how much you handle the mute saves time.

217 In verticals it may be affected more than the left string by temperature swings during tuning.

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Learning to Tune

119

S i m pl e Tem p e r a me nt Tu n in g S e qu e n c e Us in g S l ow - be a t in g I nt e r va l s

˙

Note to tune (note to which the arrow points)

œ œœ

Note from which to tune

Test interval (check tuning against the note to which the arrow points)

4

& ˙ œ˙ œ œ ˙ œ 5

6

7

8

9

& œ˙ œ˙ ˙œ œ # ˙ #˙ # œ 10 11

& ˙œ œ œ 12

13

14

15

16

& œ # ˙ # œ˙ # ˙ # #œœ ˙ œ# #œ

Clockwise

3

Temperament circle direction:

2

Counterclockwise

1

1 2 3 4

[a1] [a1-d1] [d1-a] [a-a1]

5 6 7 8 9

[d1-g1] [g1-c1] [c1-f1] [f1-a#] [a#-d#1]

10 [a1-e1] 11 [e1-a] 12 13 14 15 16

A4 D4 A3 A4 D4 G4 C4 F4

A#3

D# 4 A4 E4

A3

[e1-b] [b-f#1] [f #1-c#1] [c#1-g#1] [g#1-d#1]

Stretching the Octaves When you tune octaves in the middle section to sound pure and beatless, double and triple octaves will sound narrow in all but the longest pianos. Address this by slightly stretching the single octaves, but without making them beat perceptibly. Use octave-stretch test intervals to check the octave width (page 120). The stretch is more a sense of widening an otherwise pure octave than detuning it. With somewhat wide octaves, a piano’s sound is richer, more resonant, more “open.” Of course, not only are multiple octaves affected by insufficient stretch, but the beat rates in all narrow intervals (P5s, m3s, and m6s) become objectionable. On the other hand, overstretching the octaves will make the wide intervals (P4s, M3s, and M6s) too noisy. The amount of stretch increases toward the high treble not only because inharmonicity increases most in that section, but because we perceive high pitches as lower than they really are. Some tuners tune the highest notes so sharp that the last few octaves sound like m9s. Most pianists don't find overstretching the top to be satisfying. To

E4 B3

#

F4

C#4 D# 4

G#4

Tune to fork P5 slower than P4 in 3 P4 faster than P5 in 4 P8 beatless to wide (adjust 2 and 3) P4 compare to 3 P5 compare to 2 P4 compare to 3 and 5 P5 compare to 2 and 6 P4 compare to 3 and 5 P4 faster than P5 in 11 P5 slower than P4 in 10 P4 compare to 3 P5 compare to 2 and 6 P4 compare to 10 and 3 P5 compare to 2 Compare to 10 and 5

blend those notes with the rest of the piano, test them using multiple octaves and other compound intervals (for example, P5s and P4s over two octaves).

Tuning the Middle and Tenor Sections At first, use P4s and P5s as your main test intervals. When a P4 is above a P5 within an octave, it should beat slightly faster than the P5. When it is below a P5, they should have about the same beat rate. Start using fast-beating test intervals, such as contiguous M3s, adjacent M3s, and octave tests, such as the M3/M10. Lesson 9 introduces some of these and “Test Intervals” on page 120 explains how they work.

Tuning the Bass Tune the bass section using descending octaves as the primary interval. Listen for the underlying beats, heard as relatively long waves, and ignore the confusing rapid beats among the higher partials. Whenever in doubt, drop the pitch of the lower note in an octave until you can clearly hear the low beats (“woo woo”), pull it up until the beats

...

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135

Chapter 5

Regulating

“

We are Sancho Panzas to pianistic Don Quixotes. —Benjamin McKlveen, RPT

In pianos, the term regulation applies to adjusting the functioning of the mechanism, which consists of the action, keyboard, damper system, and pedals. The mechanism is regulated by repositioning, aligning, or shimming parts, by turning their regulating screws or buttons, and/or by altering the thickness of various felts and leathers. Every piano should be regulated periodically. In moderately used pianos, the action should be regulated every few years, and the keyboard as part of every other action regulation. Regulate the pedals as part of every tuning. The damper mechanism remains in regulation for a long time, but should be regulated if the initial regulation was poor or when the damper system is rebuilt. If the piano is used heavily or is exposed to adverse climate conditions, check its regulation as part of each tuning. Although this chapter is presented in sections that focus on one subsystem at a time (keyboard, action, dampers, pedals), I suggest reading the entire chapter first to get a sense of how these systems interact with each other. For specifications and procedures specific to the piano you are regulating, consult the manufacturer’s service manual.

Protection When you work in a customer’s home, be careful with the furniture, rugs, and carpets, and make sure you do not damage the piano case. Never put your tools or parts on a finished surface without padding it with cloth, felt, or a mover’s blanket. Always put a sheet or mover’s blanket under the keyboard or action on the floor (the lubricants on the bottom of the key frame could transfer to the floor and get contaminated). Remove all fragile objects from the

” Recom m en dat i ons • Condition: Parts must be in good condition or the regulation will not hold. • Clean and lubricate all contact points. • Do not realign worn action parts unless they rub against each other. • Light: Use a dispersed, strong source of light for general work; shine a pointed light at an angle when shadows help you determine distances; e.g., when regulating let off in the piano. • Use visual and tactile checks. If you need to remove any parts: • Mark the numbering and label the parts (with masking tape, for example) before removing them. • Take notes and photos that will help you realign the parts later. • Don’t mix wood screws, even when they appear to be the same—small imperfections and burrs can wear out the wood.

piano and near it, and be sure you have enough space to comfortably remove the keyboard and action. Put a mover’s blanket under the piano bench to protect the floor. If you need to perform any repairs during the regulation, turn to Chapter 7, “Repairs.” I suggest wearing thin cotton inspection gloves for most piano work. The gloves not only protect your skin, but also protect delicate parts in the action, keyboard, and dampers from the oily acids and moisture on your skin. Tip: When the gloves get dirty, and only if they are not contaminated with chemicals, turn them inside out to double their use time. Avoid touching uncoated metal parts, such as strings and springs, with bare hands.233

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Christopher Brown, RPT, available from TPR Tools LLC (www.tprtools.com). Not only does this device allow you to reproduce the curvature of the key bed, it is also a comprehensive jig for regulating the action, hanging hammers, adjusting shank travel, and more (see Figure 263).

Guide Notes Guide notes are the notes you measure and regulate first to get a quick idea of the regulation in different sections of the piano. Usually the end notes in each section and a middle note in long sections, these notes provide references for observing and regulating the notes between them. For example, if you first set the blow distance (hammer height at rest) on guide hammers in a grand action, you can visually adjust the hammers to form a line between them. Guide notes are also useful in rebuilding: guide hammers (hammers on guide notes), for example, act as templates for gluing the rest of the hammers (Figure 594 on page 392). Guide notes allow you to quickly test multiple interrelated regulation steps in several areas of the keyboard. In verticals, for example, regulating the key dip, let off, blow distance, and jack gap of a few guide notes may reveal discrepancies in aftertouch between the bass and treble in just minutes. If guide notes require excessive turning of regulating screws and buttons or you run out of range of adjustment, check to ensure that the action rails have not moved, the brackets are intact and fastened down firmly, and the action geometry is satisfactory (see Chapter 9, “Touch, Geometry, Playability” on page 273). In a grand piano, if hammers block on strings or drop screws bind on the pinblock, suspect expanding action brackets (page 149).

Friction Since every part of the piano mechanism is affected by friction, this is one of the most important—and most overlooked—aspects of piano regulation. The main sources of friction in the mechanism are: • Metal and felt parts (e.g., between center pins or key pins and their bushings) • Metal and wood (e.g., between key frame glides and key bed) • Wood and felt or leather (e.g., between jacks and knuckles; key end felts and damper underlevers) • Wood and wood (e.g., between key frame and key bed). Addressing friction between strings and their bearings is discussed in “Lubricating String Bearings” on page 113. 238 The

Grandwork™ Regulation Station is protected under U.S. patent no. 8,227,674 (2012).

Friction is a huge factor in the performance of the action, keyboard, and dampers. Excessive friction causes premature wear and noises throughout the piano, and negatively affects touchweight and the piano’s overall playability. Too little friction, on the other hand, makes the action feel bouncy, and may cause the hammers to bobble (double and triple repeat) on hard blows (see sidebar, “Myth/Truth.”). Inconsistent friction makes the action feel uneven. Evening it out is a prerequisite for adjusting touchweight and improving playability. Friction affects not only the performance of action parts but also their wear. Keeping friction within its normal range increases the life span of key pins, bushings, knuckles, key end felts, key frame glides, and trapwork leathers. Friction increases as parts wear out and felts and leathers harden. The increase is especially pronounced between the jack and the knuckle, which need to be lubricated periodically. Center pins tend to bind in their felt bushings due to the oxidation of the pins and the swelling of the felt, especially in high-humidity climates. Lowering friction is discussed below. If ends of center pins are green, see “Verdigris” on page 246.

Myth: Truth:

All action centers should have as little friction as possible without looseness. Until recently this view has been widely held, even among physicists (see, for example, W.V. McFerrin, The Piano: Its Acoustics, p. 153), but friction in fact acts as a shock absorber, and provides the needed amount of mechanical damping that reduces the unwanted movement of action parts. Without friction, shanks and wippens would continue bouncing for a prolonged period of time, during which repetition would be unpredictable and the hammer might hit the strings several times.

Center pin friction decreases during the heating season due to low humidity.239 This may be accompanied by clicking noises caused by loose center pins or key pins. These are separate problems that should be addressed before the piano is regulated.

Assessing Friction To assess the overall friction, quickly measure downweight and upweight on a few keys, and calculate friction (see “Static Touchweight (TW)” on page 276). If the friction is outside the ranges in the “Touchweight Worksheet” on page 277, you will need to reduce or increase it. Both cases are discussed below. If the piano is in a humid climate and has not been played for a long time, playing it will tend to somewhat reduce friction. Move the shanks and wippens through their range of motion a few times before measuring friction. 239 In low humidity the bushing holes actually shrink somewhat, and tighten around the bushing cloth; as the wood shrinks, the bushing holes become elliptical, shrinking in diameter across the grain.

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Table 5: Acceptable Friction Values for Center Pins

Traditional center pins are made of German silver and are not plated. The plated center pins used in newer Asian pianos exhibit a reverse trend: Moving the parts causes center pin friction to increase, sometimes so much that the parts seize up. The solution is to repin or rebush the parts (page 244).

Part

Measuring Center Pin Friction Center pins contribute significantly to the overall friction in the action—for an action to feel “fast,” their friction should be toward the low end of the ranges listed in Table 5. Center pin friction also contributes to the evenness of action response, and should be measured precisely when diagnosing friction issues and repinning or rebushing action parts.

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Friction

Hammer shank flange

Distance from center pin

Friction (g)

Torque (mm-g)

25 mm

1.5–4.0

37–100

Buckskin at drop screw (58 mm)

2.0–6.0

120–360

Wippen flange

25 mm

1.5–4.0

37–100

Underlever flange

25 mm

1.0–4.0

25–100

Underlever top flange

25 mm

1.0–4.0

25–100

Sostenuto tab (spring disengaged)

Tip (15 mm)

1.0–6.0

15–90

Jack (spring disengaged)

Tip of tender (25 mm)

0.5–4.0

12–100

Vertical damper lever

(ca. 50 mm)

1.0–8.0

50–400

Repetition lever (spring disengaged)

specifications assume approximately 32 mm. To calculate torque, use the following formula: 31 25 mm

Torque Z Force × Distance

At the radius of 25 mm, for example, a measurement of 4 grams indicates a torque of 100 mm-grams: 32

Figure 264 Measuring center pin friction of a shank flange with a 10 gram tension gauge. The photograph is taken from above.

The most precise way to measure center pin friction is with a 10-gram spring tension gauge (for less formal methods, see sidebar, “Other Ways to Test Center Pin Friction”). Hold the part (e.g., a hammer shank or wippen) so the center pin is vertical, to eliminate the effects of gravity. Push the part you are measuring (e.g., the flange) with the tip of the gram gauge probe at a spot that is as far from the center pin as indicated in Table 5. Hold the gauge lightly and follow the rotation of the part with it (see Figure 264). To avoid a false high reading, keep the probe pointed at the center pin.240 Don’t slide the probe, and don’t let it bind on grooves or ridges—temporarily affix a piece of tape to the flange, if necessary. Read the highest value displayed and compare it with the values in Table 5. Because you’re measuring the force needed to overcome the resistance to circular motion, you really are measuring torque. The advantage of expressing center pin friction as torque is that you can compare measurements taken at different distances from the center pin. WNG, for example, measures flanges at 20 mm,241 while Steinway’s 240 Gregory Graham provides instructions for building a jig that maintains the angle between the gauge and the part. Search http://my.ptg.org for “Gram Gage Jig Instructions.”

25 × 4 Z 100

The Torque column in Table 5 allows you to compare friction values for different distances. Conventional wooden parts shrink and swell, and your readings will differ somewhat from season to season. To reduce sideplay, friction may need to be higher in parts with softer bushings, and lower in parts with firmer bushings. Consult the manufacturer’s specifications, if available. Steinway & Sons, for example, recommends torque on the low end of the ranges in Table 5.242 Repeat the measurement in the opposite direction. If the resistance is off by more than 50 mm-grams, check for debris and microscopic splinters between parts. Just sliding a piece of paper a few times between the parts may help. If it doesn’t, remove the center pin and smooth the bird’s eye (a circular protrusion around the center pin hole) on both sides of the part with a few light, circular passes with 1000-grit or finer sandpaper. If the wood is smooth, the center pin itself may turn more smoothly in one direction than the other. Install a new center pin, one half size thicker, as explained in “Repinning Action Parts” on page 244.

Shank Center Pin Friction Affects Tone High friction in hammer shanks dulls the tone by increasing the amount of time the hammer remains in contact with the strings. Reducing shank friction, aside from making the action perform better, can open up the tone appreciably. 241 http://www.wessellnickelandgross.com/media/pdfs/ gram_gauge_usage.pdf.

242 Steinway

& Sons, Worldwide Technical Reference Guide, “Grand Preparation,” p. 21.

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Figure 282 Brushing the knuckles with a soft suede brush.

157

(page 145). This is easiest to do with the top stack removed and tipped forward 90° (Figure 284). Cover the surface under the knuckles with paper towels to catch excess lubricant. Apply the lubricant with a small brush (Figure 283), a pipe cleaner, or by dabbing it on with your finger, wearing cotton gloves (Figure 284). Work it in with the finger or a felt block. If you are in a hurry, use a technique taught by André Oorebeek: work the lubricant into a felt block, support the hammers so the knuckles form a line, and rub the knuckles with the block from one end to the other in each section. Burnish the lubricant with a small spatula or a metal shank (e.g., a screwdriver). Carefully remove and dispose of the paper towels. Combined with the lubrication of other friction points, a powder lubricant will reduce the overall action friction to very low levels (6 to 8 g). For an even greater reduction, you could mask everything but the graphited areas of the repetition levers, and spray them with a dry-film lubricant. Some pianists will then complain that the action doesn’t provide enough feedback.

Photo by Allen Wright, RPT

Caution: Wash your hands thoroughly before playing the piano, to avoid spreading the lubricant on the key tops. If the keys get slippery, wash them with alcohol. If the owner or performer still complains, protect the fallboard and the rest of the piano, and mist them with a very small amount of hair spray (don’t spray directly).

45

Figure 283 Applying powder lubricant with a cosmetics brush.

Sluggish or loose wippens: Tilt the top stack forward, as depicted in Figure 284, so that the wippens hang loosely or barely sit on the wippen rail. Move the wippens in groups toward the shanks, and let go. Repeat in the opposite direction. If any wippens return slowly, remove them and measure center pin torque on their flanges. If the torque is high, lubricate them (page 148). Also measure the torque on jack and repetition lever center pins— when one center is sluggish, usually all of them are. Next, grasp each jack tender and gently move it left/right a few times. If you feel any looseness, repin the jack and/or the wippen flange. Check the repetition lever pinning for looseness.

46

Wippen heel felts: Turn the top stack upside down and lightly brush wippen heel felts with a brass bristle brush. If they are dented, steam them lightly (though not so much as to compromise the glue), then iron them at low temperature with circular motions. Rub a powder lubricant into the felt (Figure 285) and burnish it with a metal shank. Vacuum excess lubricant.

Figure 284 Rubbing a powder lubricant onto the knuckles with the top stack tilted forward.

47 Lubricate repetition spring/repetition lever notch: This applies to Steinway and similar designs. Remove the top stack from the key frame and turn it upside down. Dislodge all repetition spring hooks and, reaching between the wippens, scrape the old, caked lubricant from repetition lever notches with a thin, pointed hardwood dowel (Figure 273 on page 151). If there is a lot of lubricant in the notches or the lubricant is still greasy, wipe the notches with cotton swabs dipped in a 90% alcohol. Allow to dry,

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Regulating

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. brush, sand them lightly, then iron them at low temperature. This will improve the stability of let off regulation. Rub a small amount of powder lubricant into each cloth and burnish with a metal shank.

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Lubricate jack tenders: Lubricating let off buttons is usually sufficient lubrication for jack tenders, but if they feel rough or were treated with a greasy lubricant, clean them with alcohol and apply liquid dry-film lubricant to them with a bottle brush.

50 51

Vacuum excess powder lubricant.

Reinstall the shank rest rail (if you removed it earlier) and, if you don’t intend to regulate the keyboard, fasten the top stack onto the key frame. Figure 285 Applying and rubbing powder lubricant into wippen heel felts with a cotton glove.

L ub ri c a t e S pr in g N o t c hes w i th Fi l m o r G re a s e ? Spring ends and repetition lever spring notches traditionally have been lubricated with mutton tallow. Manufacturers chose this heavy grease to act as a brake to slow the motion of the repetition lever. Combined with the friction of the repetition lever center pins, the grease allowed stronger adjustment of the springs, thus improving the reliability of repetition (see “Increasing Friction” on page 148). Unfortunately, this lubricant quickly caked up and oxidized the springs, rendering the action sluggish or unplayable. We cringe today as we clean it from the springs and notches of almost every grand made in America before WW II. Modern, synthetic grease lubricants are much better: they are stable and noncorrosive, and promise great longevity. However, before you use one for this application, consider that, over time, every grease lubricant loses effectiveness as it traps dust, lint, and wool fibers. A dry-film lubricant doesn’t suffer from that problem. Unless the friction of the repetition lever center pins is exceedingly low and hammers are particularly heavy, the benefits of a grease lubricant may be outweighed by the long-term effectiveness of a dry-film lubricant.

then apply a dry-film or grease lubricant to the notches with a folded pipe cleaner (see sidebar, “Lubricate Spring Notches with Film or Grease?”). Turn the top stack back up, and clean old lubricant from the spring hooks with very fine steel wool (#0000) dipped in alcohol or lacquer thinner, then polish them with a rotary tool and a small buffing wheel (use a chrome buffing compound or tripoli). Wipe the buffing compound from the springs, lubricate them with dry-film lubricant, and reposition them in the notches. Squeeze each repetition lever. If you feel increased resistance at the start of the travel, the springs have dented the notches—if the dents are deep, replace the wippens.

48 Let off button cloth: If the cloths on let off buttons are dimpled, lightly brush the cloths with a brass-bristle

Regulating Keyboard (Grands and Verticals) Functionally, the keyboard is part of the action and should be regulated with it. I treat the two as separate units because the keyboard tends to stay in regulation longer than the action top stack. If you’re pressed for time, focusing on the action will generally yield greater improvement for the player than perfecting key level and key dip or adjusting key spacing. For ultimate results, however, the keyboard, action, and damper system should be regulated together. For example, if the aftertouch is shallow after you regulate the let off and hammer-blow distance, you will have to decide whether to reduce blow distance (action) or increase key dip (keyboard). You can’t adjust the damper stop rail before you define key dip, and even the damper lift timing depends on the hammer-blow distance and key dip. Please note that, for purposes of regulation, I treat backchecks as part of the action, not the keyboard. Since the regulation of the keyboard is mostly the same in grands and verticals, it is described for both designs under this heading. Procedures that are unique to either design are explained as necessary. The regulation of the keyboard involves the following procedures, in this order: • Bedding the key frame • Spacing the keys • De-slanting the keys • Squaring the keys • Setting white key level • Setting black key level • Setting key dip (white and black keys) In vertical pianos, the key frame is affixed to the key bed with screws, and the regulating is quite straightforward. In most grands, though, the key frame shifts sideways with the soft (una corda) pedal, and bedding it to the key bed is critical. Poor contact between the two causes knocking or rattling noises, and the accumulation of dust

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Regulating Grand Action

173

... Tip: When regulating the action with the keyboard on your lap, the front rail of the key frame bends upward and the key dip decreases. Keys may reach the bottom of their travel before the hammers reach the let off, let alone drop. To increase the key dip, move your leg sideways, away from the area you’re working on.

4

Figure 315 Regulating the drop (Steinway).

Let off Drop

Backchecked

Figure 316 Regulating the backchecking against the drop of the neighboring hammer.

sistance that the pianist has to overcome toward the bottom of key travel as the tip of the repetition lever pushes against the drop screw. How: To adjust the drop, pull out the action and work either with the keyboard halfway on your lap (see “Tip” below), or place the keyboard and action on top of the (padded) front lid. Depress the key slowly, controlling its movement, and look for the vertical distance between the hammer at let off and the position to which it drops just after let off. This distance is the “drop.” Ignore the hammer’s rise as the key continues moving toward the bottom of the key travel. The rise may be substantial if aftertouch is excessive, but if the hammer doesn’t drop at all, reduce the blow distance to increase aftertouch (see step 4). Adjust the drop by comparing it to the neighboring hammer, as shown in Figure 316. It should be ca. 1/16" [1.5 mm] below let off.

Aftertouch is the amount of key travel measured at the front of the key from the highest point in hammer travel (let off) to the bottom of the key travel with moderate pressure. It is a function of let off, hammer-blow distance, and key dip, and should be adjusted to around 0.040" [1.0 mm]. Excessive aftertouch wastes energy, makes repetition sluggish, and can cause the hammers to get jammed by the backchecks. Insufficient aftertouch, on the other hand, causes inadvertent double-repeating when you play softly—the hammer and shank bounce between the string(s) and the jack because the jack does not escape sufficiently from under the knuckle. Dependencies: Since let off is tied to the position of the strings, aftertouch is adjusted by altering key dip and/or blow distance. In a precisely regulated action those two distances should be consistent throughout, but in reality they vary slightly from note to note and can be compromised to a certain degree. Many technicians give priority to blow distance because it affects the hammer line (horizontal alignment of hammers at rest), and a straight hammer line makes the action look regulated. Blow distance also affects the acceleration of the hammers and the amount of force they deliver to strings, which is one more reason to keep the blow distance consistent. Measuring: Aftertouch is very sensitive to the curvature of the key bed/bench, and should be adjusted inside the piano. Although you can measure aftertouch by comparing the key height at let off and at the bottom of key travel, I prefer adjusting it by feel. This way you will automatically compensate for variations in the size and curvature of the knuckle and other discrepancies in action parts. Press the key slowly to the point of let off and, while observing the hammer, press the key to the bottom of its travel. The hammer should drop, then rise a little, and you should feel a short, accelerating motion with a well-defined “bottom” and with very little free play after the drop. Measured at the front of the key, this will be achieved within 0.030 to 0.060" [0.8 to 1.5 mm] after let off. Adjusting: Adjust the aftertouch by changing the key dip (step 7 on page 164) or making small adjustments to blow distance (step 1 on page 170). Maintain a reasonably straight and even hammer line. Don’t alter let off or drop to adjust the aftertouch. Testing: Test the let off, drop, and aftertouch as explained in the sidebar on page 174. Note: When adjusting blow distance, bounce the key a few times—you may notice that the hammer stops at a slightly different height each time. This is because hammer height at rest is affected by the tension of the repetition spring, its friction

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The following tests supplement visual checks and are optional. They require good finger control and a refined sense of touch. The room should be quiet, but you will make a lot of noise—let the owner know what you are doing. Playing off the jacks: Playing with control in ppp dynamics requires let off and drop to be close to the strings and to be extremely consistent. The following tactile check, known as “playing off the jacks,” allows you to refine the results. Perform the following tests with the damper pedal depressed. Depress a key until you feel increased resistance, then depress it to the bottom of its travel with moderate force (Figure 317). Reduce the force until the note barely sounds. Repeat this test with the same amount of force on all white, then black keys. Each note should sound. If a note doesn’t, its let off and drop are likely too low—adjust and retest until the note sounds. The more quietly you can play off the jacks, the softer you will be able to play the piano with control. If you feel markedly greater resistance on any of the notes, those hammers may be blocking against the strings—increase the let off and drop distances. Slight discrepancies in resistance may be caused by the jack position at rest (step 7 on page 176). Adjusting the jack slightly toward the player will reduce the resistance, and vice versa. Resistance also can be caused by wear and lack of lubrication on the knuckles, lubrication of the repetition spring, condition of let off button felts, lubrication of the jack tender, inconsistent force of the repetition spring on the jack, even a sluggish center pin. Dropping the weight: Assemble touchweight-measurement weights to the total weight of approx. 100 g. Depress the pedal, block the key with one hand and place the weights on a key with the other, then let go of the key. You should hear a faint sound. Repeat on several adjacent keys, reducing the weight until notes start missing, then add a few grams. Test all keys. It’s normal to have to add some weight toward the bass and reduce weight toward the high treble.

This test checks not only the consistency of let off and drop, but also of touchweight, friction, and hammer inertia. It is even more effective at revealing inequalities in ppp response than playing off the jacks. Too close to the strings? Depress the damper pedal and pound each note twice in rapid succession (clear the pedal between the notes). If let off is too close to the strings, the sound will be harsh and distorted either on both strikes or on the second strike. In either case, set the let off a little lower (turn the button clockwise) and repeat the test. If you are not sure what the note should sound like, set the let off practically at the string and compare the sound with the let off set to 3 mm (the latter will sound cleaner). Strings have greater excursion in the tenor and bass sections; there, you should test whether the hammer touches them at let off. Hold the damper pedal depressed and loudly play several quickly repeated octaves or big chords that include the note you are testing, then quickly bring the hammer up, but take it through let off very slowly. If you feel string vibrations on the key or hear a “zing,” indicating that the hammer is touching the string, lower the let off a little (turn the let off button clockwise) and repeat until the hammer no longer touches the string. Bump and aftertouch: Hold the damper pedal depressed. Press four adjacent white keys with the same hand and feel whether the bump in each key’s travel starts at the same spot in the travel. While holding the keys at the bump with the same force, slide the finger of the other hand from one key top to another (Figure 318). Slightly adjust the pressure of each finger and observe how the relationships between the keys change. If the bump of one of the keys is higher, either the let off and drop are lower, the blow distance shorter, or the action leverage higher than on other notes, due to geometry inconsistencies. That note is also likely to have greater aftertouch. Correct the regulation and retest.

Figure 317 Testing the consistency of let off by playing off the jack.

against the repetition lever, the friction between the repetition lever and the knuckle, and even the friction of the repetition lever’s center pin. If the variations in hammer height are large, lubricate the first three friction points and make sure that the center pin friction is not too low (see “Friction” on page 142). Increase spring tension slightly if necessary (step 6 on page 175).

Figure 318 Testing whether the start of the bump on adjacent keys is level.

5

Backchecking height: As explained in “The Importance of Backchecking” on page 77, backchecking speeds up repetition by preventing the hammer from getting too far from the strings after strikes that involve keeping the key depressed (legato, tenuto). Typically, backchecking is adjusted to between 1/2" and 5/8" [12 to 15 mm] from the strings. The shorter this distance, the less time the hammer spends returning to the strings on restrike. Without

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Regulating

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A d ju s ti n g D a m p e r W i res Viewing the damper wire from the front, the segment under bend 1 and the segment between bends 2 and 3 should be parallel to the plane on which the underlever moves up and down, which should be vertical. Bends 1 and 2 abridge the misalignment between the underlever and the guide rail bushing. These bends should be mirror images of each other, and should allow the damper to move freely. If they are angled too much, the wire will rub against the left side of the bushing and the underlever will be pushed to the right. Conversely, if the bends are not angled sufficiently, the wire will rub against the right side of the bushing and the underlever will be pushed to the left. The wire should lightly rub against one side of the bushing, consistently within each section (see below).

a. Side view:

b. Front view:

4 3

4 3

2

2

1

1

Figure 327 Side and front views of a typical grand damper assembly. Numbers indicate the bends in the wire.

page 402). Loosen the screw in the underlever top flange, and set the underlever to rest on the tongue of the tool, and the damper to sit on the strings, then tighten the screw. If the damper head twists out of alignment with the strings, loosen the screw, twist the head slightly in the opposite direction, and tighten the screw. If that doesn’t work, lift and twist the damper wire under bend 2 with a pair of linesman or similar pliers while holding the underlever top flange with parallel pliers. Lift the underlever and let the damper head return to the strings under its

Bends 3 and 4 must be adjusted so the damper head is vertical and centered to the string(s). Viewed from the side, the wire should be vertical except between bends 1 and 2, and the felts at both ends of the damper head should sit on the strings with equal force. Lifting and lowering the underlever should not change the alignment of the damper head. Aside from observing the bends and the amount of side-bearing that damper wires exert on guide rail bushings, a good test is placing a small ruler on top of the damper heads. If they are aligned correctly, their tops will be parallel with the ruler.

To Center the Wire in the Bushing or Not? If the damper wire bears against the bushing with significant force, the bushing will wear out prematurely. The logical conclusion is to adjust the wire to be centered perfectly in the bushing. However, the damper is actually more effective if the wire is slightly off center. Here’s why. Let’s look at a single bass string. Although the hammer excites the string to vibrate in a vertical plane, the vibrations change direction, and soon the string is vibrating in all directions. When the damper falls on the string, it pushes the string down, causing the vertical vibrations to quickly subside. Vibrations around the horizontal plane, however, cause the damper head to move left-right. You can observe this when loudly playing low-bass notes—the damper head flutters horizontally (side to side) when it touches the string. By itself, the damper can’t stop horizontal vibrations—that’s the job of the damper bushing. The bushing damps horizontal excursions of the string by limiting side-to-side travel of the damper head. The tighter the bushing, the more effective it is. However, the adjustment of the damper wire can make the bushing even more effective. Suppose that the string is deflected from its rest position by 1 mm to the left and 1 mm to the right. Also suppose that the damper wire is 1 mm thick and the opening in the bushing has a diameter of 3 mm, leaving 1 mm of room on each side of the wire. If the damper wire is in the middle of the bushing, the string will move it equally in both directions, for a total motion of 2 mm. But if the wire leans against, say, the right side of the bushing, the excursion to the right will cause almost no damper movement, whereas the excursion to the left will bring the wire to only the middle of the hole. The total motion will be only 1 mm, half of what it would be with the wire centered. The degree of the lean must be very gentle or the added friction will offset the benefits of this technique by making the damper less effective in the vertical plane. The lean also makes damper movement, when lifted with the pedal, appear more precise because there is no fore/aft movement of the damper heads.

own weight, then lightly tap down the damper head (or the underlever) a few times. You should feel resistance and see the tool tipping forward a little. If the underlever knocks more than very softly against the tool, lower it.

10

Adjust pedal lift on guide dampers: Sit at the piano and press the damper pedal slowly while observing the guide underlevers (ignore the underlevers between them). Adjust their capstans (if so equipped), or remove/add shims under the tray felt (under guide under-

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Regulating

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Figure 337 Wippen flange screws are usually in the back of the action (Yamaha U3).

Figure 338 The jack spring should be positioned in wippen and jack notches, and the jack base must be firmly attached to the wippen.

Jack spring notch

Jack base

Oxidation and wear will make that interface noisy and creaky. First, make sure that all springs are seated in their notches (they often get dislocated when a pencil is removed from the action). To test the lubrication and wear of the springs and notches, disconnect the bridle tape and lift the catcher very slowly. If the motion is not smooth or you hear any noise, remove the action and place it on a cradle, then disengage the butt springs. Clean bare wooden notches with a sharpened dowel and lubricate them with a dry-film lubricant. If the notches are covered with cloth punchings, rub them with powder lubricant. If worn, replace and lubricate them (see “Spring notch cloth punchings” on page 413). Polish the spring hooks (end that presses into the notch). Hammer butt springs are not noisy in Schwander actions, but make sure their spring cords are intact and that all springs are engaged.

35

Damper lift rod: Lift the end of the damper lift rod (hold the action rack with the other hand) and observe the lifting of dampers. If the lifting is uneven or tapers toward either end, inspect and repair rod hooks and hinges as necessary (see “Uneven Damper Lift” on page 253).

Noise: Lift the rod slowly. If its motion is not smooth, and you hear noises, lubricate the rod, its hinges, and damper lever felts. If in a hurry, turn the action at a right angle to the floor, apply Protek Prolube, and let it run down the rod. Apply at a few points along the rod’s length. Press the tops of the levers to keep the damper lever felts away from the rod as the liquid flows.254 Apply Prolube to the rod hooks and hinge bushings. You can also brush Prolube on damper spoons, unless you have a different plan for them (see step 36). If you remove the rod, clean and polish it and its bracket bushings, then apply liquid dry-film lubricant to the rod and inside hard bracket bushings (if the bushings are of cloth, swab them with a powder lubricant instead). Refresh the lever cloths by brushing them with a firm pipe cleaner or a small brass-bristle brush if you can reach without scratching the lift rod or spoons. Lubricate the lever cloths where they touch the rod and damper spoons with powder lubricant applied with a folded pipe cleaner (Figure 339). Burnish the lubricant and vacuum the area. Reinstall the rod and the brackets, if you removed them.

36

Damper spoons, when deteriorated, increase action friction, accelerate wear of damper lever felts, and can be noisy. Visually inspect the spoons. If the plating is flaking or rust is visible, replace them or they will quickly wear out the damper lever cloths. If the cloths are contaminated with rust or caked-up lubricant, brush them with a small brass-bristle brush (without touching the spoons) or with a firm, folded pipe cleaner, then rub/burnish them with a powder lubricant (or replace them). Lift and prop the damper lift rod. Clean and polish the spoons with pieces of felt or cloth, then coat them with dry-film lubricant in liquid form with a felt wedge or pipe cleaner (Figure 340). Make sure the lubricant doesn’t get on the lever cloths. A quick alternative is to apply Protek Prolube to the felts and spoons.

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Damper springs, levers, and lever notches can be responsible for oinking, creaking, or crackling noises when playing softly and when pressing the damper pedal slowly. The noises indicate excessive friction, which impedes performance and accelerates wear. Sluggishness: Pull the bottom of the damper lever away from the damper spoon, or pull the damper away from the strings and let it go. If it doesn’t snap back, is the spring intact and engaged? Severely oxidized? Is it jamming in the worn notch in the lever (especially if the notch is covered with cloth)? Next, push the top of the damper lever toward the rail and return it a few times. If the motion feels rough or you hear a faint creaking noise, the lever spring notches (Figure 341) need to be lubricated. If in a hurry, lubricate them with Protek Prolube. For more permanent lubrication, clean/polish spring ends and clean/lubricate the notches using the techniques described in step 34. To test the friction of lever center pins, pull the spring away from the damper lever with a hook

254 Thanks

to Fred Sturm, RPT, for this technique.

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... 3 Blow distance is the distance between the hammer at rest and the strings. It determines the amount of force that the hammer can deliver to the strings: the greater the distance, the greater the force. As hammers wear, blow distance typically needs to be reduced. Blow distance is directly proportional to key dip and inversely proportional to jack gap and aftertouch. How: Measure blow distance as depicted in Figure 345. To reduce, shim the hammer rest rail (or half-blow rail) with felt, paper, or cardboard shims. In the case of a rest rail, place the shims between its felt blocks and the action brackets (Figure 346). Do not glue the shims in place yet. To increase the blow distance, remove the shims or cut the rail felt blocks (this is unusual; do this after step 5). In most studio uprights, the blow distance should be 13/4–17/8" [45–47 mm]; in spinets and consoles with compressed actions, as little as 11/2" [39 mm]. Ultimately, adjust the blow distance and gap (next step) for optimal aftertouch (step 5). 4 Jack gap is the distance between the jack and the hammer butt that ensures the jack’s repositioning under the hammer butt after the key is released. This distance should be as small as possible, but sufficient for the jack to return consistently under the hammer butt. In new actions the gap is less than 0.004” [0.1 mm], whereas it may need to be double that in worn ones. The measurement, however, is unimportant—you will adjust the gap by feel. If the butts sit on the jacks (no gap), notes may bobble and miss. You must regulate jack gap whenever you alter blow distance or key level. How: Depress each key lightly at the very top of its travel a few times, and observe when the hammer begins to lift relative to the motion of the jack and wippen. There should be a very small amount of free play in each key’s movement, during which the jack rises but the hammer does not move at all. Adjust the gap by turning key capstans (Figure 347) or, in a dropped action, the screws or capstans on linkages that connect the keys to the wippens. The gap should feel the same on all keys. 5 Aftertouch is the distance that the front of the key travels after the let off. In most verticals it should be 0.040– 0.060" [1.0–1.5 mm]. Insufficient aftertouch causes hammers to bobble as the hammer butts bounce off the jacks, whereas excessive aftertouch causes inconsistent backchecking, wastes finger force, and may cause the jacks to jam at the let off rail. Aftertouch is directly proportional to key dip and inversely proportional to blow distance and jack gap. How: Depress each key and measure how far it travels after the let off occurs. To measure aftertouch more precisely, place a cardboard punching of the desired thickness (e.g., 0.040" [1.0 mm]) on the front key punching, and depress the key with moderate force (place a weight of 8 to 10 oz. [ca. 250 g] on the front end of the key—this will keep the measurements consistent from key to key). Pressing the key just slightly more should take the hammer through let off. If the hammer is already past let off,

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Regulating Vertical Action, Pedals, and Dampers

Figure 345 Measuring blow distance.

Figure 346 The hammer rail is supported by felt blocks. Place shims under or above this felt, if necessary.

Figure 347 Adjusting the jack-to-hammer-butt gap by turning key capstans.

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Chapter 6

“

Voicing

A good piano must have a sound that is strong, round, full, and sustained. Its tone must be a little metallic, . . . neither shrill nor dull, but mellow and lively. The tone must be equal in the three parts of the keyboard . . . [but] in the upper treble clearer and more piercing than the rest of the keyboard. —Claude Montal, blind piano manufacturer and inventor, 1836

The focus of this chapter is voicing or “tone-regulating”: the adjustment of a piano’s tonal characteristics by manipulating the shape, mass, density, and stiffness of the hammer felts. Two other aspects of piano servicing that directly affect voicing—string leveling and hammer mating— are discussed as well. Most people see voicing only as a way to manipulate timbre—to make a piano sound brighter or mellower. However, the hammer head is a medium of variable stiffness: in soft playing it damps high partials, whereas on hard blows it releases their full spectrum. This creates a tonal gradient that makes the piano as expressive and versatile as it is. Figure 183 on page 71 shows how dramatic the timbral variations are at different dynamic levels, and illustrates why a skillful player can create orchestral effects on the piano. Although the goal of a voicing can be a simple brightening or mellowing of a pianos’s sound, a voicing must preserve, and, preferably, augment a piano’s tonal gradient. The alternative is a piano that is dull and lifeless, or piercingly bright, but monotonous. This chapter discusses the techniques that allow you to control timbre without compromising the tonal gradient. You will learn how to: • Sand the hammers to reshape the felt or to remove the cupped outer layers of felt in new hammers • Seat and level strings • Mate hammers to strings to improve the clarity and uniformity of sound • Soften certain areas of the hammer felt with needles, steam, or chemicals to increase sustain and reduce brightness and/or volume of sound

”

• Harden the hammer felt with chemicals to increase brightness and/or volume of sound • Sand individual hammers to increase the clarity, brilliance, and brightness of sound • Iron the felt to bring out the ultimate clarity and focus of sound Voicing can’t change the basic tonal character of the piano or the hammers. It is a way to release a piano’s potential and even out its tone, but only within the limitations of its hammers, belly, and acoustic environment. As discussed in “Piano Hammers” on page 70, hammers affect the tone with their resilience, hardness, and mass. Your ability to control those properties as part of the voicing is limited. For best results, hammers must be close to ideal to begin with. A set made of harshly treated, poorly fulled, low-quality wool will never match well-made hammers with highly resilient felt. If you are in a position to replace the hammers, be sure to match the replacements to the size and character of the piano, taking into consideration action leverage and touchweight. See “Selecting Hammers” on page 383 for more information. New hammers often need extensive voicing to improve the sustain of sound, improve the tonal gradient, and even out the volume and timbre. Since this is demanding even for an experienced technician, I recommend first learning voicing techniques on an already-voiced piano. Attend a seminar at a piano-technology conference or school, or visit a piano-rebuilding shop, if possible, to observe a voicing and to learn what to listen for. If you find any signs of rodent infestation, take the appropriate precautions before cleaning and vacuuming the action and keyboard (page 136).

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Strings: Seating and Leveling

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the hammers to strings and voicing the piano, followed by two or more full tunings. Technicians typically don’t level strings in vertical pianos except in the most expensive models. By seating the strings with consistent force at the upper termination (usually a raised V bar in the plate) after a restringing, you will get the strings close to level. If you decide to perform fine string leveling in a vertical piano, either use a weak magnet (Figure 365), or remove the action, tilt the piano on its back, and use a bubble gauge. If you remove the action, use rags to mute the strings other than the unison on which you are working. Note that in verticals you need to push down the strings that do not ring, whereas in grands you pull up the strings that do ring.

Seating the Strings Seating the strings improves the clarity of tone and reduces buzzes and false beats. You should seat the strings around all bearings, but primarily around the front duplex bearings (Figure 362), on both sides of the V bar or agraffes, and around the bridge pins. A device like Acousticraft or Robinson Strate-Mate257 speeds up the seating of strings at the speaking-length side of agraffes and on both sides of the capo bar (you may not be able to get close enough to all agraffes, especially in the low tenor). Such a device can also help to level the strings, but it must be used gently to avoid damaging the strings. To adjust each string individually, use a tool, such as the Concert String Tool from Davenport Tools (Figure 363), or use a notched brass bar to push down the strings at the front duplex, and a steel hook to pull up the strings at the other bearings. If the capo tasto is wide and you can’t get close enough to the V bar with a hook, remove the action and push up the strings on each side of the V bar from underneath with a brass bar. Don’t tap or push the strings down vertically at bridge pins, because this buries them deeper in the bridge cap and extends their contact with bridge notches outward (Figure 105 on page 41). Instead of eliminating false beats, you may introduce them. Instead, gently pull or push each string, almost horizontally, toward the bridge pin (Figure 363). This will improve its contact with the pin and bridge without crushing the wood. Bend the strings gently, with even force, and slide the tool from the bearing out. Seating the strings can throw them out of level. It’s best to work with a bubble gauge on the strings, and level the strings as part of the procedure (see below).

Why is Leveling Needed? If bichord or trichord strings are not on the same plane, the hammer will be in contact with the lower string(s) longer than with the high one(s). Whereas the low string(s) are partially damped by the extended contact, 257 http://www.pianoteksupply.com/assets/pdf/instructions/ Strate-Mate%20Instructions.pdf.

Figure 362 Seating the string at the front duplex bearing.

Figure 363 Seating the string at bridge pins with a Concert String Tool from Davenport Tools.

the high string(s) are struck with less force because the low string(s) slow the hammer. The uneven impact also makes the hammer head twist and move sideways, sliding slightly on the strings. The note will sound weak, unfocused, and nasal, with a characteristic sizzle during attack (see “Piano Tone and Sound Envelope” on page 43). You will be able to recognize this sound after you level a few unisons. It’s somewhat like touching the strings lightly while striking the key. The effect of string leveling on voicing and sound volume is little appreciated. Either because it is misunder-

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Voicing Down Dense Hammers

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Myth: Truth:

A voicing won’t hold for long unless the piano remains unplayed. Though this is true for extremely heavy use, a properly voiced hammer with resilient, uncontaminated felt and highly interlocked wool fibers will get only slightly brighter from use, and will hold its overall characteristics of tone quality and sustain for years. It is imperative, however, that you address the hammer as a whole, opening up dense shoulders, and treating the area under the crown if it is too dense, not merely needling the crown. Resetting the felt after needling is extremely important to simulate the packing that will be caused over time by the strings. Rubbing the needled felt with a warm iron further stabilizes the tone.

the shoulders and, optionally, to the crown. Wait 30–60 minutes for full effect.

Resetting the Felt After each needling run, reset the felt by striking it with the top of the voicing-tool handle (it should be flat or evenly rounded) or a small hammer. Making sure the hammer tails are well supported, give the felt a few decisive blows from about 11 to 1 o’clock. Packing the felt after loosening it with needles may seem counterproductive, but it is the only way to stabilize and correctly evaluate the sound after needling. When not reset, the hammer will sound deceptively dull during voicing, but will open up within days. Resetting the felt also keeps the hammers mated to strings during voicing.

Pre-needling New Hammers If you are replacing the hammers, pre-voice them as explained in “Preparing New Hammers for Installation” on page 385.

Needling Procedures Voicing procedures are presented as a series of steps for clarity, but these steps are highly interrelated. They are usually performed on all hammers in this order, one step at a time, but often the steps are repeated, possibly many times. For example, deep-needling the shoulders of dense hammers (step 2) increases projection and sustain, but can also increase the brightness of sound. You may need to needle under the crown (step 3) after needling the shoulders, and vice versa. Reset the felt after each needling pass, and keep the hammer crowns clean and mated to the strings. If you hear an unfocused zing, correct the mating before proceeding.

1 Sand felt on new, “raw” hammers to remove the cupped outer layers of felt (page 201). Is the sound after the initial sanding short-sustained and lifeless (even if harsh and loud)? If there is a lot of felt on the hammers and touchweight and over-centering are not an issue, sand the hammer further with 120- and 220-grit sandpaper. Removing some felt may actually reduce the harshness of

P u l li ng O u t B ro ke n N e e d le s Despite your best effort, sooner or later a needle will break and remain buried in the hammer felt. Pull out the needle immediately or you may not be able to find it later. Avoid the embarrassment of someone else discovering your broken needles! You can extract a needle with any pliers, but flush-cutting pin nippers may be the most effective (Figure 433 on page 245). Open them up a little, press down the felt on each side of the needle with the corner of the jaws, grasp the needle lightly, and pull it out. As much as possible, avoid damaging the felt. If the needle is too far below the surface, use a voicing tool or pin vise to insert another needle right next to it. The broken needle will be lifted up and out of the hammer enough to grasp it with pliers. Thanks to Allen Wright, RPT, for this tip.

otherwise dense hammers because reducing their mass reduces their string contact time. Are the hammers deeply grooved? If there is enough felt, reshape them (page 200). Level the strings, and mate the hammers to strings if the hammers are new (page 207).

2 Needle dense shoulders to increase sound projection and sustain, and, in some cases, to minimize impact noise. Pick a sample hammer in the middle section and check the density of its shoulders with a single needle. If you can easily insert the needle all the way into the felt, skip that section and perform the same test 10–15 hammers higher or lower. If inserting the needle feels as if it is penetrating a hard substance, see “Reflowing and Rinsing Hardener from Overhardened Hammers” on page 215. When you encounter a hammer with dense shoulders, radially stab each shoulder (area 4) with a three-needle tool about five times in the direction of the wooden molding (Figures 374 and 375a), starting low and stabbing higher each time. Counterintuitively, needling the shoulders increases the brightness of sound, and usually needs to be accompanied by progressively shallower needling toward the crown. To do this, start with full-depth stabs low on the shoulders, and gradually reduce the depth of the stabs toward the crown. Reset the felt on and around the crown (see above). Listen to the results. If the tone is rounder and sustain longer (even if the brightness has increased), needle the shoulders more and take mental note of the total number of stabs you made. When the tone stops improving, reproduce what you did on 10–15 hammers above and below your sample hammer. Repeat this process in other sections. The bass usually requires less needling, the treble more. Be careful not to bend or break the voicing needles in the treble. If the angle and density of felt on the topmost hammers prevents you from inserting three needles all the way, deep-needle those hammers with a single needle. 3 Needle under crown to remove tonal harshness: Compare the decay of a note when you play it normally, and when you pluck its string(s). If the decay is much longer and has more bloom when plucked, you may need to voice the shoulders more. However, area 2 may be too

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Voicing

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to strings (page 207). To test the voicing, play the piano with the soft pedal fully depressed. On each note that stands out, mute all but one string at a time with felt mutes and compare the sound of each string by playing pp, mp, and f. If the regular voicing is even, you are likely to notice discrepancies mainly at pp and mp. To voice down a particular string, stab the felt lightly and shallowly with a single needle at and around the crown only between the grooves, under the affected string. You can do this with a chopstick tool in the piano, but the results won’t last as long as when you do it outside the piano and reset the felt. If the volume is uneven at f, remove the mutes and compare the note with its neighbors. If it is slightly louder than the other notes, insert a single needle from both sides into area 2 precisely under the string that sounds louder (between the grooves). Reset the felt and mate it if necessary. Never compromise regular voicing for the soft pedal.

10

Photo by L. Bösendorfer Klavierfabrik, GmbH

Iron felt (see below).

Ironing the Felt Ironing gives the voicing a finishing touch, both visually and tonally. It makes the hammers sound cleaner, more focused, and somewhat brighter. Ironing can also be used as a light voice-up technique. You can use an electric clothes iron262 or a curved hammer-ironing tool, available as an attachment for soldering irons (piano-supply houses offer temperature-controlled units). If electricity is unavailable or running an extension cord is not practical, you can use a hand tool (Figure 379) heated with a lighter or on a stove. You can also warm the tool in a glue pot or on a hot plate, covered with a piece of cloth. The surface of the iron should not exceed 150°F [65°C]. Place the hammers on a support block. If you use a travel iron, lift all hammers except the group that will fit under the heating element. Place a piece of soft, thick felt or cloth on the block to allow the iron to reach hammers that may be slightly shorter. Iron the hammers from the front to back shoulders with small circular motions, 10–15 seconds per group. The motions encourage felt fibers to interlock, effectively refelting the surface layer. Move the iron continuously and lighten the pressure over the crown. Lift each angled hammer a little to reach its shoulders. If you use a hand iron, iron the shoulders of a group of hammers all on one side, then the other. Make quick, light passes over the crown.

Alternatives to Needling Hammering This nondestructive and noninvasive technique, promoted by David Stanwood, RPT, is particularly effective on hammers that were over-ironed, pressed with too much 262 Look

for an electric, temperature-controlled mini travel iron without steam vents, such as the TravelSmart® by Conair.

Figure 379 Ironing the hammers with a hand iron made by Meyne Klaviertechnik.

heat, or overlacquered on the shoulders and crown. It also works on old hammers with dried-out felt. Hammering the surface of densely packed felt “limbers” the fibers and unlocks their resilience by allowing them to untangle slightly. In overlacquered hammers the impact breaks down the lacquer, again restoring some of the felt’s original resilience. Stanwood calls this technique “sugaring,” alluding to the effect being similar to “sugar coating,” or shallowly needling, hammer crowns. He points out that this technique will have minimal, if any, effect on uncontaminated, moderately dense, cold- or warm-pressed hammers made of highly resilient felt. How: Support the hammer tails (Figure 373), not just the shanks. Using the round head of a ball-peen hammer, strike each piano hammer several times with moderate force on the upper shoulders and crown. You can use any hammer, but the rounded shape of the ball peen concentrates the force of the blow to a point, for a deeper effect.

Steam-Treating Hard Hammers This controversial technique is a quick way to voice down very dense hammers in pianos that otherwise wouldn’t be voiced at all, or that don’t justify the effort of needling. The problem is that steam affects the felt momentarily—you have to work quickly, or you risk ruining the hammers. If you apply too much steam or let the water soak the felt, the damage may be irreversible. In old hammers there is also some risk of the felt coming unglued from the moldings. Practice on old hammers if you can; for example, on a set you intend to replace or in a piano that will be scrapped. How: The following technique is proposed by Ed Foote, RPT, as a solution for hammers that don’t justify fine voicing, and that would not otherwise be voiced.

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Chapter 7

Repairs

“

”

The repairman has to begin each job by getting outside his own head and noticing things; he has to look carefully and listen to the ailing machine. —Matthew B. Crawford, author of Shop Class as Soulcraft

Various repairs may be needed during the life of a piano, such as repinning action parts, regluing them, replacing broken strings, etc. This chapter focuses on performing isolated repairs; Chapter 10, “Rebuilding,” covers repairs of larger scope. For example, you will find instructions on replacing a broken string in this chapter, but a complete restringing procedure in “Rebuilding.” For additional reading, see Stephen Brady, RPT, A Piano Technician’s Guide to Field Repairs. As most small repairs need to be performed on-site, you should always carry a well-organized tool kit and a set of frequently needed materials. Some repairs, however, must be done in a workshop (page 327). When you work in a customer’s home, remove all objects that could be damaged as a result of your work. When removing the action and/or the keyboard, be sure you have enough room to pull it out and carry it away from the piano. Protect the piano, the bench, surrounding furniture, and the floor as explained on page 135. When working with glues, lubricants, or solvents, cover all work surfaces so that an accidental spill won’t mar the piano, the floor, or the furniture. Always alert the owner if you intend to use solvents with heavy odors, such as a hammer hardener, CA glue, or even alcohol. Some people are sensitive or allergic to chemicals and dust—they will appreciate an advance warning. If you work inside the action cavity or in a vertical piano, look for signs of rodent infestation. If you find any, decontaminate and clean the piano before proceeding (page 136).

Tool Kit

The tools and materials you carry with you depend on whether or not you have your own transportation. But even if you can drive a truck full of tools to every job, having a tool case that you can carry when you need to use public transportation, or have to walk some distance to a concert-hall stage or to a building on a college campus, is an advantage. The tool kit I describe strikes a balance between completeness and portability. Case: I recommend keeping your tool kit in a case with dividers that have pouches for individual tools (Figure 383). Such cases can be purchased from piano-parts suppliers or well-stocked hardware stores. If you frequently need to walk with your tool kit, you may consider a case on wheels or a soft backpack. Keep your tools and materials rolled up in tool rolls. Tools: The tool kit should include several screwdrivers, from a small flat-blade one for adjusting the hammer drop, to larger flat-blade and Phillips screwdrivers for end blocks and trapwork. The kit should also contain linesman pliers, needle-nose pliers, round-nose pliers, channel-lock pliers, tweezers, and a variety of specialized action- and keyboard-regulating tools, such as key-easing pliers, stringreplacement tools, a string downbearing gauge, and a set of gram weights. An LED head light is a must for poorly lit spaces. A small long-bristle brush for dusting between tuning pins, and a larger one for the action and the key bed, will be handy on many occasions. Always have several pairs of light cotton inspection gloves on hand. Lubricants: Various lubricants should be a permanent part of every piano technician’s tool kit (Figure 384). Carry a small amount of at least one lubricant from each cate-

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Repairs

Lighter for bending shanks Hex wrench tool Screwdriver Pointed capstan regulator Screwdrivers Capstan wrench

Rubber mutes Combination tool handle Glue brush Regulating tools Acrylic hardener applicator

Chisel

Needle-nose pliers Linesman pliers

File

Voicing tools

Sandpaper paddle

Keyboard weights

Channel-lock pliers

Tape measure

Key-easing pliers

Batteries

Wire-bending piers

Chalk Whetstone Pencils

Alcohol Protek CLP Applicator

Papps mute

Brush Shank support for voicing

Figure 383 Piano technician’s tool case.

Wood glue Hammer reamer

Electronic tuner Tuning hammer

gory on page 145. Also carry a 90% or stronger ethyl or isopropyl alcohol as a degreaser/cleaner. To fit more of them in your kit, carry chemicals in closable lens cases. Be sure to have dedicated applicators, such as blocks of felt, bottle brushes, and hypo-oilers. Strings, tuning pins: To replace a broken string, you should have a tuning hammer and a mute, a medium flatblade screwdriver, and linesman pliers for cutting the string and tightening the string becket. Carry replacement strings, pre-cut and clearly labeled, in a sealed pouch with silica gel to prevent rusting. Since it is relatively common for a treble string to break during a tuning, your tool kit should include replacement strings in half sizes at least between gauges #13 and #16. Felts, cloth, leather: For regulating work, you will need bushing cloth in the three popular sizes, key frame cloths and felts, balance and front rail punchings in the most popular sizes, and an assortment of paper punchings. Carry replacement bridle straps, bridle cloth for muting strings, hammer rest cloth, and small amounts of cloth in various sizes and densities for emergency replacement of a missing key end felt, wippen heel felt, let off button felt, etc. Have a few strips of damper felt of each kind. A block of dense felt (or a felt eraser) is useful for applying powder lubricants. You should also have a few pieces of leather and thick buckskin for trapwork repairs. Action parts: Tuning also challenges hammer shanks. For grands, carry several types of replacement shanks and flanges, assembled (my preference) or as individual parts (you will need to pin them yourself if purchased separately). For verticals, usually you need to have two sizes of special maple or hornbeam shanks, 7/32" [5.5 mm] thick for uprights, and 3/16" [4.75 mm] for consoles and spinets. It’s useful to have a few wippens, backchecks, and underlevers or damper levers. Repinning: To replace action parts’ center pins, you should have flush-cutting pliers, a set of center pins in various sizes (pre-cut and supplied in a convenient dispenser box), and a tool for punching out and pressing in the center pins. You will also need a few strips of center pin bushing cloth to replace worn and contaminated bushings, when needed. Voicing: An array of sanding paddles (page 202) will allow you to reshape worn hammers, as well as mate the hammers as part of your voicing work. Always carry a hammer-support board, and single- and three-needle voicing tools. Materials: You need to have an assortment of hardwood dowels and plugs for repairing stripped screw holes. You should have a fresh supply of wood glue, a quick-drying epoxy, and some superglue gel. Some of these glues are affected by temperature extremes and should be replenished often if you keep them in your vehicle. Carry one or two sheets each of 60-, 100-, and 150-grit garnet (dry) sandpapers, silicon-carbide (wet) sandpapers from 180- to 600-grit, and a few steel-wool pads (you will need #000 and #0000 for most action work).

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Figure 384 An assortment of glues and lubricants in small containers.

Broken String

223

the new string to last until the intermission, when you can retune it. This, however, is not always feasible. • A bass string breaks in a high-use or concert environment: If you can afford it, keep a set of replacement bass strings for all important pianos you service. That way, you will be able to replace bass strings on the spot.266 But even if you have a replacement string on hand, it will quickly go out of tune. Since you can’t stretch a bass string because of its delicate copper windings, splicing the original will yield more stable results. Unfortunately, the bass section usually gives you very little space in which to position the splice, and if the splice ends up on the felt or the tuning pin, it may break.

When Strings Keep Breaking As you service more pianos, it will become clear what kinds of repairs you perform frequently, and your tool kit will become better “tuned” to your particular needs. If you always use the same vehicle, you may want to keep a larger selection of tools in it, including power tools, horses, action stands, etc.

Broken String

If multiple strings break in the same section, check whether the gauge of the wire is correct for the note in question. Is the V bar grooved, making the strings bind on it? Lubricate the strings to reduce friction at their bearings (page 113). If that doesn’t help, you may need to restring a whole section or even the whole piano (page 418). In that case, consider reaming and polishing the agraffes (page 436) and reshaping, polishing, and lubricating the V bar (step 6 on page 425). If the V bar is deeply grooved, heat-treating it may help.

A broken string can be replaced or spliced. When a string breaks at the front termination, such as the agraffe or V bar, it’s best to replace it. However, if it breaks at the tuning pin or the becket (where it enters the hole in the tuning pin), you can wind a piece of new string on the tuning pin and splice the old string to it. Be prepared to replace the string if the splice fails.

• • • •

Pros and Cons of Splicing

• • •

Some technicians consider splicing a permanent repair and don’t replace spliced strings. That may be acceptable if the owner doesn’t mind the splices or the piano will be restrung soon. If you do plan to replace a string, however, replace it immediately to spare the tuning pin from needless turning and loosening. Splicing involves turning the tuning pin twice: once for the splicing, and the second time when replacing the string. Another negative is that a splice is more likely than a new string to damage the plate’s gilding or felt. Here are the cases in which splicing a string may be a genuinely better option than replacing it: • Sound quality and unison tuning: If the owner is concerned about the new string sounding different and introducing false beats in unisons, splicing is the way to go. • A string breaks right before a concert and there is no time to stretch and stabilize the new string. Some technicians would argue that if you have the time to splice, you can spend a few more minutes stretching

TO O L S

• • • • • •

Protective gloves and goggles Tuning hammer Rubber mute, Papps mute for verticals Linesman or other pliers or nippers for cutting wire and tightening wire beckets Medium to large flat-head screwdriver Coil lifter (a screwdriver can be substituted in a pinch) Stringing hook (for grands, although it may also be useful in tightening string coils around tuning pins in all pianos) Dummy pin, preferably with a slot cut halfway through along the length and aligned with the string hole Bass string twisting tool Safety pin and/or string-threading device or narrow tube for installing under the over-strung section. Brass bar to tap down the string around bearings Optional: loop-making tool Optional: string-coil canisters M AT E R I A L S

•

•

A selection of high-quality music wire graduated in half-gauges from #12 to #18, plus #19 through #23 in whole-gauge numbers, if necessary (premium unplated wire is recommended) A selection of tuning pins of each size/variation: sizes 2/0, 3/0, 4/0, and 5/0 in two lengths each, 23/8" [60 mm] and 21/2" [64 mm], nickel-plated or blued (it is recommended not to replace a tuning pin when replacing a broken string, if possible)

266 Some

technicians use hexagonal-core universal bass strings (Figure 83), but they don’t blend well tonally.

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Repairing Keys

...

remove the key, and remove the lead. Hammer the lead oval and hammer it into the key, or push the lead back in and swage it (page 399). If there are any traces of oxidation on the leads, wear a good dust mask and protective gloves.

Replacing Oxidized Leads Oxidized leads expand and should be replaced to prevent serious long-term damage to keys (Figure 203 on page 89). Replace such leads as explained on page 399.

Figure 416 An elongated balance hole repaired with a hardwood strip.

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Photo by Allen Wright, RPT

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Balance holes in keys enlarge from wear, climate changes, and over-reaming. Loose balance holes accelerate the wear of wippen heel felts, backchecks, key end felts, and key bushings. When a balance hole is elongated widthwise, the key will feel wobbly and the regulation may be inconsistent. If the hole is elongated from front to back, the key will shift from front to back, causing a condition known as “pulley key.” This is distracting to the player and causes the regulation to be inconsistent: in a grand you won’t be able to consistently regulate the backchecking and hammer height; in a vertical, the jack gap will be inconsistent. Tight balance holes, on the other hand, make the keyboard feel spongy and sluggish. To correct that, see “Reaming Balance Holes” on page 351. The following are your repair options: Alcohol/water: If the hole is slightly loose width-wise, apply a few drops of a 50% alcohol/water solution (add some water to the 70% rubbing alcohol). Wait until the water evaporates (a few minutes) and test the fit. Glue sizing: If this doesn’t help, you can glue-size the hole with a water solution of wood glue or hide glue.267 The sizing should be fairly thin. Brush a small amount of sizing into the hole, let it dry completely, then ream the hole width-wise if necessary. Hardwood strip: When glue sizing is not enough, you will need to rebuild the wood around the balance hole. To address the elongation along the length of the key, prepare a small piece of hardwood veneer (maple preferred) that is 1/16–1/8" [1.5–3 mm] thick, 1/4" [6 mm] wide, and somewhat longer than the width of the key. Cut a saw kerf across the underside of the key at the more distorted side of the hole (usually toward the front of the key) to depth of 1/8–5/32" [3–4 mm]. Glue in the hardwood strip with wood glue (Figure 416). When the glue dries, trim the piece flush with the key. To make the hole round again, shape the strip with a thin Nicholson round file (rat-tail file) or a round needle file, then clean the hole with a drill bit slightly smaller than the balance pin. Put the bit in a pin vise, or run it in a power drill at very low speed (Figure 519 on page 351). Change the angle of the bit to widen the 267 Mix the glue with water for a fairly thin solution. Steinway & Sons recommends a 3:1 solution (World-Wide Technical Reference Guide, “Grand Preparation,” p. 16). If you work with hot hide glue, heat the water a little (to no more than 150°F [50°C]) and stir it in gradually.

Photos by Mike Morvan of Blackstone Valley Piano

Loose Balance Holes and Pulley Keys

Figure 417 Repairing elongated balance holes with hardwood blocks.

hole toward the mortise. Clean the mortise with the mortise tool, ream the hole widthwise from inside if necessary (Figure 518 on page 351), and coat/burnish it with a micropowder lubricant or a 5B pencil. Hardwood plug: If the hole is elongated widthwise or is too wide in all directions, plug it with a hornbeam or maple plug (Steinway-style let off buttons make good plugs for this repair), or a rectangular hardwood insert more

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Repairing a Cracked and Delaminated Pinblock with Epoxy A cracked and delaminated pinblock ideally should be replaced, but if the piano doesn’t justify the expense or the owner wants to preserve the authenticity of a historical instrument, you can treat the pinblock with epoxy. You may be tempted to apply a superthin, slow-drying epoxy with tuning pins in place, the way you would apply a CA glue, but that is unlikely to sufficiently restore tuning pin torque. The epoxy will seal the cracks in the top ply and prevent future applications, but will not address the delamination and cracking through the rest of the block. Instead, you should remove the strings and tuning pins, seal the bottom of the pinblock (in grands), fill the tuning pin holes with the thinnest solids-only epoxy you can get, and redrill the holes.289 The epoxy will strengthen the board by flowing into the cracks, and will restore tuning pin torque. However, is this effort justified? If you are ready to remove all strings and tuning pins, then drill the tuning pin holes inside the piano (do you have a drilling setup for this, or will you drill them by hand?), and restring the piano, why not replace the pinblock? The old block may develop new cracks, and tuning pin torque won’t be as even as with a new pinblock. Aside from wanting to preserve the authenticity of the piano, the two cases where this approach may be justified are old upright pianos in which replacing a pinblock is difficult290 and often economically unfeasible, and when removing the plate is out of the question. You may be able to keep the old strings if you remove them carefully, with as little bending at the becket as possible. Label the strings and tape them to hitch pins before removing them from the tuning pins. Gently push the strings aside in the bass and middle sections. Don’t kink the strings at agraffes. For instructions on removing and installing strings, see “Restringing” on page 418.

Repairing Bridges Here you can learn how to address loose bridge pins, and repair cracks and separations in bridge caps and bass bridges. For information on replacing bridge caps, setting the downbearing, notching the caps, and installing new bridge pins, see “Rebuilding Bridges” on page 472. Warning: Most bridge repairs involve infusing the bridge with a CA glue or epoxy. It is important to realize that you may 289 See Kent Gallaway, RPT, “Epoxy Pinblock Consolidation in an Upright Piano: A Report”; and Ken Eschete, RPT, “Epoxy Consolidation: An Alternative Method for Restoring Piano Pinblocks.” 290 In

many verticals, the top and side panels are glued to the case— removing them may involve sawing through their full width because prying them off usually causes too much damage. The pinblock itself is part of the frame and must be routed, planed, and/or chiseled out.

have only one shot at this. Applying an insufficient amount of product or using a product that doesn’t flow well or cures too quickly will not strengthen the bridge sufficiently, but will seal the cracks and prevent a future repair.

Loose Bridge Pins Loose bridge pins, which can cause false beats (page 132), can be repaired quickly with CA glue. This repair doesn’t always work and may not last, but is worth performing when you’re pressed for time. If you can afford to destabilize the tuning, loosen the string, push and hold the affected pin toward the string, and apply an ultrathin liquid CA glue (see “Treating the Pinblock with CA Glue” on page 255) around its base. If you can’t loosen the string, simply apply the CA glue around the base of the pin away from the string. Repeat for each affected pin. If the CA glue doesn’t help, perform the repair with epoxy (see “Cracks” below). Don’t apply the CA glue if the wood around the pins is cracked. The glue will seal the cracks and preclude a future repair with epoxy, which is much more effective as a filler.

Cracks Cracks in bridges can cause false beats (page 132) and sympathetic vibrations. They can be repaired with epoxy. Normally you can just loosen the affected strings and pull out the affected bridge pins, but if you have to work around plate struts, you will have to remove the plate (and, obviously, the strings). Your options for the repair are: • Quick repair: Remove the pins, apply epoxy, and immediately install the pins, which will squeeze the epoxy into the cracks • Overnight repair: Fill the holes with epoxy, let it cure, drill the holes, and install the pins Each option is discussed below. If the cracks are wide, the cap is partially separated from the bridge, and/or the pins have lost their angle, you should replace the whole bridge cap (see “Rebuilding Bridges” on page 472). Unless the relative humidity is low, dry the bridges for a day or two under heating lamps to expand the cracks. Remember, you have only one opportunity to infuse the cracks with glue. Loosen the strings in the affected area and pull out the bridge pins with a pair of pliers (Figure 442). Keep the pins in order. If you have to install new pins, replace all the pins in each affected unison. Follow the instructions below.

Quick Repair This technique is suitable only for minor surface cracks and to improve slightly loose bridge pins. If the cracks are extensive or you can see the gaps around the pins, perform the Overnight Repair instead. See below.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Coat each pin with a mold release or dry-film lubricant to prevent it from getting glued to the bridge. Mix a small amount of slow-drying epoxy glue and swab each hole with a thin pin or music wire. You need to apply enough epoxy for the pins to squeeze it into the cracks. If you apply too much, you may not be able to drive the pin as far down as you need to because it will press the epoxy under it like a piston. When you have swabbed about 10 holes, tap the pins all the way in with a hammer, and immediately wipe away all excess glue that has been squeezed out. Don’t spread the epoxy around. Rotate the pins 15–20° clockwise from their original position, to make the strings touch them where they are not grooved. As the glue dries, occasionally turn the pins a little. When the epoxy cures (usually in 24 hours), chisel off any glue remaining around or on the pins (this is very important), file the pins’ ends if necessary (don’t let them get very hot), and clean everything. Reposition the strings around the bridge pins, and tune the piano.

Overnight Repair You can fill the cracks with epoxy either by injecting it with a syringe and hypodermic needle, or by applying it with a piece of wire. Injecting is recommended because you can work faster and fill the cracks more thoroughly. If you don’t plan to remove the plate, make sure that plate struts won’t prevent you from drilling the bridge pin holes at the original angles.

Repairing Bridges

257

Figure 442 Removing bridge pins with flush-cutting wire nippers. Note the wood strip that provides leverage and protects the bridge cap. Pull each pin in several short strokes.

1

Injecting epoxy: Epoxy is a skin irritant—wear nitrile or latex gloves. Mix a small amount of slow-drying epoxy glue on a piece of cardboard, and inject the epoxy mixture into each hole using a 10 cc [10 ml] syringe and a thick (15 or 16 gauge, 11/2" [38 mm] long) hypodermic needle, as depicted in Figure 443. To repair more than a few holes you will need multiple syringes and needles (between 5 and 10 for all holes, if you work quickly and use a slow-drying epoxy). Strongly press the needle onto the syringe while they are both still dry—this way the needle won’t slide off the syringe during the application. For a few holes, mix ca. 1 ml (1 cc) of resin and 1 ml of hardener; for a whole section, mix up to 3 ml of each. Mix the epoxy close to the edge of a cardboard sheet, bend the sheet to act like a funnel, and pour the epoxy into the syringe. Insert the plunger, turn the syringe upside down, and squeeze out the air. Quickly inject the glue into each hole from the bottom up. When you’ve used up the mixed epoxy (or if it starts to harden), thoroughly wipe its excess from the bridge. Top off the holes a few minutes later (with a new syringe and needle). Do not be surprised if the epoxy seems to vanish—it is infusing the cracks.

Figure 443 Filling bridge pin holes with epoxy.

2 Applying epoxy with wire: If you need to fill only a few holes, you can apply the epoxy with a thin pin or music wire. Work the pin in and out of the hole several times to push out the air. Stop using a mixed batch if it starts to thicken or it won’t completely infuse the cracks. Reapply epoxy from fresh batches to top the holes. Figure 444 Drilling epoxy out of bridge pin holes.

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moving it steadily to avoid creating ripples. Don’t move too slowly or you may burn the repair and the surrounding finish. If the completed repair doesn’t blend in well, you may need to wet-sand and rub it, then spray the surface with lacquer. Conventional lacquer (black or clear) will leave a halo unless you spray it over the whole surface, from edge to edge. König’s Special Repair Lacquer™ may produce a more acceptable result. König’s alternative to lacquer stick is Hard Wax Plus, a synthetic product that is less brittle and tends to blend in better, due to its lower sheen.

Photos by Heinrich Koenig & Co. KG

Repairing Gouges and Deep Scratches

Figure 452 Applying König’s Hard Wax (top) with their butane burn-in knife (bottom). The butane cartridge is shown removed.

Repairing Chips and Scratches The fastest and simplest way to conceal a chip or scratch is to rub across the scratch a putty product, such as König’s Quick Filler, or a putty stick (Figure 451b). The repair will not blend in particularly well, will be clearly visible in reflected light, and will rub off if the surface is polished repeatedly, but is better than leaving the blemish as is. The next level of repair is a cold wax or filler, such as König’s Soft Wax, which doesn’t require melting, and which can be sealed with a thin coat of lacquer (König’s Special Repair Lacquer™ blends in particularly well). The sheen of the repair can be reduced with steel wool. König’s Hard Wax offers greater durability. It is applied with a burn-in knife (Figure 452) at a somewhat lower temperature than the traditional lacquer stick (see below). Hard Wax doesn’t shrink, and can be leveled and scraped moments after it is applied. The traditional product for repairing scratches on lacquer is the burn-in shellac stick, also called “lacquer stick” (Figure 451c). Lacquer stick creates a durable repair, but applying it requires skill and experience. Melt lacquer stick with a burn-in knife, and immediately apply the material to the scratch or gouge in various directions to avoid trapping air, which could cause pin holes or incomplete coverage. Smooth out the surface with the knife,

Lacquer stick and König’s Hard Wax Plus can be used to repair relatively deep scratches, but if the wood is damaged, you should repair the void with a true wood filler (see Figure 752 on page 482), wood plug, veneer, or a block of wood if the damage is extensive. To prepare the gouge, remove all finish, primer, and splinters from it, and chip off any loose or shattered finish around it. Grind its surface with a ball-shaped grinder bit in a high-speed rotary tool. Shape the gouge in a smooth, concave shape so that it will not retain air bubbles when filled. Apply the filler in thin coats, allowing each coat to dry thoroughly (or use a two-component filler, which will harden through a chemical reaction). Either fill the gouge to slightly below the surface and finish the repair with the products described above, or overfill the gouge slightly, then dry-sand the area flush with the surface, and spray the area with lacquer. If you decide to do the latter, reapply and sand the filler as necessary until perfectly smooth, with no pinholes. Vacuum and wipe away the dust, degrease the surface with alcohol, then spray several coats of lacquer sanding sealer, wet-sand it with 400- and 600sandpaper blocks, and spray the whole area with multiple coats of top-coat lacquer. Wipe the surface clean and satinize it as explained in “Removing Swirl Marks and Light Scratches by Satinizing the Finish” below.

High-gloss Lacquer Repair high-gloss lacquer as described above, but wetsand the repair with sandpaper up to 1200-grit, and buff the surface as explained on page 483. Use liquid or paste buffing compounds suitable for lacquer, such as Meguiar’s Mirror Glaze® No. 1, followed by No. 3 and No. 5. Don’t use a buffing bar—it’s too aggressive for lacquer and will damage and/or scorch the surface. If splatter is a problem (it always is on site), buff the surface with a soft sponge wheel at a very low speed, or buff by hand with a synthetic buffing sponge or soft flannel cloth.

Removing Swirl Marks and Light Scratches by Satinizing the Finish A “satin” lacquer is just a regular, high-gloss nitrocellulose lacquer finish that is rubbed with the finest steel wool

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267

Chapter 8

“

Moving a Grand Piano

Piano moving may conjure up images of men with monstrous arms and huge torsos, but actually two or three people of average build can do most piano moving jobs—even grands—if they have some brains, experience, the right equipment, and a knowledge of just when and where to apply a little force. —Larry Fine, RPT, author of The Piano Book

More involved repairs and rebuilding procedures require moving the piano to the shop. In this chapter you will learn how to prepare a grand piano for loading on a truck, and how to reassemble it. For information on how to remove case parts from a vertical piano, turn to “In Vertical Pianos” on page 137. If you are shipping the piano long distance, be aware of the following: • Trucks and containers can get very hot in the summer and below freezing in the winter. Use only moving companies that can guarantee climate control. • Use long-distance movers that specialize in moving pianos. See Appendix D, “Resources,” on page 517 for a list. • Even with climate control, wrap the piano in plastic sheeting to protect it from leaks and condensation. Place a container of moisture-absorbing material, such as large bags of silica gel, inside it. • Avoid shipping to a cold-climate destination during winter. If a truck gets stuck in a winter storm, the piano may freeze. While lacquered finishes tolerate freezing, polyester doesn’t: you may end up with a cracked finish. Cold weather also stresses the soundboard. Metal parts may rust from condensation that forms during rapid drops in temperature and during thaws. • Crate the piano well. Follow the advice of a long-distance piano mover. • Use high-quality, clean mover’s blankets. Dust will act as an abrasive and mar the finish. • Ship the piano on a skid board. Remember that you may not get the board back for months, if ever. You can

”

build a board yourself, but make sure it’s capable of carrying the piano’s weight over ledges, on dollies, etc. Piano-supply houses sell sturdy, well-padded boards. • Remove all loose hardware, bag and label it clearly, and affix it where the piano movers or the piano technician will find it easily. The best place is on the plate. Learn from professional piano movers: Simply hire them and observe what they do. Upgrade your health, property, and business insurance policies if necessary. Remember that a piano weighs between 600 and 1,300 lbs [250–600 kg].

Music Rack, Fallboard, Key Slip The first thing to remove from a grand piano is the music rack. Wrap it in a mover’s blanket and tape over the blanket so it doesn’t open. Secure the fallboard and key slip by inserting rubber tuning wedges or soft cloths between it and the case, or tape them to the case with light adhesive tape, such as 3M ScotchBlue™ Delicate Surface, that won’t lift the finish or leave residue. For a long-distance move, it’s a good idea to tie down the hammer shanks by placing a wooden rail or dowel over them and tying them to action brackets and/or the wippen rail with long tie wraps. For complete instructions on removing the fallboard, key slip, and action, turn to “In Grands” on page 136.

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Grand Lids If you are putting the piano on a piano board, the main and front lids can remain on the piano—they will hang over the edge of the board. With this technique, risk of damaging the hinges is minimal, but it does exist. If you want to move the lids separately or need to remove them for any other reason, here is how to do it. Open the front (smaller) lid and lay it onto the main lid. With the main lid closed, remove the pins from the hinges that attach the main lid to the rim, and, with the help of an assistant, carefully lift the lid. Keep the pins marked, put them back into their own hinges, and tape over them so they don’t fall out. If the hinges are deformed or bent, detach the hinge from the rim instead of removing the pins—that will make reassembly easier. Remove hinge screws while an assistant supports and holds the lid open (watch the chandeliers, light fixtures, fans, and ceiling). Before reinstalling the lid, coat each hinge pin with cork grease or a thin coat of petroleum jelly. To prepare the lids for moving, pad them with at least two layers of mover’s blankets, and an extra double layer of blanket on the bottom. Tie them with mover’s straps or strong adhesive tape. If the finish is high gloss, wrap the lid in plastic sheeting followed by foam wrap, a soft packaging material used for crating new pianos.

Putting Piano on Skid Board This involves removing the legs, which is physically difficult and potentially dangerous. Have at least one assistant. A grand piano is lowered onto a piano skid board by removing the left front leg and placing the left front corner of the piano on the board. The lyre should be out of the way. Some technicians use the lyre as a fulcrum when lowering the piano on the board. Although this will work in most cases, you risk breaking the lyre and hurting the people involved, and damaging the piano and floor in the process. Placing the weight of the piano on the lyre can also damage or slightly alter the curvature of the key bed, which affects keyboard bedding and action regulation. It is much wiser to use a device specifically designed for lowering a piano, such as the Moondog Grand Piano Tilter,296 which temporarily replaces the lyre; PianoHorse™;297 or a shop truck/tilter. The following instructions describe lowering the piano without any of those devices. TO O L S • • •

Skid board (longer than the piano) Optional: blocks or boxes to support the skid board Optional: piano tilter

296 See http://www.moondogmanufacturing.com. 297 Invented

by Gordon Crail, founder of the Piano Wrangler Equipment Co. Available from Paul L. Jansen & Son, Inc.

• • • • • • • • • • •

Two or three sturdy portable sawhorses Rubber mallet Large flat-head screwdriver for cams Set of hex wrenches Small hammer Appropriate wrenches/sockets to remove bolts, if used Several mover’s blankets High-gloss finish: large sheets of foam wrap Several large rubber bands for securing the front lid Web straps, cargo straps Piano moving dolly

• •

If lid is not removed: painter’s tape Cork grease or petroleum jelly for hinge pins

M AT E R I A L S

1 Remove the music desk and immobilize the fallboard by inserting rubber wedges or folded pieces of soft cloth between its ends and the rim. 2 Remove or immobilize the lid: Either remove the lid (see above) or secure the front lid to the piano with a large rubber band (available from piano supply houses). Unless the finish is fragile, tape the lid to the rim with painter’s tape. 3 Prepare the skid board, straps, several mover’s blankets, and a dolly. Optionally, place the skid board on the dolly (it should be at approximately 1/3 of the distance from the front and 2/3 from the back of the board), and use a sturdy box, cinder block, or other support to prop up the front end of the board just slightly higher than the dolly. The block will prevent the piano and the board from sliding as you prop up the piano, and you won’t have to lift the board onto the dolly later. Thread the straps through the openings on the board’s sides, and lay the board on the floor to the left of the piano, with the board’s raised flange on the keyboard end (Figure 453). Fold one end of a mover’s blanket over the board. The rest of the blanket should lie on the floor, away from the piano. Repeat this with another blanket, putting it over the first one. The unfolded ends of the blankets will protect the lids from the straps. For high-gloss finish, place several foam wrap over the blankets. 4 5

Remove the lyre (page 271).

Lower the piano onto the skid board: Place thick padding material (a folded blanket, for example) under the front right and rear legs, and turn their casters to the right, away from the piano. Make sure the raised flange on the skid board is aligned with the piano’s front left edge. Have a sawhorse ready to support the piano when you remove the leg. Remove the left front leg by knocking out the wooden cam or wedge and removing all bolts or screws that hold the leg in place (see page 31), then lift the left front corner of the piano onto the sawhorse. If the leg is equipped with a lock plate (as in most vintage American and European pianos), hammer it toward the middle

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273

Chapter 9

Touch, Geometry, Playability

“

The playing mechanism of a piano is that much closer to perfection, the less the player is aware of it, the longer it is able to preserve its original capacity for expression and fine quality, the simpler it is to manufacture and install, and the easier it is to service later on. —Walter Pfeiffer, author of The Piano Hammer and The Piano Key and Whippen

Modern grand action designs appear to be highly standardized, but variations in leverages, mass, and alignment of parts make each piano feel slightly (or not so slightly) different. The length of keys, weight of hammers, key dip, and even the hardness of key punchings and felts give the action a “flavor,” while the piano belly, string scaling, and hammers provide acoustical feedback, boosting or diminishing the perceived effectiveness of the action. Even pianos of the same age and model can feel different. The purpose of this chapter is to make you aware of how action design affects the elusive concept of “playability,” which comprises both static and inertial touchweight, and how you can control it by manipulating: • Hammer weight, action leverage, and weight ratio • Placement and geometry of parts • Friction • Weighting of keys The benefits of this knowledge are far-reaching. Understanding the design of the action and keyboard—and what you can do about it—will help you preserve or increase the piano’s expressive potential by selecting optimal replacement hammers and action parts; planning a key dip and static touchweight; and preparing for a certain level of inertia. Even if you are not replacing parts, you can improve playability by manipulating hammer and key weight and altering action leverage. By ensuring that the action parts interact with the most advantageous geometric relationships, you will reduce wear and prolong the longevity of action regulation, satisfying Walter Pfeiffer’s laudable goals. We owe much of our understanding of action geometry and touch to the lifelong research by David Stanwood,

”

RPT, the inventor of the New Touchweight Metrology and Precision TouchDesign™.298 Although most of the terms, abbreviations, formulas, charts, and recommended values in this chapter are based on his work,299 a few new concepts also are introduced. All measurements conform to, or are compatible with, the Stanwood protocol. Darrell Fandrich, RPT, and John Rhodes, RPT, have made a great contribution to the understanding of inertia and how each component in the keyboard and action contributes to it.300 The Fandrich-Rhodes™ Weightbench system301, which comprises a measurement kit and software, streamlines static touchweight measurements and allows predicting the Inertial Touch Force, a new concept that allows comparing actions by how resistive they are inertially. Nick Gravagne, RPT, offers an Action Geometry Program, a software application that simplifies analyzing and predicting action performance.302 Actions in vertical pianos share many of the same concepts, except that the static force needed to move a vertical hammer is negligible; a spring is needed to simulate the effect that gravity has on a grand hammer. As dis298 Precision

TouchDesign is protected by U.S. patents nos. 5,585,582 (1996) and 5,796,024 (1998). For more information, go to http:// stanwoodpiano.com. Technical references are at http:// stanwoodpiano.com/touchweight.htm. 299 For

a glossary of terms, see page 290; see also David Stanwood, RPT, “Standard Protocols.”

300 A series of articles on this topic by Fandrich and Rhodes is slated for publication in the Piano Technicians Journal. 301 See http://www.mypianotech.com/WB. 302 See http://www.gravagne.com.

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Blow distance

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Figure 459 Relationships between the key and the hammer. The heights of gray arrows illustrate the approximate relationship between finger force (touchweight) and hammer weight. Black arrows illustrate the distances the key and hammer travel.

Hammer weight Touchweight

Key dip to let off

cussed in “Adjusting Touchweight” on page 396, static balancing is less critical in a vertical action, but if touchweight and friction were never made consistent, doing that will make a big difference. For more information, see David Huggins, RPT, “Affordable Vertical Touchweight Refinement.” This chapter focuses on the grand action.

Most of the weight measurements in this chapter follow the Stanwood protocol and are best performed with the Stanwood TouchDesign Kit, available from Pianotek.303 The Fandrich-Rhodes™ Weightbench kit includes mushroom weights and software, which you may find more efficient than stackable weights or a conventional weight kit, but to fill out the worksheets in this chapter directly, you will need standard gram weights.

How to Proceed In this chapter, theoretical concepts are explained approximately in the order in which a novice should learn them. Each concept is followed by measurement and adjustment instructions, and may be accompanied by a worksheet with which you can log and chart the needed information. However, you may want to postpone practical work until you’ve read the entire chapter, to get the “big picture” first. If you’re somewhat familiar with this subject, you may want to start by reading the “Playability Improvement Road Map” on page 310, which lays out the touch-improvement process in a step-by-step format. If looking for solutions to common touchweight problems, see the “Touchweight Troubleshooter” on page 306. The “Hammer Replacement Touchweight Evaluator” on page 307 allows you to assess your options if you intend to reshape or install heavier or lighter hammers.

Equipment You will need equipment for measuring distances and weights. You can measure distances between center pins and other points in the action directly with a precise caliper, or by setting a divider tool and measuring its spread with a ruler.

TO O L S • • • • • • • •

•

Precise caliper Optional: 8" [20 cm] divider tool for measuring action spread and other distances Metric ruler (ca. 300 mm long) or tape measure Optional: Depth gauge (Figure 463, page 281) Two sets of stackable weights, as depicted on page 277, or a gram-weight kit Small spring clamp Scale with 0.1 g precision, capable of measuring up to 100 g Stanwood TouchDesign Kit or: • Flat, rigid surface, such as a granite tile or slab, for weight measurements (18 × 18" [50 × 50 cm] or larger) • Small stands with low-friction bearings, or triangular pivots Several key lead weights (1/2" [12.7 mm] preferred)

Force or Weight? Weight is the force that gravity exerts on an object. Since the objects involved in lifting a hammer in a grand action operate close to the vertical plane, we can think of, and measure, the forces responsible for lifting those objects in terms of weight. This is convenient for evaluating static touchweight because we can use weights and a scale to 303 Pianotek

part no. STD-3K.

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measure and compare the forces of the finger, friction, and inertia-reducing device, as well as the weights of the hammer, wippen, key, and leads.

Interrelated Aspects of Action and Keyboard Since action parts in all modern pianos have almost the same basic measurements, action design revolves around variations in the following design elements. Each is discussed in detail throughout this chapter. Hammer weight must match the belly and the stringing scale to fulfill the tonal potential of the piano. As installed, hammer #1 (bottom bass hammer) typically weighs between 8 and 12 grams. The shank adds 1.5–2.0 grams, giving the hammer a “strike weight” (the weight that acts on the strings) of 9.5–14 g. Strike weight decreases toward the treble to between 3.5 and 7 g, and should do so gradually. Hammers on the high end of the weight range produce more power, especially in lower partials, whereas lighter hammers can offer a wider range of timbre. Strike weight is the single largest source of inertia in the grand action, greater than the key leads, keys, or wippens. Keeping it low, but without compromising the desired tonal outcome, is of paramount importance for playability. Any sudden changes will create inertial (and likely tonal) unevenness despite the consistency in static touchweight. Touchweight. The player expects the keys to provide a predictable and uniform amount of resistance or “touchweight” during soft playing. To translate a strike weight to a desirable static touchweight, the action rebuilder has two basic tools: a) change the amount of lead in keys, and b) alter the amount of leverage in the action. However, neither of those solutions is without a price: lead affects inertia of the key, whereas leverage changes key dip (or blow distance) and inertial touch force (inertia of the hammer, as reflected to the player’s finger through the action). Fortunately, static touchweight can be reduced without increasing the inertia of the key, using devices that involve springs or magnets. These devices, discussed at the end of this chapter, are quite valuable for dealing with heavy hammers. Inertia, or “dynamic” touchweight, affects how much force is needed to play loudly, and is a function of strike (hammer) weight, action leverage, and the amount of leads in keys. Key dip can’t vary much because it affects the amount of finger movement. In a modern piano, it ranges from about 0.375 to 0.435" [9.5 to 11.0 mm] for white keys.304 As black keys must remain above the white keys when fully depressed, they are set to 0.475–0.500" [12.0–12.7 mm] above white tops. Large key dip gives the action power, but requires extra effort by the player because the fingers have to move farther. The problem is exacerbated by the fact that for every millimeter of extra key dip, black keys

275

must be set one millimeter higher, resulting in two millimeters of extra finger travel. It is interesting to note that in the 19th century, when key dip was almost half what it is today, the “English” action was criticized as heavy in comparison to the Viennese action, at least in part due to its larger key dip.305 Blow distance. The other end of the action—the hammer—must accelerate sufficiently to energize the strings. This requires an adequate hammer-blow distance, which is standardized to between 13/4 and 115/16" [45–48 mm]. A shorter blow distance will rob the piano of volume—this is in fact a feature in vertical and some grand pianos, where the half-blow pedal softens the sound by bringing the hammers at rest closer to the strings. But blow distance must not be excessive either, or it will compromise repetition. Blow distance is directly proportional to key dip: all other things being equal, increasing one requires increasing the other. The amount of key dip for any given blow distance is predetermined by action leverage. As neither of those two measurements can exceed its limits, the action leverage is also limited to a fairly narrow range. Aftertouch is the length of key travel after let off. It must be sufficient to allow the jack to escape under the knuckle so that the hammer can freely rebound from the strings. It can’t be much greater than that, or it will waste finger motion, slow repetition, and interfere with the functioning of the action. Since aftertouch allows almost no variation, it provides no relief to the rebuilder in balancing the action. In conclusion, the action and keyboard comprise a mechanical system in which the hammer weight and stroke (blow distance) needed for the desired tonal results must be matched to the physical constraints of the player’s hands and fingers through a series of carefully designed levers. This requires understanding how hammer weight, action leverage, and the distribution of weight in the action affect both the static and dynamic (inertial) aspects of touch.

304 Key

dip increased over time as the hunger for more powerful tone required increasing hammer mass and lowering action leverage. Early Viennese pianos had a key dip of 4–6 mm, whereas English pianos were in the 7–7.5 mm range (see Michael Cole, The Pianoforte in the Classical Era, tables 18.1 and 18.2, pp. 301–302). In 1836, Claude Montal suggests a dip of roughly 6–8 mm (3 “lignes” in the treble and a little less than 4 “lignes” in the bass), and 7–9 mm in 1865 (Claude Montal, L’Art d’accorder, 1st ed, p. 108; 3rd ed., p. 212). In 1906, William White documents the dip as being 9.5 mm (“3/8-inch full”; see William White, Theory and Practice, p. 103). 305 The

other reason for the criticism is that, in the early 19th century, English actions had heavier, more inert hammers, which required greater force to play loudly (explained in “Inertia” below). However, the static touchweight itself was actually lower than in most Viennese instruments, especially in the bass—this is evident when playing on well-restored historical instruments of that era. For measurements of several instruments, see Michael Cole, The Pianoforte in the Classical Era, pp. 304–306. See also the footnote in Edwin Good, Giraffes, p. 168; and Alfred Hipkins, A Description and History, p. 29.

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Static Touchweight (TW) Static touchweight is a term that encompasses three concepts: • Downweight: minimum force required to depress the key • Upweight: maximum force the key will overcome as it returns to the rest position • Balance weight: the average of downweight and upweight forces These weights or forces (discussed below) determine the perception of action as heavy or light during soft playing. Together with action regulation, touchweight is of great importance for control in soft dynamics.

Static and Dynamic Touchweight Static touchweight, defined above, describes static forces required to depress, release, and balance the key. The finger, however, depresses the key with a wide range of forces (technically, kinetic energy), attempting to accelerate it at different rates. The resistance the finger experiences during rapid accelerations in loud playing is caused by inertia, and is referred to by some technicians as dynamic touchweight. This is discussed under “Inertia” below. Tou c hwe i g ht Is D ow nwei g ht , U pwei g ht , an d Bal a nce Wei g ht

Myth: Truth:

A light action repeats faster. An action with low downweight and upweight requires less finger force in soft dynamics. Piano players associate that with faster repetition. However, low downweight and upweight mean that the key and action parts take more time to return after a strike, delaying a re-strike and slowing repetition. In extreme cases, usually associated with overly strong wippen-assist springs, keys “dance” for a prolonged period of time, making repetition unpredictable. Many pianos with low touchweight have higher action inertia due to heavy hammers and extra key leads, and require increasing amounts of finger force in loud dynamics. This compounds the problem, rendering loud repeats and trills in many “light” actions all but impossible.

weight is at least 20 g and the front weight (explained below) is under the recommended ceiling. Variations from note to note should be within ±2 g. Upweight is the maximum weight on the front of the key that the key will lift on its own. As stated above, upweight is related to downweight (and balance weight) more or less linearly—increasing one increases the other by the same amount. On a piano with fairly new, well-lubricated action parts and a downweight of 48 g, the upweight should be 23–24 g. A high upweight feels springy and responsive, whereas a low upweight makes the action feel sluggish and slows repetition. As with downweight, variations from note to note should not exceed ±2 g.

How to Measure When hammer weight, action leverage, or the amount of lead in the key change, each of the three touchweight forces—downweight, upweight, and balance weight—changes by approximately the same amount. For example, in an action with a leverage of 6:1, if you reduce the hammer weight during reshaping by 1 g (e.g., from 10 g to 9 g), downweight will be reduced from 50 g to 44 g, upweight from 26 g to 20 g, and balance weight from 38 g to 32 g. Each of the three forces is reduced by 6 g, which is conveyed more conveniently by saying that touchweight is reduced by 6 g. When you encounter the term touchweight, mentally substitute it with “downweight, upweight, and balance weight.”

Downweight (DW) and Upweight (UW) Downweight is the weight on the front of the key needed to make the key sink slowly from a point approximately 4 mm below its rest position. The reason for measuring at the 4 mm dip is to overcome the friction and leverage at the top of key travel, where they are highest (see “Friction Changes During Key Travel” and “Leverage Changes During Key Travel” below). The ideal downweight ranges from about 50 grams in the bass to 46–47 grams in the treble, with 48 grams being a good target for the middle section. A downweight over 55 g (57–58 g in the bass and 54 g in the treble) will be perceived as heavy, especially when combined with high front weight (inertia). A downweight of 45 g or less will feel light—it is acceptable only if the up-

Downweight: For both white and black keys, place weights on the front of the key (Figure 460) so that the center of the weights is 13 mm in from the front edge. This is the standard measurement position (SMP). If the action is in the piano, keep the damper pedal depressed. Push the key down approximately 4 mm. The least amount of weight that makes the key slowly drop from that point is the downweight. Upweight: Hold the damper pedal depressed and depress the key to the point of increased resistance (7–8 mm). Starting with about 20 grams, place the weights on the standard measurement position and release the key. Adjust the weights until the key barely returns to the 4 mm point. Alternatively, measure downweight by slowly depressing the key, and upweight by slowly releasing it with a tension gauge, as shown in Figure 461. Enter and plot the downweight and upweight values on the Touchweight Worksheet (page 277). For now, ignore the balance-weight area—you will learn how to calculate balance weight below.

Friction (F) The difference between downweight and upweight is caused by friction in the keyboard and action parts. Given the same downweight, the higher the upweight, the lower

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277

Static Touchweight (TW)

To uc h we ig h t Wor ks h ee t Downweight

1

Upweight

Piano ______________

Measure

Ser. No. ____________

Measure DW and UW

Date ______________

2 Log

Figure 460 Measuring downweight and upweight.

Enter measurements DW UW

DW UW

DW UW

DW UW

DW UW

DW UW

DW UW

DW UW

DW UW

10

20

30

40

50

60

70

80

1

11

21

31

41

51

61

71

81

2

12

22

32

42

52

62

72

82

3

13

23

33

43

53

63

73

83

4

14

24

34

44

54

64

74

84

5

15

25

35

45

55

65

75

85

6

16

26

36

46

56

66

76

86

7

17

27

37

47

57

67

77

87

8

18

28

38

48

58

68

78

88

9

19

29

39

49

59

69

79

3 Chart downweight (DW) and upweight (UW), calculate and chart balance weight (BW) Draw a dot for each value on the chart Note: #1

10

6030

20

40

50

60

6070

80

88

60

50

50

High

DW

55

40

45

Touchweight (g)

55

53

47

Low

40

50 51

45

40

43 45

High

BW 35

41

41

41

30

33

Low

30

33

25

31

UW 20

20

27

29

20

21

19

20

10

10

15

10

10

4 Calculate and chart friction (F) Friction (g)

20

0 20

(DW – UW) ÷ 2

0 20

Draw a dot for each value on the chart

20

17 High

10

15

15

10

13 15

Low

10

11

10

5

Recommended precision: ±2 g

30

23 25

Low

15

10

40

33 35

30

High

50

Touchweight (g)

55

60

Note: #1 A0

10 # F1

20 E2

30 D3

9 40 C4

10 50 # A4

60 # G5

70 # F6

7 80 E7

Friction (g)

(DW + UW) ÷ 2

5

88 C8

...

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281

Action Leverage

... Ac t i o n L ever age Wor ks h ee t Piano ______________ Ser. No. ____________ Date ______________

1 Measure Measure action leverage

Figure 463 Measuring hammer travel at 6 mm key travel: The front of the action-leverage tester should be at the standard measurement position (13 mm in from the key front). The extra weight prevents the tool from rocking back a little on this piano. The depicted tester is made by Erwin’s Piano Restoration.

2 Log Enter measurements

10

20

30

40

50

60

70

80

1

11

21

31

41

51

61

71

81

2

12

22

32

42

52

62

72

82

3

13

23

33

43

53

63

73

83

4

14

24

34

44

54

64

74

84

5

15

25

35

45

55

65

75

85

6

16

26

36

46

56

66

76

86

7

17

27

37

47

57

67

77

87

8

18

28

38

48

58

68

78

88

9

19

29

39

49

59

69

79

3 Chart Draw a dot for each value on the chart #1

10

20

30

40

50

60

70

80

7:1

7:1

Leverage

7:1

88

High

7:1

6:1

6:1 6:1

Medium

5:1

Low

6:1

6:1 6:1

Leverage

Note:

5:1

5:1

5:1

4:1

4:1

4:1

4:1

Note:

#1 A0

10 # F1

20 E2

30 D3

40 C4

50 # A4

60 # G5

70 # F6

80 E7

88 C8

Recommended precision: ±0.2:1 (e.g. 5.2:1 to 5.6:1)

...

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...

the wippen radius weight (WW = 0 g), we can omit WW × KR from the equation, but we have to reduce the balance weight by the leveraged amount (18 × 0.5 = 9 g), from 41 to 32 g: 55

H 40- Z 72 R Z 32 ---------------------- Z 6.0 12 12

Leads: Measuring and Calculating Here you will learn how to express the amount of lead weights in keys, how to estimate front weight from the leads in the key, and how to calculate the amount of lead weight needed to achieve a particular front weight.

Lead Factor (LF) Lead factor is a new concept I propose as a way of expressing how much lead is positioned, and where, along the key. Lead factor is an expression that shows the lead weight (LW), in grams, of a particular lead or group of leads, and a distance multiplier (DM), which is a number between 0 and 1 where 0 is the lead at the balance hole and 1 is the lead at the standard measurement position in the front of the key (not at the actual key front). Lead factor also can be expressed in its solved form (as a result of multiplying lead weight by the distance multiplier), but then you lose track of weight vs. position, which has implications for the inertia of the key (page 298). Lead factor is useful simply as a way of expressing how much lead is positioned where along the key. It simultaneously conveys two pieces of information, the amount of lead weight and the distance multiplier (the relative position of weight within the key segment), but, when solved (multiply lead weight by distance multiplier), reveals the amount of weight that a lead or group of leads contributes to the front weight. The practical value of the lead factor is that, when measuring positions for lead installation, you can compare the estimated front weight to the front-weight ceiling (see the chart on page 293) without actually measuring the front weight, which requires removing the top stack and the key from the key frame. Although front weight can (and should, at least for sample notes) be measured after marking lead positions on all keys, estimating it from the lead weight shortcuts the process, identifies front-weight problems early, and saves time. This is discussed in “Adjusting Front Weight” on page 292. In the case of a group of evenly spaced leads, distance multiplier can be measured for the whole group from the balance hole to the imaginary point in the middle of the group. For leads that are located in the rear segment, distance multiplier is negative and is measured as the distance from the balance hole toward the rear of the key, divided by the total effective length of the front segment (balance hole to standard measurement position). The

Leads: Measuring and Calculating

295

total length of the rear segment doesn’t matter. Note also that key-weight ratio and the position of the capstan don’t matter because in this case we are only interested in how lead weight affects the key and its front weight. Another way of remembering the distance multiplier is as a percentage of the lead position within the segment, positive in the front, negative in the back, and divided by 100. Lead factor is written as an expression consisting of lead weight, an “x” signifying multiplication and read as “times,” and the distance multiplier. For example, a 14 g lead weight placed in the middle of the front segment has a lead weight of 14 g at a distance multiplier of 0.5, and is written as “14x0.5” (and spoken as “fourteen times point five”). A 10 g weight placed 60 mm from the balance hole in the rear segment of a key with a 200 mm–long effective front segment has a lead factor of “10x–0.3” (0.3 is a result of dividing 60 by 200). When calculating the distance multiplier is not practical, it can be expressed as a ratio, or division, within a lead factor expression. For example, when you are logging lead factors, you may want to focus on measuring lead distances and, instead of calculating distance multipliers on the spot, record them in a raw form. To record a 16 g lead that is 160 mm away from the balance hole in a key with a 250 mm–long effective front segment, you would write “16x16:25.” Later, you could reduce that to “16x0.64” or solve it completely, revealing its contribution to the front weight as being slightly more than 10 g. If starting with keys without leads, for example when leading a new keyboard for the first time or after removing all existing leads, you can approximate the front weight by solving and adding up the lead factors of individual or groups of leads. You then add the result to the weight that represents the amount of imbalance between the front and rear segments, or key-imbalance weight. You can do the same in an already leaded keyboard by estimating the weights of existing leads. Lead factor is sufficiently precise for estimating and comparing front weights if it affects the accuracy of the front weight estimation by no more than ±2 g. For example, if a lead factor is 42x0.7 and a key-imbalance weight is 5 g (see examples 1 and 2 below), the front weight estimate is 34.4 g. To keep that estimate within ±2 g, or between 32.4 g and 36.4 g, you could misestimate the lead weight by as much as ±3 g (it could be 39–45 g), or the distance multiplier by up to ±0.05 (allowing a range of 0.65–0.75). Remember, errors compound.

Key-imbalance Weight (KIW) The key-imbalance weight is the front weight of a key with no leads. If leads are to be installed, the key-imbalance weight should be measured after drilling the lead holes; if leads were removed, after plugging the holes. Measure the key-imbalance weight per David Stanwood’s front-weight measurement protocol. If the key tips backward, place a weight on the key top, right above the bearing on the scale, and deduct its weight from the reading on the scale.

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C a l cu l a ti ng L e a d s Leads for 14 g Strike Weight Taking our action model in Figure 192 on page 78 (for measurements, see Table 6 on page 287) and a hypothetical strike weight of 14 g (heavy hammer) on note #1, let’s calculate the amount of lead needed to adjust the balance weight to 36 g, which, with 12 g of friction, will give us the desired downweight of 48 g and the upweight of 24 g. The action leverage, measured as hammer rise divided by the 6 mm key dip, is 5.4 (page 284). Lead weight (LW): To estimate the number of leads we would need to install, first we need to determine the front weight (FW). Since we are seeking the balance weight of 36 g, Equation 46 on page 294 allows us to calculate the front weight. It is 48 g: 56

FW Z ( 14 × 5.4 ) H ( 18 × 0.46 ) Ó 36Z Z 75.6 H 8.28 Ó 36 Z 48

This exceeds the front-weight ceiling (page 293) for note #1—either the strike weight (SW) or leverage should be reduced in this action. In this action model, the key-imbalance weight (KIW) is 12 g. For a front weight of 48 g, the amount of lead needed in the very front of the key would be FW – KIW, or 48 – 12, which is 36 g. Therefore, we could bring the balance weight down to 36 g if we could install 36 g of lead there (the fact that the numbers are the same is coincidental). However, due to the key mortise we can install leads between the distance multiplier (DM) of 3/4 and 1/2, the average of which is 5/8, or 0.625:

57

3--- H 1--4 2 Z DM Z -----------2

3--- H 2--5--4 4 ------------ Z --4- Z 5--- Z 0.625 2 2 8

The closer the lead is to the balance hole (see page 299), the less it reduces the balance weight, downweight, and upweight. To achieve the same balance weight at the distance multiplier of 0.625, therefore, we must calculate the lead weight (LW) by dividing the adjusted front weight (FW – KIW) by the distance multiplier:

Key-imbalance weight should be measured with a precision of ±1 g. To measure the key-imbalance weight of an already leaded key, balance the existing leads by placing leads of the same weight (size) on the unleaded side of the key, at the same distances from the balance hole as the existing leads in the leaded segment. If the front of the key is heavier, the key-imbalance weight is positive; if the rear is heavier, the key-imbalance weight is negative. The effect of the lead weight (LW), expressed as lead factor (LF), on the front weight (FW) can be expressed with this formula: 63

FW Z LF 1 H LF 2 H LF n ... H KIW

or, in an expanded form (DM is distance multiplier): 64 FW Z ( LW 1 × DM 1 ) H ( LW 2 × DM 2 ) H ( LW n × DM n ) H KIW

58

48 Ó 12- Z -----------36 - Z 57.6 ----------------0.625 0.625

Doing so, we find that we will need to install 57.6 g of lead weight at or around the 5/8 or 0.625 of the length of the key front (DM). Expressed as lead factor (LF), this is “57.6x0.625.” Number of leads: A 1/2" [12.7 mm] lead weighs approximately 14 g, which means that we will need slightly more than 4 of them: 59

57.6 ÷ 14 Z 4.11

The number is lower than expected because 12 g of key-imbalance weight (KIW) in this key is unusually high. A concert grand with heavy hammers and an action leverage of 5.4 may have five to six 1/2" leads in the lowest bass keys.

Leads for 10 g Strike Weight Using Equation 46, let’s calculate the lead weight (LW) for a hammer in our action model that weighs 8.2 g and has a strike weight of 10 g (note #56, for example): 60

FW Z ( 10 × 5.4 ) H ( 18 × 0.46 ) Ó 36Z Z 54 H 8.28 Ó 36 Z 26

Reduced by the key-imbalance weight of 12 g, the front weight of 26 g becomes a lead factor of 14x1.0 (14 g at the standard measurement spot in the front of the key), which, with the distance multiplier of 5/8, translates to a lead weight of 22 g (and a lead factor of 22x0.625): 61

8 14 ------ Z 14 × --- Z 22 5 5--8

The number of 1/2" -wide, 14 g leads we need is 1.6: 62

22 ÷ 14 Z 1.6

Estimating Front Weight As discussed in “Front Weight (FW)” on page 291, the most precise way to determine the front weight is to measure it with a scale or tension gauge. However, it is often precise enough, and much more convenient, to estimate the front weight based on lead factor and key-imbalance weight. This is particularly valuable when deciding how much lead to install, and where, in order to adjust the static touchweight. You don’t need to determine the lead factor precisely, or even for each lead individually; in most cases, you can make a visual assessment and perform a mental calculation in just a few seconds. Here’s how. If multiple leads (original ones and those you plan to add) are distributed more or less evenly, visually determine the center of their distribution, then determine the ratio between the lengths from that spot to the balance pin, and to the front of the key (standard measurement position). Multiply the total weight of the leads with this ratio, add key-imbalance weight, and you have an estimate

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. of front weight that you can enter as a colored dot in the chart on page 293. For example, if there will be three 1/2" [12 mm] lead weights around the middle of the front segment of the key (1/2 or 0.5 of its length), you can assume that their combined lead factor is 42x0.5, or 21 (each lead weighs ca. 14 g, and 14 × 3 = 42320). Key-imbalance weight is usually a few grams, which you can estimate from experience or measure on an unleaded high treble key before you start the procedure. See “Key-imbalance Weight (KIW)” above.321 The advantage of estimating front weight this way is that you need to measure only distance, not weight. When you get used to visually estimating the distance multiplier, you can be even faster than with the tension gauge. The immediacy of feedback allows you to address the causes of inconsistencies and unexpected trends without wasting any time.

Examples The following examples illustrate how to calculate the front weight from the lead factor. The effective front segment of the key (from the balance hole to the standard measurement position) is 250 mm long. When front weight is measured without any leads in the key stick, the key tips toward the front with a key-imbalance weight of 5 g. The rear segment is 200 mm long, but this is irrelevant for these calculations. Example 1. If three 14 g weights are placed in the front segment at 150, 175, and 200 mm from the balance hole, their lead factors (LF) are 14x0.6, 14x0.7, and 14x0.8. Adding them up and adding the key-imbalance weight (KIW) of 5 g gives you the approximate front weight (FW) of 34.4 g: 65

FW Z ( 14 × 0.6 ) H ( 14 × 0.7 ) H ( 14 × 0.8 ) H 5 Z Z 8.4 H 9.8 H 11.2 H 5 Z 34.4

Example 2. If the leads are evenly spaced, as in Example 1, you can calculate their aggregate lead factor by adding up their lead weights and using as the distance multiplier an average distance of the entire group. For example, since the distance of the middle lead, or 175 mm, is the average distance of the three leads (and the distance multiplier is, therefore, 0.7) and the lead weight (LW) of the three leads is 42 g, their cumulative lead factor is 42x0.7. The front weight estimate remains the same as in Example 1: 34.4 g: 66

Approx. FW Z ( 42 × 0.7 ) H 5 Z 29.4 H 5 Z 34.4

Example 3. A 16 g lead is placed 75 mm from the balance hole in the front segment: because 75 mm is 30% of

ease mental calculations, use 15 g, then deduct a little before multiplying.

321 Don’t measure the KIW of the key C8, because its front is not notched to accommodate adjacent black keys, and has a higher KIW.

297

250 mm, its lead factor is 16x0.3. If this is the only lead in the key, the front weight is 9.8 g: 67

FW Z ( 16 × 0.3 ) H 5 Z 4.8 H 5 Z 9.8

Example 4. If a single 10 g lead is placed 50 mm behind the balance hole, in the rear segment of the key, its distance multiplier is –0.2 (50 mm ÷ 250 mm), and the lead factor is 10x–0.2. The front weight is 3 g: 68

FW Z ( 10 × Ó 0.2 ) H 5 Z Ó 2 H 5 Z 3

Calculating the Number of Leads To determine the number of lead weights that need to be installed in the front of the key, start by calculating the front weight and proceed according to the calculations on page 296. If our action model in Figure 192 on page 78 had a more realistic key-imbalance weight, for example 5 g instead of 12 g, a bass hammer with a strike weight of 14 g would require five to six lead weights, whereas a low treble hammer with a strike weight of 10 g would require two to three leads. What is the normal number of leads? The amount of lead in keys affects the so-called front weight, which should be kept under the “ceiling” values proposed in the “Front-Weight Worksheet” on page 293. In an action with an action leverage well matched to the hammer strike weight, that means no more than five 1/2" leads in the bass, spread around the halfway point in the front of the key, three in the middle, and one or no leads in the top keys. If the leads are installed closer to the balance rail, one or two additional leads per key may be needed. Spring-assisted wippens and other inertia-reducing devices (page 309) can reduce the number of leads by one or two. For example, if we assume that the assist spring is set to eliminate the wippen radius weight of 18 g (reducing the touchweight by 9 g), we can remove the leveraged wippen radius weight (18 × 0.47) from Equation 56. This reduces the front weight from 49 to approximately 40 g: 69

FW Z ( 14 × 5.4 ) Ó 35Z Z 75.6 Ó 35 Z 40

The key-imbalance weight (KIW) of 12 g means that the front weight (FW) of 40 g translates to 28 g of the needed lead weight (LW) at the distance multiplier (DM) of 1.0. Since we intend to install the leads around the distance multiplier of 5/8 (0.625), the removal of wippen radius weight (WW) by wippen-assist springs translates to the reduction in lead weight (LW) from 59.2 g to 44.8 g (lead factor becomes 44.8x0.625): 70

320 To

Leads: Measuring and Calculating

40 Ó 12- Z 28 × 8--- Z 44.8 ----------------5 5--8

As a result, the number of leads is reduced by one, from 4.2 (Equation 59) to 3.2: 71

44.8 ÷ 14 Z 3.2

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Touch, Geometry, and Playability

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... Tou c h we i g h t Tro ubl e s h oo t e r • This table offers suggestions for common problems in touchweight and front weight (key inertia). If you plan to alter the strike weight by replacing, reshaping, or weighting the hammers (explained in “Increasing Strike Weight” on page 308), see page 307. • Gray cells indicate danger zones. Is the action geometry appropriate for the current strike weight? Consider changing the strike weight before resorting to other solutions, but keep in mind that altering the strike weight will affect the piano’s tonal character. • Balance weight (BW) ranges in column headers are for note C4. • DW = BW + F UW = BW – F F = (DW – UW) ÷ 2 • For front weight (FW) values, see page 293.

Very Low (<28 g)

Low (28–32 g)

Below Ceiling

• Increase strike weight • Everything in cell to the right

• Remove inertiareducing device • Increase action leverage and reduce key dip • Install leads in keys if possible

At Ceiling

• Remove inertiareducing device • Increase action leverage and reduce key dip

Above Ceiling

Front Weight is:

Balance Weight is:

• Remove leads from keys • Remove inertiareducing device

• Remove inertiareducing device

• Remove leads from keys

Optimal (33–39 g)

• Remove inertiareducing device • Install leads in keys

High (40–46 g)

Very High (>46 g)

• Install leads in keys

• Install leads in keys • Install inertiareducing device

• No change

• Install inertiareducing device

• Install inertiareducing device • Decrease action leverage and increase key dip

• Install inertiareducing device • Remove leads from keys

• Install inertiareducing device • Decrease action leverage and increase key dip • Remove leads from keys if possible

sive inertia. If replacement hammers are heavier, extra leads may have been installed in keys. Measure the strike weights of a few hammers and measure or calculate/estimate the front weights of the corresponding keys (pages 295, 296, 293). If the strike-weight and front-weight values are high, consider installing an inertia-reducing device, decreasing the action leverage, removing the leads, and/or reducing the strike weight.

Improving Playability Addressing Friction Friction has a profound effect on action behavior, and can make a huge difference in playability. Aside from focusing on center pins and their bushings, and keeping all contact surfaces in the action lubricated, friction can be reduced by retrofitting the action with Magnetic Friction Reduction,

• Reduce strike weight • Everything in cell to the left

and either reduced or increased by repinning the repetition levers and hammer shanks.

Magnetic Friction Reduction (MFR) Similar in concept to the Magnetic Balanced Action (page 311), this solution by Hans Velo repels the hammer shank from the repetition lever, reducing the friction between the jack and knuckle. By doing so, MFR is claimed to provide a significant reduction in overall action friction. For more information, visit http://home.kpn.nl/velo68/ and click “The Magnetic Friction Reduction” link.

Repinning Repetition Levers and Shanks When the friction of the repetition lever center pin is too low, hammers may jam even if the repetition springs are regulated normally (so that they lift the hammer decisively but with a minimal knock being felt on the key).329 329 Another,

possibly more important contributor to hammer jamming, is the shank rest felt being too low.

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317

Chapter 10

Rebuilding

“

The secret of getting ahead is getting started. The secret of getting started is breaking your complex, overwhelming tasks into small manageable tasks, and then starting on the first one. —Mark Twain

A piano “rebuilding” is a series of procedures performed to restore or improve the instrument’s original condition. This includes various repairs, adjustments, and regulation procedures, and sometimes even redesigning or reengineering certain components. Unlike spot repairs, which

Figure 481 A rebuilt 1878 Steinway & Sons 8'6" [259 cm] concert grand.

”

are performed as needed, a rebuilding entails the careful planning of an entire series of interrelated operations. For this reason, I recommend reading all of this chapter before starting a rebuilding project so that you know what you are getting into.

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Rebuilding

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Rebuilding requires a diverse set of skills and experiences. Workers and technicians in piano factories specialize in relatively narrow areas of piano building, but a piano rebuilder must excel in all of them. Those areas include woodworking, some metalwork and machining, finishing, very precise work on action parts, precise regulation of mechanical components, and, of course, tuning and voicing. Most technicians find it difficult to quickly switch from physically demanding work, such as lifting the plate, stringing the piano, or repairing the soundboard, to intricate repairs and adjustments of action parts. A little knowledge can be worse than no knowledge at all, if it gives you a false feeling of competence. Be extremely cautious before doing anything that is irreversible. Whenever you need to cut something or change its dimensions (for example, if modifying action rails), stop and think. Measure twice and cut once. When you need to perform a lot of repetitive procedures, it’s easy to lose sight of the “big picture.” Take the time to periodically step back and think of the project as a whole. Many procedures require practice. You can’t expect to wind perfect string coils, uniformly notch bridges, or flawlessly spray a finish on the first try. Some work is reversible, but most is not. Procure a scrapped piano or build models of parts so you can practice a procedure. Install key tops and key leads in scrap softwood boards instead of piano keys, for example. You can rout mortises in scrap pieces of pine in order to practice installing cloth bushings. Use materials that are similar to those in the piano. Controlling the application and quality of glues and finishing products requires testing a particular product in a particular situation. Without thorough testing, you can’t be sure of the outcome of any procedure. If you don’t have the benefit of learning from a piano technician or in a school of piano technology, try each product in a non-critical project before using it for repairs or in a rebuilding of a good piano. Simulate the conditions of a repair with pieces of scrap wood, metal, and felt. Be sure all the conditions during the testing (temperature, humidity, ventilation, etc.) are the same as they will be during the rebuilding. Products such as the glues, solvents, and fasteners mentioned in this book are available in the U.S., but you should be able to find substitutes worldwide. When you open the piano for the first time, look for signs of rodent infestation. If you find any, decontaminate and clean the piano before proceeding (page 136).

Choices and Consequences In his inspiring book, Shop Class as Soulcraft, Matthew B. Crawford points out that a mechanic—or piano rebuilder, in our case—has a “metaphysical responsibility to the machine.”335 This is a concept that every piano rebuilder needs to consider very carefully. Our obligation is not 335 Matthew

B. Crawford, Shop Class as Soulcraft, p. 120.

only to the customer (if you are your own customer, soon you will be on the receiving end of your own decisions), but also to the musical and technical heritages handed down to us. We are stewards of this heritage, new participants in a long line of designers, craftsmen, businesspeople, and technicians who have conceived, made, sold, and maintained the instrument you are about to rebuild. We shouldn’t gush about this point—the piano is, after all, only a tool—but in today’s disposable world one can’t but stop and appreciate the passion, thought, and ingenuity with which our forerunners made our pianos. This doesn’t mean you have to blindly adhere to all the original principles, designs, and materials, but stop for a moment to consider the consequences of your choices. In many fine pianos of the late 19th and early 20th centuries, the original materials are irreplaceable, and the level of craftsmanship represents the values of a bygone era. Will your interventions uphold or detract from those values? But, perhaps more important, how will the next rebuilder, and the one after that, feel about your work? Will they be able to rebuild this piano as easily as you can rebuild it now? Will the decisions you are about to make limit their choices in any fundamental way—perhaps in the way the choices of the previous rebuilder are now limiting yours? The key to a happy future as a piano rebuilder is to keep your options open by making your work: 1. Reversible (avoid doing what cannot be undone) and 2. Compatible (use techniques and materials that are compatible with the original design) For example, soundboard cracks can be quickly repaired with a mixture of epoxy and sawdust, but removing this material will be difficult without major damage to the surrounding wood. By contrast, wooden shims glued into the cracks will look and behave like the rest of the board, but are more labor-intensive to install. However, if the soundboard is likely to be replaced in the near future, or the piano isn’t of high quality and the current circumstances justify the cheaper repair, the former method is perfectly acceptable. Using compatible materials prevents unforeseen interactions and stresses that can lead to failure. For example, keys are typically made of a softwood, such as sugar pine or spruce. If you repair them with strips of hardwood, which have a different rate of expansion, the keys may crack or warp. Incompatible finishing products may never harden or may attack each other, causing alligatoring, crazing, or peeling. The choice of glue is critical to reversibility. In the heyday of piano making, the dominant adhesive was hot hide glue. It created a hard but brittle bond that could be broken apart without damaging the wood whenever disassembly was necessary. Today we use myriad glues that are more convenient but are more difficult to remove, because they are either stronger or more gummy. Epoxy is a

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. special problem in wood applications because it acts as a foreign material, creating a hard barrier that deflects tools and resists sanding. It appeals because of its strength, adhesion, low creepage,336 and great filling properties, but breaking the joint is impossible without damaging the wood. Used on the soundboard and ribs, epoxy all but guarantees that the assembly cannot be broken up and reassembled in the future. On the other hand, it is an indispensable solution for structural repairs, allowing us to salvage cracked parts, such as bridge caps and pinblocks when replacement is not an option. In many cases, choosing a material for its performance and practicality rather than its authenticity is justified. Synthetic lubricants, for example, are preferred to graphite and mutton tallow; ivory is routinely replaced with synthetic key tops; shellac is stripped in favor of lacquer and two-component finishes; and a soundboard finish is chosen for its high moisture-excluding effectiveness. Manufacturers like Wessell, Nickel & Gross, Kawai, and Phoenix Pianos are pushing the boundaries with carbon fiber and synthetic materials in action parts, soundboards, even in structural components. When modern alternatives offer a clear advantage, we want to improve the original product. However, when a procedure is challenging and its outcome difficult to anticipate, it’s best to adhere to the original methods and materials. A traditional glue or finish will leave your options for future repairs open, whereas hitech alternatives will limit them. Sometimes a material that appears to have a clear advantage is just too strong, too rigid, and/or too heavy for the application.

Rebuild or Restore? Pianos deteriorate mainly due to the wear and aging of their components. Wear is caused by use, but is also affected by the quality of parts and climate conditions. Felts and leathers, for example, wear more quickly in a dry climate. Whether or not a piano is used heavily, most of its components deteriorate simply by aging: felts and leathers become unresilient, wood and certain glues become brittle, and metal parts corrode, fatigue, or deteriorate with time. The core components of the piano, however, remain largely unaffected. A solution, therefore, is to replace the deteriorated components and refurbish those that can be expected to last for several more decades, such as the soundboard, plate, and pinblock. A complete rebuilding, if performed correctly and thoroughly using quality parts, can yield results that surpass the quality of a comparable new piano. The question is not whether rebuilding is a viable alternative to buying a new piano, but whether a piano has a potential that justifies the great effort and expense involved in its complete rebuilding.

336 Creepage

is a property of a glue joint to allow bonded parts subjected to continuous opposing forces to slowly slide along the joint.

319

Deserving Pianos Use the following criteria to determine whether a piano deserves to be rebuilt: • Functional and tonal potential • Market value after rebuilding • Quality • Feasibility of repairs These conditions are satisfied by most brand-name grands made after ca. 1880, longer than 6' [183 cm], and not subjected to climate extremes, abuse, improper servicing, or a bad rebuilding. Some of the brand names that are highly valued for their rebuilding potential are Steinway & Sons, Mason & Hamlin, Baldwin, Chickering, Knabe, Bösendorfer, Bechstein, Blüthner, Grotrian, and Ibach. Less-known pianos (grands and verticals), especially those made under generic names, often have poor market value, and replacement parts for them may be difficult or impossible to obtain. Poor design and low quality require extra work. Be cautious with shorter grands because their tonal potential is often limited by their short bass and tenor strings and small soundboard. As long as the design is fully modern, the age of the piano is not as important for rebuilding as its condition. Pianos that were previously rebuilt (especially with hightech glues and finishes) tend to be more difficult to rebuild than those still in their original condition. Avoid rebuilding cheap, low-grade pianos, whether old or new. You may find yourself correcting problems that result from the use of poorly seasoned, low-quality wood, inconsistent workmanship, inaccurate scaling, incorrectly set plate and downbearing, low-quality finish, poorly fitted pinblock, etc. To the owner, such a piano may have great sentimental value, and he or she may be willing to pay a lot of money to have it restored or rebuilt. Be careful, and be honest with yourself: are you setting yourself up for failure? Is one job worth risking your reputation and losing ten other jobs? Try to understand the owner’s motivation and expectations. If the piano doesn’t promise good return on investment and you nonetheless decide to go ahead, at the very least protect yourself by stating this in your proposal and having the owner sign it.

Pianos of Historical Value If the piano was made prior to ca. 1870, consider its historical value, and how the restoration or rebuilding will affect its authenticity. Is the piano more valuable as a historical “document” or as a working instrument? Conservators are split between preserving the original condition of the instrument and making it playable.337 Even keeping the strings under tension may damage the structure over time.338 If your goal is to make the piano fully functional, should you strive to restore its assumed original condition or modernize it? Should you repair worn and brittle parts or replace them? What should you do about “inherent vice,” such as unstable structure, corrosion, or woodworm infestation?339 Be sure to discuss these points with

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Rebuilding

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clamps on long rods are versatile because they can be used on long objects and are easy to work with, though they lack the width and clamping strength of conventional C clamps. Other types of clamps may be necessary for particular woodworking projects.

Materials Materials that are used frequently in various repairs and rebuilding should be acquired ahead of time. Determine how much you need until the product’s expiration date, and buy greater quantities from wholesale distributors and through mail-order channels. You may need to pay an extra fee for the delivery of hazardous materials.

This discussion is limited to common types of glues that have been proven in piano repair and rebuilding. The technology of adhesives is advancing rapidly, and I encourage you to experiment with new products. When you test a product, test it on the same materials and in the conditions in which it will be applied, but also subject it to the same conditions you expect the piano to be exposed to. Resistance to freezing or high temperatures may seem unimportant until you consider that the piano may be caught in a snowstorm during transportation, or may be subjected to a heat treatment for insect infestation. The glues mentioned here are available in the U.S., but their substitutes are available worldwide. If you use different glues, follow the manufacturer’s directions closely. Always test a new glue thoroughly before using it in an important project.

Test Every Batch

Hot Hide Glue

Never follow recommendations regarding materials blindly—test every batch, especially the glues and finishes. The batch you purchase may have been exposed to temperature extremes. Piano-supply houses are more likely to handle and store their chemicals with care because their own service departments use them, but you don’t know whether the product was exposed to temperature extremes during shipping. That’s why some supply houses don’t ship glues during winter months. Although some products may not be marked with an expiration date, their freshness may still affect your results. The formulation itself may change. Finally, your conditions may be different. The only way to ensure success is to test every batch before using it for the first time, and after it’s been stored for an extended period of time. Reproduce the conditions of the final application as closely as possible, from temperature and humidity to type of wood, metal, primer, and finish.

Hot hide glue is the glue traditionally used by the piano industry for all porous materials. It creates a strong bond that sets within minutes and reaches full strength overnight. It resists creep, but is very brittle and doesn’t tolerate variations in rates of expansion and contraction between the bonded pieces. It is not waterproof, and can be weakened by very high levels of humidity. It is supplied in flakes or granules that are diluted in water, then heated and kept at a constant temperature of 140–150°F [60–65°C] in a thermostatically controlled glue pot (Figure 493). Once diluted, the glue has a relatively short pot life. The shelf life of the granules is also limited to about one year. Freshness is very important, both for the granules and the mixed product. Cured hot hide glue can last for centuries. It can be reactivated with heat and moisture, and by applying more glue to it. The bonded joints can be separated and the glue cleaned easily. All of this makes it particularly suitable for instrument repair. For successful bonding, the pieces must be kept warm; otherwise, the glue may “skin” on contact and not penetrate into the pores of the material. Avoid cold drafts. You can extend the glue’s work time by increasing the temperature of the pieces being bonded (which makes working with it uncomfortable in warm climates), or by adding urea powder, a fertilizer. Unfortunately, urea can be lethal to pets, and pets are attracted to hide glue. Hot hide glue is time tested and excels in longevity and reversibility,349 but a liquid hide glue (which can be used at room temperature, see below) and PVA glues are easier to work with. Conventional PVA glues are more resilient and more forgiving of dimensional changes, and have better moisture resistance. Low-creep PVA glues may be the closest to hide glue in their properties, but offer even greater strength and moisture resistance.

Material Safety Data Sheet (MSDS) The properties of all adhesives, solvents, lubricants, finishing materials, and other chemicals are published by their manufacturers in the form of Material Safety Data Sheets (MSDS), which are available directly from manufacturers (and on their websites), or from MSDS search sites on the Web.348 An MSDS reveals everything from a substance’s physical properties to its composition, toxicity, health effects, first aid, and much more.

Glues Various glues must be available at all times. To ensure freshness, buy glues in stores with high sales volume. Be sure all your glues are well sealed and stored indoors.

348 A

comprehensive list of such sites is at http://www.ilpi.com/

msds/.

349 See

Stephen Shepherd, Hide Glue.

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Materials

335

Urea Urea is added to hot hide glue to extend its working time and improve its penetration into wood. It is used by piano manufacturers for building laminated rims, soundboards, bridges, pinblocks, and case parts. If you use this glue, give it plenty of ventilation and keep it away from children and pets.

Liquid Hide Glue

Figure 493 Hot hide glue and a thermostatically controlled pot.

Hot hide glue gels at temperatures below ca. 100°F [38°C], but with the addition of an anti-geling agent it can be applied at temperatures as low as 50°F [10°C]. The result is a liquid hide glue that doesn’t require a glue pot, has a longer shelf life in liquid form, and still offers most of the benefits of hot hide glue. It is not as strong, though, and, like PVA glue, introduces more moisture to the glued pieces. In all other respects it behaves like hot hide glue: it resists creep, creates a strong but brittle bond (this makes it easy to crack the bond without damaging the wood), is neutral to stains and finishes, and is easy to clean up. Franklin’s Titebond® Liquid Hide Glue is widely available in the U.S. The Old Brown Glue350 by Antique Finishers offers an extended “open” time (up to half an hour) at temperatures above 80°F [27°C]. When heated sufficiently, this glue can reactivate a cured hide glue.

PVA Glues Figure 494 Two popular PVA glues: Carpenter’s Wood Glue, a yellow wood glue (left); and Franklin’s Titebond ® Molding and Trim Glue (right).

Figure 495 PC-7 epoxy paste (top), slow-drying epoxy (bottom left), and superglue (bottom right).

Polyvinyl acetate (PVA) glues are widely used for bonding porous materials. They are strong, resilient, easy to work with, have a long shelf life, and are not toxic. All PVAs are thermoplastic to some extent—they soften and ultimately melt when heated. As a consequence, they become gummy and ball up when sanded, clogging the sandpaper. Thermoplasticity permits realigning parts by simply heating the glue joint(s), but it also precludes using conventional PVAs for bonds exposed to high temperatures (but read about low-creep PVA glues below). The main limitation of conventional PVA glues is that they do not resist creepage of bonded parts, and are not suited for high-stress structural joints, for laminated boards, such as pinblocks, bridge roots, and for gluing the soundboard to the ribs and rim. Certain formulations, however, fare well enough in this respect to be rated as “low creep” glues (explained below). High creep is an advantage when gluing parts with different rates of expansion and contraction, such as hammer heads with tropical-wood moldings, porous key tops, etc. Despite their limitations, conventional PVA glues are quite versatile and are widely used for simple joints on wood, felt, cloth, and leather. PVA glues suitable for most woodworking are “yellow wood glues,” such as Carpenter’s Wood Glue (Figure 494) made by Elmer’s, and Franklin Titebond® Wood Glue (Titebond III Ultimate Wood Glue approaches the properties of low-creep PVA glues). These glues require clamping because they dry relatively slowly, but they penetrate the 350 http://www.oldbrownglue.com/.

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Rebuilding

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Key Top R e p l a c e m e n t C h a l l e n ge s

Figure 525 The person who removed ivories from these keys inadvertently pulled off wood strips from the front mortises. If the strips are not restored, the tops will click in those spots.

Figure 527 Overtrimmed keys can be widened by gluing a softwood veneer to their sides.

Figure 528 Eroded wood under black key tops: what to do? Figure 526 A poor key top replacement job like this one makes recovering the keys a challenge. Photos by Mike Morvan of Blackstone Valley Piano

Natural materials and mineral plastic tops are more challenging to install, but provide a better feel to the pianist. If you plan to use ivory removed from another keyboard, buy at least two full sets.

Glue All white key tops are best glued with PVC-E or similar adhesive (see sidebar, “Gluing Porous Key Tops: Tools and Materials,” on page 358). Acrylic tops can be glued with a PVC-E glue or a contact adhesive. The advantage of a contact adhesive is that it doesn’t require clamping, but it may not match the longevity of PVC-E, especially if exposed to temperature extremes. Thick PVC-E formulations need minimal clamping.

If you decide to use contact cement, use a fresh, uncontaminated, solvent-based cement. The cement will etch the plastic. If it contacts the surface of the key top, wipe it off immediately with alcohol. Acrylic key tops reflect light in a way that makes even the slightest surface dents or bumps easily visible. This is why it’s so important to keep the cement free of all contamination. To do so, dispense just the amount you will use into a smaller container, and brush it from that.

Procedure For replacement white key tops to look straight and square, the keys themselves must be straight and square. After removing the old key tops, you need to repair all sur-

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the differences in length between the old and new hammers, and install the backchecks correspondingly higher or lower.

Rebuilding Grand Action

373

Backcheck wire Wedge-shaped strips

2

Remove action from key frame. Put key frame with keys on bench with the backchecks in front of you. Note any backchecks that are too high or too low, and do not use these for comparisons.

Vise jaws

3 Test whether backcheck wires are long enough: Take a key off the key frame and place a new backcheck next to the old one. Align their tops, adjusting the new backcheck’s height if it must be installed higher than the old, and make sure the new wire will extend at least a few millimeters below the hardwood block. Shallowly installed wires may lead to hardwood blocks cracking or breaking off during a regulation of the backchecking.

Key

4 Record height of original backchecks (step 4 on page 370). 5 Extract old backchecks with their wires: Temporarily affix a wedge-shaped strip of wood (such as a soundboard shim) to each jaw of a vise, as depicted in Figure 565. This will prevent splitting or breaking off the hardwood blocks. Clamp each key into the vise, tilting it down slightly toward the front. Using the jaws of the vise for leverage, extract the wire with larger end-cutting nippers (Figure 565). Pull the wire in short strokes, to avoid elongating the hole. 6

Size holes: If the new wires are much thicker than the originals, drill the holes wider (Figure 566), or you will split the backcheck blocks and the keys. Use a drill bit slightly thinner than the wire itself. On Renner backchecks for Steinways, for example, the wires are ca. 0.112" [2.825 mm] in diameter and their fluted end is ca. 0.118" [3 mm] wide; use a #35 (0.110" [2.794 mm]) or 7/64" [2.778 mm] bit for laminated backcheck blocks, or a #36 (0.1065" [2.705 mm]) bit for conventional blocks. If the new wires are the same size, glue-size the holes with wood glue (Figure 567) and let them dry. If the new wires are narrower, plug and redrill the holes (see “Repairing Stripped Screw Holes and Action Rails” on page 240) or replace the backcheck blocks, then drill them. Be sure to accurately reproduce the angle of the original holes.

Installing Backchecks

7

Install new backchecks by hammering them in with a backcheck installation block (see note below), press them in with a drill press (Figure 569), or hammer them in with a small felt-lined hammer (Figure 568). Compare their heights to the outlines of the original backcheck(s) (Figure 558 on page 370). Position the backcheck in line with the key and hammer or press it in. If the new wires are slightly loose, glue-size the holes; if tight, repeat step 6 with a wider drill bit. Forcing the wire may split the key. Note: A backcheck installation block, available from Steinway, is a hardware block routed to support a backcheck on three sides. The block is adjusted in length with strips of

Figure 565 Extracting a backcheck. Wedge-shaped wooden strips between the vise jaws prevent the backcheck block from cracking off the key.

leather or felt on the bottom. Lined with leather, the notch absorbs the hammer impact and protects the backcheck from damage.

8 Regulate backchecking, note the backcheck-to-tail distance throughout the scale, and adjust the backchecks’ height as necessary. See steps 10 and 11 on page 371. Aligning Backchecks See “Aligning Backchecks” on page 371.

Rebuilding Grand Action The action rebuilding is at the very center of any piano reconditioning project. Typically, the action is rebuilt together with the keyboard, damper system, and pedals. You can rebuild all four systems in parallel, or start with the keyboard, then follow with the action, dampers, and pedals. The rest of the piano can be rebuilt separately. I suggest reading all of this chapter before proceeding.

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387

... Under-centering Figure 582 Comparing the drilling mark with the old hammer.

Normal

Over-centering

Figure 583 Marking the drilling positions on hammer moldings.

Figure 581 Under-centering and over-centering. The dashed line indicates the loss of felt through wear and the angle at which the grooves will form.

aligning it with the markings on the end hammers. Draw a straight line on the moldings, making sure that it aligns perfectly with the end hammers’ markings. Compare the marked hammers with old hammers, or remeasure them and correct the line, if necessary.

that will affect the action regulation, especially the backchecking (backchecks may need to be raised).

Drill Press and Angle Vise

Marking Hammers

1 Lay hammers on strong sheet of paper (on which you’ll be able to lift them) in three rows, with the inside of the molding facing up on all hammers. Make sure not to disturb the order; in some sets, hammers are not numbered. 2

Mark drilling positions on end-hammer moldings in each row using old hammers (Figure 582), measurements, or boring specifications (always good to have for comparison). When the original hammers are worn (grooved and/or reshaped), increase their boring distance appropriately (usually ca. 1/8" [3 mm] for the hammers in the middle section).

3

Mark boring positions on remaining hammers’ moldings: Place a large plane (I use a 4' [1.22 m] plane) behind each row of hammers (on the felt side), and clamp the plane in place (see Figure 583). Push all hammers against the plane and place a ruler on top of the moldings,

To be installed properly, hammers must be drilled with precision. Various jigs are available specifically for this purpose; for example, the Renner Deluxe Hammer Boring Jig, available through Renner USA.362 Here I describe how to use a conventional angle vise (Figure 584) with a drill press. Adjust the drill press to a speed of 800–1100 rpm. Loosen the drill-press table bolt and, using a true square, set the table at 90° to the drill bit (mark this position so you can repeat it later), then secure the vise to the table with bolts and nuts, or clamps. Set the vise dial to 0°. Measure the angle between the drill bit and the top surface of the vise jaws (as observed from the front and from the side) with a square. If it’s not 90°, readjust the table angle and/or shim the underside of the vise with strips of veneer, as needed. Create a support block on which you will lay the hammer molding: cut a straight wooden or plastic block ap362 http://www.lloydmeyer.com/productcart/pc/viewPrd.asp? idcategory=8&idproduct=26#details.

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Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. shank when viewed from the side—see Figure 586a) of the original hammers is to clamp an original hammer (with its shank) in the vise slightly in front of the drill bit (move the vise forward), and tilt the table or shim the vise until the shank is perfectly parallel with the bit.

4

Figure 584 Angle vise set up on a drill-press table (shown with a bass hammer).

proximately 1" [25 mm] long, 1/2–3/4" [12–19 mm] thick, and slightly narrower than the narrowest hammer you will drill (5/16" [8 mm]). Using a PVC-E or thick CA glue, affix the block to the inside of the stationary jaw. The block should be centered on the jaw, and set parallel to and approximately 7/32" [5 mm] below the top surface of the jaw.363 When you place a new hammer on the block, the inside surface of the hammer’s molding should be parallel to the jaws, as shown in Figure 585.

Drilling Hammers

1

Install drill bit in drill-press chuck: Choose a drill bit that will allow you to insert the shank in the hole so that it protrudes on the other side only up to 1/8" [3 mm]—you will widen the holes with a tapered reamer when you install the hammers. Insert the drill bit in the chuck as far as it will go, so that it is as stiff as possible, and tighten the chuck. Note: Hammer shanks from different manufacturers vary in diameter—match the bit to the shanks on which you will install the hammers. WNG composite shanks are significantly thinner than wooden shanks.

2 Adjust table of drill press up or down, so that the tip of the bit is just slightly above the top of the jaws. Put a hammer on the block and tighten the jaws. Adjust the in/out position of the angle vise, or turn the table around the column, until the drill bit is centered on the hammer molding. Recheck the angle—it should be 90°. 3 Adjust vise to desired pitch: The most accurate way to duplicate the pitch (the angle between the hammer and 363 If

you don’t want to glue the block, create a block that rides loosely on the threaded shafts of the vise, and that you can slip in and out, as needed. Alternatively, don’t use a block at all—align the hammer to the jaws visually.

Adjust drilling angle: Looking at the original hammers and shanks from above (Figure 586b), compare the angle of the string grooves with the angle of the hammer itself. If there is a discrepancy, drill the new hammers at angles that match the grooves, unless the manufacturer’s specifications call for a smaller angle or the angle exceeds 16°, which can cause the hammers to rub and click against each other. Readjust the angle of the vise for each group you will drill at the same angle. All bass hammers are typically drilled at the same angle, whereas tenor hammers are graduated, the angle changing by 1° every 3 to 6 hammers. Note that you will insert the tenor and treble hammers and the bass hammers in opposite directions (a bass hammer is shown in Figure 584). Remove the original hammer from the vise. For each hammer you put in the vise, do the following before tightening the jaws (Figure 585): • Position the hammer fore/aft so the drilling mark is aligned to the drill bit (when viewed from the side). Regular bits look deceptively off-center—brad-point bits are easier to align. • If the back of the molding is already shaped, you won’t be able to rely on your jaw block for the pitch angle— adjust the angle visually. The molding should be parallel to the top edges of the jaws. When a hammer is drilled at an angle, the hole must be off-center on one side so that it will exit the molding offset for the same amount on the other side. Adjust the offset by rotating the drill-press table a small amount whenever you change the vise angle. As you drill the hammers, compare every other new hammer with the original (Figure 586).

5 Drill test hole first in a scrap hammer or a piece of wood of the same thickness as the hammer molding. Temporarily insert a hammer shank in the hole and observe the angles. Is the hole off center the same amount on both sides of the molding? Rotate the table or readjust the vise if necessary. 6 Drill all bass hammers and adjust the angle in the middle of the section, if necessary. 7

Drill tenor and treble hammers, readjusting the angle of the vise every few hammers, as needed. Don’t forget to put each hammer in the vise in the direction opposite of the bass hammers.

Shaping and Tapering Hammer Tails After drilling the hammers, but before installing them, you will need to shape their tails and taper the sides of their moldings. Although the two procedures are described

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M o de rn iz in g O ld S te in w ay P it m a n L in kage If the pitman dowel’s hole in the key bed is bushed (Figure 620), with time the dowel wears it out and starts binding on the bushing. Rebushing the hole and keeping it lubricated is a good remedy, but won’t last as long as modifying the system to a modern pitman linkage. Dowel with pins: Lower the trapwork lever, and drill the hole in the key bed with a 1" [25 mm] Forstner drill bit. Create a new pitman dowel out of a 1/2" [12 mm] wooden dowel slightly longer than the original. Install a metal pin, such as a bridge pin #8 or #9, in the

Figure 620 Bushed pitman dowel in a 1923 Steinway A III.

6 Install tray in piano: Lubricate the tray-end pins with a thin coating of dry-film lubricant, then rub and burnish powder lubricant into the cloth punchings. Swab a little dry film lubricant on the end blocks where the punchings will touch them. Plug and redrill the screw holes for tray end blocks in the belly rail if necessary, then fasten the blocks, making sure they remain in the positions in which you tested them. When you push the tray to the right or left, you should feel very slight free play—the blocks must not squeeze the punchings excessively or the tray will move sluggishly. Prepare the tray or rail for the pitman dowel: if the dowel has pins at each end, glue a piece of leather and/or felt on the bottom of the tray and the top of the trapwork lever, and drill holes through those pieces of leather into the wood for the dowel pins. If the dowel has wide cloth or felt wafers on ends, drill shallow round mortises with a Forstner drill instead. If the pitman hole in the key bed is bushed, as in older Steinway grands, replace the bushing if worn, or consider modifying the system (see sidebar, “Modernizing Old Steinway Pitman Linkage”). If a leaf spring is used for the tray, glue a piece of leather on the tray at the spot where the spring will contact it, then lubricate the leather with a thin coating of grease lubricant. 7 8

Install damper stop rail.

Install and regulate dampers, as explained on page 182.

center of each end, and place one or two round, firm, felt or cloth balance punchings on each end of the dowel. Remove the old leathers from the tray and lever, and clean off the old glue. Drill a hole for the bridge pin in the trapwork lever and on the bottom of the tray, making sure the dowel pin fits, and can rock a little fore-and-aft, without binding. The rocking is necessary because the centers of the arcs that the tray and trapwork lever describe are in different spots. From under the key bed, insert the new dowel into the hole you drilled in the bottom of the tray and, while holding the dowel, bring the trapwork lever up, insert the dowel’s bottom pin into the hole you drilled in the lever, and lift the tray with the lever. Turn the L-shaped lever stop back in place and lower the lever. Reattach the lyre with its braces and adjust the pedal rods. If the dowel is too long, remove a pin from one of its ends, shorten the dowel, and reinsert the pin. Dowel with felt wafers: This is an alternative to bridge pins in the ends of the dowel. Follow the instructions above, but instead of inserting bridge pins in the ends of the dowel, route two shallow round mortises, ca. 3/4" [18 mm] wide, with a Forstner drill bit: one in the bottom of the underlever tray, the other in the top of the trapwork lever (make these as shallow as possible, not to weaken the lever more than necessary). Cut two round, 3/4" -wide wafers out of a sheet of firm felt or cloth, and glue them on each end of the dowel. The wafers will center the dowel instead of the pins, making the interface less likely to develop noises over time. Lubricate the wafers with a powder lubricant.

Rebuilding Vertical Action Before rebuilding a vertical piano action, you should diagnose it thoroughly as explained in “Regulating Vertical Action, Pedals, and Dampers” on page 189. The following instructions assume that you are repairing or replacing all action parts. If performing a partial rebuilding, omit procedures that do not pertain. For example, to replace the hammers only, there is no need to remove the wippens or damper levers from their rails. It’s best to have the whole piano in the shop when rebuilding its action. If that’s not possible, measure the distance between hammers and strings and observe, looking from the side, whether the hammers hit the strings at a right angle (90°). If this is not the case, consider altering the boring distance of new hammers and/or changing the angle between them and the shanks (pitch) so that they strike the strings at a right angle. Before removing the action from the piano, regulate guide notes so that you can later test the fit and regulation of new action parts against those notes.

1 Remove action from piano as explained on page 137. Tighten the nuts back onto the action support bolts. Transport the action to the shop on an action cradle, or on its back (the side with backchecks). Be careful not to tip the action onto the dampers. 2 Mark numbering on all action parts to be removed from action rack: hammers, wippens, and damper levers.

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If you intend to rebush the flanges, mark the parts and their flanges separately.

3

Spinet with plastic elbows only: Replace the elbows. Plastic elbows link stickers—metal rods attached to the rear end of each key—with wippens, which are below the keyboard. The elbows become brittle with time and begin to break (Figure 621). It’s best to replace them. To do so, measure a few sample elbows to see how far the stickers extend from an imaginary horizontal line passing through the elbow bushing. Then, cut and crush the remnants of the old elbows with wire nippers and a pair of needle-nose pliers (Figure 622). Buy Vagias snap-on elbows. Wind the new elbows onto the stickers (Figure 623) so that the stickers extend as far from them as they did originally. You will install the elbows and stickers after you reinstall the action in step 17.

Figure 621 Broken plastic elbows.

Photo All photos on this page by by Chuck Chuck Behm Behm

4 Unhook all bridle straps with the action positioned upright. 5

Remove wippens: If repairing or replacing the wippens, remove all wippen flange screws. Keep the screws in order in a pre-punched piece of cardboard. Remove the wippens and lay them on the bench in order.

6 Rebuild or replace wippens: Perform all the necessary repairs on old wippens, including replacing the backcheck felt, the wippen heel felt, and possibly rebushing and repinning the flanges. For instructions on replacing felts, see page 340. If installing new parts, be sure they are true replacements for old ones. Even the smallest discrepancies will affect their functioning and regulation.

Figure 622 Crushing the remnants of old elbows.

Photo by Chuck Behm

• Wippen heel felt: Remove old cloths and felts with a razor blade and remove the old glue. Glue the new felt and cloth (in some designs there is only cloth) with a hot hide or fast-drying PVA glue applied to both ends of the cloth. The middle of the cloth should not be glued. • Replacing whole backchecks: Backcheck wires in vertical pianos are usually fluted on the bottom and threaded at the backcheck end. For removal and installation, see the instructions for grands in “Replacing Backchecks without Wires (Retaining Existing Wires)” on page 370. Vertical wippens are more fragile than grand keys—handle them gently. • Replacing backcheck felts: Remove the old felts by soaking them with acetic acid, steaming them, or by cutting them off with a sharp cutter (careful!). Scrape off the old glue. Buy pre-cut strips of felt or cut individual felts yourself. Glue the felts with a hot hide, PVC-E, or wood glue. If the glue dries slowly, gently clamp the felts in the middle with tie wraps (to avoid distorting the felt, mold the tie wraps into the shape of a staple). • Rebush and/or repin wippen flanges if necessary, as explained in “Repinning Action Parts” and “Rebushing Action Parts,” starting on page 244. Beware: this work is tedious and requires a lot of patience. Replacing parts may be more cost-efficient than rebushing and repinning old parts.

Figure 623 Winding a new elbow onto a sticker.

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Rebuilding

... a.

b.

Notch

Figure 680 Cleaning the remaining wood from the stretcher with a chisel (a). Steaming the wood first (b) may reduce damage to the stretcher (courtesy Pianos Bolduc). Figure 681 Alternative to routing: chiseling a bevel in the back of a full pinblock to free it from the stretcher.

If you do have a large, sturdy band saw, you will be able not only to cut the ends and the flange, but also to resaw the whole plank to the desired thickness. This allows you to purchase thick planks and reduce their width without overtaxing your planer. Read Lonnie Bird, “Resawing on the Bandsaw,” for information about how to set up and use a band saw for this task. Remember that pinblock planks are made of some of the densest and hardest woods available. Multi-laminated planks are extremely abrasive and should be cut with patience, being careful not to overheat the blade. If you have a band saw with a tilting table (or a stationary table but a tilting head), I recommend cutting the pinblock yourself. To be adequate for this work, a band saw must be able to cut through the very dense pinblock material without ripple or wander. A saw blade should be relatively narrow (viewed from the side) to allow guiding the block precisely by hand. Feed the block slowly to prevent the blade from overheating. Have an assistant hold up the back of the block as it exits the saw’s table. Be careful with your fingers, and wear eye protection.

7 Prepare new plank: Obtain a pinblock plank that is wider and thicker than the original pinblock’s widest/thickest spot. Pinblock panels are just under 60" [1.5 m] long and between 11/4" and 15/8" thick. A double panel is 17–181/2" [43 to 47 cm] wide and allows cutting two pinblocks (except for some concert grands, which have extra-wide blocks). Single panels are also available, often with a diagonal cut that predetermines which side goes up and which down (which can make fitting the block harder if it is warped the wrong way). Measure the thickness of the old block with a caliper in various spots and plane the new plank to match. In conventional pinblocks with few plies, remove the same amount of material on both sides

Figure 682 The stretcher after removing the pinblock. Note the blind dowels marked with arrows.

Figure 683 Chiseling out the treble end of the original pinblock. Chisel the top layer in one piece to facilitate duplicating the width of the pinblock.

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447

to prevent the plank from warping. This is not a concern in multi-laminated planks. If the plank is already warped, turn the concave side (which is bowed in) up, toward the plate. This will make it easier to fit the block to the plate flange as you will have to push it down only in the middle. Flexing it down at both ends requires clamping, which is much less convenient. Use a stationary planer if you have one, or a hand-operated power planer in several passes (see Figure 490 on page 332).397 If the plank is much thicker than the original pinblock, first resaw it on an industrial band saw equipped with a wide blade and a high fence, or on a large radial saw. Some pinblocks taper in thickness from one end to the other. Duplicate the taper with a handheld planer.

Figure 684 New plank ready for marking the outline of the original pinblock.

Figure 685 Aligning the old block (top) to the new plank (bottom) with a ruler. Note the small horizontal gap between the old block and the ruler.

8 Align back edges of new and old blocks: Place the plank on a workbench (if you planed only one side, place the unplaned side up; if the plank is warped, turn it so it bows up in the middle). Put the old pinblock onto it upside down, as depicted in Figure 684 (bass to the right, flange away from you). Align the old pinblock with its straight edge flush with the side of the new plank (Figure 685). Plane/shape the edge of the new plank to perfectly match the old block (especially important for full-fit blocks). Push the old block inward just a little (1/32" [0.7 mm] or less), and clamp the blocks together and to the workbench. 9 Trace flange of old block on new plank: Place a true square on the new plank and push it against the flange of the old block. Mark the position of the vertical arm on the new plank with a pencil and repeat that along the whole flange (Figure 686), creating a line that traces the old block’s flange on the new plank. Also trace the ends of the pinblock. If the old block is not as long as it should be because you were not able to retrieve its end portions in one piece and glue them to the block, use measurements to mark the edges on each end. Check the outline of the pinblock and correct it if necessary. Remove the clamps. 10 Saw relief cuts in the new plank perpendicular to the flange wherever the flange curves sharply and at the bass/tenor corner (Figure 687). Stop sawing just at the flange line you marked earlier. 11

Tilt band saw table: The pinblock flange is tilted and its angle must be reproduced precisely. Place the old pinblock on the band saw and tilt the table until the flange surface is parallel to the saw blade (Figure 688), then clamp the table securely in place.

12

Saw flange on new plank, starting at the bass end, make a gentle curve over the relief cuts in the bass/tenor corner, then cut the corner. Saw slowly, with an assistant

Figure 686 Marking the outline of the pinblock flange on the new plank.

397 Ideally,

you should put blocks of wood against each end of the block to support the planer as it exists the plank. These blocks should be of exactly the same thickness as each the plank, or the planer will gouge the surface as its front drops (or create a ridge if the front kicks up). Instead, learn to lift the planer gently as it exits the plank—practice on scrap pieces of wood.

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this repair to succeed, the stretcher and the entire pinblock layer under it would need to be replaced but, as mentioned earlier, you couldn’t mortise them into the case on both ends (at least not fully). The larger question, however, is whether or not you should even attempt such a repair. A treatment as invasive as this would greatly reduce the piano’s authenticity and devastate its historical value. A more fitting repair, if restoring the piano to playing condition is a must, might be to treat the existing pinblock with epoxy (page 256) and tune the piano to lower pitch.

Rebuilding the Soundboard To most laymen, a piano soundboard is a wooden panel behind the strings. And just as any other wooden panel is “good” if unblemished, this one, too, must be faultless, and certainly without cracks. This is not surprising—cracks normally tell us that something is broken, that it has failed. Why should it be any different in the most elaborate piece of furniture one can own, a piano? The truth is that all the other aspects of soundboard condition—its impedance, downbearing, crowning, and glue joints—are more important than cracks. Still, cracks signal illness, and must be addressed. Before we look at how to repair them or how to improve the soundboard’s performance, let’s look at why cracks appear.

Compression Set and Cracks The planks that comprise the soundboard are glued to the ribs. During periods of high humidity, the planks swell across the grain but the ribs don’t allow them to expand. The soundboard responds by arching upward and forming the crown. Because the soundboard is constrained by the strings, additional compression builds up in it, eventually causing wood fibers to collapse. As humidity drops during the subsequent dry season, the wood shrinks and the crown drops, but the wood fibers now take up less room than they originally did. This effect, called compression set, would make the planks increasingly narrower after each season of damaging compression, but because they are glued to the ribs, the planks can’t shrink. As a result, the wood fibers are pulled apart and cracks appear in the soundboard.399 Wood cracks in low humidity, but it cracks because of high humidity. If there were no compression set, which is caused by high humidity, the soundboard would continue oscillating between high-crown and low-crown periods indefinitely and, theoretically, would crack only if the humidity during dry seasons was lower than the humidity during its manufacture. Surprisingly, when humidity is consistently lower than during manufacture, such as in a

399 Compression

set is explained and illustrated in Bruce Hoadley, Understanding Wood, pp. 82–83 and pp. 129–130.

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desert climate, a quality piano may never develop cracks.400 The important point is that the cracks are not a problem per se. They are merely a symptom of the compression-set–induced deterioration of the soundboard. They indicate a loss of compression, crown, and downbearing, and an accompanying drop in impedance, which shortens sustain and makes tone boomy. However, many pianos with cracked soundboards sound good and don’t necessarily need to have their soundboards replaced. See the sidebar, “Repairing vs. Replacing the Soundboard.”

Repair Options The critical test for a soundboard—more important than the downbearing or the crown—is this: does the piano sound good? Use the checklist in “Evaluating a Piano” on page 321 to learn how to ignore the effects of deteriorated components while evaluating the sound. If only the melody octave is deficient, you can improve it as explained below. Make those modifications after performing all other soundboard repairs. If the sound is good and the sustain acceptable, there is a strong case for repairing the old soundboard even if it has lost some crowning and downbearing. You will need to dry the soundboard, reglue the separations between it and the ribs, rim, and belly rail (provided the beams allow access to all separations), shim the cracks, and refinish the soundboard. Most customers don’t mind that the shims are lighter in color (Figure 715), but for some this is a consideration. The shims can be stained to match each other’s color, but the repairs still will be visible. Also consider that traces of the old finish may show as dark streaks or patches after the soundboard is refinished. Blemishes in the color of the wood itself are likely to remain (Figure 716). If the board has lost most of its crowning and there is little measurable downbearing in the middle and tenor sections, the decision is less straightforward. Your choices are: • Treat the soundboard with epoxy • Attempt to restore compression by breaking up and reassembling the soundboard • Shim the long bridge with wedges (page 467) None of these options is without serious drawbacks: epoxy is irreversible, breaking and reassembling the board is risky and time-consuming, and the wedges require irreversibly compromising the bridge root. Restorations like the one depicted in Figure 735 on page 468 can yield very good results, but raise issues of practicality and profitability. Some would question whether the crushed wood cells could ever provide the same level of performance as a new soundboard. Considering that one can buy a precrowned soundboard, installing a new soundboard may be less risky and less time-consuming than repairing it. 400 Thanks

to Fred Sturm, RPT, for this insight.

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Rep a ir in g v s . Re pl acin g t h e Soun d board Many cracked soundboards perform well and have many more years of service in them. The question is how many? Some technicians believe that a concert grand is at its peak around its fifth year, and should be removed from concert service after 10 years. Yet some 30-, 40-, and even 50-year-old concert grands, maintained in top condition and rebuilt as needed, are routinely chosen by discerning pianists, and are rented to concert venues and recording studios. Even some 100-year-old soundboards sound lively and musical, and have plenty of sustain. Of course, many don’t. Perhaps the determining factor is the extent to which the soundboard was subjected to compression set during its life. String instruments such as violins and cellos, which aren’t subject to significant compression set, don’t seem to deteriorate with age. The fact that 300-year-old violins are in high demand, and are played in concerts and on recordings by most discerning violinists (a 1697 Stradivarius violin known as “The Molitor” was sold for $3,600,000 in 2010a),

must be proof that a moderately loaded spruce board doesn’t deteriorate and can perform for well over 100 years. That may not be applicable to many, perhaps even most pianos, but may explain why some pianos perform so well tonally despite their age. For most rebuilders, the decision to repair or replace is based on practicality and cost. If you are not set up to replace a soundboard, repairs will be the more appealing option. Yet for someone who has mastered replacement, the risks involved in keeping the old soundboard, in terms of both its ultimate sound quality and the amount of effort needed to repair it, are simply too great. The other constraining factor is cost. In the market in which a new Asian grand piano can be purchased for less than the cost of a serious rebuilding, only the best pianos warrant the added cost of replacement. a http://www.answers.com/topic/antonio-stradivari#

cite_ref-28.

Figure 714 This piece of orange peel demonstrates how the soundboard distorts under the downbearing force of strings: the middle caves in, but the ends pull away from the rim (see arrows).

An overloaded soundboard tends to become distorted with time (Figure 714), and can have zero or negative crown and downbearing. Such a board should be replaced. The soundboard also should be replaced when the piano has been in a fire or a flood, damaged by woodboring insects, deeply gouged, or damaged otherwise. If you’re not equipped to replace the soundboard, you will have to ship the piano, which entails risks with which the owner must be comfortable. If you’re considering replacing a soundboard on your own, I suggest watching the video Installation of the Grand Pre-crowned Soundboard by Pianos Bolduc,401 attending a soundboard-installation class at a PTG conference, and reading all piano-design–related books in the “Selected Bibliography” on page 509. Search the Piano Technicians Journal archives, and online forums, such as pianotech at my.ptg.org, for pertinent topics.

soundboard and/or due to inadequate stiffness of the belly rail. Typically, this affects pianos that don’t have a beam on the treble side of the belly rail.

Treble Tone Resonator One approach is to stiffen the belly rail with a device, such as Robert Grijalva’s Treble Tone Resonator, available from Pianotek (Figure 717). The device pulls in the belly rail, stiffening it and adding some compression to the soundboard.402

Riblets Darrell Fandrich addresses this problem with his “riblets”—small wooden ribs installed between the main ribs. The riblets increase the stiffness of the board and improve sustain.403

Improving the Melody Octave Many pianos suffer from poor sustain in the melody octave due to the loss of compression in that area of the 401 Available

from Pianotek.

402 See

Robert Grijalva, RPT, “Introduction to the Treble Resonator.”

403 See Barbara Richmond, RPT, et al., “Voicing the Soundboard with

Weights and Riblets”; see also Darrell Fandrich, RPT, “Riblet Update.”

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Preparing the Surface

1 Scrape the old finish from the top surface of the soundboard and the bridges with a smooth, sharp scraper 1–2" [25–50 mm] wide. Be careful not to scratch or gouge the soft wood. 2 Sand the whole board with a belt sander (Figure 737) equipped with a coarse belt (60- to 80-grit), then sand by hand with 60-grit sandpaper supported by a hard, flat block. Sand along the grain, and without digging into the board with the edges of the belt or paper. Sand the board and bridges by hand with increasingly finer sandpaper (100-, 150-, 220-grit) backed by a semihard block. Brush and vacuum the board and bridges after each grade thoroughly. Hold the opening of a nozzle with a closed palm of your hand and move the nozzle around the board by sliding the hand on it. This way, you create stronger suction and feel the grit on the board.

Figure 737 Sanding the soundboard with a belt sander.

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board with it. This will pull the dust from the pores of the wood. Let the board dry.

Concealing the Shims Regardless of how well you sand the soundboard, traces of old finish in the pores of the wood will make it darker than the new wood. This makes spruce shims much lighter (Figure 738), even when cut from an old soundboard. The difference is accentuated by the finish—don’t base your judgment on the appearance of an unfinished board. If you want the repairs to be less conspicuous, you have two choices: darken the shims, or lighten the color of the entire soundboard. Shims can be darkened using a diluted wood stain compatible with your top-coating finish. Considerable experimentation may be necessary because the color of the board changes when a finish, even a “water white” finish, is applied to it. Even the number of coats you apply affects the final hue. You can apply the stain with an artist’s brush but you risk staining the board. Some technicians use an air brush.411 Experiment with spare shims and in areas of the soundboard that will be covered by the plate. The latter option, to lighten the color of the entire board, is not recommended because bleaches introduce moisture, which may cause surface cracking, and neutralizing the caustic chemicals in the wood requires even more water. The best solution is to use the least-yellowing finish, such as a “water-white” lacquer or even a spar urethane varnish, which contains UV filters that prevent it from yellowing. A clear sanding sealer or primer will reduce the penetration of the top-coating finish into the wood and keep the wood light colored. A water-based lacquer, which is “water white,” would be a good option, but, because it is thinned with water, it introduces moisture into the board.

Selecting a Finish The following characteristics are desirable for a soundboard finish. • Protection from water vapor: Different finishes have different Moisture Excluding Effectiveness (MEE) values.412 The higher the MEE, the slower the exchange of water vapor between the air and what the finish protects. A slow exchange is desirable because the wood has more time to dimensionally adjust to the change, it is less likely to crack or develop pressure ridges, and is exposed to less stress. Because the compression and crowning of the soundboard change more slowly, the total amount of change also is reduced.413 As a result, tuning holds much better with a high-MEE finish during Figure 738 After the soundboard has been refinished, the shims are lighter than the rest of the wood.

3

Apply finish in a dust-free room. If you’re spraying the finish, cover the case, pinblock, key bed, and legs. Moisten a “tack rag” or microfiber tack sponge with paint thinner (not water), wring it out fully, and thoroughly wipe the

411 See Bill Spurlock, “Router Repair of Soundboard Cracks,” Europiano, Issue 1, 2011, p. 48. 412 MEE is expressed as a percentage of vapor exchange. An MEE of 100% indicates zero vapor exchange. See “Control of Water and Water Vapor” in Wood Handbook, p. 16-13. 413 Ibid., Figure 16-13, p. 16-14. See also Bruce Hoadley, Understanding

Wood, Figure 7.3, p. 135.

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Introduction to Refinishing

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Figure 757 Using temporary tape markers to align the decal.

Figure 759 Cutting away lint caught under a letter.

Figure 758 Pressing down the decal with a rolling pin.

Figure 760 Rosewood-veneered fallboard refinished with a new, modern-style brass decal.

2

4 Clean edges of letters: Look carefully around each letter for any lint or hairs that might be protruding and cut them away (Figure 759). The edges of the letters must be absolutely clean, or you may end up with unsightly pin holes in the finish around the letters.

Measure and mark fallboard with tape to install the decal centered with, and an appropriate distance from the bottom of, the fallboard (Figure 757). A modern Steinway decal should be installed so that the bottoms of the letters are about 3" [75 mm] above the bottom of the fallboard. Carefully remove the backing that exposes the backs of the letters, without removing the letters from the clear sticky sheet on which they were assembled. Hold the sticky sheet so that the letters form a straight line, align the letters above the tape markers you affixed earlier, and press down the sheet.

3 Press letters onto the fallboard with a smooth, straight rolling pin (Figure 758). Press each letter with a small block of wood from edge to edge, to prevent the finish you will later spray from getting under the letters and ruining the job.

5 Spray clear finish (compatible with previous coats) in as many coats as necessary to build it up to a dry thickness426 that equals or exceeds the thickness of the decal (Figure 761). Typically, that means you will need to apply more than 10 coats of lacquer. If unsure, spray the finish on a foil, peel it off after it dries, and measure its thickness with a caliper. 6 Sand surface and satinize or buff: After the finish is fully cured (up to seven days recommended for most conventional finishes), wet-sand the entire surface equally 426 The

thickness of finish after it has cured.

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Appendix A

Troubleshooting

“

The truth knocks on the door and you say, ‘Go away, I'm looking for the truth,’ and so it goes away. —Robert M. Pirsig, author of Zen and the Art of Motorcycle Maintenance

”

Buzzes and Rattles Sympathetic vibrations are often produced by objects in the room, not the piano itself. To locate the source, have an assistant play the affected note while you listen for the exact location. Any hard object that touches another hard object could be making the sound. Common culprits are the china closet, chandeliers, picture frames, and decorative objects, such as plates, jewelry boxes, and figurines— but don’t rule out loose panes of glass in windows, air-conditioning registers, even doorknobs and floor tiles. Of course, the buzz or rattle may come from the piano itself.

being loose and cross-threaded—plug and redrill their screw holes if necessary. The hinge pin itself may buzz. You may be able to tighten the hinge around the pin with a pair of pliers (line the jaws with leather), but if that doesn’t work, remove the pin and coat it with cork grease. In grands, make sure the front lid has soft rubber buttons where it sits on the large lid. Check the lid lock, if present—the key may buzz in it. Is the large lid latch (the big knob on the curved side of the piano) loose? In verticals, the music desk itself sometimes vibrates against the fallboard when closed. In that case, install rubber buttons on the desk. Also check the moderator rail and its spring, if used.

Metallic Sizzling Noises

High-Pitched Metallic Buzz near Keyboard

A metallic noise that accompanies certain notes and gets worse the louder the note is played is usually caused by the agraffes and the V bar. See “Grooved V Bar, Agraffes, Bridge Pins” on page 132

If the piano is equipped with a front lid lock, try depressing its escutcheon (a small metal plate) in the middle of the stretcher. If that stops the noise and the owner doesn’t use the lock, pad the escutcheon plate with cloth or felt, otherwise remove and rebuild it. In pianos with a folding fallboard or a folding front lip (such as modern New York Steinways B and D), the buzzing may come from the fallboard hinges. Repair as explained above.

Short Metallic Rattle During Loud Playing In grands, first check whether there is any debris on the soundboard hidden under the plate. You may be surprised what you find there. Use a piece of wire, a long feeler gauge, or a soundboard steel (a long strip of steel used for cleaning soundboards) to sweep under the plate, under the bridge shelf, and in recesses under the tenor side of the long bridge. Sweep away from the rim, toward an area where you can see and pick up whatever you find. Also check the hinges in the lid prop(s), music desk, and fallboard. If the hinge buzzes when you tap it, tightening down its screws may help. Hinge screws are notorious for

Rattles Rattles are usually caused by loose case parts and lids or by loose soundboard ribs. In grands, a common source of rattles is the contact between the large lid and the rim—if the noise goes away when you insert some soft cloth or felt between the lid and rim, replace the rubber or felt buttons on the lid with softer ones. The front lid also may rattle against the main

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lid, and the lid prop against the plate. Replace or install rubber or felt buttons. A closed music desk or its prop can rattle loudly. Tighten the parts, and install rubber or felt buttons as needed. If the fallboard rattles, replace the felts on end blocks or whatever keeps the fallboard from touching the stretcher. Make sure its hinges are tight and fastened down. If there are screws that go through the plate into the stretcher, tighten them. In verticals, check all panels, and lubricate their contact points with plain bar soap and/or pad them with felt, if necessary. If all of the above is fine, inspect the soundboard as explained on page 261.

Echo Pianos with duplex scales tend to have a high-pitched ring after you release the keys. This is considered desirable by most pianists, but can be a nuisance if too prominent. In some cases the piano will seem to have an echo, with the ring swelling after the dampers fall back. The ring can be caused by a bad damper, usually in the bass or low tenor, but the partials (aliquotes) are recognizable and are part of the harmonic series of that note. Play all notes of the bass section loudly to eliminate the dampers as the cause of the ring. If the dampers work well, check the stringing braid in the backscale (between the strings behind the bridges). If the braid is missing or damaged in the bass and low tenor sections, weave in a new one there (if you have to work between the bass strings, wear gloves and be careful not to damage the soft copper windings on bass strings). If the echo is still present, continue weaving the braid in between the bridge and rear duplex terminations, from the low tenor up into the middle section. Stop every two to three trichords and test the echo. After you damp the backscale of several unisons this way, you will notice the overall sound of the piano getting duller. Balance that with the need to reduce the echo. If the echo has discernible pitches, pluck the rear duplex segments with a guitar pick, and mute only those strings that produce the offending pitches. Another way to address the echo is to retune the rear duplex in the affected area by tapping the duplex bars toward the bridge. However, you can’t be sure of the outcome and may introduce a new echo. If you decide to try this, be aware that it’s more difficult (or impossible, without damage) to tap duplex bars away from the bridge. Be prepared to retune the piano.

Action Noises This section lists noises commonly generated by the keyboard, action, and backaction.

Creaking and Oinking Grands: If you hear oinking noises when playing, or a creaking or crackling noise when you slowly depress a key, especially at let off (when the hammer is closest to the strings), you need to lubricate the jack, repetition lever, and knuckle. See step 44 on page 156. Verticals: Creaking noises are usually caused by poor lubrication between the jack and the hammer butt leather. As a quick fix, remove the bridle strap from its wire and swing the hammer all the way toward the strings. Rub a soft lead pencil (5B or softer) on the leather. If this doesn’t cure the noise, remove the hammer butt, then brush and lubricate it like the grand knuckle (step 44 on page 156). Hold the jack tripped with one hand as you reinstall the hammer butt with the other, to avoid damaging the butt felt. Reconnect the bridle strap.

Damper Creaks in Verticals When pressing the damper pedal causes a creaking noise, the usual cause is excessive friction between the damper lift rod and damper lever felts. If there is a similar but quieter noise, or a faint squeal or oink, when you play individual notes, it may be generated by damper spoons on damper lever felts, or by underlever springs in underlever notches. To remedy, see steps 35–37 beginning on page 192.

Squealing Squealing noises during playing are usually caused by center pins. Apply a center pin cleaner/lubricant, such as Protek CLP, to the affected pins (page 148), or, if the problem is systemic, replace center pins and bushings throughout (page 244). If the squealing emanates from key bushings, ease and lubricate (page 352) or replace them (page 347). Leather bushings are known to squeak and squeal. Lubricate them with powder lubricant.

Damper Felt Noises The characteristic damper noise is a zing made when the damper falls back to the strings, especially when the key is released slowly (e.g., during expressive legato playing). Following are the conditions that contribute to that and other noises related to damper felts. (Mechanical noises in the damper system are discussed above.) • Hard damper felt and string oxidation on the felt makes damper emit a zing noise on return. This can be very frustrating to the pianist, because the noise seems worst during soft and expressive legato passages. To determine whether the damper felt is the culprit, play the note loudly and release it slowly. If the damper makes a metallic noise, the best solution is to replace it. If that is not an option, try to remedy it as explained in step 19 on page 190. • Dangling tips of trichord wedges: When played loudly, strings will touch the tips of damper felt wedges

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Appendix C

Selected Bibliography

Books, Articles, Videos, Online Resources Allen, Frederick. “Steinway.” American Heritage of Invention and Technology (I & T), Volume 9/Number 2, Fall 1993, p. 34. [ISSN: 0896-7296] American Association of Museums. Code of Ethics for Museums. Available at http://www.aam-us.org/museumresources/ethics/ coe.cfm. American Institute for Conservation. Code of Ethics and Guidelines for Practice. Available by searching “Code of ethics” at http://www.conservation-us.org. American Steel & Wire Co., Editors of. Piano Tone Building. [1919] Vestal, New York: Vestal Press, 1985. [Transcripts of Technicians’ Conferences 1916–1918] Askenfelt, Anders, ed. Five Lectures on the Acoustics of the Piano. Stockholm: Royal Swedish Academy of Music, 1990. Available at http://www.speech.kth.se/music/ 5_lectures/. [Seminal text on piano design] Askill, John. Physics of Musical Sounds. New York: Van Nostrand, 1979. Atkinson, Rick. “Pianomorte.” The New York Times, 9 August 1993, sec. A, p. 10. [Closing of the Bechstein factory] Backus, J. The Acoustical Foundations of Music. New York: Norton, 1969. Bechstein piano case numbers. http://webvoice.blogspot.com/ bechstein/case-number.htm. Badura-Skoda, Eva. “The Anton Walter fortepiano—Mozart’s beloved concert instrument. A response to Michael Latcham.” Early Music, Vol. 28 No. 3, August 2000, pp. 469–473. http://em.oxfordjournals.org/content/XXVIII/3/469.extract.

Badura-Skoda, Eva. “Prolegomena to a History of the Viennese Fortepiano.” Israel Studies in Musicology 2, 1980. Available at http://books.google.com. Baldassin, Rick, RPT. “Formulas for Inharmonicity.” Piano Technicians Journal, July 1988, pp. 16–19. Baldassin, Rick, RPT. “Inharmonicity and Inharmonicity Formulas.” Piano Technicians Journal, December 1988, pp. 18–25. Baldassin, Rick, RPT. On Pitch: The Integration and Equation of Aural and Electronic Tuning Techniques, revised ed. Salt Lake City, UT: Rick Baldassin, 2007. Baldassin, Rick, RPT. “Raising Pitch.” Piano Technicians Journal, June 1989, pp. 24–25. Baldwin. “Downbearing with the Accu-just [sic] System.” Technical Service Note, no date. Currently available from the CAUT library at http://my.ptg.org (search “Accujust”). Barclay, R.L., ed. The Care of Historic Musical Instruments. Ottawa, ON, Canada: Canadian Conservation Institute, 1997. Available at http://cimcim.icom.museum/iht/. Barclay, R.L., ed. Recommendations for the Conservation of Musical Instruments: an Annotated Bibliography. CIMCIM, 1993. Available at http://www.music.ed.ac.uk/euchmi/cimcim/ iwt1.html. Barron, James. Piano: the making of a Steinway concert grand. New York: Times Books, 2006. Bartholomew, Wilmer T. Acoustics of Music. New York: Prentice Hall, 1942. Basalla, George. The Evolution of Technology. Cambridge: Cambridge University Press, 1988. Excerpts available at http://books.google.com. Bavington, Peter. Clavichord Tuning and Maintenance, 2nd ed. London: Keyword Press, 2010. Beethoven, Ludwig van. Klaviersonaten, Band I. Urtext. Munich: G. Henle Verlag, 1980.

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Behm, Chuck. “Small Shop—Big Results: A Field Test of Brushedon Finishes.” Piano Technicians Journal, May 2009, pp. 14–17. Benade, Arthur H. Fundamentals of Musical Acoustics, 2nd ed. New York: Dover, 1990. Berner, A., J. H. van der Meer, G. Thibault, and N. Brommelle. Preservation and Restoration of Musical Instruments: provisional recommendations. London: International Council of Museums, 1967. Biemiller, Lawrence. “Notes From Academe.” The Chronicle of Higher Education, March 9 1994, sec. A, p. 47. [Restoration of historical pianos by Edward Swenson] Bird, Lonnie. “Resawing on the Bandsaw.” Fine Woodworking, January/February 2007, pp. 38–42. Birkett, Stephen. “Static and Dynamic Balancing of a Piano Key.” Available at http://www.fortepianos.com/piano%20action.htm. Bishop, John and Graham Barker. Piano Manual. Sparkford, Yeovil, Somerset, United Kingdom: Haynes Publishing, 2009. [Buying, maintaining, repairing, regulating, and tuning a piano for pianists and piano owners]

Cobble, Thomas, RPT. “A First Look at Steingraeber’s Phoenix Bridge Agraffes.” Piano Technicians Journal, November 2009, pp. 22–23. Cole, Michael. “The Pantalon - and what it tells us.” In Thomas Steiner, ed., Instruments à claviers - expressivité et flexibilité sonore. pp. 63–88. Cole, Michael. The Pianoforte in the Classical Era. Oxford: Clarendon Press, 1998. Cole, Michael. Square Pianos. Website. http://www.squarepianos.com/. Cole, Michael. “The Twelve Apostles? An Inquiry into the Origins of the English Pianoforte.” Early Keyboard Journal, Vol. 18, 2000, pp. 9–52. Campbell, Murray and Clive Greated. The Musician’s Guide to Acoustics. London: J.M. Dent & Sons Ltd., 1987. [Exhaustive survey in theory of sound and acoustics of musical instruments] Canadian Association for Conservation of Cultural Property and the Canadian Association of Professional Conservators. Code of Ethics and Guidance for Practice, 3rd ed. Ottawa, ON, Canada: CAC & CAPC, 2000. Available at http://www.cac-accr.ca/ pdf/ecode.pdf.

Blackham, Donnell E. “The Physics of the Piano.” Scientific American, December 1965. [also available in The Physics of Music, San Francisco: W. H. Freeman and Company, 1978, and in Earle Kent, Musical Acoustics, Stroudsburg, PA: Dowden, Hutchinson & Ross, Inc., 1977.]

Capleton, Brian. Theory and Practice of Piano Tuning. Malvern, United Kingdon: Amarilli Books, 2007.

Bolduc, André and Christian. “Repairing a Bass Bridge Leaving Treble Strings Installed,” Europiano, Issue 3, 2010, pp. 40–50.

Chapin, Miles & Rodica Prato. 88 Keys: The Making of a Steinway Piano. New York: Clarkson Potter, 1997.

Bolduc. See “Pianos Bolduc.”

Chang, Chuan C. Fundamentals of Piano Practice. Self-published, 2009. Available from http://www.pianopractice.org. [Part 2 contains instructions on tuning and minor repairs]

Bowman, Keith, RPT. “Tuning Lever Design & Maintenance.” 3-part series. Piano Technicians Journal, January 2001, pp. 29– 32; February 2001, pp. 16–19; April 2001, pp. 18–23. Boyce, David. David Boyce Piano Services. Website at http://www.davidboyce.co.uk. [Well-illustrated repair and restoration procedures, information on birdcage pianos, rarely encountered designs] Bozarth, George and Stephen Brady, RPT. “Johannes Brahms and His Pianos.” Piano Technicians Journal, July 2000, pp. 42– 55. Brady, Stephen H., RPT. Under the Lid: The Art & Craft of the Concert Piano Technician. Seattle: Byzantium Books, 2008. Brady, Stephen H., RPT. A Piano Technician’s Guide to Field Repairs, 2nd ed. Kansas City: Piano Technicians Guild, 2008. Available for purchase at http://www.ptg.org. Brady, Steve, RPT. “Piano Plate Breakage: A Case Study.” Piano Technicians Journal, November 2000, pp. 26–27. Brekne, Richard, RPT. “Of Touchweight and Ratios or, The Balance of the Action.” Available at http://home.broadpark.no/ ~rbrekne/referhtml/touchweight.html. Bressette-Mills, Jack, RPT. “The Thoughtful Technician, Part 4.” Piano Technicians Journal, September 2002, pp. 32–34.

Christiana, Asa. “Shop Vacuums.” Fine Woodworking, Tools & Shops issue, 2012, pp. 70–74. Clinkscale, Martha Novak. Makers of the Piano 1700 – 1820. Oxford: Oxford University Press, 1993. Available in database form at http://earlypianos.org/. [List of piano makers] “Clothes Moths: Integrated Pest Management in the Home.” Pest Notes. Publication 7435. University of California Division of Agriculture and Natural Resources, December 2000. Available at http://www.ipm.ucdavis.edu/PMG/PESTNOTES/pn7435.html. Closson, Ernest. History of the Piano. 2nd ed. Trans. Delano Ames. London: Paul Elek, 1974. Cohen, H. F. Quantifying Music: The Science of Music and the First Stage of the Scientific Revolution, 1580–1650. Dordrecht, Holland: D. Reidel Publishing Co., 1984. [History of tuning theories and practices] Crawford, Matthew B. Shop Class as Soulcraft: An Inquiry into the Value of Work. New York: The Penguin Press, 2009. Crombie, David. Piano: Evolution, Design and Performance. New York: Barnes & Noble, 2000.

Briggs, G. A. Pianos, Pianists, and Sonics. Idle, U.K.: Wharfedale Wireless Works, 1951.

Cushing Smith, Mary, ed., Jim Ellis, RPT, and James Arledge, RPT. “False Beats,” Q&A Roundtable, Piano Technicians Journal, December 2005, pp. 12-–14.

Bunger [Evans], Richard. The Well-Prepared Piano, 2nd American ed. San Pedro, CA: Litoral Arts Press, 1981. [A guide to “prepared piano”]

Davies, Clair. The Trigger Point Therapy Workbook, 2nd ed. Oakland, CA: New Harbinger Publications, Inc., 2004. [Addressing pain by massaging muscular “trigger points”]

Busby, Jim, RPT and John Dewey. “Aluminum Screw Hole Repairs,” Piano Technicians Journal, September 2007, p. 10.

Davis, Bob, RPT and Dale Erwin, RPT. “Everyday Voicing.” 7-part series. Piano Technicians Journal, May 2003, July to October 2003, December 2003, January 2004.

Cantrell, Norman, RPT. “Of Mice and Men and Pianos: A Look at Hantavirus in Relation to Piano Technicians.” Piano Technicians Journal, May 1997, pp. 22–23.

Dewey, John A. “Steinway Action-Rail Replacement.” Piano Technicians Journal, October 2006, pp. 20–21.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Books, Articles, Videos, Online Resources

Dietz, Franz Rudolf. Das Intonieren von Flügeln/Grand Voicing. Frankfurt, Germany: Das Musikinstrument, 1968. Dietz, Franz Rudolf. Steinway Regulation/Das Regulieren von Flügeln bei Steinway. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-16-4. Dolge, Alfred. Men Who Have Made Piano History. Vestal, New York: The Vestal Press, 1980. Originally published as Pianos and Their Makers, Vol. II. Covina, CA: Covina Publishing Co., 1913.

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Fine, Larry. Acoustic & Digital Piano Buyer. Palm Springs, CA: Brookside Press, published semiannually. Free version is available at http://www.pianobuyer.com. Fine, Larry. The Piano Book, 4th ed. Boston, MA: Brookside Press, 2001. [Consumer guide for buying new and used pianos] Flexner, Bob. Understanding Wood Finishing: How to Select and Apply the Right Finish, 2nd ed. East Petersburg, PA: Fox Chapel Publishing (American Woodworker series), 2010.

Dolge, Alfred. Pianos and Their Makers. Covina, CA: Covina Publishing Co., 1911. Available at http://www.archive.org.

Fostle, D.W. The Steinway Saga: An American Dynasty. New York: Scribner, 1995.

Dornberg, John. “Beyond Perfect Pitch: How Ernst Kochsiek Makes Great Pianists Sound Their Best.” Connoisseur, October 1986, p. 151.

Frisch Walter. Brahms and His World. Princeton, NJ: Princeton University Press, 2009.

Dornfeld, Bruce, RPT. “Replacing Young Chang Growing Action Brackets.” Piano Technicians Journal, August 2009, pp. 26–27. Dresdner, Michael. “Flow Chart Part 3: Sealers and Pore Fillers.” Woodworker’s Journal, June 2008. Available at http:// www.woodworkersjournal.com.

Dubal, David. The Art of the Piano: Its Performers, Literature, and Recordings, 3rd ed. Pompton Plains, NJ: Amadeus Press, 2004. [CD of rare piano recordings included] Dufau, P.A.(Pierre Armand), Paul Emile Benaimé, and M. Tahan. Claude Montal, facteur de pianos (aveugle); sa vie et ses travaux. Paris: Didot Frères, Fils et Cie, 1857. Available at http://digital.lib.uiowa.edu. Duffin, Ross W. How Equal Temperament Ruined Harmony (and Why You Should Care). New York: W.W. Norton, 2007.

Funke, Otto. Das Intonieren von Pianos und Flügeln. Frankfurt, Germany: Das Musikinstrument, 1977. ISBN 3-920112-60-1. [Essay on tone regulating] Funke, Otto. The Piano and How to Care for it. Trans. C.H. Wehlau. Frankfurt, Germany: Das Musikinstrument, 1961. [Practical aspects of piano care and maintenance] Gaines, James R., ed. The Lives of the Piano. New York: Holt, Rinehart & Winston, 1981. [Essays] Galembo, Alexander. “Perception of Musical Instrument by Performer and Listener.” From the 2001 conference Human Supervision and Control in Engineering and Music. Available at http://www.engineeringandmusic.de/individu/galealex/ Galambo-Paper.html.

Eder, Alan, RPT. Non-Traditional Piano Use. Valencia, CA: California Institute of the Arts, 1994. DVD. To order, contact Alan Eder at [email protected].

Galembo, A., Askenfelt, A., Cuddy, L. L., & Russo, F. A. “Perceptual significance of inharmonicity and spectral envelope in the piano bass range.” Acta Acustica, 90, 2004, pp. 528–536. Available from http://digitalcommons.ryerson.ca/cgi/ viewcontent.cgi?article=1005&context=psych.

Ehrlich, Cyril. The Piano, A History, 2nd ed. Oxford: Clarendon Press, 1990. [Contains a list of piano makers since 1851 in Appendix I]

Gallaway, Kent, RPT. “Epoxy Pinblock Consolidation in an Upright Piano: A Report.” Piano Technicians Journal, July 2010, p. 12.

Eigeldinger, Jean-Jacques. “Chopin and Pleyel.” Clavier Companion, May/June 2010, Vol. 2 No. 3. Available at http://www. claviercompanion.com/may-june-2010/chopin-and-pleyel/.

Gazette musicale de Paris. Paris: Gazette musicale de Paris, 1834, 1835. See also “Revue et gazette musicale de Paris.” Available at http://www.archive.org.

Ellis, Jim, RPT. “An Analysis of a Broken Plate.” Piano Technicians Journal, November 2000, pp. 28–32.

Good, Edwin M. Giraffes, Black Dragons, and Other Pianos, 2nd ed. Stanford, CA: Stanford University Press, 2001.

Emerson George F., RPT, Keith Bowman, RPT, Mike Carraher, RPT. Hailun Piano Service Manual. Richland, WA: Hailun USA, 2011. Available at http://www.hailun-pianos.com.

Goold, Madeline. Mr. Langshaw’s Square Piano: The Story of the First Pianos and How They Caused a Cultural Revolution. London: Corvo, 2008.

Engelbrecht, Jüri, Avo Mägi, and Anatoli Stulov. “Grand Piano Manufacturing in Estonia: the Problem of Piano Scaling.” Proc. Estonian Acad. Sci. Engin., 1999, v.5, N.2, pp. 155–167. Available at http://www.cs.ioc.ee/~stulov/Engart.pdf.

Granholm, John, RPT, ed. “Impact Tuning Levers and Ergonomics.” Piano Technicians Journal, January 2008, pp. 10–12. [Interview with Dean Reyburn]

Eschete, Ken, RPT. “Epoxy Consolidation: An Alternative Method for Restoring Piano Pinblocks.” Piano Technicians Journal, April 2009, pp. 22–25. Fandrich, Darrell, RPT. “Riblet Update,” Tips, Tools & Techniques, Piano Technicians Journal, November 2007, pp. 8–9. Fandrich, Delwin, RPT. “Are Soundboards All They’re Cracked Up To Be?” Piano Quarterly, Summer 1992, p. 63. Fandrich, Delwin, RPT. “The Designer’s Notebook: Last Resort Soundboard Repairs.” 4-part series. Piano Technicians Journal, June 2002, pp. 19–22, July 2002, pp. 19–22, August 2002, pp. 18– 21, September 2002, pp. 28–30. Fandrich, Delwin, RPT. “Running out of the Good Stuff.” Piano Technicians Journal, November 2011, pp. 14–18.

Gravagne, Nick, RPT. “Bearing on the Old Soundboard.” Piano Technicians Journal, November 1988, pp. 19–21. Gravagne, Nick, RPT. “Downbearing: An Introduction.” Piano Technicians Journal, February 1988, pp. 23–24. Gravagne, Nick, RPT. “Elements of Quality Soundboard Construction.” Piano Technicians Journal, November 1987, pp. 23–25. Gravagne, Nick, RPT. “How Much Crown Should There Be?” Piano Technicians Journal, April 1987, pp. 23–26. Gravagne, Nick, RPT. “Lowering the Plate: Part One.” Piano Technicians Journal, April 1989, pp. 28–31. Gravagne, Nick, RPT. “Plate Lowering: Part Two.” Piano Technicians Journal, May 1989, pp. 27–30.

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Gravagne, Nick, RPT. Downbearing and Bridge Notching Video. DVD. Available from http://www.gravagne.com. Gravagne, Nick, RPT. Soundboard Installation Video. DVD. Available from http://www.gravagne.com. Grossbach, Jan. “Repairs to Matt Finishes.” Europiano, Issue 2, 2012, pp. 31–37. Grove Music Online. http://www.oxfordmusiconline.com. Grover, David S. The Piano: Its Story From Zither to Grand. New York: Scribner’s Sons, 1978. Grijalva, Robert, RPT. “Introduction to the Treble Resonator.” Piano Technicians Journal, October 2006, pp. 16–18. Hall, Donald E. Musical Acoustics: An Introduction. Belmont, CA: Wadsworth Publishing Co., 1980. [A thorough, well-illustrated textbook] Hansing, Siegfried. The Pianoforte And Its Acoustic Properties. Nabu Press, 2010. ISBN 978-1146325493. [A reprint of an early 20th century classic on piano acoustics] Harding, Rosamond E. M. The Pianoforte: its history traced to the Great Industrial Exhibition, 1851, 2nd ed. Old Woking, England: Gresham Books, 1978. [History of pianoforte to 1851] Harrison, Sidney. Grand Piano. London: Faber and Faber, 1976. [History of pianos, piano makers, and pianists] Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music. (1863) 2nd English translation by Alexander J. Ellis. New York: Dover, 1954. Herzog, H. K., ed. Europe Piano Atlas, 5th ed. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-46-6 [Lists of serial numbers and years of manufacture for most popular brands of pianos]

Honor of H. Wiley Hitchcock. Ann Arbor, MI: The University of Michigan Press, 1990, pp. 132–153. Available from http:// americanhistory.si.edu/steinwaydiary/resources/. Hoover, Cynthia Adams. “The Steinways and Their Pianos in the Nineteenth Century.” Journal of the American Musical Instrument Society, Vol. VII, 1981, pp. 47–89. Available from http://americanhistory.si.edu/steinwaydiary/resources/. Hopfner, Rudolf. Meisterwerke der Sammlung alter Musikinstrumente: Kurzführer durch das Kunsthistorische Museum. Vienna, Austria: Kunsthistorisches Museum Wien, 2010. [CD included] Huber, Alfons, ed. Das österreichische Cembalo: 600 Jahre Cembalobau in Österreich. Tutzing, Germany: Hans Schneider, 2001. Huggins, David, RPT. “Affordable Vertical Touchweight Refinement.” Piano Technicians Journal, June 2012, pp. 28–31. Hughes, David G., RPT. “A Modern Approach to Piano Restoration.” Piano Technicians Journal, October 2012, pp. 18–20. Hunt, Newton J. The Piano Technicians Guide. Dallas, TX: Selfpublished, 1985. Newton Hunt, 3253 Lockmoor, Dallas, TX 75220, USA. Tel: (214) 352-6846. [Estimated times for piano servicing and rebuilding] Instruments pour demain: conservation & restauration des instruments de musique: 9es journees d’etudes de la Section francaise de l’institut international de conservation, Limoges 15–16 juin 2000. Champs-Sur-Marne: SFIIC, 2000. Isacoff, Stuart. A Natural History of the Piano: The Instrument, the Music, the Musicians—from Mozart to Modern Jazz and Everything in Between. New York: Alfred Knopf, 2011. Isacoff, Stuart. Temperament: The Idea That Solved Music’s Greatest Riddle. New York: Alfred Knopf, 2001.

Hickey, Jeffrey T., RPT. “Broken Agraffe Removal with Jim Schmitt, RPT.” A document from a meeting of the Portland Chapter of PTG, August 2012. Search for “Agraffe class” at http://my.ptg.org. Also printed in the Portland Soundboard newsletter.

Johnson, Jim, RPT. “Impact Tuning Hammers.” Q&A. Piano Technicians Journal, January 1996, pp. 12, 14.

Hildebrandt, Dieter. Pianoforte: A Social History of the Piano. London: Hutchinson: 1988.

Johnson, Roland. “Plumbing a Shop for Air.” Fine Woodworking, Tools & Shops issue, 2002, pp. 51–53.

Hipkins, Alfred J. A Description and History of the Pianoforte. London: Novello, 1896. Available from http://www.archive.org.

Jorgensen, Owen. Tuning the Historical Temperaments by Ear. Marquette, MI: The Northern Michigan University Press, 1977.

Hirschkorn, Martin. “Dynamic Model of a Piano Action Mechanisms.” MAS Degree Thesis. University of Waterloo, Ontario, Canada, 2004.

Jorgensen, Owen, RPT. “The Well-tempered Clavier.” 6-part series. Piano Technicians Journal, August 2003 to January, 2004.

Hirschkorn, Martin, John McPhee, and Stephen Birkett. “Dynamic Modelling and Experimental Testing of a Piano Action Mechanism.” ASME Journal of Computational and Nonlinear Dynamics, Vol. 1, 2006, pp. 47–55. Hirschkorn, Martin, Stephen Birkett, and John McPhee. “Kinematic Model of a Piano Action Mechanism.” Proceedings of the 19th Canadian Congress of Applied Mechanics (CANCAM 2003), Calgary, Canada, June 1–6, 2003. Available at http://www.fortepianos.com/piano%20action.htm. Hirt, Franz Josef. Stringed Keyboard Instruments 1440–1880. Boston, MA: Boston Book and Art Shop, 1968. Hoadley, R. Bruce. Understanding Wood: A Craftsman’s Guide to Wood Technology, 2nd ed. Newtown, CT: The Taunton Press, 2000. Hohf, Bob, RPT. “Bechstein Pinblocks: Part III.” Piano Technicians Journal, March 1997, pp. 18–23. Hoover, Cynthia Adams. “The Great Piano War of the 1870s.” From A Celebration of American Music: Words and Music in

Johnson, Roland. “Choosing a Compressor.” Fine Woodworking, July/August 2003, pp. 50–53.

Junghanns, Herbert. Der Piano- und Flügelbau, 7th ed. Frankfurt, Germany: Bochinsky, 1991. Katalog der Sammlung alter Musikinstrumente, 1. Teil: Saitenklaviere. Vienna, Austria: Kunsthistorisches Museum, 1966. Kawai Grand Piano Regulation Manual. Ver. 1.5. Shigeru Kawai Piano Laboratory, Kazuo Goka, supervisor, June 20, 2012. Available from http://www.kawaius-tsd.com/ (click Acoustic Downloads). Kehl, Roy F. and David R. Kirkland. The Official Guide to Steinway Pianos. Milwaukee, WI: Amadeus Press (Hal Leonard Corp.), 2011. Keller, James M. “Bechstein on the Brink.” Piano & Keyboard, November/December 1993, No. 165, p. 15. Kennedy, K. T. Piano Action, Repairs, and Maintenance. London: Kaye & Ward, 1979. Kent, Earle L., ed. Musical Acoustics: Piano and Wind Instruments. Stroudsburg, PA: Dowden, Hutchinson & Ross, Inc., 1977. [A compilation of several excellent papers with editor’s comments]

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Kern, Evan J. Harpsichord: Design and Construction. New York: Van Nostrand Reinhold Co., 1980.

Mattheson, Johann. Vollkommener Capellmeister. Hamburg: Christian Herold, 1739. Available at http://books.google.com.

Kirsten, Shirley. “How Could This Happen to My Piano?” The Piano Quarterly No. 146.

Matthias, Max. Steinway Service Manual. Frankfurt, Germany: Bochinsky, 1990.

Klaus, Sabine. “German Square and Harp-Shaped Pianos with Stossmechanik in American Collections: Distinguishing Characteristics of Regional Types in the Eighteenth and Early Nineteenth Centuries.” Journal of the American Musical Instrument Society, Vol. XXVII, 2001, pp. 120–182.

Maunder, Richard. “Mozart’s Keyboard Instruments.” Early Music, Vol. 20 No. 2, May, 1992, pp. 207–219.

Knize, Perri. Grand Obsession. New York: Scribner, 2008. [Memoir about searching for the original beauty in a new GrotrianSteinweg piano]

McFerrin, W. V. The Piano: Its Acoustics. Boston, MA: Tuners Supply Co., 1972. [Acoustics, mechanics, and mathematics of the piano—vector forces, piano wire, inharmonicity, downbearing of strings, piano scale, and more]

Korty, John, director. Miracle in a Box: a Piano Reborn. DVD. Available from http://www.miracleinabox.com. Koster, John. “Among Mozart’s sprättischen Clavier: a Pandaleon-Clavecin by Frantz Jacob Spath, Regensburg, 1767?” Early Keyboard Journal, Vols. 25/26, 2010, pp. 153–223. Koster, John. “Some Remarks on the Relationship Between Organ and Stringed-Keyboard Instrument Making,” Early Keyboard Journal, Vol. 18, 2000, pp. 95–137. Kottick, Edward L., The Harpsichord Owner’s Guide. Chapel Hill, NC: University of North Carolina Press, 1987. [Harpsichord maintenance and repair] Kunz, Johannes. Bösendorfer: Eine Lebende Legende. Vienna, Austria: Molden Verlag, 2002. Kushner, Michael. “Paternalism and the Skilled Worker: The Rise of Unionism at Steinway & Sons.” MA Thesis, Dept. of History, Columbia University, 1987. Laible, Ulrich. Fachkunde Klavierbau, 3rd ed. Bergkirchen: Edition Bochinsky, 2000. Largo, Key. “The Talk of the Town.” The New Yorker, February 22, 1993, Vol. 41, No. 2, p. 41. [Removing ivory from a 1920 Érard grand to meet the U.S. import regulations.] Laurence, Alastair. Five London Piano Makers: Brinsmead, Challen, Collard, Danemann, Welmar. London: Keyword Press, 2010. ISBN 978-0-9555590-1-3. Lenehan, Michael. “Building Steinway Grand Piano K 2571: The Quality of the Instrument.” The Atlantic Monthly, 1982. Leonard, George. Mastery: The Keys to Long-Term Success and Fulfillment. New York: Dutton, 1991. Levitan, Daniel. The Craft of Piano Tuning. New York: The Soundboard Press, 2011. http://www.soundboardpress.com. Levitan, Dan, RPT. “Cyanoacrylate Angst.” Piano Technicians Journal, August 2003, pp. 30–31.

Maunder, Richard. “Mozart’s Walter fortepiano.” Early Music, Vol. 29 No. 4, November 2001, p. 669. See http://em. oxfordjournals.org/content/XXIX/4/669.extract.

Meyer, Jürgen. Akustik und musikalische Aufführungspraxis. Frankfurt am Main: Verlag das Musikinstrument, 1972. [Acoustics of musical instruments, room acoustics, directional characteristics of sound in musical instruments, includes musical examples] Michel, N. E. Historical Pianos, Harpsichords, and Clavichords. Pico Rivera, CA: Self-published, 1963. [Photos of keyboard instruments] Michel, N. E. Old Pianos. Rivera, CA: Self-published, 1954. Miller, Franklin, Jr. “A Proposed Loading of Piano Strings for Improved Tone.” The Journal of the Acoustical Society of America, Vol. 21, No. 4, July 1949, pp. 318–322. Available from http://asadl.org/jasa/. Mohr, Franz. My Life with the Great Pianists. Grand Rapids, MI: Baker Book House, 1992. Montal, Claude. L’Art d’accorder soi-mème son piano: d’après une méthode sure, simple et facile, déduite des principes exacts de l’acoustique et de l’harmonie, 3rd ed. Paris: Published by author, 1865. http://www.archive.org/details/ lartdaccordersoi00mont. Montal, Claude. L’Art d’accorder soi-mème son piano: d’après une méthode sure, simple et facile, déduite des principes exacts de l’acoustique et de l’harmonie, 1st ed. Paris: J. Meissonnier, 1836. http://books.google.com. Montanari Giuliana. “Bartolomeo Cristofori: A List and Historical Survey of His Instruments.” Early Music XIX, p. 383. Music Trade Review: Music Industry Magazine. http://mtr.arcade-museum.com/. Musselwhite, James. The Art of Compromise: Aural Piano Tuning. Self-published, 2004. Available for purchase at https://www.createspace.com/3759944.

Levitan, Daniel. The Levitan Professional Tuning Lever. Video. http://vimeo.com/37869859.

Nelson, Trevor, RPT. “The State of Piano Manufacturing and Piano Technology in Japan.” Piano Technicians Journal, January 2012, pp. 22–25.

Lieberman, Richard K. Steinway & Sons. New Haven, CT: Yale University Press, 1995.

Neuhaus, Heinrich. The Art of Piano Playing. Trans. K.A. Leibovitch. London: Barrie & Jenkins, 1973.

Libin, Laurence. Keyboard Instruments. New York: The Metropolitan Museum of Art. [Survey of keyboard instruments in the Metropolitan Museum of Art]

Neupert, Hanns. Harpsichord Manual. Kassel, Germany: Bärenreiter, 1960.

Loesser, Arthur. Men, Women, and Pianos: A Social History. New York: Simon & Schuster, 1954; London: Victor Gollancz, 1955. Magne, Daniel. Guide pratique du piano pour l’amateur et le professionnel. Paris: Éditions Francis van de Velde, 1978. ISBN 2-86299-001-9. Marpurg, Friedrich Wilhelm. Kritische Briefe über die Tonkunst. 3 vols. Berlin, 1760–64.

NSWC Carderock Division, Curator of Navy Ship Models. “Lead Corrosion in Exhibition Ship Models.” Available at http://www.navsea.navy.mil/nswc/carderock/pub/cnsm/lead/ lead_01.aspx.

Oey, Mary. “Some problems in musical instrument conservation in museum collections.” Paper presented at the Association of North American Graduate Programs in Conservation (ANAGPIC) 2006 Conference. Available at http://www.ischool. utexas.edu/~anagpic/2006doc/2006ANAGPIC_Oey.doc.

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Oorebeek, André. The Voice of the Piano. Nanaimo, BC, Canada: Crescendo Publications, 2009. http://www. thevoiceofthepiano.com. [Voicing. DVD included.] Palmieri, Robert, ed. Encyclopedia of Keyboard Instruments: the Piano, 2nd ed. New York: Routledge, 2003. Pfeiffer, Walter. The Piano Hammer. Trans. Jim Engelhardt. Frankfurt-am-Main, Germany: Das Musikinstrument, 1978. ISBN 3-920112-61-X. Pfeiffer, Walter. The Piano Key and Whippen. Trans. Jim Engelhardt. Frankfurt-am-Main, Germany: Das Musikinstrument, 1967. Phillips, Ruth. “Finish Touch-up and Repair.” 4-part series. Piano Technicians Journal, January 2003, pp. 20–24 (part 1: polyester repair); February 2003, pp 24–29 (part 2: polyester repair, continued); March 2003, pp. 28–29 (part 3: “Business Aspects of Finishing & Repair”); May 2003, pp. 20–24 (part 4: “Lacquer Touch-up”). Piano Technicians Guild. Guidelines for Effective Institutional Piano Maintenance, 2nd ed. Kansas City, KS: Piano Technicians Guild, 2004. Available at http://www.ptg.org. Pianos Bolduc. Bridge Cap Replacement (Without Removing the Plate), 2010. DVD. Available from www.pianobolduc.com and Pianotek.

Ratcliffe, Ronald. Steinway. San Francisco, CA: Chronicle Books, 1989. Ramon, Alba and Asami Inouye. “Piano Tone Color and Touch: A Controversy Compromised.” The Piano Quarterly, Fall 1979, p. 36. Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. 2nd ed. Vestal, New York: The Vestal Press, 1993. “Recreating the Famed Mason & Hamlin Piano.” Music Trades Magazine, October 1990. Reprint available from Mason & Hamlin, 35 Duncan Street, Haverhill, MA 01830. Reibeholz, Lutz. Das Regulieren von Steinway & Sons Klaviermechaniken and deren Reparatur. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-81-4. Restle, Konstantin. Faszination Klavier: 300 Jahre Pianofortebau in Deutschland. München, London, New York: Prestel, 2005. ISBN 3-7913-2308-3. Revenko-Jones, Paul, RPT. “The Mysterious Agraffe.” Piano Technicians Journal, February 2005, pp. 18–21; March 2005, pp. 18– 21. Revue et gazette musicale de Paris. Paris: Gazette musicale de Paris, 1835–1880. See also “Gazette musicale de Paris.” Available at http://www.archive.org.

Pianos Bolduc. Full-fit Grand Pinblock Replacement, 2010. DVD. Available from www.pianobolduc.com and Pianotek.

Richmond, Barbara, RPT, et al. “Voicing the Soundboard with Weights and Riblets.” Piano Technicians Journal, August 2007, pp. 26–30.

Pianos Bolduc. Installation of the Grand Pre-Crowned Soundboard, 2010. 2 DVDs. Available from www.pianobolduc.com and Pianotek.

Roberts, Dave. “Calculating Technician.” 20-part series. Piano Technicians Journal, September 1979 to April 1981.

Pierce, Bob. Pierce Piano Atlas. 10th ed. Long Beach, CA: Selfpublished, 1997. Pierce, John R. The Science of Musical Sound. New York: Scientific American Library, 1983. [General acoustics, sound, hearing, theories] Pirsig, Robert M. Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values. New York: William Morrow & Co., 1974.

Roberts, Dave. The Calculating Technician. Kansas City, KS: Piano Technician’s Guild. Roell, Craig H. The Piano in America, 1890–1940. Chapel Hill, NC: The University of North Carolina Press, 1989. Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications. Bloomington, IN: Bloomington University Press, 1988.

Pollens, Stewart. “Beethoven’s Pianos.” Piano Today 1 (Fall, 2006), pp. 7–8; 2 (Winter, 2007), pp. 20–21; 3 (Spring, 2007), pp. 24–25.

Rossi-Rognoni, Gabriele, ed. Restauro e conservazione degli strumenti musicali antiche: la spinetta ovale di Bartolomeo Cristofori. Proceedings of the International Workshop organized by the Department of Musical Instruments of the Galleria dell’ Accademia on October 21, 2002. Florence: Nardini Editore, 2008.

Pollens, Stewart. “Christoph Gottlieb Schröter, Inventor or Fraud?” Early Keyboard Journal, Vol. 18, 2000, pp. 139–153.

Rothstein, Edward. “When the Piano Came of Age: A Sonic Museum.” The New York Times, January 23, 1994, sec. H, p. 25.

Pollens, Stewart. The Early Pianoforte. Cambridge: Cambridge University Press, 1995; second printing 2009.

Rowland, David. A History of Pianoforte Pedalling. Cambridge: Cambridge University Press, 1993.

Pollens, Stewart. “The Pianos of Bartolomeo Cristofori.” Journal of the American Musical Instrument Society, Vol. X, 1984.

Russel, Dan. Acoustics and Vibration Animations. Grad. Prog. Acoustics, The Pennsylvania State University website. http://www.acs.psu.edu/drussell/demos.html.

“Plastic Piano Keys Use Ivory as Model.” The New York Times, June 12, 1993, sec. C, p. 2.

Pollens, Stewart. “The Restoration of a Fortepiano by Conrad Graf, ca. 1838, in the Collection of the Metropolitan Museum of Art.” Actes des Rencontres Internationales Harmoniques, Lausanne, 2008, forthcoming.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians®, 2nd ed. 29 vols. London: Macmillan Publishers Ltd., 2001. See also “Grove Music Online.”

Pollens, Stewart. “The Schumann/Brahms Conrad Graf Piano.” The American Brahms Society Newsletter, Vol. 24, No. 1, Spring, 2006, pp. 1–4. Available at http://brahms.unh.edu/ newsletter/24-1.pdf.

Sadie, Stanley, ed. The New Grove® Dictionary of Musical Instruments. 3 vols. London: Macmillan Press Ltd., 1984. Select articles available in separate books, such as The New Grove Piano. Many articles are available at Grove Music Online.

Powell, Sam, RPT. “Effects of Hammer Bore on Escapement Friction.” Piano Technicians Journal, September 1993, pp. 42–43.

Sadie, Stanley, ed. The New Grove® Piano. New York: W.W. Norton, 1988.

Protzman, Ferdinand. “Keeping in Step in a Free Market.” The New York Times, October 15, 1991, sec. C, p. 1. [Blüthner factory in unified Germany]

Schlosser, Marty. “Cyclone Dust Collection for a Small Shop.” Canadian Woodworking, October/November 2008, pp. 16–19.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Books, Articles, Videos, Online Resources

Scott, Steve. “Dust Collection Demystified: Tips for choosing and configuring a system to fit your needs.” Fine Woodworking, Tools & Shops issue, 2007, pp. 52–57. Seidl, Helmut. Frequenztafeln Cent-Hertz. Frankfurt am Main: Verlag Das Musikinstrument, 1970. [Conversion tables between Hertz and cents] Shead, Herbert, A. The Anatomy of the Piano. Old Woking, Surrey, England: Unwin Brothers Ltd (The Gresham Press), 1978. Shepherd, Stephen A. Hide Glue: Historical & Practical Applications. Salt Lake City, UT: Full Chisel, 2009. Available from http://www.pianofortesupply.com/books/. Shepherd, Stephen A. Shellac, Linseed Oil, & Paint: Traditional 19th Century Woodwork Finishes. Full Chisel, 2011. Available from http://www.pianofortesupply.com/books/. Shull, Bill, RPT. “Restorative Conservation in PIano Rebuilding.” Piano Technicians Journal, September 2012, pp. 18-21. Singer, Aaron. Labor Management Relations at Steinway & Sons 1853–1896. New York: Garland Publishing, Inc., 1986. ISBN 0-8240-8371-7. Smit, Christopher. The Piano Deconstructed. Website. http://www.piano.christophersmit.com/index.html. Smith, Eric. Pianos in Practice. London: Scolar Press, 1978. Snelson, Richard Oliver. “A Double-Safe Engineered Plate Repair.” Piano Technicians Journal, November 2000, pp. 38–40. Spaethling, Robert, ed. Mozart’s Letters, Mozart’s Life. New York: W.W. Norton, 2000. Spurlock, Bill. “Grand Hammers: Boring, Tail Shaping, and Installation.” Available from http://www.spurlocktools.com/id36.htm. Spurlock, Bill. “Router Repair of Soundboard Cracks Using the Spurlock Specialty Tools.” Europiano, Issue 1, 2011, pp. 44–48. Spurlock, Bill. “Using the Renner Bushing Cloth.” Available at http://www.rennerusa.com/PDF/flange-bushing.pdf. Stanwood, David, RPT. “Hammer Felt Close-ups.” Piano Technicians Journal, May 1996, pp. 30–31. Stanwood, David, RPT. “Looking at Grand Pianos Through the Eyes of the New Touchweight Metrology.” Vineyard Haven, MA: Stanwood Piano Innovations, 2000. Available at http://www.stanwoodpiano.com/PTGMarch00.pdf.

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Stanwood, David, RPT. “Mastering Friction with the Balance Weight System.” Piano Technicians Journal, November 1990, pp. 16–18. Also available at http://www.stanwoodpiano.com/ BWsys.pdf.

Taylor, S. K., ed. The Musician’s Piano Atlas. Macclesfield, England: Omicron, 1981.

Stanwood, David, RPT. “The New Touchweight Metrology.” Piano Technicians Journal, June 1996, pp. 16–18. Also available at http://www.stanwoodpiano.com/ptgjune96.htm.

Todd, Larry R., ed. Nineteenth-Century Piano Music, 2nd ed. New York: Routledge, 2004.

Stanwood, David, RPT. “The New Touchweight Metrology as an Analogy of the Grand Piano Action to a Catapult.” Vineyard Haven, MA: Stanwood Piano Innovations, 2002. Available at http://www.stanwoodpiano.com/seesaw.pdf. Stanwood, David, RPT. “Standard Protocols of the New Touchweight Metrology.” Piano Technicians Journal, February 2000, pp. 20–23. Also available at http://www.stanwoodpiano.com/ NTM.pdf. Steiner, Thomas, ed. Cordes et claviers au temps de Mozart, Bowed and Keyboard Instruments in the Age of Mozart. Bern, Switzerland: Peter Lang, 2010. ISBN 978-3-0343-0396-5. Excerpts available at http://books.google.com. Steiner, Thomas, ed. Instruments à claviers - expressivité et flexibilité sonore: Actes des Rencontres Internationales harmo-

Tittle, Martin. “Amplifying the Kenzoid: Part 3—Voicing.” The Piano Quarterly, Summer 1979, p. 42.

Travis, John W. A Guide to Restringing, 2nd ed. Takoma Park, MD: Self-published, 1982. Available for purchase at http://www.ptg.org. Travis, John. Let’s Tune Up. Self-published, 1968. Wakin, Daniel J. “For More Pianos, Last Note Is Thud in the Dump.” The New York Times, July 29, 2012. Wald, Matthew. “A Changing Steinway Stirs Alarm.” The New York Times, March 28, 1991, sec. C, p. 1. Watson, John R. Artifacts in Use: The Paradox of Restoration and the Conservation of Organs. Richmond, VA: OHS Press, 2010. Weitzmann, Karl Friedrich. A History of Pianoforte-Playing and Pianoforte-Literature. New York: G. Schirmer, 1897. Available at http://books.google.com. Wessell, Nickel & Gross. “Adjustable Plate System Instructions.”

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White, William B. Piano Tuning and Allied Arts, 5th ed. Boston, MA: Tuners Supply Co., 1950.

The Galpin Society Journal

White, William B. Theory and Practice of Piano Construction. New York: Dover, 1975. [Originally published as Theory and Practice of Pianoforte Building. New York: E.L. Bill, publisher, 1906] ISBN 0-486231-39-9.

[History of musical instruments]

The William Steinway Diary, 1861–1896. Smithsonian website. http://americanhistory.si.edu/steinwaydiary.

Journal of the American Musical Instrument Society

Wythe, Deborah. “Conrad Graf, 1782–1851: Imperial Royal Court fortepiano maker in Vienna.” Ph. D. Thesis, New York University, 1990.

Keyboard Perspectives

Wood, Alexander. The Physics of Music, 7th ed. Westport, CT: Greenwood Press, Publishers, 1980 [7th ed originally published by Chapman and Hall, Ltd. in 1975] [Theory]

http://www.galpinsociety.org/journal.htm

International Piano Magazine http://www.rhinegold.co.uk/magazines/international_piano/

Also available via amazon.com. http://www.amis.org/publications/journal

http://westfield.org/publications/kp4/

[A periodical by Westfield Center, dedicated to performance practice and keyboard instrument building in historical styles] Piano Technicians Journal http://www.ptg.org/journal.php

Wood Handbook: Wood as an Engineering Material. Madison, WI: U.S. Department of Agriculture, Forest Service, Forest Products Laboratory, 2010. http://www.fpl.fs.fed.us/documnts/ fplgtr/fpl_gtr190.pdf.

Archives in digital format are available for purchase from the Piano Technicians Guild

Yeager, Michael. “A Letter to the Editor.” Museum of the American Piano Newsletter, 211 West 58th Street, New York, NY 10019, October–December 1991, p. 7. [Response to an article regarding warranty policies on Steinway soundboards with cracks and pressure ridges.]

WoodMagazine.com

Young, R.W. “Inharmonicity of Piano Strings.” Acoustica 4, 1954, p. 259. Young, Robert W. “Inharmonicity of Plain Wire Piano Strings.” The Journal of the Acoustical Society of America, Vol. 24 No. 3, May 1952, pp. 267–273. Available from http://asadl.org/jasa/. Young, Wilford, RPT. “Welding Cracked Plates: A Proven Method.” Piano Technicians Journal, November, 2000, pp. 34– 36.

Journals Early Keyboard Journal http://www.ekjournal.org

[Topics related to keyboard instruments until about 1850]

Popular Woodworking Magazine http://www.popularwoodworking.com

http://www.woodmagazine.com

Woodworkers Journal http://www.woodworkersjournal.com

Online Groups and Forums Note: The following are several popular user groups and forums dedicated to piano technology. Search the web to get an up-todate list. CAUT at PTG. “College And University Technicians forum. Accessible through http://my.ptg.org. Piano rebuilders on LinkedIn®. http://www.linkedin.com/groups? gid=2365009&trk=hb_side_g. Pianotech at PTG. Accessible through http://my.ptg.org. Pianotech on Google Groups. http://groups.google.com/group/ pianotech.

Europiano Magazine

Piano Tuners & Technicians on LinkedIn. http://www.linkedin. com/groups?gid=1592467&trk=hb_side_g.

http://www.ppvmedien.de

Piano World. http://www.pianoworld.com.

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Appendix B

Glossary

abrasives. Various materials used for the removal of material, shaping, smoothing, cleaning, buffing, or lubricating. absolute humidity. Amount of moisture in the air. abstract. Also known as “sticker,” an abstract (or Abstrakt) is a link, usually made of hardwood, between the key and the wippen in antique and early modern push actions (Stossmechanik). Abstracts were replaced by key capstans in modern pianos. From a servicing perspective, abstracts are a nuisance because each must be detached individually before the action can be removed from the keyboard. Abstracts are often attached to “rockers” on keys, which require adjusting two screws on opposing ends with an offset screwdriver, another time-consuming procedure. Also referred to as “prolonge.” See also “push action,” “rocker,” “sticker.” Accelerated Action®. Steinway & Sons replaced traditional flat balance punchings made of cloth or felt with balance rail bearings (half-round wooden dowels covered with cloth, U.S. patent no. 1,826,848, issued in 1931) in all production grands made in New York since mid-1933. That design change, as well as the new placement of key leads (U.S. patent no. 2,031,748, 1936) was aimed at improving repetition. Accu-Tuner®. Albert Sanderson’s advanced electronic tuning device. Made by Inventronics. Acu-Just® hitch pins. Baldwin’s hitch pins that permit adjusting the rear downbearing of strings by altering the distance between the string and the plate at the hitch pin (U.S. patent no. 3,478,635, 1969). action. An assembly of brackets, rails, wippens, let off buttons, shanks, and hammers (and hammer butts in verticals); the mechanism above the keyboard. In a wider sense, the mechanism described above and the keyboard. In verticals, the damper mechanism is part of the action assembly. See also “top stack.” action bracket. Vertical piece of metal or wood that supports action rails and is fastened to the key frame; comprises the “action rack” or “top stack.” Also referred to as “action standard.” action frame. See “action rack.”

action rack. The assembly of grand action brackets and rails. Also referred to as “action frame.” See also “top stack.” action rail. One of the three rails to which the shanks, wippens and let off buttons are fastened. Action rails are made of wood or aluminum; Steinway’s rails are wooden dowels encased in brass tubes. action stack. See “top stack.” action standard. See “action bracket.” adhesive. Glue. adjacent intervals. Same interval advanced chromatically, either ascending or descending. For example, adjacent M3s are C-E, C#-F, D-F#, etc. See also “contiguous intervals.” aftertouch. Measurement of the vertical key travel after hammer let off. See also “blow distance,” “drop,” “let off.” agraffe. Brass device screwed into the piano plate that acts as a front termination for strings’ speaking lengths. Some manufacturers use bridge agraffes instead of bridge pins. Also referred to as “stringing stud.” aliquot. Overtone. See also “harmonic.” amplification. Boosting the sound volume or loudness. amplitude. The amount of deflection of a vibrating body. The greater the amplitude, the greater the volume of sound. angle vise. Vise that permits precisely adjusting the drilling angle. Used for drilling piano hammers. apron. See “bass bridge,” “bass bridge shelf.” attack. Initial stage of piano sound. See also “bloom,” “decay,” “sound envelope,” “sustain.” aural tuning. Tuning “by ear,” without the help of electronic devices. baby grand. Small grand piano, up to ca. 5' 8" [173 cm] long. back. Structural beams in the back of a vertical piano. back rail. Rail in the back of the key frame that supports the ends of keys at rest. Also referred to as “back touch.” Back rail cloth is also referred to as “key rest felt,” “back touch,” “back rail baize.”

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back stop. See “catcher.” back touch. Back rail; back rail cloth. See also “back rail,” “baize.” backaction. An assembly consisting of damper underlevers and underlever tray. Some technicians consider the dampers, damper guide rail, underlever stop rail, and the sostenuto mechanism to be part of the backaction. Also referred to as “damper action.” backcheck. Device that catches the hammer after it rebounds from the strings. In grands, it is attached to the back of the key; in verticals, to the wippen. backscale. Segments of strings behind the bridge. The lowest bass strings typically have a very short backscale in small pianos, constraining the tone by reducing the mobility of the bass bridge and the soundboard in that area. See also “stringing braid.” baize. Cloth, e.g. “back touch baize” (back rail cloth), “hammer rest baize” (shank rest felt), “front rail baize” (front rail cloth punching). balance head. See “catcher.” balance hole. Hole in the center of the key for the balance pin. balance rail. Middle rail of the key frame that acts as a bearing for the keys. Also referred to as “centre rail.” balance rail bearing. Cloth-covered, wooden, half-round dowels in Steinway pianos with the Accelerated Action®. Patented in 1931 (U.S. patent no. 1,826,848) and installed in all grands made in New York since mid-1933. Claimed to reduce resistance to the rocking motion of keys. Also referred to as “halfround dowel.” balance rail glide. See “glide.” balance weight (BW). Average, in grams, of downweight (DW) and upweight (UW), or (DW + UW) ÷ 2. Typically between 30 g and 45 g. See also “downweight (DW),” “upweight (UW),” “standard measurement position (SMP),” “touchweight (TW).” balancier. See “repetition lever.” band saw. Stationary power cutting tool that allows producing straight and curved cuts at different angles. Large band saws are capable of resawing pinblock planks. baseboard. Board on the bottom of the vertical piano that supports the pedals and pedal linkages. Also referred to as “bottom board.” bass bridge. Also referred to as the “offset bridge,” when it is equipped with the bass bridge shelf, the bass bridge links the strings in the bass (lowest) section to the soundboard. bass bridge shelf. Horizontal extension of the bass bridge that permits the transmission of string vibrations closer to the middle of the soundboard without sacrificing the string length. Also referred to as “bridge apron.” bass section. Lowest section in a piano, strung with the wound bass strings. In modern pianos, bass strings cross over the strings in the tenor section. See also “over-stringing.” bass string. String wrapped with a winding of copper or other metal, used in the bass section and in the lowest notes of the tenor section. The winding slows down the string’s rate of vibration without reducing its tension. See also “whipped bass string.” bat pin. Front key pin. See “key pin.” beam. One of several structural supports comprising the piano’s frame (in grands) or back (in verticals). The purpose of the beams is to strengthen and stiffen the rim and to aid the metal plate in resisting the tension of strings. Also referred to as “bracing.” Alternate meaning: “rail,” e.g., “hammer rest beam.”

bearing points (of strings). See “string bearings.” beats. Audible, pulsating changes in sound volume caused by two or more strings tuned so that their coincident partials have slightly different frequencies. Beats are discernible and countable only in consonant intervals. See also “consonant intervals.” becket. The bend in the string at the hole in the tuning pin. The term is also used for the portion of the string inside the tuning pin hole. bell. Cast-iron piece attached to the inside of the rim on the bentside in longer Steinway & Sons grands. Attached to the plate in the treble section with a bolt, the Steinway bell increases the rigidity of the plate in that section, thus improving sustain and sound volume. belly. See “soundboard.” belly bar. See “soundboard rib.” belly rail. Assembly of beams/boards behind the action and dampers in grands to which the front of the soundboard is attached. Also referred to as “cross block.” bellymen felt. Felt used to fill the gap between the plate and the stretcher. belt sander. Power tool used to sand wooden surfaces and bridge pins. Belt sanders are available as fixed or handheld tools. bench regulating. Regulating the keyboard and action on a workbench. bentside. The curved part of the case in the grand piano. See also “cheek,” “spine,” “tail.” bichord. Two strings tuned to the same pitch. See also “trichord.” Billings flange. A brass flange found in some vertical pianos. bird cage action. Action in vertical pianos with damper linkages (stickers) in front of the action. The dampers “cage in” the action and make servicing more difficult. Also referred to as “overdamper action.” bird’s eye. Circular protrusion around the center pin hole in action parts; for example, in the grand shank flange. The bird’s eye prevents the “fork” part with bushings (the shank) from sliding left-right, along the center pin. Being doughnut shaped, it introduces minimal rotational friction between the parts. black key. Key with a black-colored covering usually made of ebony or molded plastic. Black keys are C#, D#, F#, G#, and A#. The whole key or its covering is also referred to as “sharp.” bleaching wood. Procedure that lightens the color and removes color variations of wood by applying to it a hydrogen peroxide or chlorine solution. Not recommended for piano soundboards or veneer because of the caustic effects of the bleach and the surface damage caused by water in bleach solutions. blistering of veneer. Veneer pulling away in patches from the surface to which it is glued. Caused by poor manufacture of veneered parts, poor quality of glue, water damage, or high humidity. bloom. The swelling of sound after the attack and decay stages of the piano’s sound envelope; beginning of the sustain stage. See also “attack,” “decay,” “sound envelope,” “sustain.” blow distance. Distance between the hammers at rest and the strings. See also “aftertouch,” “drop,” “let off.” blushing of lacquer. Whitish spots that develop immediately upon spraying lacquer in high humidity. bobbling. Uncontrolled fast repeating due to the hammer bouncing between the jack and the strings. bolt. A screw with a hexagonal head.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. boring specifications. Set of measurements used to determine the position and angle of shank holes in piano hammers. bottom board. Board on the bottom of the grand lyre; board on the bottom of the vertical piano. See also “lyre,” “baseboard.” bottom door. See “bottom panel.” bottom lever. See “wippen.” bottom panel. In vertical pianos, vertical panel under the key bed. Also referred to as “bottom door.” braces. See “lyre braces.” bracing. See “beam.” bridge. Wooden structure that transmits string vibrations to the soundboard. In modern, over-strung pianos, the long bridge spans the tenor and treble sections. The bass bridge is used for copper-wound bass strings, and in smaller grands and verticals may have a bass bridge shelf or apron. In the context of a grand-piano action, means “repetition lever.” bridge apron. See “bass bridge shelf.” bridge cap. Strip of hardwood glued on top of the bridge root. bridge notch. Indentation in the top of the bridge or bridge cap that creates a precise termination for one or more strings of a unison. bridge pins. Pins that hold the strings in firm contact with the bridges. Usually made of brass-plated steel. bridge root. The bottom part of the bridge, which is glued to the soundboard. The bridge root often has a bridge cap glued onto it. bridle strap. Cloth strap in a vertical piano action that connects the hammer butt with the metal hook on the wippen. The strap speeds up repetition by pulling the hammer butt toward its rest position after staccato strikes. It also prevents the wippen from dropping too far, allowing the jack to jam under the butt felt when the action is removed from the piano. bridle wire. In verticals, a wire mounted on the wippen to which a bridle strap is attached. Also referred to as “tie wire.” brushing finishes. A family of finishing materials that are applied with brushes. buffing compound. Product containing abrasives and lubricants, usually in brick form, used for buffing metal objects, key tops, and finished surfaces. bumping action. Type of piano action in which the front-facing hammer and its shank are attached directly to the key by pivoting in a Kapsel, a fork-like piece attached to the back of the key. The beak of the shank butt “bumps” on the escapement “hook,” causing the hammer to rise. Shortly before the hammer reaches the strings the escapement hook escapes backward, releasing the butt, thus allowing the hammer to drop freely. Also known as Prellmechanik, this type of action was perfected by Johann Andreas Stein, who improved the escapement bar (Prell-Leiste or Prelleiste) by adding individual escapement hooks (Prellzunge) to each key. Raved about by Mozart, this type of action became popular in southern Germany and Austria, and is known today as the “Viennese action.” See also “push action.” burlap. Coarse natural material used for applying conventional lacquer filler to porous wooden surfaces. burning the shank. Heating and twisting the hammer shank to square the hammer. Also referred to as “burning the hammer,” “casting the hammer.” See also “squaring the hammer.” burnishing. A method of “polishing” a porous surface with a smooth metal shank or spatula, or making a powdered lubricant adhere to wood, leather, or felt.

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bushings. Linings in center pin holes, damper guide rails, pedal blocks, key mortises, key buttons, and other parts that rotate or slide; traditionally made of woolen cloth. butt. See “hammer butt.” butterfly spring. A type of repetition spring used by Steinway & Sons and most other piano manufacturers. button. See “key button,” “let off button.” BW. See “balance weight (BW).” CA glue. See “cyanoacrylate glue.” cam. Wooden cams are the traditional means of locking grand-piano legs equipped with pressure plates. Also used to secure the bottom panel in some vertical pianos. cap. See “bridge cap.” capo tasto. Also referred to as “Capo d’astro” or “V bar.” Castiron bar, usually cast with the plate in one piece, that serves as front termination for the strings’ speaking lengths. In most pianos, a capo tasto is used only in the treble sections; agraffes are used in the tenor and bass sections. capstan. Screw that provides an adjustable linkage between piano parts (such as key and wippen) or acts as a stop (e.g., above trapwork levers). Also referred to as “pilot,” “dollie.” capstan boat. Device for testing the effect on action leverage and weight ratio of repositioning a key capstan. See also “capstan.” Carpenter’s Wood Glue. Yellow PVA glue made by Elmers®. See also “yellow wood glue.” carriage. See “repetition lever.” case. Also referred to as “outer rim”; in grands, consists of panels or laminated strips of wood that enclose the piano. cast iron. Material of which a conventional piano plate is made. casting the hammer. See “burning the shank.” catalyzed finishes. Two-component finishes that cure through a chemical reaction between the components. catcher. A part in the vertical action: wooden dowel with a leather-covered wooden block at its end, attached to the hammer butt. The catcher gets “caught” by the backcheck after the hammer rebounds from the string(s). Also called “back stop.” caul. A block used to clamp the key bushings during their replacement; one of two side pieces in a hammer press that push the felt against the hammer molding. celeste pedal/rail. See “moderator pedal/rail.” center pin. Axle in action parts, usually made of copper or silver, plated in some newer pianos. centre. See “center pin.” centre rail. See “balance rail.” See also “punching.” cheek. Flat outer side of the case to the right of the treble section. See also “bentside,” “spine,” “tail.” cheek block. See “end block.” chemical stripper. Chemical used to strip the finish from wooden or metal surfaces. Usually contains acids and solvents. The thicker the stripper, the easier it is to work with it, especially on vertical surfaces. chipping the strings. A tuning method after installing new strings. chisel. Cutting tool for shaping wood. chromatic scale. Scale of 12 adjacent semitones within an octave, the basis of the modern Western musical tradition. See also “octave.” chrome buffing compound. Fine, white buffing compound, especially suitable for buffing ivory and plastic key tops. circle of fifth/fourths. Method for tuning the temperament.

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clamp. Device used for keeping two or more pieces firmly pressed against each other, typically when gluing them together. cleats. See “leg plates,” “lyre plates.” cold drawing. Method of producing piano strings: a metal rod is forced through multiple dies that cut it into a wire of a certain diameter. column. See “leg.” compound for buffing. See “buffing compound.” compressed action. Action in short vertical pianos with smaller parts. compression set. Permanent shrinking across the grain in a constrained piece of wood subjected to high humidity. Compression-crowned soundboards exposed to excessive humidity develop cracks due to compression set. compressor. Stationary power tool used to provide compressed air for tools and finishing equipment. concert-grand piano. The longest grand, usually longer than 8' [244 cm]. Most modern concert grands are around 9' [273 cm] long. condensation. Moisture turning from vapor into liquid due to the cooling of air saturated with water vapor (relative humidity at 100%). condenser. Radiator on the “warm” side of an air conditioner or dehumidifier in which the coolant condenses from vapor into liquid due to the increase in coolant’s pressure. console vertical. Medium-sized vertical piano, ca. 42–46" [107– 117 cm] high. See also “vertical piano,” “upright piano,” “spinet.” consonance. “Pleasant-sounding” combinations of pitches; consonant intervals; opposite of “dissonance.” consonant intervals. Intervals between the lowest six adjacent partials (including the fundamental, which is counted as the first partial) and their inversions within an octave. See “Consonant and Dissonant Intervals” on page 97; see also “dissonant intervals.” contact adhesives. Usually solvent-based adhesives that provide almost full adhesive strength immediately on joining the glued parts. Also called “contact cement.” contact cement. See “contact adhesives.” contiguous intervals. An interval in which the lower note is the upper note of the previous interval (ascending) or the upper note is the lower note of the previous interval (descending). For example, ascending contiguous M3s are F3-A3, A3-C#4, and C#4-F4. See also “adjacent intervals.” core wire. Steel string in bass strings that provides a core around which the copper coil is wrapped. cornice. See “stretcher.” corrosion. Oxidation of metal. counterbearing. In grands, the raised flange in, or a bar on, the plate between the front speaking-length termination, such as an agraffe or the V bar, and the tuning pin; acts as a string bearing. countersinking. Shaping the top of the hole to get the screw head to be flush with, or below the surface of the rail, board, flange, etc. Performed with a special drill bit. cow bone. Material used for key tops as a substitute for ivory. cradle. See “repetition lever.” Can mean the whole “wippen.” crank. See “tuning hammer.” creepage of glue. Property of adhesives that allows the glued parts to move slowly along the glue joint when exposed to continuous opposing forces.

cross block. See “belly rail.” cross pattern. Pattern for sanding a finished surface (e.g., the piano case or lid) straight and free of ripples. The surface is sanded with increasingly finer grades of sandpaper, each grade used to sand across the previous grade at a right angle. The sandpaper must be supported by a hard or semihard support block, or a semihard sanding block can be used. crossbar. See “strut.” cross-stringing. See “over-stringing.” crown. The curvature of the piano soundboard; the top of the piano hammer. See also “soundboard,” “soundboard rib,” “hammer molding,” “shoulders.” cutoff bar. Stiff bar that immobilizes the soundboard in the corner between the spine and belly rail, thus reducing the soundboard’s vibrating area in order to boost its wave impedance. See also “fish,” “wave impedance.” cyanoacrylate glue. Fast-drying “superglue,” available in viscosities from water-thin to thick gel. Preferred for quick bonding, but also used for tightening tuning pins, let off screws, and other metal-in-wood applications. cycle per second. Unit of measurement used to express the frequency of sound. Equivalent to “Hertz” (Hz). dag. L-shaped piece of wood that keeps the back rail of the grand key frame in contact with the key bed while allowing it to slide sideways when the soft pedal is depressed. There are four or five dags in most grands. damper. Device that prevents the strings from vibrating. damper action. See “backaction.” damper body. In grands, “damper underlever”; in verticals, “damper lever.” damper drop. See “damper underlever top flange.” damper guide rail. A rail with bushed holes mounted on the front edge of the soundboard in grands, under the strings, that determines the position of each damper. Damper wires pass through bushed holes in the guide rail. damper lever. In verticals, spring-loaded wooden lever that carries the damper in the back of the action, and is actuated by a damper spoon. May be used interchangeably with “damper body” and “damper underlever.” damper lift rod. Metal rod that lifts all damper levers in vertical pianos; actuated by the damper pedal via a pedal rod. damper lift spoon. See “damper spoon.” damper lift. Measurement of hammer motion relative to the moment the damper starts lifting. Typically adjusted to coincide with the hammer’s half-blow distance. See also “damper,” “half-blow distance.” damper pedal. Right pedal; lifts dampers away from strings. See also “pedal.” damper spoon. Metal stud with a spoon-shaped end, mounted at the back end of a vertical wippen. Damper spoons actuate damper levers. damper stop rail. Limits the vertical motion of the damper underlevers in grands. Mounted on the belly rail behind the underlevers’ top flanges. damper tail. Bottom of a “damper lever” in verticals. damper tray. Rail, hinged to the damper underlever rail, that lifts damper underlevers; rail to which underlevers are attached, and which lifts underlevers. Also referred to as “damper lever rail.” damper underlever. In grands, lever that links the end of the key to the damper. Mounted on the damper tray. Also referred

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. to as “damper body,” “damper lever.” See also “damper underlever top flange,” “damper tray.” damper underlever top flange. Flange to which the damper wire is attached; part of the damper underlever. Also referred to as “damper drop,” “damper lift,” “standard damper lift.” decal. Manufacturer’s or rebrander’s name plate consisting of letters and symbols, usually affixed to the fallboard and soundboard. Small decals on the plate next to tuning pins indicate string gauges. decay. Used to describe the last phase in the tone envelope of the piano. See also “attack,” “bloom,” “sound envelope,” “sustain.” dehumidifier. Device that removes moisture from air. deicing. Automatically shuts down an air dehumidifier when the evaporator coils freeze. Delignit. German brand of pinblock material made of thin laminations of beech, glued with maleic resin. Diaphragmatic® soundboard. A soundboard thinned toward the edges, patented in 1936 by Steinway & Sons in New York (U.S. patent 2,051,633). dissonance. Combination of pitches perceived as jarring and unpleasant. Opposite of “consonance.” dissonant intervals. Major and minor second, major and minor seventh, and augmented fourth/diminished fifth; those intervals over one or more octaves. See also “consonant intervals.” Distance multiplier (DM). Second value in the lead factor (LF) expression (e.g., “0.65” in “14x0.65”), which indicates the distance of the lead weight from the balance hole as a proportion of the front or back key segment. Positive for the front segment, negative if the lead is in the rear segment. Typically 0.1 to 0.8 and –0.1 to –0.4. DM. See “Distance multiplier (DM).” dollie. See “capstan.” dome. See “glide.” double escapement. Feature of the modern piano action, invented by Sébastien Érard in 1821, that accelerates repetition by allowing a note to be repeated with minimal movement of the key. The first escapement occurs when the repetition lever is stopped by the drop button, the second when the jack is tripped under the knuckle by the let off button. Also referred to as “double repetition.” double string. One string that provides two speaking lengths. The string is coiled on two tuning pins, and bends around a single hitch pin. See also “double string.” downbearing. Amount of downward force that strings exert on the soundboard by being deflected upward by the bridges. downweight (DW). Amount of weight, in grams, placed on the key at the standard measurement position, which is needed to make the key sink slowly from a dip of about 4 mm. Typically between 40 g and 65 g. See also “balance weight (BW),” “upweight (UW),” “standard measurement position (SMP),” “touchweight (TW).” Dremel®. Maker of electric high-speed rotary tools that can be used for engraving, shaping, sanding, cutting, milling, and drilling. drill press. Fixed power tool for precise drilling. drop. Measurement of the downward motion of the hammer in a modern grand action after let off. See also “let off,” “blow distance,” “aftertouch.” dropped action. Action in short, “spinet” vertical pianos; mounted below the level of the keyboard and the key bed.

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duct tape. Adhesive tape used for temporarily binding parts together. duplex scale. Unmuted segments of strings that resonate with the strings’ speaking segments. The front duplex is between the capo tasto or agraffe and the counterbearing, and the rear duplex is the segment between the rear bridge pin and a termination (duplex bar or strip) in front of the hitch pin. The duplex scale was patented by Steinway & Sons in 1872 (U.S. patent 126,848). DW. See “downweight (DW).” dynamic ceiling. The upper limit of a piano’s dynamic range. Usually indicates how loud a piano can sound without harshness and distortion. easing key bushings. Increasing the space between the bushings by compressing the bushings and the wood. See also “key bushing.” elastic limit. Maximum tension a string can withstand without permanently altering its elasticity. electronic tuning. Tuning with help of an electronic tuning device. EMC. See “Equilibrium Moisture Content.” emery cloth. Abrasive cloth used for shaping and sanding metal surfaces. end block. One of two wooden blocks at each end of the keyboard. Also referred to as “cheek block,” “key block.” epoxy. Two-component glue of high strength and minimal creepage. Excellent for both filling and gluing. enharmonic notes. Notes that sound the same and are played by pressing the same key, but have different names; e.g., C-sharp (written as C#) and D-flat (D b). Enharmonic notes are typically associated with black keys, but white keys also have enharmonic equivalents; for example E#=F, and Fb=E. To simplify the naming of black keys, most technicians refer to them by only their “sharp” version, even when the intervals they form are technically incorrect. For example, a major 3rd (M3) up from “C#” is C#-E# (=Db-F), but this interval is always notated as C#-F, which is technically a diminished 4th (d4). Equilibrium Moisture Content (EMC). A measure of the amount of water in a species of wood at a given relative humidity and temperature. EMC represents the balance at which wood no longer gains or loses moisture from/to the air. At 70°F [21°C] white spruce has ca. 5% EMC at 25% RH, 9% EMC at 50% RH, and 14% EMC at 75% RH. escapement. Feature of all but the most primitive piano actions that allows hammers to rebound from strings regardless of the force or type of touch with which the keys are struck. The term refers to the escapement of the jack under the hammer shank knuckle in grands, or the hammer butt in verticals. See also “double escapement.” evaporator. Radiator on the “cold” side of an air conditioner or dehumidifier in which the coolant evaporates due to a drop in pressure. F. See “friction (F).” facing off agraffes. Adjusting the agraffes to be perpendicular to the strings. Falconwood. Pinblock material made of multiple, thin laminations of maple developed by C.A. Geers Piano Company in Ohio. fallboard. Keyboard lid. false beats. Beats produced by a single string that make it sound like two or more unison strings that are out of tune.

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Fandrich, Darrell, RPT. Founder of Fandrich & Sons Pianos in Seattle, WA, and inventor of the patented Fandrich Vertical Action™. Fandrich, Delwin, RPT. Piano designer and rebuilder. Founder of Fandrich Piano Co., Inc. feeler gauge. Strip of steel used to determine the depth and length of cracks or gaps. Used extensively in soundboard rebuilding. felt. Material of varying density and hardness; derived from wool. fibers. See “wood fibers.” file. Hand tool used for removal or shaping of metal, wood, or other materials. filler. Material used for repairing gouges, cracks, and surface imperfections. finish. Material applied to various surfaces to protect and beautify them. fish. Extension of the rim, usually made of hardwood, and affixed inside the rim where the bentside joins the cheek; used to improve sustain in the treble by increasing the stiffness and therefore the wave impedance of the soundboard. See also “cutoff bar,” “wave impedance.” flagpoling. Bending of tuning pins, which adversely affects tuning stability. For a complete explanation, see “Bending and Twisting of Tuning Pins” on page 108. See also “tuning pin.” flange. In action parts, the stationary part to which the movable part is attached. The only exception is the damper underlever top flange, which moves with the underlever. On piano plate, the protruding part in front of the pinblock. See also “plate horn.” Flügel. “grand piano” in German; from Flügel (wing), to describe the piano’s shape. fly. See “jack.” foam wrap. Thin, synthetic material used for wrapping highgloss piano parts. Forstner bit. Drill bit for drilling flat-bottomed holes. This type of bit causes less splintering when it exits the hole of an unsupported work piece. frame. See “plate.” French polish. Hand-rubbed, low-build shellac finish. frequency of sound. Describes the pitch, measured in Hertz (Hz) or cycles per second. friction (F). Half of the difference between downweight (DW) and upweight (UW): (DW – UW) ³ 2. Typically 9–17 g. front rail. Part of the key frame. See also “balance rail,” “key pin,” “punching.” front touch. Front rail punching; key dip. See also “baize,” “punching.” front weight (FW). Total radius weight, in grams, of the front segment of the key, measured at standard measurement position. Front weight is useful for determining the inertia of the key, and for comparing keys that have lead weights in different positions. Typically 30–50 g for key #1. See also “touchweight.” full-fit. Style of attaching the pinblock to the rim and stretcher. Used in Steinway & Sons and other quality grands. fundamental. Primary harmonic or partial; base pitch of a note in a series of harmonics or partials. FW. See “front weight (FW).” gap. Vertical distance between the tip of the jack and the hammer butt in vertical actions. The gap is needed to enable the jack to reposition under the hammer butt.

gel superglue. Thicker type of superglue suitable for gluing more types of surfaces than ordinary superglue. German silver. Material of which traditional action center pins are made: an alloy of copper, nickel, and zinc. Also known as “nickel brass.” gilding. Gold-colored, usually metallic finish on piano plate. glide. Brass stud with a wide, rounded bottom end, mounted in the key frame’s balance rail; allows adjusting the contact between balance rail and key bed. Also referred to as “balance rail glide,” “dome.” grand piano. Piano whose soundboard, plate, and strings are laid horizontally, the strings running in line with the hammers and hammer shanks. graphite. Carbon in powder form, used as a lubricant for felt, leather, wood, and metal. grinder. Machine used for sharpening, cleaning, and shaping metal objects; also useful for buffing. guide notes. Usually, end notes and middle notes in each section of the keyboard and action; used to set the regulation for the rest of the action. guide rail. See “damper guide rail.” half-blow distance. The position of the hammer halfway between its idle position and the strings. This is approximately when the damper should start lifting. See also “damper lift.” half-blow pedal. See “soft pedal.” half-blow rail. In verticals, a rail between the hammer shanks and the shank rest rail that brings the hammers closer to the strings when the half-blow pedal is depressed. In some verticals, the hammer rest rail itself swings forward. See also “shank rest rail.” half-round dowel. See “balance rail bearing.” half top. In grands, the front lid. See also “lid.” hammer. Felt-covered wooden molding mounted on the shank to produce sound by striking the strings. hammer-blow distance. See “blow distance.” hammer butt. The base of the hammer shank in vertical actions. hammer cushion. See “shank rest felt (or cloth).” hammer height. Vertical distance between the top of each hammer (in idle position) and the strings. hammer molding. Wooden strip that forms the core of the piano hammer. Felt is compressed and glued to the wooden hammer molding. See also “crown,” “shoulders.” hammer nose. Tip of the hammer. See “crown.” hammer rail. In grands, a rail, usually of wood or aluminum, to which all hammer shanks are affixed. In verticals, same as “hammer rest rail” or “shank rest rail.” hammer rest felt (or cloth). See “shank rest felt (or cloth).” hammer rest rail. See “shank rest rail.” hammer shank. Wooden shank that carries the hammer at its end. Grand shanks are pivoted in the shank flanges; vertical shanks are installed in the hammer butts. hammer strike weight (SW). Effective weight, in grams, of the hammer and shank. Typically 9.5–14 g for hammer #1. Also referred to as “strike weight.” hammer weight (HW). Weight, in grams, of the hammer head. Typically 8.0–12.5 g for hammer #1. hardener. Chemical that increases the hardness of the hammer felt; usually, a lacquer, lacquer sanding sealer, collodion, or acrylic solution.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. hardening capo tasto V bar. Procedure used in piano-plate manufacturing and rebuilding to increase the rigidity and hardness of the V bar. harmonic. Theoretically ideal overtone. harpsichord. String instrument, a precursor of the grand piano, that utilizes plectra instead of hammers to generate sound; i.e., strings are plucked, not struck. head. Same as “hammer” or “hammer head.” heating lamp. Infrared light bulb used to warm up and dry the soundboard before shimming it; can be used to keep wooden parts warm to extend working time and penetration of hot hide glue. heat-treating capo tasto. See “hardening capo tasto V bar.” heel. See “tail,” “wippen heel,” “jack tender.” Herrburger-Schwander. Style of grand action (wippens and shanks) found in many grand pianos, especially those made in Europe and Asia during the 20th century. Hertz. Unit of measurement for frequency of sound. Expresses the number of vibrations or cycles per second. Herz-Érard action. Simplified and improved form of the Érard’s double-escapement action that is the basis of the modern grand action. First used in pianos by Henry Herz in Paris, and soon adopted by Broadwood, Collard, Steinway, Bechstein, and others. Very similar to the modern Herrburger Schwander action design. hex screw. Has a hexagonal recess in the head; developed for the automobile industry. hexagonal string. Steel string of hexagonal profile. Used for manufacturing universal replacement bass strings whose copper winding can be adjusted in length. Hexagrip pinblock. Method of building the pinblock with laminations that cross each other at a 60° angle instead of the usual 90° angle; patented by Steinway & Sons in New York. hide glue. Traditional adhesive used for gluing wood, cloth, felt, and leather. Hot hide glue is supplied in granules or flakes, diluted in water, and kept warm (at ca. 150°F) in a glue pot throughout the application. Also available in liquid form, ready to use at room temperature. hitch pin. Steel pin in the piano plate to which a string is attached. hopper. See “jack.” horn. See “plate horn.” hot glue. Gummy, thermoplastic glue applied with a special glue gun. Used for low-strength applications, such as gluing the felts to the plate. hot hide glue. See “hide glue.” humidifier. Device that increases the amount of moisture in the air. humidity. Moisture in the air. See also “absolute humidity,” “relative humidity.” HW. See “hammer weight (HW).” hydrogen peroxide. Chemical used for bleaching. Not recommended for soundboards. hygrometer. Device that measures relative humidity. See also “psychometer.” impedance. See “wave impedance.” individual eye. See “string loop.” individually tied strings. Stringing the piano with one string per speaking length. Each string has a loop in its end that ties it to the hitch pin. Used in pianos by Bösendorfer, Grotrian, and others. See also “double string,” “string loop.”

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inertial touch force (ITF). Index established by John Rhodes, RPT and Darrell Fandrich, RPT that represents the force (kinetic energy) needed to overcome inertia of the action and key. Typically between 200 and 300. inharmonicity. A property of a stiff string, which raises the frequency of its partials. interval. The “difference in pitch” between two notes played one after another (melodic interval) or simultaneously (harmonic interval). See also “adjacent intervals,” “contiguous intervals.” ironing hammer felt. One of the final voicing procedures; makes the sound focused and clean. ITF. See “inertial touch force (ITF).” Ivorine. Man-made ivory substitute for white key tops. Superseded by acrylic tops. Ivorite®. Yamaha’s white key top material; mimics ivory’s porousness. ivory. Traditional white key top material derived from elephant tusk. Ivory trade is banned worldwide. jack. Part of the wippen that pushes the hammer shank and its hammer toward the strings, and trips with its front part, also known as “jack tender,” on the let off button. In grands, the jack pushes the shank knuckle; in verticals, the hammer butt. Also referred to as the “fly.” In German, Stosszunge (push tongue). See also “jack tender,” “wippen,” “let off button,” “knuckle,” “hammer butt.” jack heel. See “jack tender.” jack tender. The front part of the jack, which “escapes” as it trips on the let off button. Also referred to as “jack heel.” See also “jack.” jack spring. Spiral spring between the wippen base and jack tender in verticals. jigsaw. Also called saber (or sabre) saw, the jigsaw is a handheld cutting power tool. The maximum cutting width is limited, but the cutting can be performed at an angle or follow an irregularly shaped line. Kapsel. In Viennese and other bumping-style actions, a metal fork fastened to the back of the key, in which the hammer shank pivots. See also “bumping action.” key. Wooden lever that transmits the strikes of the player’s finger to the action and the damper mechanism. key bed. Part of the piano case that supports the keyboard and action. In grands, the pedal lyre is suspended from the key bed. Can also mean “front key punching” or “front baize.” keyboard. A unit consisting of the key frame with key pins, various felts and punchings, and the keys mounted onto it. key bushing caul. See “caul.” key bushing. Felt or leather lining glued to the wall of a mortise in the front of a key, or a mortise in a key button in the middle of a key. Key bushings limit and cushion the key’s sideways motion. See also “easing key bushings.” key button. A strip of wood glued to the middle of the top surface of the key; a hole through it admits the balance pin and is lined with cloth or leather bushings on either side. Also referred to as “key chase.” key carriage. See “rocker.” key chase (key chasing). See “key button.” key dip. Key’s total vertical travel, measured at the front of the key when the key is depressed with moderate force. key end felt. Felt at the end of the grand key that lifts the damper underlever. key frame. Wooden frame that holds the keys.

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key-imbalance weight (KIW). Front weight (FW), in grams, without any leads in the key. Positive if the key tilts forward, otherwise negative. Typically 3–10 g. key keeper. See “key stop rail.” key pin. Metal pin installed in key frame; determines the position of the key and the plane in which it swings. Front key pins typically are oval and balance pins round. Front key pins are also referred to as “bat pins.” key rest felt. Cloth of felt on the back rail. Also referred to as “Back rail cloth.” key shoe. Hardwood strip glued to the middle of the bottom of the key to strengthen the key’s balance hole. key slip. Wooden board in front of the keyboard. Also referred to as “lock rail.” key stop rail. In grands, rail mounted over the front segments of keys to prevent the keys from getting dislocated during a move, and to prevent them from bouncing up too far during loud, staccato playing. Also referred to as “key keeper.” key top. Key covering. key-weight ratio (KR). Ratio between the weight on the front of the key, measured at the standard measurement position, and the weight at the capstan needed to balance the key. Typically 0.45–0.60. kick board. See “bottom panel.” killer octave. See “melody octave.” KIW. See “key-imbalance weight (KIW).” Kluge. German keyboard manufacturer. See also “Tharan®.” knuckle. A cylindrical piece of felt covered with leather, with a wooden core that is glued into a slot on the underside of the grand hammer shank. Being an interface between the jack and the grand hammer shank, the knuckle allows escapement. Also referred to as “roller.” See also “escapement,” “double escapement.” KR. See “key-weight ratio (KR).” lacquer. Quick-drying, spray-on finishing material. laminated. Composed of layers, or laminations. Laminated wooden structures, such as pinblocks and bridges, resist warping and cracking, and are structurally stronger than solid boards. Adjacent wooden laminations are usually arranged so their wood grains run perpendicular to each other. See also “pinblock,” “bridge.” lamp, heating. See “heating lamp.” lead factor (LF). Expression (e.g., “14x0.65”) that shows how much lead (e.g., 14 g) is placed where along the front or rear key segment (e.g., 0.65 of the distance between the balance hole and the key front). leads. Weights used to balance the keys while regulating the keyboard, or permanently installed in keys to balance the weight of the action parts and hammers. lead weight (LW). Weight, in grams, of the lead or group of leads installed in the key. First value in the lead factor (LF) expression, e.g., “14” in “14x0.65.” Typically 12–16 g for large (1/2" ) leads. leg. Supports a grand piano. Some verticals are equipped with legs that support the ends of the key bed. leg plates. A pair of metal plates used to attach legs to a grand piano. The plate on the leg usually has a protruding, wedgeshaped flange that wedges into an inversely shaped opening in the plate mounted on the piano. Also referred to as “lock plates,” “cleats.”

let off. The highest point (closest to the strings) of the hammer travel supported by the jack. Also referred to as “set off.” See also “drop,” “blow distance,” “aftertouch.” let off button. Device for regulating the let off. Also referred to as “set off button.” letter-coded drill bits. System of coding the size of drill bits “between” the ordinary inch-fractional and wire-gauge sizes. level. Property of a finish to spread evenly and create a smooth surface. Slow-drying finishes, such as varnishes and urethanes, level well; fast-drying finishes, such as lacquer, don’t. Finishes that level well on horizontal surfaces tend to run and sag when applied too heavily to vertical surfaces. See also “orange peel.” leveling strings. Adjusting the strings of a unison to be on the horizontal plane at the hammer strike point. lever. See “damper underlever.” Also can mean “wippen.” lever block. See “wippen heel.” LF. See “lead factor (LF).” lid. Panel that covers the top of the piano. In grands, the lid consists of two panels, the front lid and the main lid. The keyboard lid is called the “fallboard.” Also referred to as “top.” lid latch. In grands, the hook and knob in the bentside that latch the lid to the case. Also referred to as “turnbuckle.” lid prop. Lid-supporting rod attached to the inside of the case in grand pianos. Most grands have two props: a regular one, and a shorter one to be used in chamber music and piano accompaniment. Vertical lid props are usually very short. Also referred to as “prop stick.” lid prop cup. In grands, a wooden or metal piece on the underside of the large lid that receives the end of the lid prop. Also referred to as “prop stick boss.” lifter rod. Wooden linkage between the key capstan or rocker and the wippen in tall uprights. See also “sticker.” lifting. See “damper lift.” limit, elastic. See “elastic limit.” linesman pliers. “Universal” pliers that can be used for grasping objects as well as cutting them. linkage of pedals. See “trapwork.” listing. See “stringing braid.” lock bar. In grands, rail on the front lid; in verticals sometimes used for “key slip.” Also referred to as “lock rail.” lock board. In grands, “stretcher” or “lock bar”; in verticals, “key slip.” lock plates. See “leg plates,” “lyre plates.” lock rail. See “lock bar.” lock washer. A metal washer that prevents the screw or bolt from loosening by introducing a spring action between the screw’s head and the surface. Lock washers can be split or bent. long bridge. Piano bridge that connects the strings to the soundboard and spans the treble and middle sections. loop. See “string loop.” lubricant. Material that decreases friction between parts that make contact. Lubricants not only free the mechanism, but reduce its wear. LW. See “lead weight (LW).” lyre. In grand pianos, houses the pedals, and is hung from the key bed. lyre braces. Wooden or metal struts between the back of the lyre and key bed, used for countering foot pressure on the pedals. Also referred to as “lyre stays.”

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. lyre plates. A pair of cast-iron plates used for attaching the lyre to the grand piano. The plate on the lyre usually has a protruding, wedge-shaped flange that wedges into an inversely shaped opening in the plate mounted to the underside of the key bed. Also referred to as “lock plates,” “cleats.” lyre stays. See “lyre braces.” marker. See “paint marker.” masking tape. Opaque, whitish adhesive tape used for covering and protecting a piano’s parts and case during painting. Useful for temporarily marking parts, string gauge numbers, soundboard separations and cracks, etc. Material Safety Data Sheet (MSDS). Document describing a substance’s composition, physical properties, toxicity, health effects, first aid, and other information. Available directly from manufacturers of chemical products or through various online resources. A comprehensive list can be found at http://www.ilpi.com/msds/. mating hammers to strings. Adjusting the shape of the hammer crown to simultaneously strike all strings in a unison. MEE. See “Moisture Excluding Effectiveness (MEE).” melody octave. A range within the lower treble section, approximately from C5 to E6, where melodies are often presented in romantic music, but that often has weak volume and sustain. metal shoe. See “shoe.” Mirror Glaze®. Line of finish-buffing products made by Meguiar’s. missing note. A condition in which the hammer jams and doesn’t strike the strings when a note is played; usually happens when the note is quickly repeated, or played loudly after the key has been slowly released. moderator pedal/rail. Mechanism in some vertical and, less commonly, grand pianos that mutes the sound by inserting a felt or cloth between the hammers and strings. The moderator is operated either by a hand-operated lever or the middle pedal. Also referred to as “practice,” “celeste,” or “muffler” pedal/rail. See also “pedal.” Moisture Excluding Effectiveness (MEE). A measure of a finish’s ability to slow the exchange of water vapor between the coated piece and the surrounding air, expressed as a percentage of total effectiveness for a particular species of wood. A finish with an MEE of 100% would completely seal the coated piece and prevent any exchange of water vapor. MEE increases with the number of coats applied. molding. See “hammer molding.” monkey. See “sostenuto monkey.” Moto-Tool. See “Dremel®.” muffler rail. See “moderator pedal/rail.” music rack (music desk). Stand for sheet music. muslin. Material for soft buffing wheels. mute. A device for muting strings during tuning. Felt or rubber wedges are used in grands; Papps mute, rubber mutes with a handle, and leather-covered wooden mutes in verticals. See also “temperament strip.” mutton tallow. Sheep grease; used as a lubricant. nap. Orientation of “grain” that makes leather smooth in one direction and rough in the other. needling hammers. Voicing procedure to soften and/or increase the resilience of the hammer felt. nippers. Wire-cutting pliers. noise. Sound of no detectable pitch; comprising a continuously varying spectrum of frequencies. nose. See “plate horn.”

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nose. Tip of the hammer. See “crown.” nose bolt. Device that supports the plate or its struts. Also referred to as “pillar bolt.” nose bolt nut. Nut, often decorative, that attaches the plate or plate strut to a nose bolt. Also referred to as “rose.” notching. See “bridge notching.” oblong tuning pins. Tuning pins in old pianos and harpsichords with a flattened top end instead of the modern square tip. Octagrip pinblock. Multi-laminated pinblock material made by Northwest Piano Builders. The wood grains of the laminations run at 45° to each other. octave. An interval in which the first partial of the upper note is at the same frequency as the second partial of the lower note. This frequency is approximately twice that of the first partial of the lower note. See also “chromatic scale.” octave register. Any 12 adjacent chromatic notes bound by an octave. Octave registers are usually expressed as 12-note ranges that ascend from any note C. In an electronic tuning device, the octave register must be defined to increase the accuracy of the device’s measurements. octave tuning. Tuning of octaves after setting the temperament in the middle section of the piano. octaves, stretched. See “stretched octaves.” offset bridge. Bass bridge with a shelf or apron. See also “bass bridge.” open-face pinblock. Pinblock in older pianos and several brands of modern pianos that is not covered by the plate. orange peel. Effect evident on finished surfaces, especially those sprayed with a fast-drying finish such as lacquer. Orange peel afflicts finishes that don’t level well. See also “level.” orbital sander. Power sander that moves the sanding element in a circular pattern. Not recommended for sanding wood, for which only straight-line or belt sanders should be used. outer rim. See “case.” oval pin. See “key pin.” over-centering of hammers. Condition caused by the hammer’s length, from shank to tip, being shorter than the vertical distance between the strings at strike point and the hammer shank’s center pin. Over-centering is a consequence of the hammers wearing out or being incorrectly drilled. overdamping action. Vertical action in which the damper mechanism is above the action, not behind it, as in Wornum’s tapecheck action. Also called “bird cage action.” over-stringing. The bass strings cross over the strings in the tenor (middle) section. All modern pianos are over-strung. Also referred to as “cross-stringing.” See also “straight-stringing,” “bass section.” overtones. Sounds generated by a vibrating string. Also referred to as “aliquotes” and “partials.” paint thinner. Mineral spirits used for dissolving varnishes. pan-head screw. Screw with a flat head with rounded edges that protrudes above the surface. Pan heads are usually found on sheet-metal screws. Papps mute. Spring-loaded, tweezer-like mute made of plastic for muting the strings in vertical pianos during tuning. parlor grand. Medium-size grand piano, usually between 5' 8" [173 cm] and 7' [213 cm] long. partials. See “overtones.” particleboard. Panel made of wooden particles glued together. Used in cheap pianos.

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PC-7. Epoxy paste that can be used as a filler between the pinblock and the plate flange. pedal. Foot lever that lifts all dampers (“damper” or “sustain” pedal; right), shifts the key frame sideways to soften the tone (“soft” pedal in grands; left), reduces the hammer-blow distance (“soft” pedal in verticals; usually left), holds only certain notes (“sostenuto” pedal; middle), or inserts the moderator cloth between the hammers and strings to mute the sound (“moderator” pedal; usually middle). pedal rocker. In vertical pianos, horizontal linkage between a pedal and a pedal rod. pedal rod. Vertical linkage between the pedal and a mechanism it actuates. Modern pedal rods in grands are usually equipped with adjustable nuts at the top that allow simple regulation of the pedals. petroleum jelly. Lubricant used on the threads of screws and bolts. Phillips-head screw. Screw with X-shaped head slot. Requires a Phillips screwdriver. piano. Stringed percussion instrument with a keyboard; also used as a dynamic marking in music, meaning to “play softly.” pianoforte. Term for the instrument derived from Cristofori’s original invention, which he called a gravicembalo col piano e forte (harpsichord with soft and loud). Piano Technicians Guild (PTG). Organization of piano technicians and professionals. See also “Technicians’ Organizations” on page 523. pillar bolt. See “nose bolt.” pilot. See “capstan.” pilot notes. See “guide notes.” pinblock. Laminated block of hardwood that holds tuning pins and prevents them from unwinding under the strings’ tension. Also referred to as “wrest plank.” pitch. Frequency of sound, expressed in hertz, e.g., “440 Hz,” or as a musical note, e.g., “A4.” In the context of action geometry, an angle, as seen from the side, between the center line running through the hammer and an imaginary line perpendicular to the shank that intersects the shank at the middle of the hammer molding. The angle toward the player is negative pitch; toward the belly rail, positive pitch. Most hammers have a 0° pitch angle, but those with positive rake usually have negative pitch to make the hammer perpendicular to the strings at strike. See also “rake.” pitch raise. A process of increasing string tensions to tune a piano to match a higher frequency of a reference note, such as A4. Requires compensating for pitch drop, which occurs at different rates in different sections of the piano. plate. A metal structure inside the piano on which the strings are suspended. Modern pianos have a three-quarter (up to but not over the pinblock) or full-size (over the pinblock) plate made of iron cast in one piece. Also referred to as “frame,” especially in the context of antique pianos. plate horn. Called “iron frame nose” in C.F. Theodor Steinway’s U.S. patent 204,106 (1878), this part of the cast-iron plate transfers the compression force from the plate to the metal shoe in the belly rail, which transfers the force through the beams to the rim and back to the plate. The plate horn is usually located in the bass/tenor break. Some pianos have two plate horns, notably old Mason & Hamlin concert grands model CC. plate webbing. Area of the piano plate around the tuning pins. player piano. Piano capable of reproducing music. Popular in the early 20th century, mechanical player pianos used paper rolls. Holes punched in the roll caused a pneumatic mecha-

nism to actuate hammers. Electronic reproducing pianos such as Yamaha’s Disklavier and Bösendorfer CEUS® both record and reproduce music. They record to a removable electronic medium and provide a MIDI hookup. Newer models can be linked to a personal computer. plinth. In verticals, the rail with holes for pedals that supports the bottom panel. power tools. Tools powered by an electrical motor. practice pedal. See “moderator pedal/rail.” Premium Blue. Trade name for hammers made by Louis Renner GmbH exclusively for Renner USA. pressure bar. A vertical protrusion in a horizontal area of the plate, typically over the pinblock; an extension of a strut. pressure bars. Metal bars that clamp down the strings under the tuning pins in vertical pianos. pressure ridges. Ridges that form in the soundboard as a result of high humidity causing excessive compression, which crushes the board’s wood fibers. projection of sound. The “carrying power” or volume of sound, as perceived in a larger hall away from the piano. prolonge. See “abstract.” prop stick. See “lid prop.” prop stick boss. See “lid prop cup.” Protek™. Line of lubricants carried by Pianotek. psychometer. Device for measuring “relative humidity” in the air by comparing the temperatures taken by conventional and wet-bulb thermometers. See also “hygrometer.” PTG. See “Piano Technicians Guild (PTG).” pulley key. Key with elongated balance hole, which causes it to move from front to back during playing. punching. Felt, cloth, paper, or cardboard cut in a circular shape with a hole punched through the center. Used on balance and front key pins, under the keys. Cloth or felt punchings should be above the cardboard and paper punchings. Also referred to as “washer.” In the UK, front rail punching is referred to as “front baize.” push action. Also known as Stossmechanik, this action style was pioneered by Cristofori, inspired many forms of the Englishstyle action in the last quarter of the 18th century, and eventually led to the development of Érard’s double-escapement action. See also “bumping action.” PVA glue. Polyvinyl acetate glue, such as regular white glue, various wood glues, etc. PVC-E glue. Polyvinyl chloride glue used for gluing felts, leathers, and key tops. quarter-sawing. Sawing lumber in quarters first along the length, then radially cutting individual boards out of each quarter, across the grain. Quarter-sawing produces straight, dimensionally stable boards that resist warping. R. See “strike-weight ratio (R).” R.H. See “relative humidity.” rails. See “action rails.” rake. An angle, as seen from the side, that the hammer shank forms with an imaginary line that passes through the shank center pin and is parallel with the string at strike. Most pianos have a 0° rake. Those that have positive rake also have a negative pitch angle. See also “pitch.” rattling soundboard. Condition caused by the soundboard separating from its ribs or the rim (frame). Rattles can also be caused by debris on the soundboard, and by separations in the bridges or between the bridges and the soundboard.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. rebuilding. Reconditioning the piano to its original or better condition. recrowning the soundboard. Rebuilding procedure to restore the soundboard’s convex shape. regular-fit pinblock. Style of attaching the grand pinblock to the rim or frame on each end of the block, but not to the stretcher. reinforcement of hammer felt. Chemical treatment that stiffens the low shoulders of piano hammers. In cheap hammers, the “reinforcement” is merely dye. relative humidity. The amount of humidity (water vapor) in the air relative to the maximum amount of vapor air can retain at a given temperature, expressed as a percentage followed by the letters “RH,” e.g., “50% RH.” repetition. See “wippen.” repetition lever. Feature of the modern double-escapement grand action: lever on top of the grand wippen that allows the jack to reposition under the shank knuckle without releasing the key all the way to its idle position. Also referred to as “balancier,” “bridge,” “carriage,” “cradle.” In the UK, “repetition lever” typically refers to “wippen.” reproducing piano. See “player piano.” resetting hammer. Hammering the felt of the hammer around its crown (top) after needling it. resonance. Effect exhibited by objects that spontaneously start to vibrate when another object vibrates at a certain frequency. Vibrations of the two objects are sympathetic, or at the same frequency. “Tuning” one object (for example, adjusting a string’s length, thickness, or tension) can bring it in resonance with another or prevent it from resonating. The entire piano can be viewed as a set of resonating or non-resonating objects whose interactions must be carefully controlled to produce the desired sound. resonator, tension. See “Tension Resonator.” RH. See “relative humidity.” ribs. Wooden “beams” glued to the underside of the soundboard. Ribs stiffen the soundboard across the grain, and help crown the soundboard. rider. See “rocker.” ridges, pressure. See “pressure ridges.” rim. Wooden structure, usually of laminated hardwood, that defines the shape of the grand piano and serves as the foundation on which to mount the soundboard, plate, key bed, and case. Usually made in two stages: inner rim, and outer rim or case. Steinway & Sons makes the inner and outer rim in one operation. See also “case.” rocker. A piece of wood attached to the key that permits the adjustment of abstracts, which link keys with wippens. A rocker has a protrusion in the middle of its bottom surface that acts as a fulcrum. The screws with which it is fastened to the key at each end permit adjustment of the height of the wippen and, therefore, the hammer-blow distance. Also referred to as “key carriage,” “rider.” See also “abstract,” “pedal rocker.” rods. See “pedal rods.” roller. See “knuckle.” rose. See “nose bolt nut.” rotary tool. High speed, hand held power tool that can be used for engraving, shaping, sanding, cutting, and drilling. A popular model is made by Dremel. rouge buffing compound. A very fine buffing compound that produces the ultimate shine on metal objects. rough-regulating. Action regulation performed after replacing action parts.

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router. Handheld or stationary power tool for cutting notches of various profiles and for trimming laminates. In piano rebuilding, used for trimming new bridge caps and new, oversize white key tops. rubbing. Procedure after finishing a surface to either satinize the surface or prepare it for buffing. sander. Power sanding tool. See also “belt sander,” “orbital sander,” “vibrating sander.” sanding sealer. Finishing material, used to fill the wooden surface before applying the top coats of the finish; usually sprayed on. sandpaper. Paper coated with abrasives, used for sanding, shaping, and cleaning various surfaces. satinize. Rub a finished surface with an abrasive and/or steel wool to give it a satiny sheen. Especially desirable for lacquered surfaces. sawhorse. Stand for temporarily supporting a piano or its parts. scale design. Term that describes all aspects of piano stringing: the thickness of strings for each note, their lengths, spacing, etc. Usually referred to in the context of string thicknesses and their distribution throughout the scale. Schwander. See “Herrburger-Schwander.” seating the string. Bending a string slightly to improve its contact with the bearing points: V bar, outside the bridge pins, and on each side of plate flanges and duplex terminations. semi-concert grand. Grand piano approximately 7' 4" [223 cm] long. set off. See “let off.” shank. See “hammer shanks.” shank rest felt (or cloth). Strip of soft cloth (baize) on shank rest rail, also referred to as “hammer rest felt”; in Steinway grands, soft felt squares glued to shank rest felt bases in wippens, also referred to as “hammer cushion.” shank rest rail. Rail under hammer shanks, covered with shank rest cloth. Also referred to as “hammer rest rail.” A Steinway & Sons grand has no rest rail; each wippen is equipped with a shank rest felt, also referred to as “hammer rest felt.” See also “half-blow rail.” shank strike weight (SS). Radius weight, in grams, of the shank itself. Typically 1.5–2.0 g. See also “hammer strike weight (SW),” “strike weight.” shank weight ratio (SR). Ratio between the hammer strike weight and the knuckle lift force needed to suspend the hammer. The knuckle lift force is a force applied to the knuckle perpendicular to the knuckle tangent that passes through the shank center pin. sharp. Black key covering or the whole black key. See also “black key.” sheet-metal screws. Screws with coarse, uniform threads and a straight shank; commonly used for fastening action parts, and in soundboard repairs. shelf. See “bass bridge shelf.” shellac. Finishing material used for French polish. shifting key frame. In most grands, the key frame shifts sideways when the soft (left) pedal is depressed. This softens the sound because the hammers move sideways and miss one string in each unison, or strike the strings between the dense, grooved areas of the hammer felt. shift pedal. See “soft pedal.” shimming. Filling cracks in the soundboard; inserting wedges in the long bridge; filling a crack or gap between any two parts.

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shoe. Metal piece in the belly rail that joins the beams and connects them to the plate horn. The part of the shoe that protrudes through the belly rail into the action cavity is called the “toe.” shoulders. Areas of the hammer felt responsible for the rebounding of hammers from strings. See also “hammer molding,” “crown.” silent piano. Acoustic piano that allows muting the strings with a rail that blocks the hammers before they reach the strings. The piano is equipped with sensors and electronics that make it work like a digital piano; it can be used with headphones, and connected to a PC via a MIDI interface. silicone lubricants. Lubricants for metal and felt. single strings. See “individually tied strings.” sizing solution. A solution that improves the fit of porous materials. A sizing solution can be used to free tight key balance holes, key bushings, and center pin bushings; or to tighten key balance holes and key bushings when slightly loose. A good sizing solution for felt, leather, and wood is a 50% to 90% solution of alcohol and water. Note that all commercially available alcohol already contains some amount of water. slap rail. See “stop rail.” slapping key frame. Key frame that generates “slapping” noises when the piano is played loudly. Typically, the noises are caused by gaps between the front rail and the key bed. sleeves. See “threaded sleeves.” SMP. See “standard measurement position (SMP).” soft pedal. Left pedal, often called the “shift pedal” in grands, which softens the sound either by shifting the keyboard and the action sideways, or by reducing the hammer-blow distance (also referred to as “half-blow pedal”), thus reducing the hammers’ speed at impact. See also “pedal,” “una corda pedal.” sostenuto. Mechanism that lets one or more notes ring while other notes are played normally. With one or more keys depressed, the player depresses the sostenuto pedal, and the sostenuto mechanism keeps those dampers lifted. Other notes are damped normally, and can be played with or without the damper pedal. Sostenuto is found in most longer grands and in high-end uprights. sostenuto monkey. Felt-and-leather-covered wooden linkage attached to the sostenuto rod in New York Steinway grands. sostenuto staple. A wire that connects the sostenuto monkey with the sostenuto rod in most Steinway & Sons grands made in New York. sostenuto tab. Protruding part attached to the underlever top flange that is caught by the sostenuto rod when that underlever is lifted and the sostenuto pedal is engaged. soundboard. Wooden board that transduces the energy of string vibrations to the air. Also referred to as “belly.” soundboard rib. One of multiple wooden bars glued to the bottom of the soundboard to stiffen it across the grain and make it bow upward. Also referred to as “belly bar.” sound decay. See “decay.” sound envelope. Sound quality through time. See also “attack,” “bloom,” “decay,” and “sustain.” spine. Long, flat side of the case in grand pianos. See also “bentside,” “cheek,” “tail.” spinet. Short vertical piano only a little taller than the keyboard (36–42" [91–107 cm]). See also “vertical piano,” “console vertical,” “upright piano.” spun string. See “wound string.”

squaring the hammer. Heating and twisting the hammer shank to align the hammer’s center line with the plane in which it moves. See also “burning the shank.” squaring keys. Aligning sides of keys to vertical plane as part of a keyboard regulation. SR. See “shank weight ratio (SR).” standard measurement position (SMP). Position 13 mm in from front edge on white key top, or from the front slope on black key top. See also “balance weight (BW),” “downweight (DW),” “touchweight (TW),” “upweight (UW).” staple. See “sostenuto staple.” stay. Brace or other device that keeps another part from moving. See also “lyre stays.” steaming keys. Technique for removing key bushings. stem. Wire. sticker. A wooden linkage between the key capstan or rocker and the wippen in tall uprights. Stickers were also used as damper lifters in “bird cage” vertical actions. See also “birdcage action,” “rocker,” “wippen.” stop rail. Any rail that stops the motion of another part. Also referred to as “slap rail.” See also “damper stop rail.” straight-stringing. Stringing design in antique pianos and all harpsichords in which all strings are laid out more or less parallel to each other. Modern pianos are over-strung. straps, bridle. See “bridle straps.” stretched octaves. The effect of string inharmonicity, which requires tuning intervals “wider” (upper note higher or lower note lower) than they theoretically should be tuned. stretcher. Structural board in grands behind the open fallboard and in front of the pinblock. Also referred to as “cornice,” “lock board.” string loop. A loop tied on the end of the string, used to attach the string to the hitch pin. In pianos with individually tied strings, each string has a loop; in pianos with double strings, an occasional plain string has a loop. Wound strings always have a loop and are tied individually. Also referred to as “individual eye.” strike point. The spot on the string where it is struck by the hammer, expressed as a ratio between the length from the front string bearing (the V bar, agraffe, or the raised plate flange) to the strike point, and the length from the strike point to the front bridge pin. Usually, that ratio is between 1:8 and 1:10 in the middle section and the bass, diminishing to as little as 1:25 in the treble. Also can mean “tip of the hammer” or “hammer nose.” strike weight. Term established by David Stanwood to indicate the “effective” weight of action parts. The strike weight of a hammer, for example, is the combined radius weight of the hammer and shank without the weight of the flange. See also “front weight (FW),” “hammer strike weight (SW),” “shank strike weight (SS),” “touchweight (TW),” “wippen radius weight (WW).” strike-weight ratio (R). Ratio between balance weight (BW) plus front weight (FW), and leveraged strike weight (SW) plus leveraged wippen radius weight (WW). Typically 5.2–6.2 (5.2:1 to 6.2:1). string. Steel wire with high carbon content. Bass strings are regular steel strings wrapped with a copper coil. string bearing. Any point around which a string bends along its path: tuning pin, counterbearing, V bar, agraffe, pressure bar (in verticals), bridge and bridge pin, duplex termination, hitch pin.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. stringing braid. Cloth threaded between strings to deaden their rear segments (backscale). Stringing braid is also used between hammer shank flanges and the tubular shank rail in Steinway grands. Also referred to as “listing.” stringing stud. See “agraffe.” stripper, chemical. See “chemical stripper.” strut. A cross-member or brace in a piano plate, cast in one piece with the plate in modern pianos. Also referred to as “crossbar.” stud. See “agraffe.” superglue. See “cyanoacrylate glue.” surform plane. Tool similar to a regular plane, but equipped with a grater-like cutting element on its underside. sustain. Length of time a note is audible. Applied to a piano’s tonal envelope, a phase that follows attack and decay. The beginning of the sustain phase is often referred to as “bloom.” See also “attack,” “bloom,” “decay,” “sound envelope.” sustain pedal. See “damper pedal.” SW. See “strike weight,” “hammer strike weight (SW).” swaging. In wound bass strings, flattening a round steel core wire to create a rectangular profile the winding can grab onto; without swaging, the winding would slide off unless the core wire is “whipped,” a technique popular in older pianos (Figure 84 on page 35). Swaging is not necessary if the core wire is of hexagonal profile. See also “bass string.” tail. In grands, hammer molding under the shank hole; part of the case on the side opposite the keyboard. Also referred to as “heel.” See also “bentside,” “cheek,” “spine.” talcum powder. Used as lubricant, or to absorb moisture from one’s hands during restringing. tape-check action. Action in which the repetition and returning of the hammer to rest position is helped by a tape or strip of leather. Patented by Hermann Lichtenthal of Brussels, Belgium, subsequently used by Robert Wornum in his vertical pianos. temperament. A 12-note chromatic scale; tuning corrections (“tempering”) needed to distribute the 12 adjacent notes of a chromatic scale so that the intervals between them have particular beat rates on the level of particular partial pairs (see “Coincident Partials,” page 96). temperament strip. A strip of thin felt used for tuning the temperament in the middle section of the piano. See also “mute.” tender. See “jack tender.” tensile strength. String tension at which a string breaks. Tension Resonator. A device found in Mason & Hamlin pianos, consisting of metal rods with turnbuckles and a metal disc in the center, which pulls the rim and the belly rail inward. Tharan®. Key top material made by Kluge. thermoplastic glues. Glues that soften or melt when heated. All PVA glues are thermoplastic to some extent. Low-creep PVAs are less thermoplastic, which makes them easier to sand. thinner. Liquid used to dilute a finish or contact glue. Common thinners are alcohol for shellac, paint thinner for varnishes, lacquer thinner and acetone for lacquer finishes. Two-component finishes require proprietary thinners. threaded sleeves. Metal inserts, threaded with a coarse thread on the outside and a fine, machine thread on the inside, used for machine screws in wooden parts. three-quarter plate. Plate in pre-modern pianos that extends to, but not over the pinblock. tie wire. See “bridle wire.” timbre. Sound quality or sound “color.”

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toe. Tip of the metal shoe that protrudes through the front of the belly rail. The plate horn is attached to it with a metal wedge. toluol (toluene). Solvent used in finishing products and adhesives. Faster-drying than xylol. toning. See “voicing.” top. See “lid.” top door. See “upper panel.” top stack. The assembly mounted on the grand key frame: action brackets and rails (action rack), action parts, and the sostenuto brackets and rail in New York Steinways. Also referred to as “action stack.” See also “action.” touchweight (TW). Term used to denote the same amount of change or effect on downweight (DW), upweight (UW), and balance weight (BW). trapwork. Levers mounted on the underside of the key bed in grand pianos that link the pedals with the damper, sostenuto, una corda, or other mechanism. traveling. Adjusting the swing plane of action parts by shimming their flanges. trichord. Three strings tuned to the same pitch. See also “bichord.” tripoli. Very fine abrasive used as lubricant and buffing compound. Tubular Metallic Frame. Steinway’s patented action frame (U.S. patents no. 81,306 for vertical action and no. 93,647 for grand action, issued in 1868 and 1869, respectively, to Theodor Steinway). The frame consists of metal action brackets and action rails that are hardwood dowels encased in brass tubing of special profile. The rails are soldered to the racks and are not adjustable. tuning. Adjusting the pitch of each string of a piano. tuning hammer. Tuning wrench. tuning pin. Metal dowel inserted through the plate into a hole in the pinblock that suspends the string and permits adjustment of its tension. Modern tuning pins are lightly threaded, have a hole for the string becket, and a square top end. Also referred to as “wrest pin.” See also “flagpoling.” turnbuckle. In grands, knob in the bentside that latches the lid to the case. See also “lid latch.” TW. See “touchweight (TW).” twisting bass string. Bass strings must be twisted in the direction in which their copper wrappings point in order to tighten the wrapping and prevent it from rattling against the steel core. two-component finish. A modern finish that hardens through a chemical reaction between two components. A two-component finish commonly used on pianos is polyester. ultrasonic humidifier. Humidifier that disperses water into the air using a membrane that vibrates at ultrasonic frequencies. una corda pedal. Italian for “one string”; a term used for “action-shifting soft pedal.” It originates from a time when two strings per unison were common, and shifting a grand’s keyboard and action sideways caused the hammer to miss one of the strings. In modern pianos with three strings per unison in the tenor and treble sections, the shifting makes hammers strike two of three strings, or strike all three strings with the softer areas of the hammer felt. See also “pedal,” “soft pedal.” undercarriage. See “wippen.” underlever. See “damper underlever.” unison. An interval between a note and itself. In piano construction, refers to “all strings of one note.” The bass section can be strung with one, two, or three strings per unison. Lowest tenor

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unisons have two or three strings, and the rest of the piano three strings per unison. upper panel. In vertical pianos, a vertical panel that encloses the top part of the piano, above the fallboard, from the front. Also referred to as “top door.” upright piano. Vertical piano, taller than ca. 46" [117 cm]. See also “vertical piano,” “console vertical,” “spinet.” upweight (UW). Amount of weight, in grams, placed on the key at the standard measurement position, that the key will lift on its own to the key dip of about 4 mm. Typically 20–32 g. See also “balance weight (BW),” “downweight (DW),” “standard measurement position (SMP),” “touchweight (TW).” V bar. Bottom portion of the capo tasto bar; acts as a front string termination. vertical piano. Piano whose soundboard, plate, and strings are laid vertically. Considered inferior to the grand piano, mainly because the action in verticals doesn’t perform as well as the grand action. See also “upright piano,” “console vertical,” “spinet,” “grand piano.” vibrating sander. Power tool for sanding various surfaces. Avoid using an orbital sander on wooden surfaces because it vibrates in a circular pattern and tears wood fibers. Instead, use a straight-line sander parallel to wood grain. voice-down hammers. Dense hammers that require reducing their tonal brightness, or “voicing them down,” by needling their felts. voice-up hammers. Less dense hammers that require increasing their tonal brightness, or “voicing them up,” typically by applying a chemical hardening agent to their felts. voicing. Adjusting the tonal qualities of a piano by manipulating the shape, density, and resilience of the hammers, and adjusting their interface with the strings. Other techniques may be used to even out the voicing, such as adjusting the string downbearing, mass-loading the soundboard, changing the impedance of the soundboard assembly, reshaping and hardening the V bar, rescaling the piano, tuning the rear duplex, etc. Also referred to as “toning.” vortex chiller. Device that chills compressed air. Used to cool down cutting tools in applications that generate a lot of heat, e.g., pinblock drilling. washer. See “punching.” water separator. Device that removes the moisture condensed in the air compressor. wave impedance. Property of the soundboard and bridges that causes energy to be reflected back to the vibrating string, thus softening the attack and prolonging the sustain of sound. See also “cutoff bar,” “fish.” WD-40®. Water-displacing agent and mild lubricant. Does not contain silicones. webbing. See “plate webbing.” wedge for key bushings. See “caul.” weighting of keys. Procedure for determining the weight that needs to be installed in, or removed from, each key to produce optimal response of keyboard and action. Weldbond®. Trade name for a strong PVA glue. Wetordry™. Sandpaper made by 3M Company that can be used for wet or dry sanding.

whipped bass string. Bass string in which the winding is first loosely wound toward the end of the core wire, then tightly wound in the opposite direction, over the first winding (Figure 84, page 35). Whipping prevents the winding from sliding on the core wire without the core being swaged, as is customarily done today. Whipping also may lower inharmonicity in bass strings. See also “bass string,” “wound string.” wippen. Device that links the key with the hammer shank and hammer. Consists of the wippen base, wippen heel, wippen flange, and the jack with its spring and, in grands, repetition lever and the repetition spring. In verticals, the wippen carries the jack, backcheck, and bridle strap hook in the front, and the damper spoon in the back. Also referred to as “lever.” wippen heel. Part of the wippen base that rests on the key capstan. Also referred to as “lever block.” wippen radius weight (WW). Effective weight, in grams, of the wippen, measured at the center of the heel. Typically 17–21 g. See also “hammer strike weight (SW),” “shank strike weight (SS),” “strike weight.” wippen rail. Rail, usually of wood or aluminum, to which the wippens are affixed. wippen stack weight (WSW). The weight with which the wippen, with the hammer and shank on it, presses the key capstan: (SW × SR × WR) + WW. wippen weight ratio (WR). The ratio between the force applied to the jack by the knuckle (assuming the force is perpendicular to the line between the shank center pin and the top of the jack) and the lift force at the wippen heel felt to keep the wippen in balance. Typically around 1.5. winding. A winding of copper, steel, or aluminum, used on bass strings to slow their rate of vibration without reducing the tension at which they are stretched. See also “bass strings,” “whipped bass string,” “wound string.” wire gauge. Numbers used to indicate string thickness. Piano strings normally range from #13 for the highest notes to between #19 and #23 for the lowest notes in the tenor section. String gauges in quality pianos are distributed in half numbers, e.g., #13, #13.5, #14, #14.5, etc., up to #17 or #18, and in whole numbers thereafter. wire tie. A piece of pliable metal or plastic wire lined with paper or plastic, used to tie plastic bags and food items by wrapping the tie around the piece(s) and twisting its ends together. wood fibers. Cellular strands, also referred to as “wood grain,” that give wood its strength along their length. Excessive dryness causes wood fibers to separate from each other, resulting in cracks. wound string. Also referred to as “spun string.” See “bass string,” “winding.” WR. See “wippen weight ratio (WR).” wrest pin. See “tuning pin.” wrest plank. See “pinblock.” WSW. See “wippen stack weight (WSW).” xylol (xylene). Solvent used in finishing materials and adhesives. Slower-drying than toluol. yellow wood glue. A thermoplastic PVA glue suitable for wood joints that are not exposed to continuous stress.

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Appendix D

Resources Note: Major piano parts suppliers are in bold text. Abel Piano Hammers See “Helmut Abel GmbH.” Absolute Piano Restoration http://www.absolute-piano.com Tel: (978) 323-4545 Panel-only or pre-crowned soundboards, rebuilding services. Affleck Piano http://www.affleckpianotuning.com Tel: (604) 316-6940 Piano tools and supplies sold internationally. Piano decals. Piano service eBooks. Piano Scale Design Program. Piano benches & accessories.

Arledge Music Wire http://www.pianostrings.com Tel: (615) 255-7818 Piano bass strings. AS Estonia Klaverivabrik http://www.estoniapiano.com Tel: +372 644 1841 Piano manufacturer. See also “Laul Estonia Piano Factory.” Baldwin Piano & Organ Company Subsidiary of Gibson Guitar Corp. http://www2.gibson.com/ Products/Pianos/Search.aspx Tel: (615) 871-4500 Piano manufacturer.

Blackstone Valley Piano http://www.pianoandorgankeys. com Michael Morvan Tel: (508) 278-9762 Cell: (508) 340-6443 Piano and organ keyboard restoration and services. Blüthner USA, LLC http://www.bluthnerusa.com Tel: toll free (800) 954-3200 Fax: (517) 886-6000 Piano manufacturer. See also “Julius Blüthner Pianofortefabrik GmbH.” Bolduc See “Pianos Bolduc.”

Alfred Jahn GmbH & Co. KG. http://www.pianoteile.com Tel: +49-9560-98120 Piano supply house. Parts, tools, and accessories for pianos, reed organs, and historical keyboard instruments. Rebuilding services.

Bechstein, C. http://www.bechstein.de Tel: +49 30 31515 200 Piano manufacturer. See also “Bechstein America LLC.”

Borgato® http://www.borgato.it Tel: +39 0444 436367 Makers of handcrafted concert-grand pianos.

Allied Piano/LakeoneUSA http://AlliedPiano.com Tel: toll free (888) 622-7426, (215) 491-3045 Distributor for specialty piano service and furniture finish repair products.

Bechstein America LLC http://www.bechstein.com [email protected] David Skidmore, President Tel: (732) 444-3255 Piano manufacturer. See also “Bechstein, C.”

Boston Piano Company http://www.steinway.com/boston Tel: (718) 721-7711 Piano manufacturer. Owned by Steinway & Sons, manufactured by Kawai.

AMS Piano Tools http://www.amspianotools.com Tel: (630) 851-6060 Piano tools and tuning hammers.

Beethoven Pianos http://www.beethoven pianos.com Tel: toll free (800) 352-0002, (212) 765-7300 Piano dealer, piano rebuilding and refinishing services including soundboard replacement, accessories.

Bösendorfer USA http://www.boesendorfer.com Piano manufacturer. See also “Yamaha Corporation of America, Piano Division,” “L. Bösendorfer Klavierfabrik GmbH.”

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Brooks, Ltd. http://www.brooksltdonline.com [email protected] Tel: toll free (800) 326-2440, (860) 434-0287 Piano supply house. Hammer replacement and other services.

Delacour Pianos http://pianomaker.co.uk Tel: +44 1202 731 031 Bass string design and manufacture, research and development, restoration of pre-World War I pianos.

Faulk Piano Service http://www.faulkpiano.com Charles Faulk Tel: (785) 776-8323, (479) 855-9595 Rigid, lightweight tuning hammers and specialty tools.

Bundesverband Klavier e.V. “BVK” http://www.pianos.de Association of German piano builders.

DETOA Albrechtice s.r.o. http://www.detoa.cz/en/ Tel.: +420 483 356 330 Manufacturer of piano keys and key frames.

Faust Harrison Pianos http://www.faustharrisonpianos. com Tel: (212) 489-3600 Piano dealer, piano rebuilding and refinishing services including soundboard replacement, accessories.

C.A. Geers Piano Company http://www.geerspiano.com Tel: (513) 941-7666 Makers of Falconwood Pinblock planks. CAUT (College And University Technicians) mail list http://ptg.org/mailman/listinfo/ caut A forum for college piano technicians. A searchable archive is at http://ptg.org/ pipermail/caut/. The Chicago School for Piano Technology http://www.pianotechschool.com Tel: (312) 666-7440 School for aspiring piano technicians. Chuck Behm’s Piano Promo Productions http://www.pianopromoproductions.com Products for website marketing and promotion. Cory Care Products http://www.corycare.com Tel: toll free (800) 552-CORY, (952) 469-5354 Key top and finish cleaning and polishing products; odor removal products. Cremona Resonant Woods http://www.cremonaresonant woods.com Italian spruce soundboards. Dampp-Chaser Corporation http://www.pianolifesaver.com Tel: (828) 692-8271 Dampp Chaser™ humidity control systems for pianos. Davenport Tools http://www.rcdavenport.com Richard Davenport, RPT Specialty piano tools. David Love Piano Service and Restoration [email protected] Tel: (415) 661-3666 Action analysis, redesign, rebuilding and balancing, soundboard design and replacement, complete rebuilding services. David Rubenstein Pianos See “Rubenstein Pianos.”

Driscoll Tuning Levers Carbon-fiber tuning levers. See “Thomas Driscoll Piano Service.” Dryburgh Adhesive Products http://www.dryburghadhesive.com Tel: toll free (800) GLUE-ALL, (908) 850-5208 Cyanoacrylate (CA) adhesive products. Essex Piano manufacturer owned by Steinway & Sons, manufactured by Young Chang. See “Boston Piano Company.” Erwin’s Piano Restoration http://www.erwinspiano.com Tel: (209) 577-8397 Complete piano restoration including soundboard replacement and redesign, sitka spruce soundboard panels, specialty tools. Estonia Piano manufacturer. See “Laul Estonia Piano Factory” and “AS Estonia Klaverivabrik.” Fandrich & Sons http://www.fandrich.com Tel: (360) 652-8980 Piano manufacturer and importer. Refinishing, accessories, Fandrich Vertical Action™ by Darrell Fandrich. Fandrich Piano Company http://www.fandrichpiano.com Tel: (360) 736-7563 Design, fabrication, and remanufacturing services. Founded by Delwin Fandrich. Fandrich-Rhodes™ http://www.mypianotech.com/WB Makers of Weightbench keyweighting system. Fastenal® http://www.fastenal.com Tel: (507) 454-5374 Retail store chain carrying fasteners, tools, equipment, materials, and supplies.

Fazioli Pianoforti, S.R.L. http://www.fazioli.com Showroom: Tel: +39 02 76021990 Factory: Tel: +39 0434 72576, +39 0434 72026 Piano manufacturer. Filzfabrik Wurzen GmbH http://www.filzfabrik-wurzen.de Tel: +49 03425 - 89540 Makers of felt for piano hammers, dampers, keyboards, stringing, and bellywork. Fletcher & Newman See “H.J. Fletcher & Newman Ltd.” Fujan Products http://www.fujanproducts.com Steve Fujan Tel: (918) 630-5880 Extremely stiff and lightweight tuning hammers (levers). Gerald Cousins, RPT http://www.gcousins.com Tel: (301) 452-0911 Maker of CATIPULT laser alignment systems. Grand Piano Solutions http://www.grandpianosolutions.com Jim Ialeggio Tel: (978) 425-9026 Complete rebuilding and redesign services. Soundboard replacement. Customized touch. Steinway action rail replacement. Key and action designs. Gravagne, Nicholas, RPT. See “Nick Gravagne Products.” Grotrian Piano Company GmbH http://www.grotrian.de/ Tel: +49 (0)531-21010-0 Piano manufacturer. H.J. Fletcher & Newman Ltd. http://www.fletcher-newman.co.uk Tel: +44 1732 886555 Piano supply house.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Hailun USA http://hailun-pianos.com Tel: (877) 946-8078 Piano manufacturer. Hans Velo http://home.kpn.nl/velo68/ Inventor of magnetic touchweight and friction-control systems, and action-behavior measuring devices. Author of Easy String Calc software. Heckscher & Co., Ltd. http://www.pianotrade.co.uk Tel: +44 20-7387-1735 Piano supply house. Keyboard restoration services, piano moving. Heinrich König & Co. KG http://www.heinrichkoenig.de Tel: + 49 61 01 53 60 0 Surface repair products. See also “Allied Piano/LakeOneUSA.” Hellerbass®, Heller Klavierbau http://www.hellerbass.de Tel: +49 (0) 62 26 - 42 444 Bass strings, piano restoration. Helmut Abel GmbH http://www.abel-pianoparts.de Tel: +49 (0) 79 59 / 24 64 Abel brand piano hammers and action parts (carried by most U.S. piano parts suppliers). Hurstwood Farm Piano Studios http://www.hurstwoodfarmpianos.co.uk Tel: +44 1732 885050 Designers and suppliers of Phoenix System technologies in Steingraeber-Phoenix pianos and Phoenix Pianos. Piano dealer and manufacturer. See also “SteingraeberPhoenix” and “Steingraeber & Söhne.” Instrument Covers Attn: Dennis or Jill Haley Tel: toll free (800) 274-4543, (503) 588-4001 Piano covers. Inventronics, Incorporated http://www.accu-tuner.com Tel: toll-free (800) FAST440, (978) 649-9040 Makers of Accu-Tuner® electronic tuning device. Isaac Pianos http://www.isaacpiano.com Tel: (416) 229-2096 Piano hammers, custom bass strings, Toneplus Plexiglas and acetone hammer hardening solution. Jahn See “Alfred Jahn GmbH & Co. KG.”

John Dewey Enterprises, Inc. E-mail: [email protected] Tel: (217) 595-5535 Steinway action rail replacement services, tubular rail dowel replacement, wooden frame replacement. John Nelson Woodworking http://www.johnnelson woodworking.com Tel: (401) 635-4733 Processed cow-bone key tops, keyboard recovering, rebushing, and restoration. Julius Blüthner Pianofortefabrik GmbH http://www.bluethner.de Tel: +49 3 4297 - 75130 Piano manufacturer. See also “Blüthner USA.” Kawai America Corp. Tel: 800-421-2177 x868 Piano Parts: Tel: (310) 631-1771 Piano manufacturer. Replacement parts. Keyboard Carriage http://www.keyboardmotorcycleshipping. com Tel: (270) 737-5797 Long-distance piano moving in the U.S. Kimball Piano USA, Inc. http://www.kimballpianousa.com Tel: (312) 212-3635 Piano manufacturer. Klavierhaus http://www.klavierhaus.com Tel: (212) 245-4535 Piano dealer, piano rebuilding and refinishing services including soundboard replacement, accessories. Klavier- und Flügeltransporte http://www.klaviertransporte.com Portal site with links to European piano moving companies. Kluge Klaviaturen GmbH http://www.kluge-klaviaturen.de Tel: +49 2191 69 02 80 Manufacturer of piano keys and key frames, Ivoplast® and Tharan® key tops, ebony sharps. König See “Heinrich König & Co. KG.” L. Bösendorfer Klavierfabrik GmbH Tel: +43/(0)/2622/27530 Showroom: Tel: +43/(0)1/504 66 51-0 Piano manufacturer. See also “Bösendorfer USA.”

Resources

519

Laoureux Felt http://www.laoureux.com Tel: +33 2 35 74 21 87 Manufacturer of piano felts. Laul Estonia Piano Factory http://www.estoniapiano.com Tel: (845) 947-7763 Piano manufacturer. See also “AS Estonia Klaverivabrik.” Lee Valley Tool Company http://www.leevalley.com Tel: (613) 596-0350 Canadian retail store chain carrying fine woodworking tools. The Leveler Company http://www.levelwithme.net Tel: (630) 335-9761 Makers of QuicKey Leveler™ key leveling tools and software. Levitan Tuning Levers http://levitantuninglevers.com High-performance tuning levers, available through Pianotek Supply Co. LOCK-N-STITCH Inc. http://www.locknstitch.com Tel: toll free (800) 736-8261, (209) 632-2345 Cast iron repair products. Louis Renner GmbH & Co. KG http://www.louisrenner.com Tel: +49-7034-6450-0 Manufacturer and supplier of piano parts, tools, and accessories. Complete rebuilding services. See also “Renner USA.” The Mapes Piano String Co. http://www.mapeswire.com Tel: (423) 543-3195 Steel and bass strings, tuning pins. Mason & Hamlin Piano Company http://www.masonhamlin.com Tel: (916) 567-9999 Piano manufacturer. Action parts by Wessell, Nickel & Gross. PianoDisc reproducing system. Meguiar’s Inc. http://www.meguiars.com Tel: toll free (800) 347-5700, (714) 752-8000 Mirror Glaze® products, buffing compounds, cleaners, sealers, polishes and waxes. Available in the U.S. in auto-part stores. Meyne Klaviertechnik GmbH http://www.meyne-klaviertechnik.de Tel: +49 (531) 355 71 10 Standard and custom tools for the piano industry.

520

Resources

Modern Piano Moving http://www.modernpiano.com Tel: toll free (800) 737-5600 Long-distance piano moving in the U.S. Mohawk Finishing Products, Inc. http://www.mohawk-finishing.com Tel: toll free (800) 545-0047, (828) 261-0325 Wood touchup, repair and finishing products. Moondog Manufacturing http://www.moondog manufacturing.com/ Tel: (425) 252-0757 Makers of Moondog Grand Piano Tilter. Mother Goose Tools http://www.mothergoosetools.com Joe Goss Tel: (208) 278-5257 Specialty piano tools. Music Sorb http://musicsorbonline.com Humidity control agent for pianos and musical instruments. New England Piano String & Supply Co. Tel: (617) 926-9311 Custom bass strings. NewOctave Corporation http://www.newoctave.com/ Tel: (503) 338-7425 Piano parts manufacturer and supplier. Makers of NewOctave Global™ hammers. North Bennett Street School http://www.nbss.org Tel: (617) 227-0155 School of piano technology. Nick Gravagne Products http://www.gravagne.com Soundboards, pinblocks, instructional videos, action geometry software. Overs Piano http://overspianos.com.au Tel: +61 (0)2 9736 2332 Custom piano makers. Rebuilding and redesign services. Paul L. Jansen and Son, Inc. http://www.pljansen.com Tel: toll free (800) 236-2437, (920) 231-5433 High quality artist benches, piano covers, PianoHorse™ (see also “The Piano Wrangler”), caster cups, accessories. Paul Poletti http://www.polettipiano.com Construction and restoration of historic pianos.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Pearl River Piano Group America Ltd. Tel: (909) 673-9155 Piano manufacturer. Pianos made by Guangzhou Pearl River Piano Group, Guangzhou, China

Pianotek Supply Co. http://www.pianoteksupply.com Tel: toll free (800) 347-3854, (248) 588-9055 Piano supply house. Keyboard restoration, various other services.

Perzina, GEBR http://www.perzinapianos.com Tel: +31-83-85- 27748 U.S. importer: Piano Empire, Inc. Tel: toll free (800) 576-3463, (562) 926-1906 Piano manufacturer. Pianos made by Yantai-Perzina Piano Manufacturing Co. Ltd, Yantai, China

Pianoworld.com http://www.pianoworld.com A comprehensive website on piano-related topics. Numerous databases and forums for piano owners and technicians.

Petrof, spol. s r.o. http://www.petrof.com Tel: +420 495 712 407 In the U.S.: Petrof U.S.A., LLC www.petrofpianosusa.com Tel.: (770) 564-4974 Piano manufacturer. Replacement parts. Pianos Bolduc http://www.PianosBolduc.com Tel: (418) 397-5057 Soundboards, BolducBlock pinblocks, piano supplies in Canada, piano dealer. Piano Carriage http://www.pianocarriage.com Tel: toll free (800) 33-TUNER (800) 338-8637 Piano moving and storage. Piano Forte Supply http://www.pianofortesupply. com Jurgen Goering Tel: (250) 754-2440 Specialty supplier of hard-to-find parts, tools, and materials. The Piano Wrangler http://www.pianowrangler.com Tel: (512) 452-6458 Piano moving service, makers of PianoHorse™ piano tilter. Pianobuyer.com http://www.pianobuyer.com A comprehensive guide to buying acoustic & digital pianos. Searchable database. Piano Promo Productions See “Chuck Behm’s Piano Promo Productions.” pianotech http://my.ptg.org Old mail list: http://www.ptg.org/mailman/listinfo/ pianotech Piano Technicians Guild’s forum. The old list’s archive is available at http://ptg.org/pipermail/pianotech.

Pitchlock Inc. http://www.pitchlock.com Tel: (814) 883-7213 Makers of TouchRail™ touchweight control system and piano string couplers. Popular Woodworking Magazine http://www.popular woodworking.com Woodworking topics. PPG Industries, Inc. Ditzler Finishes (available throughout the U.S. in automotive paint supply stores) Hi-tech two-component finishes developed for automotive and aviation industries. Pure Sound http://www.puresound-wire.com Stainless steel strings for modern and historical pianos. Randy Potter School of Piano Technology http://www.pianotuning.com Tel: (541) 382-5411 A complete correspondence home-study course in piano tuning, repairing, regulating, voicing, apprentice training, and business practices. Ravenscroft Pianos http://www.RavenscroftPianos. com Spreeman Piano Innovations, LLC. Tel: (480) 664-3702 Makers of custom handcrafted pianos. Renner USA http://www.rennerusa.com Tel: (480) 575-1700 Genuine Renner parts, supplies, accessories, and tools. See also “Louis Renner.” Reyburn Piano Service, Inc. http://www.reyburn.com Tel: toll free (888) 763-8440, (616) 340-7277 Makers of Reyburn CyberTuner® software. Reyburn Piano Tech http://www.reyburnpiano.com Tel: (616) 696-0500 Makers of Reyburn CyberHammer™ impact tuning levers.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Ronsen Piano Hammer Company, Inc. http://www.ronsenhammer.com Tel: toll free (800) 864-0233, (845) 657-2395 Piano hammers and related services. Röslau Stahl- und Drahtwerk GmbH. http://www.roeslau-draht.com Tel: +49 (0)9238 8090 Röslau piano, harpsichord, and zither strings, wound bass strings. Rubenstein Pianos David Rubenstein http://www.rubensteinpianos.com/ Tel: (310) 322-1551 Makers of handcrafted pianos. Ruggero Piano Service http://www.ruggeropiano.com Tel: (919) 839-2040 Rebuilding services. Samick Music Corporation http://www.smcmusic.com Parts department: Tel: (615) 206-0077 ext. 103 Service department: ext. 148 Piano manufacturer. Schaff Piano Supply Co. http://www.schaffpiano.com Tel: toll free (800) 747-4266, (847) 438-4556 Piano supply house. Various services. Sherwin-Williams Co. Finishing products. Stores throughout the U.S. Spurlock Specialty Tools http://www.spurlocktools.com Tel: (707) 452-8564 Tools, jigs, cauls, supplies. Stanwood Piano Innovations Inc. David Stanwood, RPT http://www.stanwoodpiano.com Tel: (508) 693-1583 Inventor of TouchDesign™ system, action designing and redesigning, customizing action touch response, rebuilding.

Resources

521

Steingraeber & Söhne KG http://www.steingraeber.de Tel: +49 (0) 921-64049 Piano manufacturer. See also “Steingraeber-Phoenix.”

Veritune, Inc. http://www.veritune.com/ Tel: toll free (888) VERITUN, (773) 793-6530 Electronic tuning devices and software.

Steingraeber-Phoenix U.S. distributor: Atlantic Music Center, Brian Gatchell http://www.atlanticmusiccenter. com Tel: (888) 725-6633 Steingraeber & Söhne pianos with Phoenix System technologies. See also “Hurstwood Farm Piano Studios.”

Walter Piano Transport Inc. http://www.walterpiano transport.com Tel: (574) 674-6139 Long-distance piano moving in U.S.

Steinway & Sons Piano Makers http://www.steinway.com Parts Department: [email protected] Tel: toll free (800) 366-1853, (718) 204-3150 Parts Department for Europe: [email protected] Tel: +49 40 8539 1147 Piano manufacturer. Replacement parts, hardware, training, rebuilding services. STEMCO - Crystal Soundboard™ http://www.stemco.nl Tel. +31 (0)299 652134 Glass soundboards. Stephen Paulello Piano Wire http://www.stephenpaulello.com Piano strings, piano design.

Wapin Company LLP Michael Wathen http://www.wapin.com Wapin Piano Bridge system. Wessell, Nickel & Gross http://www.wessellnickelandgross.com (916) 419-2727 Hammers, high performance piano parts made from composite materials. Sister company of Mason & Hamlin. Wm. Knabe & Co. http://www.knabepianos.com Piano manufacturer. PianoDisc® system. See also “Samick Music Corporation.” Yamaha Corporation of America, Piano Division http://www.yamaha.com/ pianos.htm Parts Department Tel: (714) 522-9011 Piano manufacturer. Replacement parts.

Stuart & Sons http://www.stuartandsons.com Piano Australia Pty Ltd Tel/Fax: +61 2 4961 3771 Micro manufacturer of contemporary piano designs.

Young Chang North America Inc. http://www.youngchang.com Piano Service Department: Tel: (657) 200-3490 Piano manufacturer.

Thomas Driscoll Piano Service http://tomdriscollpianoservice.com Tel: (508) 485-0369 Carbon-fiber tuning levers.

ZipWall®, LLC http://www.zipwall.com Tel: (800) 718-2255 Dust barrier products

TPR Tools, LLC http://tprtools.com Christopher Brown, RPT Tel: (978) 486-0610 Action and keyboard regulation jigs and tools including the Grandwork™ Regulation Station.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

523

Appendix E

Technicians’ Organizations

Australia Australasian Piano Tuners and Technicians Association http://www.aptta.org.au/ Canada Canadian Association of Piano Technicians http://www.pianocanada.ca/ Ontario Guild of Piano Technicians http://www.ogpt.ca/ La Fraternité des Accordeur et Techniciens de Piano du Québec http://www.fatpq.ca/ China China Musical Instrument Association & Piano Tuner Association (CPTA) 4 Xizhaosi Zhongjie Street, Chongwen District, Beijing, PR China Tel: 86-10-67111770 Denmark Dansk Pianostemmer-Union http://www.dpif.org/ England Piano Tuners’ Association http://www.pianotuner.org.uk/ Europe European Union of Piano Makers Association (Europiano) http://www.euro-piano.org/ Finland Suomen Pianovirittäjät ry http://www.pianonvirittajat.fi/ France L’Association Francaise des Accordursréparateurs de Pianos http://www.europiano-france.org/

Germany Bund Deutscher Klavierbauer e.V. http://www.bdk-piano.de International International Association of Piano Builders and Technicians http://www.ptg.org/iapbt/ Italy Associazione Italiana Accordatori Riparatori di Pianoforti http://www.aiarp.it/ Japan Japan Piano Tuners Association http://www.jpta.org/ Korea Korea Association of Piano Tuners http://www.tuners.or.kr/ The Netherlands Vereniging voor Pianotechnici Nederland (VvPN) http://www.vvpn.nl/ New Zealand New Zealand Piano Technicians Guild http://www.aptta.org.au/branches/ new-zealand.aspx Norway Norsk Piano Stemmernes Forening http://www.nptf.no/ Nordic countries NPTA http://www.sptf.com/ Russia Russian Association of Piano Makers President: R. Kerer, 14/2 Herzen Street, Moscow 103009, Russia

South Africa South African Association of Professional Piano Tuners http://www.sapianotuners.co.za/ Spain Asociación Española de Técnicos y Afinadores de Pianos (ASETAP) http://www.asetap.es/ Sweden Sveriges Pianostammare och Teknikerförening (SPTF) http://www.sptf.com/ Switzerland Schweitzerischer Verband der Klavierbauer http://www.svks.ch/ Taiwan Taiwan Piano Technicians Association (TPTA) 7F-8 No. 2, Lane 60, Section 2, Shing-Sheng North Road, 10447 Taipei, Taiwan Tel: +886 2-2536-8480 E-mail: [email protected] USA Master Piano Technicians http://www.master-piano-techs.org Piano Technicians Guild http://www.ptg.org Venezuela Asociación Venezolana de Afinadores de Pianos y Tecnicos de Instrumentos Musicales http://degen8.tripod.com/

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

525

Appendix F

Measurement Conversions

Table 1: Tuning Pins Tuning pin diameter

French No.

2

0.260" [6.60 mm]

24

1

0.265" [6.75 mm]

241/4

01/2

0.270" [6.90 mm]

241/2

0

0.275" [7.00 mm]

No.

Table 3: U.S. Bridge Pin Sizes Bridge pin

Recommended drill bit No.

No.

Diameter

Diameter

243/4

#6

0.076" [1.930 mm]

#48

.076" [1.930 mm]

0.086" [2.185 mm]

#45–44

0.082–0.086" [2.083–2.185 mm]

(U.S. wire gauge)

2/0

0.280" [7.10 mm]

25

#7

3/0

0.285" [7.25 mm]

251/4

#8

0.096" [2.438 mm]

#42–41

0.093–0.096" [2.362–2.438 mm]

251/2

#9

0.109" [2.770 mm]

#36

0.106" [2.692 mm]

#10

0.135" [3.430 mm]

#30

0.128" [3.251 mm]

4/0

0.290" [7.35 mm]

5/0

0.295" [7.50 mm]

253/4

6/0

0.003" [7.65 mm]

26

Table 4: European Bridge Pin Sizes

Table 2: Tuning Pin Lengths Length Inches

mm

2"

52

21/8"

55

21/4"

57

23/8"

60

21/2"

64

Bridge pin No.

Diameter

Length

3/0

0.0728" [1.85 mm]

53/64"

[21 mm]

4/0

0.0787" [2.00 mm]

55/64"

[22 mm]

5/0

0.0846" [2.15 mm]

29/32"

[23 mm]

6/0

0.0925" [2.35 mm]

61/64"

[24 mm]

7/0

0.0984" [2.50 mm]

63/64"

[25 mm]

8/0

0.1043" [2.65 mm]

11/32"

[26 mm]

9/0

0.1142" [2.90 mm]

17/64" [28 mm]

10/0

0.1220" [3.10 mm]

17/64" [28 mm]

526

Measurement conversions

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

Table 5: Modern Piano (Music) Wire Sizes Diameter Wire gauge European U.S. wire no. wire

Approx. Length

(mm)

(mm)

(inches)

(Feet per pound)

(meters per kg)

12

0.725

0.737

0.029

463

310

12.5

0.750

0.762

0.030

430

288

13

0.775

0.787

0.031

404

270

13.5

0.800

0.813

0.032

377

253

14

0.825

0.838

0.033

354

238

14.5

0.850

0.864

0.034

335

224

15

0.875

0.889

0.035

315

212

15.5

0.900

0.914

0.036

298

200

16

0.925

0.940

0.037

282

190

16.5

0.950

0.965

0.038

266

179

17

0.975

0.991

0.039

253

170

17.5

1.000

1.016

0.040

243

162

18

1.025

1.041

0.041

233

155

18.5

1.050

1.067

0.042

220

147

19

1.075

1.092

0.043

210

140

19.5

1.100

1.118

0.044

200

134

20

1.125

1.143

0.045

194

129

21

1.175

1.194

0.047

177

118

22

1.225

1.245

0.049

161

108

23

1.275

1.295

0.051

144

96

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

527

Index Numerics 105 System 336 16th Tone Piano 94 1867 Exposition in Paris 13 3M 267, 338 microfinishing film 202 409 89

A Abel 66, 71, 72, 340, 383 hammers 72, 384 Naturals 71 Abrasive cord 338 Abrasives, in buffing compounds 364

ABS Carbon 17, 66 Styran 66 Absolute humidity 84 Absolute Piano Restoration 236,

288, 292, 313, 314, 394, 459, 466

Académie Royale des Sciences 3 Accelerated Action 59, 164, 300, 315, 347, 496

Accu-Tuner 125 Acetone 338, 384 Acid, used in making hammer felt 71, 384

Acoustic Glue (see “Bolduc, Acoustic Glue”) Acousticraft 203 Acoustics, of room 209 Acrylic 215, 217 as hammer felt hardener 217 for key tops 354 AcryliKey 238 Action 24, 63 Accelerated in Steinways 59, 315, 347

Birdcage design 68 bracket 22 bracket bolt 140 brackets, expanding 142, 149 bumping type 3, 5 cloth (Sticker cloth) 340

composite parts 375 compressed 68 diagram 64 Double Repetition in verticals 77 double-escapement 5, 12 dropped 68, 113, 140, 320 English 9 escapement of jack 76 Fandrich 68 frame stability in verticals, inspecting 191 geometry 273, 303 geometry troubleshooter 304 grand, inserting into the piano 137

grand, rebuilding 373 grand, regulating 166 grand, removing 136 grand, removing from keyboard 379

grand, rough-regulating 394 grand, transporting 137 grand, types 63 Herz-Érard 63, 320 how it works 76 in relation to damper 77 leather 341 leverage (see also “Distance leverage,” “Weight ratio”) 279 leverage, altering 312 leverage, changing through key travel 283, 284 missing notes 82 modifying 378 parts with flanges, traveling 168 parts, comparing in grands 376 parts, repinning and rebushing 244

parts, rubbing 153 parts, sluggish due to verdigris 246, 374

parts, testing the fit in grands 377 parts, to rebuild or replace 374 parts, traveling, squaring, aligning 167 push type 3 rails 66

rails, repairing 240 rebuilding, overview 325 regulating 166 regulating on the bench 141 regulation, effects on tuning 129 removing 136 removing from keyboard 154 repairing 240 repetition, speed of 77 Schwander 77 single-escapement 4 spread 149, 280, 282, 287, 315 tape-check 11 troubleshooters 304 Tubular Metallic Frame 66, 68 vertical 68 vertical, development of 15 vertical, Double Repetition 77 vertical, rebuilding 408 vertical, regulating 189 vertical, removing 140 vertical, rough-regulating 416 Viennese 3, 341 Action Geometry Program 273 Action rack checking 152 repositioning 315 Action spread 282 Acu-Just 56, 424, 427, 428, 429, 430, 432, 433, 434, 436

Adhesive tape 337 Adhesives (see “Glue”) Adjustable Leverage Action 315 Adrien de la Fage 76 Aeolian mode 94 Affleck Piano Tuning 419 Aftertouch adjusting in verticals 195 checking 153 grand, regulating 173 insufficient 171 recording 344 Agraffe 13, 21, 22, 56 broken, extracting 262 friction 131 reamer 437 Agraffes

facing off 439 grooved, effects on tuning 132 reducing height of 439 replacing 436 to rebuild or replace 326 Air dehumidifying 85 humidifying 86 Air conditioner 86, 328 Albert Steinway 13, 76 Alcohol 144, 145, 147, 155, 156, 158,

161, 179, 182, 191, 213, 217, 221, 237, 238, 264, 265, 337, 338, 352, 353, 356, 437, 439, 449, 478 as sizing agent 215, 491 as solvent for shellac 480 as suspension for blue chalk 449 as suspension for chalk 240, 364, 365 denatured 144 ethyl 144, 222 for reflowing finish 481 isopropyl 144, 222 methyl 144 rubbing 89, 90, 136, 144 Alcohol lamp 156, 168, 169, 194, 196, 243 Aleene’s 336, 358 Alexandre-Françoise Debain 76 Alfons Huber 3 Alfred Dolge 4, 5, 13, 14

Aligning action parts 167 grand damper heads 183 Alignment of hammers, checking in grands 149 Aliquot 36 Allen Wright 89, 157, 171, 211, 213, 228, 237, 261, 423, 425, 472

Allied Piano/LakeOne USA 263, 265, 483

Alpheus Babcock 12, 15 Altering action leverage ratio (see “Action, leverage”) Aluminum oxide 338 Aluminum piano 25 Amazing GOOP 336

528

Index

American Steel & Wire Company 44 Americus Backers 7 André Bolduc 259, 472, 473 André Oorebeek 157, 208 André Stein 8 Andrea Coen 2 Angle of grain in soundboards 49 Angle vise 387 Anodized aluminum capstans 314 Antique Finishers 335 Antique pianos, rebuilding 319 Antoine Bord 13 Anton Stelzhammer 25, 27 Anton Walter 5, 6 Apostles, twelve 8 Applicators for hammer hardener 218

Apron in bass bridges 20, 40 Ari Isaac 384 Arledge Music Wire 422 Ascending intervals 95 Assembly 65 (see “Franklin glue”) Assist spring (see “Wippen assist spring”) Attack 43 August Kögler 13 Aural tuning 118 AvantGrand 63

B Babcock, Alpheus 12, 15 Bach, Johann Christian 8 Bach, Johann Sebastian 2, 9 Back (frame in verticals) 24 Back rail 22, 58 Back stop (see “Catcher”) Backaction 22, 74, 300, 406, 407 weight 302, 309 Backcheck 22, 76 felt in verticals 340 leather (see “Buckskin”) wires in grands, replacing or not 369

wires, types 371 Backchecking grand, regulating 174 importance 77 regulating in verticals 196 Backchecks 62 aligning to hammer tails in grands 170 grand, height 368 grand, inspecting 153 grand, rebuilding 368 grand, replacing 369 grand, square and align 170 installed low, ramifications 368 releathering 369 rubbing against hammer tails in grands 175 vertical, aligning to back stops 196

vertical, inspecting 189 Backers, Americus 7 Backscale 49 Badura-Skoda, Paul 212 Balance holes 237 checking 155 in keys, reaming 350 loose, repairing 237 reaming 351 Balance key bushings 22 Balance point of key, moving 315 Balance rail 22, 58

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. bearing 58, 59, 163, 164 felt punchings 340 glides, adjusting 159 glides, lubricating 155 pins 76 punchings 59 Balance weight 276, 278 Balancier 22 Baldassin, Rick 103, 128 Baldwin 31, 36, 49, 56, 140, 193, 319, 378, 424, 433, 434, 436, 459

Ball-peen hammer 214, 215 Ballpoint pen spring 189 Bamboo skewers 241 Band saw 330 Bar soap 145 Bar, cutoff 46 Barclay, R. 320 Bartolomeo Cristofori 1, 4, 6 Baseboard 76 block or bracket noises 493 in verticals 24, 252 noises 494 strengthening attachment of 494 Bases of jacks in verticals, inspecting 191 Bass bridge 20, 36, 40 Bass section, tuning 119 Bass strings 34 hexagonal core 36 making 34 replacing in grands 231 swaging (see “Swaging bass strings”) twisting 231 Beam, lack of, affecting melody octave 458 Beams 19, 20, 23, 24, 27, 131 Beats 96 false 41, 132 in intervals 112 Bechstein 12, 13, 54, 57, 254, 319, 320, 441, 461, 464

grand plate cracks 254 open-face pinblock 456 Becket 223, 260 Bedding a key frame (see “Key frame, bedding”) Bees’ wax 340 Beethoven Pianos 37 Beethoven, Ludwig van 6, 11, 12 Behm, Chuck 409, 410, 411, 412, 413, 415, 440

Bell, in Steinway grands 21 Belly rail 19, 20, 21, 27, 28, 49, 186, 434, 459, 463

lack of beam 458 Bellymen felt 22, 340 Belt sander 331, 332 Bench regulating 141 Bending force 101 Bentside 8, 46, 50 Bevel, on edge of soundboard 50 Bill Spurlock 194, 286, 393 Billings flange 410, 415 Binder clips 308 Biofelt Project 384 Bird cage action 11 Bird, Lonnie 446 Bird’s eye 143 Birdcage vertical action 68 Birkett, Stephen 300 Black key tops 22 replacing 365 Black keys 94

Blackstone Valley Piano 61, 88, 235, 237, 345, 346, 348, 355, 356, 357, 360, 361, 364, 367, 400

Blade, sostenuto (see “Sostenuto, rod blade”) Blanchet et Roller 10, 76 Blankets 329 Bleaching hammer felt 71 soundboard 469 white key tops 363 Blending of wool 71 Blind dowel marker 454 Block, sanding 337 Bloom, in sound envelope 44 Blow distance 275 regulating in grands 170 Blow, half (see “Half-blow”) Blue chalk 449 Blue Point hammers 71, 72 Blued tuning pins 421 Blushing of lacquers 479 Blüthner 34, 43, 63, 319 Bob Flexner 479 Bobbling 10, 151, 172, 195, 196 Boisselot & Sons 76 Bolduc 329, 435, 444 Acoustic Glue 336, 454 pinblock router bit 442, 444 pinblocks 451 see also “pianos Bolduc” Bolduc, André 259, 472, 473 Bolduc, Christian 259, 472, 473 Bolts 339 Bookcase piano 8 Bord, Antoine 13 Boring specifications for drilling hammers 386 Bösendorfer xiii, 3, 5, 15, 17, 19, 20, 24, 25, 29, 30, 31, 32, 34, 35, 40, 44, 47, 51, 52, 53, 54, 55, 58, 67, 116, 165, 169, 175, 181, 214, 319, 320, 353, 399, 441, 483, 484, 501 open-face pinblock 456 Boston piano 28 Bottom panel noises 494 Bowman, Keith 109 Brace, ratchet 333

Brackets, expanding (see “Action, brackets, expanding”) Brady, Stephen 221, 374, 437 Brahms, Johannes 13, 70 Braid, stringing 341 Brass bar, for squaring keys 162 bristle suede brush 156 chopstick voicer 210 decal, installing 484 weights, improving sustain with 459

Breakpoint, dynamic (see “Dynamic breakpoint”) Brian Capleton 107 Bridge 23 bass 20, 36, 40 cap 37 cap, replacing 473 cracks, repairing 256 floating 39 joints, repairing 258 long 20, 36, 37 notching 41, 478 offset, bass 40 repairs 256 root 37

separated, effects on tuning 132 setting the downbearing 475 shimming to increase crown 467 Bridge pins 21, 23, 40 drilling holes for 477 friction with 131 grooved, effects on tuning 132 installing 479 loose, effects on tuning 132 loose, repairing 256 Bridges 36 diagnosing before rebuilding 322 graphiting 478 inspecting before restringing 419 rebuilding 472 Bridle straps 140, 341 adjusting 191, 198 replacing 411 Broadwood 7, 8, 9, 11, 12, 15, 37, 43, 320

Broadwood, Thomas 12 Brooks, Ltd. 384 Broukal, Thomas 67 Brown, Christopher 141, 142, 201 Bruce Dornfeld 149 Brush cosmetics, for applying powder lubricant 157 for dusting the plate 90 for tuning pin holes 421 suede 156 Brushing varnishes, on soundboards 470 Bubble gauge string leveler 204 Buckskin 241, 341 Buffing compounds 364 finish 483 sponge 484 white key tops 364 Bulbs, infrared, heating 460 Bumping action 3 Bungee cord 415 Burlap, used to apply lacquer filler 482

Burnish 145, 147, 156, 350, 473, 478 graphite 145 Bushing cauls or “wedges” 348 cloth (felt) 341, 348 Bushings damper guide rail, replacing 402 in action parts, replacing 246 in keys 58, 61 in plate 326 leather 490 wooden, in plate, for tuning pins 54

Bushmaster 349 Butt, of the hammer in verticals 76 Butterfly spring 67, 176, 288, 320 Button drop in grand shanks 77 let off 68, 76 Buzzes diagnosing 489 effect on tuning 133

C C.F. Theodor Steinway (see “Steinway, C.F. Theodor”) CA glue 221, 238, 247, 255, 256, 336, 367

treating pinblock with 255

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Cabinet piano 8 Cadenza S 384 Calculating leads 297 Caliper 247, 274, 344, 351, 417, 422, 446, 448

Cam for locking grand legs 28 Cantrell, Norman 136 Cap on bridges 37 on bridges, replacing 473 Capleton, Brian 107 Capo tasto 6, 21, 34, 56 grooved V bar, effects on tuning 132

patent 13 Capstan block (capstan boat) 314 let off (see “Let off buttons”) Capstan screw (see “Key capstans”) Carbon fiber 25, 54 composite shanks 66 soundboard 19 Carding felt 71 Carl Sauter 94 Carpenter’s Wood Glue 335, 391 Carrillo, Julian 94 Case 20, 23, 28 cast-iron 25 Caster 23 socket 28 Cast-iron case 25 plate 50 Catalyzed finishes, repairing 265 Catcher, aligning backcheck to 196 CATIPULT 392 Cauls for key bushings 348 for pressing hammer felt 71 CAUT x, 434, 509, 516, 518 Cedar balls, as moth repellent 88 Ceiling, dynamic (see “Dynamic ceiling”) Cembalo 9 Cement, contact 336 Centennial International Exhibition 14

Center pins friction 77 in hammer butts, inspecting 191 of shanks, inspecting in grands 153

Centers for Disease Control and Prevention 136 Central (de)humidification 86 Ceramic magnet 204 CEUS, by Bösendorfer 17 Chalk 422 blue (see “Blue chalk”) buffing ivory tops with 240, 365 for stringing 224 on tuning pins 323 Cheating jack 494 Cheek 8 block (see “End block”) disease 11, 12, 320 Chemical hardeners 216 stripper 481 Chen, Hailun and Faye 17 Chickering 13, 14, 319 Chickering, Jonas 12 China 16 Chipping to tune new strings 129 Chisel 333

for soundboard shimming 466 Chopin, Frederic 13 Chopstick voicer 210, 213, 214 Christian Bolduc 259, 472, 473 Christoph Gottlieb Schröter 3, 6 Christopher Brown 141, 142, 201 Chromatic electronic tuner 124, 125 scale 94 Chrome buffing compound 364 Chuck Behm 409, 410, 411, 412, 413, 415, 440

Cigarette lighter (see “Lighter”) Circle of fifths and fourths 117 CITES 355 Clair Davies xvii Clamps 333 spring 311 Clanking noise Clatter 491 Claude Debussy 76 Claude Montal 75, 76, 275 Clavecin 9 Clavecin à maillets 3 Clavichord xv, 3 Clavicytherum 7 Cleaning 89, 141 Clear Coat laminating resin 336 Clementi, Muzio 9 Clicking noises 491 Climate control in a shop 328 effects on refinishing 479 humidity 83 Cloth 341 emery 338 for key bushings 348 Clothes moths (see “Moths”) Cobalt drill bit 451 Coen, Andrea 2 Coincident partials 96, 121 Cold-drawing steel wire 34 Cold-pressed hammers 71 Cole, Michael 2 College of William and Mary 7 Collodion 217 Colonial Williamsburg Foundation 4, 7, 9, 358

Combing felt 71 Comparing grand action parts 376 Composite action parts 375 plate 440 Compound, buffing 364 Compressed action 68 Compression set 251, 457 Compression-crowned soundboards 49 Compressor 331, 479 Computer Numerical Control (CNC) 61

Conair 214 Concert Level 204 Concert String Tool 203 Condensation of moisture 84 Condenser, in air-conditioner 86 Conklin, Harold Jr. 45, 46, 56, 459 Conn Strobotuner 124 Conrad Graf 11, 12 Console humidifier 87 Consonance 95 Consonant intervals 97 Contact adhesives (cement) 336 Contiguous M3s 117 Continuous curved bridge 38

Contraction of plate 54 Cord, abrasive 338 Core, hexagonal, in bass strings 36 Cork grease 145, 268, 270, 493 Cornice (see “Stretcher”) Corrosion 89, 319 Cory 89 Cottage piano 10 Cotton swab, for polishing agraffe holes 437 Council of National Defense 16 Countersinking screws 339 Couperin, François 6 Coved hammer tails 73 Cow bone key tops 355 Cracks in pinblock, repairing 256 in plate 253 in soundboard, shimming 460, 465

Craig McDougal 9 Crail, Gordon 268 Crane 329 Crawford, Matthew 318 Creaking noise in grand pedals 493 in verticals 490 Creepage of glue 28, 319, 334, 335, 336, 358, 454, 467

Crescendo key punchings 59, 340, 347

Crescendo Publications 208 Crimp of wool fibers 71 Cristofori, Bartolomeo 1, 3, 4, 6 Critica musica 2 Critical recoat time 471 Crosby Brown Collection of Musical Instruments 1, 2 Cross bars (see “Struts”) Cross block (see “Belly rail”) Cross-stringing (see “Overstringing”) Crowbar 280, 443, 445 Crown in soundboards 20, 48 in soundboards, affected by humidity 84 in soundboards, forcing 466 in soundboards, increasing 460, 467, 475

in soundboards, measuring 461 of piano hammer 70, 208 Crystal Soundboard 45 Cupola plate 56 Cutoff bar 46 Cutting leather and felt 342 new pinblock 445 Cyanoacrylate glue (see “CA glue”) CyberHammer 110 CyberTuner 126 Cymbal-Clavir 3

D Dag 22, 145, 156, 160 stop screw, adjusting 152 Dain, Richard 17, 19, 25, 43, 45 Dale Erwin 416 Damper 77 block 74 blocks and strips in verticals 413 felt, flat 74 felt, noise 490 felts 22, 74, 340

Index

529

felts in grands, replacing 400 felts in verticals, replacing 413 guide rail 22 guide rail bushings 181 guide rail bushings, replacing 402

head 22, 74 heads with wires, replacing 404 heads, aligning, in grands 183 heads, refinishing 401 lever 77 levers 192, 197 lift rod 192 mechanism (see “Backaction”) noises in grands 181 pedal 74 pedal lift, regulating 179 regulation in grands 182 repairs 248 spoon, in verticals 77 spoons in verticals, adjusting 197

springs in verticals, lubricating 192

stop rail 77 stop rail, adjusting 178 system in grands, design flaws 182

system in grands, rebuilding 400 system, description 74 system, rebuilding overview 325 system, with threaded wires, modifying 404 underfelt 74 underlever 77 underlevers, aligning to key end felts 407 underlevers, rebuilding vs. replacing 405 wire 22 wire touching a string 183 wires, lubricating 181 Damper action 22 Damper Bean Bag 185 Damper lift 150, 180, 181, 182, 183, 185, 248, 346, 400, 405, 423 defined 77 delayed 491 grand, regulation 183 late 130 uneven 253

with pedal in verticals (see “Pedal, damper lift”) Damper lift rod 74, 147, 192, 197, 253, 490, 494

Damper stop rail adjusting 152 Dampers 74 grand, rebuilding 400 grand, regulating 180 low, effects on tuning 130 vertical, rebuilding 413 vertical, regulating 196 Dampp-Chaser 85, 87, 88, 90 Daniel Levitan 103, 109, 111, 114, 130

Darije Kos 461, 464 Darrell Fandrich 17, 68, 69, 273, 290, 292, 298, 299, 300, 378, 458, 501

Dave Roberts 419 Davenport Tools 203, 204 David G. Hughes 321 David Huggins 274 David Kirkland 16, 27, 56 David Stanwood 144, 214, 273, 283,

530

286, 288, 290, 291, 309, 315, 506

David Sutherland 2 Davies, Clair xvii de la Fage, Adrien 76 de Zwolle, Henri Arnaut 1 Debain, Alexandre-Françoise 76 Debussy, Claude 76 Decal brass letters, installing 484 soundboard, applying 472 Decay, of sound 43, 44 Dehumidifier 86, 328 Dehumidifying air 85 with air conditioner 86 Deicing, in dehumidifier 86 Del Mela, Domenico 8 Delaminated pinblock, repairing 256

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

Index

Delignit 28, 441, 451, 456 Deluxe Hammer Boring Jig 387 Delwyn Fandrich 17, 459 Density in soundboards 50 of hammers 72 Descending intervals 95 Design 19 DETOA 60 Dewey, John 242, 375 Diagnosing piano before rebuilding 321 Diagram action 64 grand piano cross section 22 Diaphragmatic soundboard 47 Diatonic scale 94 Didymic comma 98 Disc sander 331 Dishwashing detergent 338 Disklavier 17 Dissonance 95 Dissonant intervals 97 Distance leverage 279 Distance multiplier 295 Ditanaklasis 10 Ditonic comma 98 Dolge, Alfred 4, 5, 13, 14 Dolly 268 Domenico del Mela 8 Domenico Scarlatti 2 Don Anthonio da Braganza 2 Donhauser, Peter 8 Dorian mode 94 Dornfeld, Bruce 149 Double Cupola plate 56 Double Repetition vertical action 77 Double strings 224 Dowel, pitman 23 Dowels for repairing stripped screw holes 240 supporting the plate 20 Downbearing 21 improving by installing thinner pinblock 449 measuring 419 of strings 48, 54, 84 of strings, diagnosing 322 setting with new bridge cap 475 Downweight 276 Dremel 331 Dresden 2 Drill 331 Drill bit, laminate-trimming (see “Laminate-trimming bit”) Drill press 331

for drilling hammers 387 Drilling bridge pin holes 477 hammer heads 386 pinblock 451 vertical piano hammers 414 Driscoll CF Tuning Lever 110 Drop adjusting in grands 172 button in grand shanks 77 regulating 172 screw 22 testing by feel 174 Dropped action 68, 113, 140, 320 Dryburgh Adhesive 255 Duct tape 337 Dulcimer 2, 6 Duncan Enterprises 336 Duplex 36 bar, friction with 131 portion of strings 62 resonances 133 termination 22 Dvor Trakoscan 11 Dynamic breakpoint 300 Dynamic ceiling 49, 298 Dynamic touchweight 276, 298

E Easing key bushings 352 Eastern Europe, as piano market 16 Easy String Calc 46, 419 Ebony black key tops 365 sealing 367 Echo 490 Eclectic Products 336 Ecsaine 341 Ed Foote 214 Edges, touching up 263, 484 Edwin Good 13 Effects of environment on pianos 83 Elastic limit 33 reaching and exceeding 128 Elbows 409 Electricity in the shop 328 Electronic tuning 124 corrections 126 Ellis, James F. 46 EMC (see “Equilibrium moisture content”) 49 Emerson, George “Frank” 17, 47 Emery cloth 338 Empfindsamer Stil 9 Encore 384 End block 22 adjusting 152 removing 136 English Action 9 English Double Action 10 Enharmonic notes 94 Envelope, of sound 43, 383 Environment, effects on pianos 83 Environmental Protection Agency xvii

Epoxy 256, 336 in soundboard cracks 318 soaking the soundboard with 459

Equal temperament 99 Equilibrium moisture content 49, 460

Equipment for spraying finishes 479

in a rebuilding shop 329 Érard, Pierre 12, 13, 320 Érard, Sébastien 12, 13, 77, 320 Eric Johnson 45 Erwin, Dale 416 Erwin’s & Sons pinblock 451 Erwin’s Piano Restoration 48, 281 Escapement of jack 76 escutcheon 489 Estonia 73 ETDs 125 Ether 217 European strings, wire gauges 34 Europiano xvi Evaporator, in air-conditioner 86 Exhibition Centennial 14 in Paris in 1867 13 Expanding action brackets (see “Action, brackets, expanding”) Expression pedal 75 Extracting broken agraffe 262 Eyedropper 218

F Fabric softener 215 Facing off agraffes 439 Faivre 12, 47 Falconwood 28, 441 Fallboard 22, 28 removing 136 Fallboard lock 91 False beats 41, 132, 256 False bridge 37 Fan, effects on tuning (see “Reflection of sound”) Fandrich 15 vertical back 25 vertical piano action 68 Fandrich Vertical Action 69, 77 Fandrich, Darrell 17, 68, 69, 273,

290, 292, 298, 299, 300, 378, 458, 501 Fandrich, Delwyn 17, 459 Fandrich-Rhodes 273, 274, 299 Fast Grab 336 Fasteners 339 Fatigue, of strings 34 Faulk Piano Service 109 Faust Harrison Pianos 35, 47, 52, 58 Faye Chen 17 Fazioli 17, 29, 36, 42, 48, 53, 55, 75, 138, 398 Feeler gauge 258, 449, 450, 461

Felt affected by humidity 85 cutting 342 for key bushings 348 for timpani 340 friction with strings 131 gluing 342 in hammers 70 in hammers, rinsing (see “Rinsing”) interwoven with thread 340 manufacture of 71 on hammers, ironing 214 on hammers, resetting during voicing 211 plain 340 punchings 59 types 340 Felts in dampers 74

in keyboard 59 in verticals, inspecting 191 on dampers in verticals, replacing 413 on grand dampers, replacing 400 replacing 340 replacing, overview 326 Ferdinand Hoffman 6 Ferrini, Giovanni 1 File 333 Nicholson 237, 382 Filler, pore, for lacquer 482 Filling surface for finishing 482 Filter/separator 479 Fine, Larry 17 Finish blushing 479 buffing 483 refinishing 479 repairing 263 satinizing 264, 484 soundboard, refinishing 468 touching up 263 types 480 Finishing hazards 480 materials, protecting from water vapor 84 Fish, for increasing sustain in treble 46

Fitting new pinblock 448 Flagpoling of tuning pins 54, 107 Flange of the plate, fitting pinblock to 441 Flanges of hammer shanks 77 Flannel buffing wheel 365 Flat damper felt 74 Flat-head screws 339 Flexner, Bob 479 Flitz 156, 425, 437 Floating bridge 39 pinblock 33, 441 soundboard 46 Florence 1 Flügel 3, 9 Foote, Ed 214 Force, bending, in strings 101 Forcing soundboard crown 466 Fractured key, repairing 234 Frame 19, 24 rails, restoring 344 Tubular Metallic 66, 68 underlever (see “Underlever tray”) vertical 24 François Couperin 6 Frank E. Morton 44 Frank Emerson 17, 47 Frankfurt Musikmesse xvi Franklin glue 335, 336, 454 Franz Jacob Späth 9 Franz Joseph Haydn 11 Franz Liszt 13, 82 Fred Sturm 69, 109, 124, 130, 155, 165, 193, 210, 215

Frederic Chopin 13 Frederick the Great of Prussia 2 Frederick Vietor 59 Frequency of sound 43 Friction 276, 443 changing during key travel 278 controlling 306 in action center pins 77 Friedrich Marpurg 3

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Front rail 22, 58 key pins 58 Front weight 291, 297, 398 calculating 294 ceiling 291, 293, 397 estimating 296 Fujan Products 109 Fuji Silysia Chemical, Ltd. 85 Full-fit pinblock 33, 441 Functioning of an ideal hammer 208 Fundamental pitch 96

G

action, rough-regulating 394 backchecks, rebuilding 368 Centennial 14 damper system design flaws 182 damper system noises 181 damper system, rebuilding 400 damper system, regulating 180 damper underlevers, rebuilding vs. replacing 405 diagram 22 hammers, replacing 383 jack, split 243 keyboard vs. vertical keyboard 343

Gap, between jack and hammer butt, adjusting 195 Garnet sandpaper 338 Gauge numbers, marking on plate with stencils 440 Gauge, bubble 204 Geib, John 4, 10 Geigenwerk 1 Gel, superglue 336 Geometry (see “Action geometry”) George “Frank” Emerson 17, 47 Gerald Cousins 392 German loop 225, 231 German silver 143 Gertz, Richard 14, 25 Gilding, refinishing piano plate 439 Gillis, Ian 4 Giovanni Ferrini 1 Giraffe 8 Giustini, Lodovico 2 Glass sanding block 359 soundboard 45 Glazbala Kos 461, 464 Glides 22 adjusting 159 lubricate 155 Glover’s needles 210 Gloves 146, 422 applying powder lubricant with 158

inspection 221 wearing during regulation 135 Glue 334 creepage of (see “Creepage of glue”) for installing hammers 391 for key bushings 349 sizing 237 thermoplasticity 335 Gluing felt and leather 342 Golfer’s glove 422 Good, Edwin 13 Gordon Crail 268 Gottfried Silbermann 2, 6 Goudonnet 76 Gouges, repairing 264 Gradient, in tone (see “Tonal gradient”) Graf, Conrad 11, 12 Graham, Gregory 143 Grain angle, in soundboards 49 Grand action and keyboard, transporting 137 action diagram 64 action rails 66 action rebuilding 373 action types 63 action, regulating 166 action, removing 136

keyboard, inserting 137 keyboard, removing 136 knuckles, repairing (see “Knuckles, repairing”) legs 28 legs, removing and installing 268 lid 28 lid, removing and installing 268 lyre, removing and installing 271 pedals, noises 493 piano restringing 423 pinblock types 440 pinblock, replacing 440 shank rest felt (see “Shank rest felt”) wippens, traveling 170 Grand Piano Solutions 242, 416 Grand Plate Puller 329, 435 Grandwork 204, 205 Grandwork Regulation Station 141 Granite sanding block 359 Graphite 145 Graphiting bridges 478 Gravagne, Nick 273, 393, 468 Gravicembalo col piano e forte 1 Grease, cork 268, 270, 493 Great Depression 15, 16, 321 Gregor Heller 232 Gregory Graham 143 Grid, sanding 338 Griffa & Figli 5 Grijalva, Robert 458, 459 Grinder 331 Grossbach, Jan 263 Grotrian 24, 25, 31, 35, 37, 38, 159, 186, 225, 319, 339, 366, 501

Growing action brackets (see “Action, brackets, expanding”) Guide notes 142 regulating 166 Guide rail bushings 181 bushings in grand pedals, noises 493

bushings, easing 248 Gym chalk 422

H Hackbrett 2 Hailun Chen 17 Hailun Piano Company 17, 47 Half pedaling 185 Half step 94 Half-blow distance 181, 197 pedal 198, 275 rail 194, 198 Half-moon punchings 315 Half-round dowel (see “Balance rail bearing”)

Hamburg Steinway 16, 21, 31, 59,

67, 313, 369, 384 Hammer 22

ball-peen (see “Ball-peen hammer”) boring jig 387 crown 70, 208 felt 70, 340 felt, ironing 214 felt, resetting 211 felt, rinsing (see “Rinsing”) felt, sanding 211, 216 felt, sanding top layer 393 felt, steam-treating 71, 214 felt, treated with hardeners 216 hardener (see “Hardener”) head 76 heads, drilling 386 heads, inspecting 153 height, regulating in grands 170 ideal, functioning 208 mass, changing (see “Strike weight, changing”) molding 71 molding materials 73 properties 70 rail 22 rebounding 70 rest rail, adjusting in grands 178 shoulders 70, 208 shoulders, needling 211 strike point 73, 208, 375 strike weight (see “Strike weight”) tails, shaping and tapering 388 tails, types 73 Tapering Jig (also see “Spurlock Specialty Tools”) 385 underfelt 73 weight 72, 275, 283 Hammer butt Billings flange (see “Billings flange”) center pins, inspecting 191 in verticals 76 in verticals, rebuilding 411 leathers and felts, inspecting 191 Schwander 411 spring 77 spring, variations in 68 springs, inspecting 191 Hammer shank 22, 76, 376 center pins, inspecting in grands 153

drop button 77 flange 22 ratio 282 rest cloth, on rail 340 rest felt 22, 340 rest rail, regulating 178 split, repairing 243 strike weight 286 weight ratio 288 Hammer shanks gluing hammers onto 391 grand, comparing 376 grand, replacing 380 grand, traveling 167 heating and twisting 168, 393 in verticals, replacing 414 made of carbon fiber composite 66

old, reusing 385 stubs, cutting 393 Hammer Square tool 167

Index

531

Hammering overhardened hammers 214 tuning pins 230, 254, 417 Hammers 70 affecting the tuning 133 checking alignment and spacing in grands 149 cold-pressed 71 dense, voicing 209 drilling and tapering in verticals 414

glue for installation of 391 gluing onto shanks 391 grand, replacing 383 grooved, unresilient 133 in verticals, replacing 414 installing 390 manufacture 71 marking 387 mating to strings 207 needling 210 new, voicing 394 over/under-centering (see “Over-centering,” “Undercentering”) replacement, deciding on weight of 286 reshaping before regulating action 166 selecting 383 shaping tails 71 soft, voicing up 216 squaring 168 steam-treating (see “Steamtreating hammer felt”) variations 72 voicing 73 warm-pressed 71, 384 Hand stops 6 Hand tools 333 Hands Off fallboard lock 91 Hans Velo 46, 306, 311, 419 Hantavirus Pulmonary Syndrome 136

Hard Wax 264 Hardener applying to hammer felt 218 for hammers 216 voicing overhardened hammers 215

Hardening hammer felt 71 Hardwood insert, for repairing action rails 242 Harmonic bar 13 Harmonic intervals 95 Harmonic minor scale 94 Harmonic Piano 94 Harmonic series 95 Harmonics (see also “Partials”) 95 Harold Conklin Jr. 45, 46, 56, 459 Harpsichord xv Harrison, Michael 94 Harshness, tonal, removing 211 Hawkins, John Isaac 10 Haydn, Franz Joseph 11 Haydn, Joseph 8, 9 Hazards in finishing and refinishing 480

Head hammer 76 hexagonal on bolts 339 Hearing protection xvii Heat gun 194, 196, 243 Heating and twisting shanks 168, 393

532

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

Index

Heating lamps 255, 256, 460, 461 Hebenstreit, Pantaleon 2, 3, 6 Height of grand backchecks 368 Heinrich Neuhaus 76 Heli-Coil 243, 262 Heller, Gregor 232 Hellerbass 232, 422 Helmholtz, Hermann von xviii, 97 Hemorrhagic Fever with Renal Syndrome 136 Henri Arnaut de Zwolle 1 Henri Herz 12, 320 Henri Pape 10, 13 Herbert A. Shead xvii Hermann Kluge 16 Hermann Lichtenthal 11, 507 Hermann von Helmholtz xviii, 97 Herrburger-Schwander 320 wippens 67 Hertz (Hz) 97 Herz, Henri 12, 320 Herz-Érard 63, 320 Hex screws 339 Hexagonal core in bass strings 36 head on bolts 339 Hexagrip pinblock 28, 32 Hickey, Jeffrey 262 Hide glue 334, 335 High gloss 483 lacquer, repairing 264 High Performance Super Glue Gel 336

High-build finish 481 High-speed rotary power tool 331 steel drill bits 451 History 1 Hitch pins 21, 22 Acu-Just (see “Acu-Just”) Hi-tech finishes 483 Hoffman, Ferdinand 6 Hoist 329 Holes for screws, repairing 240 in keys 237 Hollow mill 437 Horn (see “Plate horn”) Hot hide glue 334 Hot Stuff 255 Hot-melt glue 337 Huber, Alfons 3 Huggins, David 274 Hughes, David G. 321 Humidifier 87, 328 Humidifying air 86 Humidity 83 effects on tuning 130 increasing 86 lowering 85 relative vs. absolute 84 Hurstwood Farm Piano Studios 19, 43, 45

Hydrogen peroxide 363 Hygrometer 85 Hypo oiler 218

I Ialeggio, Jim 242, 416 Ian Gillis 4 Ibach 319 Ignace Pleyel 10 Igor Stravinsky 63 Igrec, Seni 82

Imadegawa hammers 72, 384 Impact tuning lever 110 Impedance in soundboards 44 Increasing soundboard crown 475 Individually-tied strings 224 Industrial Revolution 8, 11 Industrial scale production 13 Inertia 275, 298, 304 benefits 299 reducing 309 Inertial Touch Force 273, 299, 300 Infrared heating bulbs 460 Inharmonicity 41, 101 of intervals (see “Interval inharmonicity”) of strings 34 variations between scale designs 107

Inherent vice 319 Insects 88 Insert, hardwood, for repairing action rails 242 Inserting grand action and keyboard 137 Interval 94, 95 consonant v. dissonant 97 inharmonicity 103, 106 Inventronics 125 Ionian mode 94 Ironing hammer felt 214 Isaac hammers 384 Isaac Pianos 422 Isaac, Ari 384 Isocyanates 483 ITF (see “Inertial Touch Force”) Ivoplast 354 Ivorine key tops 354 Ivorite key tops 355 Ivory chipped, repairing 238 from fossil mammoth 355 key tops 355 Ivory soap 145

J Jack 22, 76 bases in verticals, inspecting 191 binding on knuckle 156 center pins, in verticals 191 cheating (see “Cheating jack”) gap, adjusting 195 grand, aligning to knuckle 176 in grands, split 243 realigning to repetition lever opening 156 spring 77 springs in verticals, inspecting 189

tender 22 tender, lubricating 158 Jacks inspecting in grands 156 regulating in pianos with let off capstans 177 James F. Ellis 46 James Geiger 15 Jan Grossbach 263 Janissary effects 8 Jansen & Son 268 Japan 16 Jean Marius 3 Jeffrey Hickey 262 Jigsaw 332 Jim Ialeggio 242, 416

Jim Schmitt 262 Johann Andreas Stein 3, 6, 8, 9, 12 Johann Christian Bach 8 Johann Sebastian Bach 2, 9 Johann Socher 3 Johannes Brahms 13, 70 Johannes Pohlman 9 Johannes Zumpe 9, 10 John Dewey Enterprises 242, 375 John Geib 4, 10 John Isaac Hawkins 10 John Nelson Woodworking 355 John Parham 253 John Rhodes 273, 290, 292, 299, 300, 501

John Watson 4, 7, 89, 136, 320 Johnson, Eric 45 Joints, on bridges, repairing 258 Jolly, Roger 165 Jonas Chickering 12 Jones, Scott 283, 311 Joseph Haydn 8, 9 Jude Reveley 236, 288, 292, 313, 314, 394, 459, 466

Julian Carrillo 94

K Kawai 17, 66, 197, 319, 375 Kehl, Roy 56 Keith Bowman 109 Keith McGavern 262 Kelly 16 Kent Webb 16, 85, 146 Key 22, 94 balance felt punchings 340 balance holes, reaming 351 balance point, moving 315 block (see “End block”) damper lift (see “Damper lift”) fractured, repairing 234 front felt punchings 340 height, measuring 343 leads 22, 62, 397 level, observing 149 mortise, broken 234 pulley (see “Pulley key”) ratio 280 rest felt 340 stop rail 22, 159, 166, 343 stop rail, removing 153 weight ratio 291 Key bed 20, 22, 24, 30, 57, 74, 76, 136, 164, 179

attaching lyre to 271 bending 160 blocking hitch pins in verticals 233

bowed 205 curvature of 141, 164, 173 curvature, measuring 344 damaging 268 distance to strings, altering 449 distance to strings, measuring 344, 423

fitting key frame to 159 flexing 493 glides in 160 hammers perpendicular to 204 hollowed 141, 160, 205 in vertical, action supports on 140

in verticals 28 key frame, fastened to 136 key level adjustment screws,

under 163 legs, fitting under 112 leveling strings from 205 lubricating 145, 147, 155, 179 positioning key frame on 208 pounding into 112 protecting during restringing 427 removing in verticals 430 sostenuto dowel in 137, 188 transmitting noises 62, 96 underlever tool on 183 using for tuning fork 116 Key bushings 22, 58, 61 cauls 348 checking 155 easing 155, 352 leather 490 loose, repairing 236 replacing 347 Key buttons 22, 60, 61 cracked, repairing 234 replacing 236 Key capstans 62, 76 checking 155 lubricating 155 repositioning 313 Key dip checking in grands 149 constraints 275 measuring 344 regulating 164 setting inside the piano 161 Key end felts 22, 340 replacing 353 Key frame 22, 58 “bedding” to key bed 159 back rail 22, 58 balance rail and pins 58 bedding 159 checking 154 cloths and felts 59 cloths and felts, effect on noises 63

end block (see “End block”) flexing 141, 167 front pins 58 front rail 22, 58 gaining access to 140 grasping 136 holes, stripped, repairing 240 immobilized 251 inspecting 154 lubricating 155, 179 preparing for rebushed keys 350 rebuilding vs. replacing 326, 343 restoring 344 return spring, lubricating 156 shift, diagnosing 149 shifting type 158 shimming, to adjust curvature of 175

Steinway balance rail bearings 59

Key pins 58 checking 154 cleaning and lubricating 154 friction, checking 149 replacing 345 Key punchings, felt 59 Key shoe 60, 61 regluing 238 Key slip 22, 28 removing 136 Key tops 58, 61 black 22

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. black, replacing 365 cleaning 89 porous white, sanding 363 porous, tools and materials 358 regluing and replacing 238 sealing ebony 367 white 22 white, bleaching 363 white, buffing 364 white, loose 491 white, replacing 354 white, scraping 363 Keyboard 58 effects of noises on tone 62 felts 59 grand, inserting 137 grand, removing the action from 379

grand, transporting 137 how it works 76 in grands, removing 136 in verticals, regulation 158 noises 59 rebuilding 342 rebuilding vs. replacing 326, 343 rebuilding, overview 326 regulating 158, 161 regulating on the bench 141 removing top stack from 154 taking measurements 343 Key-Brite 89 Key-imbalance weight 295 Keys 94 balance pin hole 61 balance pin holes, reaming 350 checking 153 cleaning 154 leaded to adjust touchweight 396 leading temporarily 161 manufacture 61 properties 60 repairing 234 rubbing 153 sanding on key frame 357 sluggish 234 spacing between, regulating 162 squaring 162 steaming to remove bushings 347

weighting 397 Kick board 140 Killer octave (see “Melody octave”) Kirkland, David 16, 27, 56 Klaus Wogram 45 Klavierhaus 36, 52, 57 Kluge 61, 355 Kluge, Hermann 16 Knabe 14, 319 Knee levers 6 Knuckle 385 distance 278 distance, altering 312 jack binding on 156 Knuckles 22 grand, inspecting 156 lubricating 156 repairing 244 repositioning 313 Kögler, August 13 König 263, 264 Korea 16 Korg 124, 126 Korg chromatic tuners 126 Kos, Darije 461, 464 Kotibe 384

L Lacquer 217 as hammer felt hardener 216 blushing 479 high-gloss 483 pore filler 482 sanding sealer 482 satin, repairing 264 Special Repair (see “Special Repair Lacquer”) 264 thinner 338 Lacquer stick 264 Lafargue Pianos 127 Laible, Ulrich 4 LakeOne USA 482 Laminates, plastic, for key tops 354 Laminate-trimming bit 236, 358, 361, 400

Lamination sheet 201 Lamps, heating 255, 256, 460 Lanolin 145, 210, 215 Laoureux 384 Lap of wool 71 Larry Fine 17 Lavender, as moth repellent 88 Lead corroded 89 placement 299 weights 295 weights, calculating 297 weights, in keys 22, 62, 397 weights, installing/removing 397 wire 308 Lead factor 292, 295 Leads calculating 295 loose, repairing 236 Leather 341 affected by humidity 85 bushings 490 cutting 342 gluing on wood 342 nap of 341 replacing 340 replacing on grand backchecks 369

LED head light 221 Leg 23 plates 28 Legato xviii, 63, 112, 174, 183, 397, 490

Legs 28 removing and installing 268 Lens case 222, 287 Lentz 76 Lessons in tuning 111 Let off adjusting in grands 171 adjusting in verticals 194 button cloth, brushing and ironing 158 buttons 22, 68, 76 buttons in grands, replacing 379 buttons in verticals, replacing 411

buttons, lubricating 158 capstans 68 rail 22 rail, removing 177 screw, extracting 233 testing by feel 174 Letraset stencils for gauge numbers on plate 440 Leveler Company 163

Leveling strings 202 with ceramic magnets 204 Lever damper, adjusting 197 damper, in verticals 77 repetition 76 underdamper in grands (see “Damper, underlever”) Leverage (see “Action, leverage”) Levitan Tuning Levers 109 Levitan, Daniel 103, 109, 111, 114, 130

Lichtenthal, Hermann 11, 507 Lid 23 as a surface for regulation 137 grand 28 grand, removing and installing 268

keyboard 28 prop 23 Lift, of dampers (see “Damper lift”) Lifting piano plate 435 Light in a rebuilding shop 328 Lighter 194, 196, 243 Limit, elastic, in strings 33 Linesman pliers 333 Lip balm 145 Liquid hide glue 335 Liquid Sandpaper 263 Liquid Wrench 434, 437 Liszt, Franz 13, 82 Lock bar 23 Lock washers 339 LOCK-N-STITCH 254 Locrian mode 94 Lodovico Giustini 2 Logitudinal mode of vibration 44, 46 Long bridge 20, 36 Long stick 23 Longman & Broderip 358 Lonnie Bird 446 Louis Renner GmbH 64, 467 Low-creep PVA glue 336 LPS 1 114 Lubricants 145 Lubricating damper levers and springs 192 hammer butts 191 key frame and key bed in grands 179

knuckles 156 lid hinge pins 268, 270 pedals 493 repetition spring and notch 157 screws with bees’ wax 340 vertical damper springs 192 voicing needles 210 voicing needles with lanolin 210 Ludwig van Beethoven 6, 11, 12 Lumber, quarter-sawn (see “Quartersawn lumber”) Lydian mode 94 Lyre 23 detached pedal box 251 for pedals in grands 74 removing and installing 271 repairing 249

M Machine screws 339 Machinist oil 145 Machinist’s center drill 437 Maffei, Scipione 1, 2, 6

Index

533

Magic line 282, 377, 378 Magnesium carbonate 422 Magnet, for string leveling 204 Magnetic Balanced Action 306, 311 Magnetic Friction Reduction 306 Magnetically Accelerated Action 311

Maintenance 83 periodic 89 Major scale 94 Maleic resin 499 Mammoth ivory 355 Mapes 224, 422 Maria Barbara, queen or Spain 2 Marius, Jean 3 Marking hammers 387 Marpurg, Friedrich 3 Mary Oey 320 Masking tape 337 Mason & Hamlin 14, 15, 25, 27, 30, 36, 38, 39, 65, 67, 319, 378, 504

Mass in soundboards 44 of hammers, reducing 71 Massage, trigger point xvii Material Safety Data Sheet 217, 334 Materials xvii compatibility 318 for black key tops 365 for finishing soundboards 469 for pinblocks 441 for rebuilding 334 for white key tops 354 Mathias Müller 10 Mathushek 15, 68, 321 Mating hammers to strings 207 Mattheson 2 Matthew Crawford 318 Matthias Stöckle 467 McDougal, Craig 9 McFerrin, W.V. 142 McGavern, Keith 262 McLube 1708L 478 McLube 444NPB 145 Mean-tone temperament 99 Measuring downbearing 419 relative humidity 85 soundboard crown 461 Mechanical damping 142 Mechanism 24, 57 how it works 76 modifying 378 MEE (see “Moisture Excluding Effectiveness”) Meguiar 90, 264, 265, 471, 483, 484 Melodic intervals 95 Melodic minor scale 94 Melody octave 42, 46, 49, 50, 73, 204, 386

Menzerna 265, 483 Metal affected by humidity 85 gluing felt on 342 soundboard 45 Metrology, of touchweight 273 Metropolitan Museum of Art 1, 2 Meyne Klaviertechnik 214 Mice 88 Michael Cole 2 Michael Harrison 94 Michael Wathen 43 Micro powder lubricant 145 Microfinishing film 202 Micrometer 34, 225, 227, 422

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Index

Microtonal tunings 94 MIDI 17 Mike Morvan 61, 88, 235, 237, 345,

346, 348, 355, 356, 357, 360, 361, 364, 367, 400 Miles, Poppy 238 Millenium III action 17 Minor scale 94 Mirror Glaze 90, 264, 265, 482, 483, 484 Missing notes 82 checking in grand actions 153 Notes, missing 494 Mixolydian mode 94 Modal analysis 45 Modal scale 94 Mode of vibration 46

Moderator pedal 76 pedal, regulating 198 Modifying action 378 grand dampers with threaded wires 404 pitman dowel 408 Moisture condensation of 84 Moisture (see also “Humidity”) 83 Moisture-absorbing agent 85, 87, 91 Moisture-excluding effectiveness 84, 319, 469, 470

Molding of hammers 71 of hammers, materials 73 Molitor 458 Monkey, sostenuto, removing 379 Montal, Claude 75, 76, 275 Moondog Grand Piano Tilter 268 Mortise (see “Key, mortise”) Morton, Frank E. 44 Morvan, Mike 61, 88, 235, 237, 345,

346, 348, 355, 356, 357, 360, 361, 364, 367, 400 Moth balls 88 Mother Goose 204 Moths 88 Moto Tool 331

Mouse infestation (see “Rodents”) Mover’s blankets (see “Blankets”) Moving Grand Piano 267 Mozart, Wolfgang Amadeus 3, 6, 9, 11

MSDS (see “Material Safety Data Sheet”) Müller, Mathias 10 Multi-laminated pinblock 451 Multiple chemical sensitivity 479 Music desk (see “Music rack”) Music nomenclature xviii Music rack 23 removing 136 Music Sorb 85, 87, 91 Music typesetting 11 Music wire (piano strings) 33 Musikmesse Frankfurt xvi Muslin buffing wheel 364 Mute, tuning 112 Mutton tallow 145, 158 Muzio Clementi 9 Mylar 424

N Nails 339, 403 NAMM xvi

Nannette Streicher 3, 12 Nap of leather 341 Natural Felt 384 Natural minor scale 94 Needles glover’s 210 lubricating 210 lubricating with lanolin 210 Needling hammers 210 Neuhaus, Heinrich 76 New touchweight metrology 273 Nicholson file 237, 382 Nick Gravagne 273, 393, 468 Nickel plating on steel strings 34 Nickel-plated tuning pins 421 Nippers for cutting wire 333 Noises action parts 490 buzzes (see “Buzzes”) clanking, in pedals (see “Clanking noise”) clatter (see “Clatter”) clicking (see “Clicking noises”) creaking (see “Creaking noise”) damper felt (see “Damper, felt noise”) effects on tuning 489 in grand damper system 181 in keyboard 59 in pedals 492 in vertical pedals 493 keyboard, affecting tone 62 oinking (see “Oinking noise”) outside piano, effects on tuning 133

rattles (see “Rattles”) sizzling 489 squealing (see “Squealing noise”) zings (see “Zing noise”) Nomenclature, musical xviii Norman Cantrell 136 Nose 27 Nose bolts 20, 131 cups or nuts 20, 22 Nossaman, Ron 452 Notching, bridges 41, 478 Notes 94 Nuts, used with bolts as fasteners 339

O O.S. Kelly 16 Oblong tuning pins 110 Observations before rebuilding grand action 375 Octagrip 28 Octave 94 melody (see “Melody octave”) tuning 116 Octaves, stretched 119 Oey, Mary 320 Offset bass bridge 40 Ohlendorf, Rick 234 Oinking noise 490 Old Brown Glue 335 Oorebeek, André 157, 208 Open-face pinblock 33, 440 replacing 456 Orange-peel look 470, 483 Orbital sander 332 Organizing a rebuilding shop 328 Outer rim (Case) 23, 28 Oval head screws 339

Over-centering of hammers 375, 386, 387

Overdamper action (see “Birdcage action”) Overdamping 11, 12 Overpull 128 Overs Pianos 17 Overs, Ron 17 Over-stringing 13, 20, 36, 37, 56, 73, 227

Overtone 95 Overview of rebuilding procedures 323

Oxidized key capstans 155 key pins 154

P Paint (see also “Finish”) 263 Paint thinner 338 Painter’s tape 337 Panels in pianos 28 in verticals, removing 137 of particleboard 28 Pan-head screws 339 Pantaleon Hebenstreit 2, 3, 6 Pantalon 2 Pape, Henri 10, 13 Papps mute 111, 112 Parham, John 253 Paris Conservatory 9 Paris exhibition in 1867 13 Paris Green 136 Parsons, Tremaine 419 Partials coincident 96, 121 prominence of 101 Particleboard 28 Parts action, comparing in grands 376 action, rebushing 246 action, repinning 244 Pattern of tuning pins 131 Paul Badura-Skoda 212 Paul L. Jansen & Son, Inc 268 Paul Revenko-Jones 437 Paulello, Stephen 17, 224 Pedal 23 damper (sustain) 74 damper lift 402 damper lift rod 192 damper lift, in verticals 196 damper, regulating 179 half-blow (see “Half-blow, pedal”) linkage 74 lyre 74 moderator 76 moderator, regulating 198 noises in grands 493 practice 76 right 74 rods 23, 76 soft (see “Soft pedal”) sostenuto 74, 76 sostenuto, regulating 186 sustain (see “Pedal, damper”) trapwork in grands (linkage) 76 vertical damper lift 190 whoosh 183, 491 Pedal box, detached 251 Pedal rods adjusting 180

noises 493 Pédale d’expression 75 Pedals 6, 8, 74 description 74 diagnosing 149 loose, repairing 249 noisy 492 regulating 179 repairing 249, 250, 253 Penetrating oil 434 Periodic maintenance 89 Perma-Grit 202 Peroxide, hydrogen, for bleaching white key tops 363 Perspiration, effects on piano strings 224 Peter Donhauser 8 Peterson Strobe Tuner 126 Petrof 36, 311, 410 Petroleum jelly 145 used on plate flange 454 Pfeiffer, Walter 273 Philadelphia Centennial Exhibition 14

Phillips head screws 339 Phillips, Ruth 263 Phoenix 19, 56 Phoenix Piano Company 25, 54 Phoenix Pianos 319 Phrygian mode 94 Piano diagram 22 Harmonic, by Michael Harrison 94

prepared 224 Sixteenth Tone 94 Piano Forte Supply 59, 202, 208, 340, 347

Piano Life Saver System (See “Dampp-Chaser”) Piano Scale Design Program 419 Piano String Couplers 121 Piano Technicians Guild xvi, 124, 126, 419, 458

Piano Technicians Guild Foundation 15 Piano Technicians Journal 253, 419, 458

Piano Wrangler Equipment Co. 268 PianoDisc 149 PianoHorse 268 Pianos Bolduc 259, 434, 435, 444,

445, 446, 449, 451, 452, 453, 454, 455, 458, 473, 514 Pianotech x, 262, 383, 458, 516, 520 Pianotek 91, 255, 265, 274, 346, 349, 384, 407, 414, 437, 458 Pianoworld.com x, xvi, 383, 516, 520 Piccolo piano 10 Pierre Érard 12, 13, 320 Pinblock 20, 21, 22, 28 as precondition for tuning 131

Bolduc router bit (see “Bolduc, pinblock router bit”) brushing holes 421 drilling 451 fitting to the plate 54 floating 33, 441 full-fit 33, 441, 444 Hexagrip 28, 32 inspecting before restringing 419 installing thinner to improve downbearing 449 materials 441 open face 33, 440, 456

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. regular-fit 33, 441 repairs 254 replacing or rebuilding, overview 326 replacing, in grands 440 types, in grands 440 Pins balance rail 58, 76 bridge 21 bridge, installing 479 front, on key frame 58 hitch, Acu-Just 56 in bridges 40 in bridges, repairing loose 256 tuning 21 tuning, oblong 110 tuning, problems with 130 Pitch lowering 129 raising 128 Pitchlock Inc. 121, 311 Pitman dowel 23, 408 lubricating 493 modernizing 408 regulating 179 Plain felts 340 Planer, portable power 332 Planer/jointer 331 Planes 333 Plastic acrylic for key tops 354 black key tops 365 elbows 409 laminates for key tops 354 Plastic cleaner 484 Plastic piano 25, 66 Plastic polish 484 Plate 20, 22, 50 bolt 22 bushings 54, 326 bushings, applying CA glue to 255

changing inner tensions 133 composite 440 contraction 54 cracked 131 cracked, repairing 253 cupola 56 hitch pins 21 inspecting before restringing 419 internal stress 54 lifting out of the piano 435 loose 130 lowering 449 manufacture 54 marking gauge numbers on with stencils 440 nose bolts 20, 131 rebuilding, overview 326 regilding (refinishing) 439 reinstalling 436 removing 433 resonances 133 screws, tightening 130 stress 54 struts 22 struts, effects on tuning 133 support dowels 20, 22 suspension, nonstandard 433 three-quarter 33, 440 three-quarter, replacing pinblock 456 Plate horn 21, 27, 28, 29, 204, 434, 436

Plate Puller 329, 435

Plates in grand legs 28 Playability 273, 303, 306 improvement road map 310 Plexiglas 215, 384 Pleyel 13 Pleyel, Ignace 10 Pliers 333 Plugs, hardwood 241 Plunge router 331 Pohlman, Johannes 9 Polishing 89 Polyester finish 28, 265, 481 Polyurethane 481 Polyvinyl glues (see “PVA glue,” “PVC-E glue”) Poppy Miles 238 Pore filler 482 Porous key tops, tools and materials 358

Portable power tools 331 Portable upright 10 Portugal 1 Pounding stick 112 Powell, Sam 278 Power tools 330 Practice pedal 76 Precision Dip Force Gauge 164 Precision TouchDesign 273, 309 kit 274, 292 Prellleiste 3 Prellmechanik 3 Premium Blue hammers 73, 384 Pre-needling hammers 386 Prepared piano 224 Pressure bars 24, 430 Pressure iron 6 Pressure plates 339 Pressure ridges 49 Priming surface for finishing 482 Pro Grade by 3M 338 Projection of sound, increasing 211 Prokofiev, Sergei 63 Prolube 192 Prolube (see “Protek, Prolube”) Protecting hearing xvii Protek CLP 114, 144, 145, 146, 148, 193, 246, 249, 490

MPL-1 145 Prolube 114, 145, 192 PSCALE 419 Psychometer 85 PTG (see “Piano Technicians Guild”) Pull saw 393, 394 Puller, of grand plate 329, 435 Pulley key 237, 314 Pulling piano to pitch 128 Punchings balance rail 59 Crescendo 59, 340, 347 front 340 half-moon 315 Pure Intonation tuning 94 Pure Sound 224, 422 Push action 3 PVA glue 335, 366 low creep 336 PVC-E glue 336, 366, 367 Pyramid piano 8 Pythagorean comma 98 temperament 99

Q Quartersawn keys 61 lumber 50, 61 lumber, for bridge caps 474 lumber, for pinblocks 443 lumber, for soundboards 44, 441 Queen Maria Barbara of Spain 2 Quick Dry Tacky Glue 358 QuicKey Leveler 163, 164 Quicktite 336

R Rack for music, removing 136 Rail belly 21 half-blow (see “Half-blow, rail”) Rails damaged, repairing 240 in piano action 66 Railsback curve 102, 104 Raised plate flange 21 Raising pitch 128 Raking buffing wheel 365 Range, expanding 12 Rasps 333 Ratchet brace 333 Ratio of action leverage (see “Action, leverage”) Rats 88 Rattles diagnosing 489 effect on tuning 133 in soundboard 261 Ravenscroft 17, 41 RC&S (see also “rib-crowned”) soundboard 49 Real-Time Specialties 125, 126 Reamalgamation solvent 481 Reaming agraffe holes 437 holes in hammers 391 key balance holes 350 Rebounding of hammers 70 Rebuilding 317 shop requirements 327 Recrowning soundboard 460 Reducing height of agraffes 439 Refinishing 479 grand damper heads 401 overview 327 piano plate 439 soundboard 460, 468 Reflection of energy 6 by bridge pins 41 by bridges 36 by Phoenix rim 54 by plate 28, 51 by V bar 56 helped by pinblock 33 in soundboard 44, 49 Reflection of light 264, 484 by acrylic key tops 356 Reflection of sound by fan 112, 133 effect on voicing 209 Reflective foil 364 Reflowing finish 481 hammer hardener 215 old finish 481 Regilding piano plate 439 Regluing

Index

535

fractured key 234 key button 234 key shoe 238 soundboard separations 459 soundboard to ribs and rim 463 split hammer shank 243 Regular-fit pinblock 33, 441 Regulating 135 action 166 as periodic maintenance 89 blow distance in verticals 195 damper spoons 197 dampers in verticals 196 grand action 166 grand action, rough 394 grand damper system 180 guide notes 166 jacks in pianos with let off capstans 177 key dip inside the piano 161 key frame glides 159 keyboard 158, 161 on piano’s lid 137 on the bench 141 pedals 179 soft pedal 178 sostenuto 186 touchweight 396 vertical action 189 Regulation Station (see “Grandwork Regulation Station”) Reinforcement, of hammer felt 73 Relative humidity 84 Releasing tension of strings 421 Renaissance 99 Renner 5, 24, 58, 66, 67, 71, 210, 247, 374, 380, 383, 406, 467 hammers 384 Renner USA 68, 282, 384, 387, 407 Repairs 221

Repetition grand lever height, regulating 177

see “Wippen” 67 speed of 77 Repetition lever and spring 22, 76 lubricating 157 see also “Spring, repetition” Repetition-assisted English action 13

Repinning action parts 244 Replacing agraffes 436 black key tops 365 bridge cap 473 bridle straps 411 broken string 223 damper felts in verticals 413 damper guide rail bushings 402 damper heads with wires 404 felts and leathers 340 grand backchecks 369 grand damper felts 400 grand damper underlevers 406 grand hammer shanks 380 grand hammers 383 grand pinblock 440 grand wippens 379 hammers and shanks in verticals 414 key bushings 347 key button 236 key end felts 353 key pins 345 key tops 238

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let off buttons 379 pinblock 441, 456 string in verticals 233 strings 418 vertical action parts 408 white key tops 354 Repositioning action rack 315 key balance point 315 key capstans 313 knuckles 312, 313 wippen rail 315 Resetting hammer felt during voicing 211 Reshaping hammers before regulating action 166 Resonances duplex 133 in soundboards 45 in the plate 133 Resonator, tension 25 Resonator, Treble Tone 458 Resonators, in spruce 44 Resorcinol 337 Restringing 418 grand pianos 423 overview 326 vertical pianos 430 Reveley, Jude 236, 288, 292, 313, 314, 394, 459, 466

Revenko-Jones, Paul 437 Revolving screen humidifier 87 Reyburn CyberTuner 126 Reyburn Piano Service 125 Reyburn Piano Tech 110 Rhodes, John 273, 290, 292, 299, 300, 501

Rib-crowned soundboards 49 Riblets 458 Ribs in soundboards 20, 23, 45, 50 loose, effect on tuning 133 regluing soundboard to 463 Richard Dain 17, 19, 25, 43, 45 Richard Gertz 14, 25 Rick Baldassin 103, 128 Rick Ohlendorf 234 Ridges, pressure, in soundboards 49 Rim 19, 23, 24, 25 composite 24

inspecting before restringing 419 laminated (continuous) 24 outer (case) 28 spruce, in Bösendorfer 25 stiffness 44 Ring bridge 38 Rinsing hardener from felt 215 trough 216 Rippen 25, 27, 66 Robert Grijalva 458, 459 Robert Wornum 10, 11, 507 Robert Young 103, 106 Roberts, Dave 419 Robinson Strate-Mate 203 Rodents 88, 136 Rods in pedal linkages 76 Roger Jolly 165 Ron Nossaman 452 Ron Overs 17 Ronsen 71, 72 Root, of bridge 37 Rosin 421 Röslau 224, 422

Rotary sander 332 Rotary tool, high speed 331 Rough-regulating grand action 394 vertical action 416 Round-head screws 339 Router 331 Roy Kehl 56 Royal Blue 73, 384 RR action 69 Rubbing, to clean satin finishes 90 Ruth Phillips 263

S SAE 20W oil 145 Sam Powell 278 Sam Son 149 Sander 331, 332 Sanderson Accu-Tuner 125 Sanding block 337, 357 block, glass or granite 359 grid 338 hammers 211, 213, 216 hammers, cupped 386 keys on key frame 357 porous white key tops 363 sealer, applying 482 sponge 338 top layer of hammer felt 393 Sandpaper 337 3M microfinishing film 202 sanding grid 338 Satin lacquer repairing 264 rubbing 90 Satinizing finish 264, 484 Sauter 15, 41, 68, 77 Sauter, Carl 94 Saw, pull (see “Pull saw”) Sawhorse 268, 270, 271, 329, 435, 448, 461

Scale 94 break 133 design 51 design, effects on tuning 133 variations in inharmonicity 107 Scarlatti, Domenico 2 Schaff Piano Supply Co. 182, 227, 358, 384, 404, 407, 414

Schmitt, Jim 262 Schröter, Christoph Gottlieb 3, 6 Schwander 14, 67, 68, 175, 192, 288 action 77 butt spring 410 hammer butt 411, 413 Scientific notation xviii Scipione Maffei 1, 2, 6 ScotchBlue 267 Scotch-Brite 263 Scott Jones 283, 311 Scraping, porous white key tops 363 Scratches, repairing 264 Screw 339 capstan 76 countersinking 339 extractor 262 holes, repairing 240 thread repair 243 threaded metal sleeves for machine screws 339 Screw stringer 14 Screwdrivers 333 Sébastien Érard 12, 13, 77, 320

SEER 86 Seesawing hammer and key 368, 371

Seiko 126 Selecting hammers 383 Semitone 94 Seni Igrec 82 Separations in soundboards, regluing 459 on bridge joints, repairing 258 Sergei Prokofiev 63 Series of harmonics 95 Seven Years’ War 8 Shank (see “Hammer shank”) Shaping hammer tails 71, 388 Sharps, replacing 365 Shead, Herbert A. xvii Sheet-metal screws 258, 259, 261, 339, 463, 464, 465

Shelf in bass bridges 20, 40 underlever (see “Underlever tray”) Shift pedal (see “Soft pedal”) Shifting key frame (see “Soft pedal”) Shigeru Kawai 17 Shimming chisel 466 long bridge (see “Soundboard, crown, increasing”) soundboard cracks 318, 460, 465 Shock absorption, as a result of friction 142 Shoe 21, 27, 434, 436 Shop climate, effects on refinishing 479

equipment and tools 329 organizing 328 requirements 327 Shoulders of hammers 70, 208 of hammers, needling 211 Silbermann, Gottfried 2, 6 Silent piano 194 Silica 85 Silicon-carbide 201, 202, 222, 227, 337, 338

Silicone lubricants 145 silumin 25 Silver, German 143 Simple Green 89 Single (individually tied) strings 224 Sixteenth Tone Piano 94 Sizzling noises 489 Skid board 268 Sleeves, threaded for screws 339 Sliding friction 443 Sliding key frame (shifting key frame) 158 Sling psychometer 85 Slotted-head screws 339 Sluggish action parts in verticals (verdigris) 374 keys 234 Soap as lubricant 493, 494 bar 145 Socher, Johann 3 Socket, for grand casters 28 Soft pedal 74 regulating 178, 180 voicing for 213 Soft pencil 145

Soft Wax 264 Softener, fabric 215 Sohmer 43 Solvents 338 Son, Sam 149 Sostenuto 63, 121 blade 187, 188 bracket spring clamp 379 height gauge 188 monkey 154 monkey, removing 379 noises 493 pedal 74, 76 pedal, adjusting 180 regulating 186 rod 22, 63, 404 rod blade 187 rod, lubricating 186 rod, removing 379 Sound 43 envelope 43 regulating (see “Voicing”) sustain, related to rim or frame 25

transmission through bridges 36 transmitted to soundboard 43 volume 209 waves, reflection (see “Reflection of energy”) Soundboard 20, 23, 43 bleaching 469 clamping to rim 50 compression set 457 compression-crowned 49 cracks, shimming 318, 460, 465 crown (see “Crown”) decal, applying 472 density 50 diaphragmatic 47 finishing materials 469 fish 46 floating 46 impedance 44 inspecting before restringing 418 made of carbon fiber 19 manufacture of 50 pressure ridges 49 rattling, repairing 261 rebuilding 457 rebuilding, overview 327 recrowning 467, 475 refinishing 468 reflection (see “Reflection of energy”) regluing to ribs and rim 463 repairing or replacing 458 resonances 45 rib-crowned 49 ribs (see “Ribs, in soundboards”) shimming (see “Shimming soundboard cracks”) soaking with epoxy 459 stiffness and mass 44 thickness 44 Soundboard Repair System 466 Soundboard steel 90, 489 Sound-generating components 33 Southerland, David 2 Southwell, William 8 Spacing between keys, regulating 162 of hammers, checking in grands 149

Spain 1

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Spanner 333 Späth, Franz Jacob 9 Speaking lengths, unequal 41 Special Pressing hammers 384 Special Repair Lacquer 264 Spine 8 Spinet grand 15, 321 Splicing a string 223 Spokeshave 333 Sponge buffing (see “Buffing sponge”) tack 469 tack, by Meguiars 471 Spoon, grand wippen 22 Spoons, damper, in verticals 77 adjusting 197 Spraying equipment for finishing work 479 Spraying finish on soundboard 471 Spring butterfly (see “Butterfly spring”) hammer butt 77 hammer butt, variations in 68 jack in verticals, inspecting 189 jack, in verticals 77 repetition 76, 77 repetition, lubricating 157, 158 repetition, regulating 175 Spring clamp 311, 411 for key bushings 348 for key fronts 358 on sostenuto bracket 187, 379 Spring-assisted wippen (see “Wippen, spring-assisted”) Springs hammer butt, inspecting 191 vertical damper lever, lubricating 192 Spruce 44 as material for piano keys 60 quartersawn 50 resonators 44 shims for soundboard cracks 466

Spurlock Specialty Tools 145, 185, 349, 385, 466

Spurlock, Bill 194, 286, 393 Square piano 15 Mathushek’s Spinet Grand (see “Spinet grand”) rebuilding 321 Squaring hammers 168 keys 162 Squeak 493 Squealing noise 490 Stability in tuning 84 of action frame in verticals, inspecting 191 Staccato xviii, 11, 63, 76, 97, 112,

148, 172, 178, 181, 183, 185, 186, 187, 278, 300, 301, 397, 497 Staff 94 Standard measurement position 276

Stanwood Adjustable Leverage Action 315 TouchDesign Kit (see “Precision TouchDesign, kit”) Stanwood, David 144, 214, 273, 283, 286, 288, 290, 291, 309, 315, 506

Staple in hammers 73 sostenuto, in New York Steinway grands 187

Star-shaped back 25 Static friction 443 touchweight 276 Stationary power tools 330 Steaming keys to remove bushings 347

Steam-treating hammer felt 71, 214 Steel string (see “String”) Steel wool 265, 338 wax 145, 265 Stegemann, A. 68 Stein, André 8 Stein, Johann Andreas 3, 6, 8, 9, 12 Steingraeber & Söhne 15, 17, 19, 43, 45, 75

Phoenix 56 Steinway 38, 41 Accelerated Action 59, 315, 347 bell 21, 496 console verticals 430 Diaphragmatic soundboard 47 hammers 384 soundboard edge, beveled 50 Tubular Metallic Frame 66 tubular rails, repairing 242 wippens 67 Steinway & Sons xi, 5, 13, 14, 16, 17, 21, 22, 26, 27, 28, 29, 30, 31, 32, 33, 35, 38, 39, 40, 42, 44, 45, 47, 51, 52, 53, 54, 55, 56, 58, 59, 65, 68, 72, 130, 143, 146, 154, 159, 163, 164, 172, 175, 186, 187, 188, 217, 225, 227, 237, 242, 244, 246, 247, 250, 252, 260, 261, 271, 282, 292, 300, 319, 325, 347, 352, 354, 377, 380, 383, 384, 395, 407, 442, 459, 472, 484, 486, 496, 499, 501, 507 Hamburg 16, 21, 31, 59, 67, 313, 369, 384 hammers 384 history 13 Steinway, Albert 13, 76 Steinway, C.F. Theodor 21, 27, 36, 37, 38, 50, 56 Steinway, Theodore E. 21

Steinweg (see “Grotrian”) Stelzhammer, Anton 25, 27 Stencils, dry transfer for gauge numbers on plate 440 Step 94 Stephen Birkett 300 Stephen Brady 221, 374, 437 Stephen Paulello 17, 224 Stephen Paulello Piano Wire 422 Stick 23 pounding, for tuning 112 Sticker 140 Sticker cloth (see also “Action cloth”) 340 Stiffness in soundboards 44 of bass strings 34 of strings 101 Stöckle, Matthias 467 Stodart, William 7, 8 Stop rail for dampers 77 for keys 22, 159, 166, 343 for keys (see “Key, stop rail”) Stossmechanik 3 Straight-stringing 27, 36, 38, 47 Straps, bridle 341 Strate-Mate 203, 205

Stravinsky, Igor 63 Streicher, Nannette 12 Streicher, Nannette and Johann Andreas 3 Strength, tensile of strings 33 Strengthening attachment of baseboard 494 Stress, in piano plates 54 Stretch, in tuning 103 Stretched octaves 119 Stretcher 20, 22, 205 detaching pinblock from 444 Strike point 73, 208 adjusting 375, 394 adjusting, in verticals 193 Strike weight 275, 286 changing 308 ratio 294 spread 302 String 22 bass, twisting 231 becket 223 broken, replacing 223 downbearing (see “Downbearing”) duplex segment 62 German loop 225, 231 leveling 202 new, tuning 230 segments, effects on tuning 131 speaking segment length in unisons 41 splicing 223 stiffness 101 touching a grand damper wire 183

String bearings, diagnosing 322 String level 204 Stringer II 227 Stringing 423 backscale 49 braid 341 design 36 types of 224 Strings 33 affected by perspiration 224 bass 34 binding 131 diagnosing 322 double 224 downbearing 54, 84 downbearing, diagnosing 322 downbearing, measuring 419 elastic limit 33 fatigue 34 handling 224 individually-tied 224 inharmonicity 34, 41 mating hammers to 207 new, tuning 129 nickel-plated 34 releasing tension of 421 replacing 418 replacing, overview 326 setting the downbearing 475 slipping 132 steel 34 tensile strength of 33 to key bed distance, measuring 344

touching tuning pins 132 unequal speaking lengths 41 voicing each in a unison 213 wire gauge 34 wound (bass) 34

Index

537

Strip mute 111, 112, 113, 116, 117, 118

Stripper, chemical, for removing finishes 481 Strobotuner 124 Structure 24 as precondition for tuning 131 unstable 319 Struts 22 in plate, effects on tuning 133 Stuart & Sons 17, 43, 56, 75 Stuart, Wayne 17, 43 Sturm, Fred 69, 109, 124, 130, 155, 165, 193, 210, 215

Sugar pine, for piano keys 60 Sugaring 214 Super Lube 145 Superglue (see “CA glue”) SuperJet 238 Support spring (see “Wippen assist spring”) Surface of porous key tops, treating 363 wooden, filling and priming 482 Surform plane 333 Sustain 43, 44, 209 of sound, increasing 211 of sound, related to rim and frame 25 pedal 74 pedal, regulating 179 Swaging bass strings 34 Syntonic comma 98, 117 System Three 336, 459

T Tack rag 482 Tack sponge 469, 471, 482 Tactile Response System 63 Tail, of piano 8 Tails of hammers 73 of hammers, shaping and tapering 388 Talcum powder 145, 421 Tap wrench 262, 437 Tape adhesive 337 duct 337 masking 337 Tape-check action 11 Tapering hammer tails 388 vertical piano hammer moldings 414

Technisches Museum, Vienna 5, 6, 8, 10, 15, 27

Teflon 66, 145, 146, 161, 246, 247, 350

Temperament 94, 97 circle 117 Pythagorean 99 strip (see “Strip mute”) tuning 117 Temperature effects on pianos 87 effects on relative humidity 84 effects on tuning 130 Tensile strength of strings 33 Tension gauge 291, 292, 398 Tension of strings, releasing 421 Tension Resonator 14, 25, 27 Tenuto xviii, 174 Termites 88

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Index

Testors 263 TFL-50 145 T-handle tap wrench 262, 437 Tharan 355 Theodor Steinway 21, 27, 36, 37, 38, 50, 56

Theodore E. Steinway 21 Thermoplastic PVA glues 335 Thomas Broadwood 12 Thomas Broukal 67 Thread repair kit 243 wood 339 Threaded metal sleeves 339 Threaded sleeve 262 Threaded wires in grand dampers, modifying 404 Three-quarter plate 440 replacing pinblock 456 Tilt, of action parts 168 Tilting of tuning pins 452 Timbre 96, 209 evening variations in 213 of sound (tone color) 209 Timpani felt 340 Tips of shanks, cutting 393 Titebond 50 336, 454 Titebond glue 335, 391 Titebond III Ultimate Wood Glue 335 Titebond Liquid Hide Glue 335 Toe 21, 434, 436 Toe rail 253 noises 494 Tokiwa 374 Toluol 338 Tonal gradient 70, 199 Tone affected by keyboard noises 62 color (see also “Timbre”) 209 color, evening 213 effect on perception of touch 302 evaluating 208 quality, defined by prominence of partials 101 regulating (voicing) 73 Tone Collector 27 Tone Resonator 458 Toneplus 384 Tonewood 44 Tool, rotary, high speed 331 Tools hand 333 in a rebuilding shop 329 power, portable 331 Toothpick 240 Top stack 63, 148, 151, 157, 159, 201, 240, 291

affecting the measurement of wippen assist springs 311 avoiding having to remove 161 moving forward or backward 315

removing from keyboard 154 tilt forward 157 tilted forward 146 tipping forward 157 turning upside down 157 Torque 143 Touch, adjusting weight of 396 TouchDesign (see “Precision TouchDesign”) Touching up edges 484 finish 263 TouchRail 311

Touchweight 273, 275, 276, 396 adjusting 396 calculating 294 controlling 308 evaluating when replacing hammers 307 glossary 290 issues 304 metrology 273 troubleshooter 306 Toxic chemicals 136 TPR Tools 141, 142, 167, 204, 205 Trakoscan 11 Transmission of sound 43 of sound, through bridges 36 Transporting grand action and keyboard 137 Transversal mode of vibration 46 Transverse bar (see “Capo tasto”) Trapwork 23, 76 lubricating 179 Trautwein xiii Traveling action parts with flanges 168 grand dampers 182 grand shanks 167 grand wippens 170, 380 vertical hammers 193 vertical wippens 191 TravelSmart 214 Tray, underlever (see “Underlever tray”) Treble Tone Resonator 458 Treble tuning 112, 121 Tremaine Parsons 419 Trigger point massage xvii Tritone 97 Troubleshooter action geometry 304 aftertouch 305 touchweight 306 Trough (see “Rinsing, trough”) Tubular action rails 340 Tubular Metallic Frame 66, 68 Tubular rails, repairing 242 Tunability 131 TuneLab 126 Tuners, electronic 125 Tuning 93 as periodic maintenance 89 lowering pitch 129 new string 129, 230 stability, affected by humidity 84 Tuning hammer 107 choosing 109 Tuning pin 22 bending 130 bushings in the plate 54 holes, drilling in new pinblock 451

torque, improving 255 twisting 130 Tuning pins 21 brushing holes 421 hammering 254 hammering down 230 jumpy 130 loose 130 oblong 110 offset pattern 131 replacing, overview 326 tightness of 130 tilt 452 Turbo wippen (see “Spring-assisted

wippen”) Turkish music 8 Twelve Apostles 8 Twisting a bass string 231 Two-component finishes high-gloss 483 repairing 265 Typesetting music 11

U Ulrich Laible 4 Ultimate Wood Glue 335 Ultrasonic humidifier 87, 328 Umbrella tool 249 Una corda pedal (see “Soft pedal”) Under-centering of hammers 278, 375, 386, 387, 449

Underfelt in dampers 74 of hammers 73 Underlevel 204, 205 Underlever tray 22, 248, 251, 270, 404, 406, 407, 493 replacing 407 Underlevers 22

aligning to key end felts 407 distance to key bed, measuring 400

functioning 77 lubricating 182 of grand dampers, rebuilding vs. replacing 405 replacing 406 Understring felt 22, 340 Understring-style string leveling tool 204

Unison affected by temperature changes 130

tuning 114 voicing 213 Unshaped plastic laminates for key tops 354 Unstable structure 319 Upweight 276

V V bar 56, 114 friction 131 grooved 132 Vagias snap-on elbows 409 Vapor, protection from 84 Varnish 481 brushing, on soundboards 470 Velo, Hans 46, 306, 311, 419 Velocity leverage (see “Leverage”) Veneer 28 Ventilation 328 during refinishing 479 Verdigris xvii, 145, 246, 247, 374, 385 Verituner 102, 126 Vertical action 68 action diagram 64 action regulation 189 action, rebuilding 408 action, removing 140 action, rough-regulating 416 backcheck felt 340 Fandrich, back 25 keyboard regulation 158 keyboard vs. grand keyboard 343

panels, removing 137 piano, creaking noise 490 piano, development of 15 piano, noises in pedals 493 piano, rebuilding 320 piano, restringing 430 pressure bars 430 raised plate flange 21 Vibrating sander 332 Vibration longitudinal mode 44, 46 mode of 46 transversal mode 46 Vice, inherent 319 Viennese action 3, 13, 341 Vietor, Frederick 59 Vise, angle, for drilling hammers 387 Voicing 73, 199 dense hammers 209 for shifting soft pedal 213 lubricating needles with lanolin 210

mating hammers to strings 207 new hammers 394 resetting hammer felt 211 soft hammers 216 Volume 209 of sound, increasing 213 of sound, lowering 212 Vortex tube chiller 32, 33, 439, 442, 451

VS Profelt 215

W W.V. McFerrin 142 Walter 49 Walter Pfeiffer 273 Walter, Anton 5, 6 Warm-pressed hammers 71, 384 Warpage 83 of keys 60 Water separator 479 Water vapor 84 Waterfalls 481 Water-white finish 469 Wathen, Michael 43 Watson, John 4, 7, 89, 136, 320 Wave impedance 44 Wave velocity 101 Wavelength 101 Wax, as lubricant for steel wool (see “Steel wool, wax”) Wayne Stuart 17, 43 WD-40 114 as lubricant 145 Webb, Kent 16, 85, 146 Weber 149 Wedge for increasing soundboard crown 467 locking grand legs 28 Wedges or cauls for key bushings 348

Weickert felt 72 Weickert Special hammers 71 Weighing new hammers 386 Weight balance model 289 of touch (see “Touchweight”) ratio (see “Strike-weight ratio”) strike (see “Strike weight”) Weight ratios 287 Weightbench 273, 299 kit 274

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Weighting keys 397 Weights brass, used for improving sustain 459 lead, in keys 397 lead, installing/removing 397 Weldbond 336, 391 Well temperament 99 Weltman 3 Wessell, Nickel & Gross 62, 66, 143, 169, 243, 244, 247, 280, 312, 314, 319, 325, 341, 345, 346, 374, 375, 381, 385, 386, 388, 391, 407, 434 West System 336 Wet bulb 85 Wetordry sandpaper 338

White buffing compound for white key tops 364 glue 336 key top 22 key tops, replacing 354 keys 94 White, William 275 Whole step (whole tone) 94 Whoosh noise (see “Pedal, whoosh”) William Southwell 8 William Stodart 7, 8 William White 275 Winding, copper, on bass strings 34 Wippen 22, 76 assist spring 67, 178, 287, 291,

292, 294, 297, 309, 310, 311, 312, 397 assist spring, too strong 276, 394

butterfly spring (see “Butterfly spring”) center pins, in verticals 191 flange 22 Herrburger-Schwander 67 jack 76 radius weight 288 rail 22 ratio 280 repetition lever, spring 76 repetition spring 76, 77 spoon 22 spring-assisted 67, 297, 309, 311 stack weight 291 Steinway 67 weight ratio 291 Wippen radius weight 288, 309 Wippen rail, repositioning 315 Wippens 67, 409 checking 157 grand, comparing 376 grand, replacing 379 grand, traveling 170, 380 in verticals, rebuilding 409 Wire cutting pliers 333 handling 224 lead 308 piano strings 33 Wire gauge 34

Wires backcheck, to replace or not 369 fluted in grand backchecks 371 threaded in grand backchecks 371

Wixey angle gauge 417 Wogram, Klaus 45 Wolf fifth 99 Wolfgang Amadeus Mozart 3, 6, 9,

Index

539

Wornum, Robert 10, 11, 507 Wound strings (bass strings) 34 Wrenches 333 Wrestplank (see “Pinblock”) Wright, Allen 89, 157, 171, 211, 213, 228, 237, 261, 423, 425, 472

Wurlitzer 149 Wurzen 72 AA felt 384

11

Wood affected by humidity 84 compression set in 457 expansion 83 gluing felt and leather on 342 screws 339 thread on screws 339 warpage 83 Wood-boring insects 88 Wooden surface, preparing for finishing 482 Woodworms 88, 319 Wool 71 for piano hammer felt 71 steel 338 Wool, lap of 71 Woolly mammoth ivory 355 Workbench 329 Worksheet action leverage 281 front-weight 293 hammer strike weight 285 Touchweight 277

X Xylol 338

Y Yamaha 16, 17, 25, 61, 63, 66, 68, 69, 89, 126, 170, 171, 172, 176, 192, 198, 227, 251, 252, 355, 380, 382 Yellow wood glue 335 Young Chang 149 Young, Robert 103, 106

Z Zachariae 76 Zap a Gap 255 ZAP-08 255 Zing noise 490 Zither 3 Zumpe, Johannes 4, 6, 9, 10

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec.

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Appendix C

Selected Bibliography

Books, Articles, Videos, Online Resources Allen, Frederick. “Steinway.” American Heritage of Invention and Technology (I & T), Volume 9/Number 2, Fall 1993, p. 34. [ISSN: 0896-7296] American Association of Museums. Code of Ethics for Museums. Available at http://www.aam-us.org/museumresources/ethics/ coe.cfm. American Institute for Conservation. Code of Ethics and Guidelines for Practice. Available by searching “Code of ethics” at http://www.conservation-us.org. American Steel & Wire Co., Editors of. Piano Tone Building. [1919] Vestal, New York: Vestal Press, 1985. [Transcripts of Technicians’ Conferences 1916–1918] Askenfelt, Anders, ed. Five Lectures on the Acoustics of the Piano. Stockholm: Royal Swedish Academy of Music, 1990. Available at http://www.speech.kth.se/music/ 5_lectures/. [Seminal text on piano design] Askill, John. Physics of Musical Sounds. New York: Van Nostrand, 1979. Atkinson, Rick. “Pianomorte.” The New York Times, 9 August 1993, sec. A, p. 10. [Closing of the Bechstein factory] Backus, J. The Acoustical Foundations of Music. New York: Norton, 1969. Bechstein piano case numbers. http://webvoice.blogspot.com/ bechstein/case-number.htm. Badura-Skoda, Eva. “The Anton Walter fortepiano—Mozart’s beloved concert instrument. A response to Michael Latcham.” Early Music, Vol. 28 No. 3, August 2000, pp. 469–473. http://em.oxfordjournals.org/content/XXVIII/3/469.extract.

Badura-Skoda, Eva. “Prolegomena to a History of the Viennese Fortepiano.” Israel Studies in Musicology 2, 1980. Available at http://books.google.com. Baldassin, Rick, RPT. “Formulas for Inharmonicity.” Piano Technicians Journal, July 1988, pp. 16–19. Baldassin, Rick, RPT. “Inharmonicity and Inharmonicity Formulas.” Piano Technicians Journal, December 1988, pp. 18–25. Baldassin, Rick, RPT. On Pitch: The Integration and Equation of Aural and Electronic Tuning Techniques, revised ed. Salt Lake City, UT: Rick Baldassin, 2007. Baldassin, Rick, RPT. “Raising Pitch.” Piano Technicians Journal, June 1989, pp. 24–25. Baldwin. “Downbearing with the Accu-just [sic] System.” Technical Service Note, no date. Currently available from the CAUT library at http://my.ptg.org (search “Accujust”). Barclay, R.L., ed. The Care of Historic Musical Instruments. Ottawa, ON, Canada: Canadian Conservation Institute, 1997. Available at http://cimcim.icom.museum/iht/. Barclay, R.L., ed. Recommendations for the Conservation of Musical Instruments: an Annotated Bibliography. CIMCIM, 1993. Available at http://www.music.ed.ac.uk/euchmi/cimcim/ iwt1.html. Barron, James. Piano: the making of a Steinway concert grand. New York: Times Books, 2006. Bartholomew, Wilmer T. Acoustics of Music. New York: Prentice Hall, 1942. Basalla, George. The Evolution of Technology. Cambridge: Cambridge University Press, 1988. Excerpts available at http://books.google.com. Bavington, Peter. Clavichord Tuning and Maintenance, 2nd ed. London: Keyword Press, 2010. Beethoven, Ludwig van. Klaviersonaten, Band I. Urtext. Munich: G. Henle Verlag, 1980.

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Behm, Chuck. “Small Shop—Big Results: A Field Test of Brushedon Finishes.” Piano Technicians Journal, May 2009, pp. 14–17. Benade, Arthur H. Fundamentals of Musical Acoustics, 2nd ed. New York: Dover, 1990. Berner, A., J. H. van der Meer, G. Thibault, and N. Brommelle. Preservation and Restoration of Musical Instruments: provisional recommendations. London: International Council of Museums, 1967. Biemiller, Lawrence. “Notes From Academe.” The Chronicle of Higher Education, March 9 1994, sec. A, p. 47. [Restoration of historical pianos by Edward Swenson] Bird, Lonnie. “Resawing on the Bandsaw.” Fine Woodworking, January/February 2007, pp. 38–42. Birkett, Stephen. “Static and Dynamic Balancing of a Piano Key.” Available at http://www.fortepianos.com/piano%20action.htm. Bishop, John and Graham Barker. Piano Manual. Sparkford, Yeovil, Somerset, United Kingdom: Haynes Publishing, 2009. [Buying, maintaining, repairing, regulating, and tuning a piano for pianists and piano owners]

Cobble, Thomas, RPT. “A First Look at Steingraeber’s Phoenix Bridge Agraffes.” Piano Technicians Journal, November 2009, pp. 22–23. Cole, Michael. “The Pantalon - and what it tells us.” In Thomas Steiner, ed., Instruments à claviers - expressivité et flexibilité sonore. pp. 63–88. Cole, Michael. The Pianoforte in the Classical Era. Oxford: Clarendon Press, 1998. Cole, Michael. Square Pianos. Website. http://www.squarepianos.com/. Cole, Michael. “The Twelve Apostles? An Inquiry into the Origins of the English Pianoforte.” Early Keyboard Journal, Vol. 18, 2000, pp. 9–52. Campbell, Murray and Clive Greated. The Musician’s Guide to Acoustics. London: J.M. Dent & Sons Ltd., 1987. [Exhaustive survey in theory of sound and acoustics of musical instruments] Canadian Association for Conservation of Cultural Property and the Canadian Association of Professional Conservators. Code of Ethics and Guidance for Practice, 3rd ed. Ottawa, ON, Canada: CAC & CAPC, 2000. Available at http://www.cac-accr.ca/ pdf/ecode.pdf.

Blackham, Donnell E. “The Physics of the Piano.” Scientific American, December 1965. [also available in The Physics of Music, San Francisco: W. H. Freeman and Company, 1978, and in Earle Kent, Musical Acoustics, Stroudsburg, PA: Dowden, Hutchinson & Ross, Inc., 1977.]

Capleton, Brian. Theory and Practice of Piano Tuning. Malvern, United Kingdon: Amarilli Books, 2007.

Bolduc, André and Christian. “Repairing a Bass Bridge Leaving Treble Strings Installed,” Europiano, Issue 3, 2010, pp. 40–50.

Chapin, Miles & Rodica Prato. 88 Keys: The Making of a Steinway Piano. New York: Clarkson Potter, 1997.

Bolduc. See “Pianos Bolduc.”

Chang, Chuan C. Fundamentals of Piano Practice. Self-published, 2009. Available from http://www.pianopractice.org. [Part 2 contains instructions on tuning and minor repairs]

Bowman, Keith, RPT. “Tuning Lever Design & Maintenance.” 3-part series. Piano Technicians Journal, January 2001, pp. 29– 32; February 2001, pp. 16–19; April 2001, pp. 18–23. Boyce, David. David Boyce Piano Services. Website at http://www.davidboyce.co.uk. [Well-illustrated repair and restoration procedures, information on birdcage pianos, rarely encountered designs] Bozarth, George and Stephen Brady, RPT. “Johannes Brahms and His Pianos.” Piano Technicians Journal, July 2000, pp. 42– 55. Brady, Stephen H., RPT. Under the Lid: The Art & Craft of the Concert Piano Technician. Seattle: Byzantium Books, 2008. Brady, Stephen H., RPT. A Piano Technician’s Guide to Field Repairs, 2nd ed. Kansas City: Piano Technicians Guild, 2008. Available for purchase at http://www.ptg.org. Brady, Steve, RPT. “Piano Plate Breakage: A Case Study.” Piano Technicians Journal, November 2000, pp. 26–27. Brekne, Richard, RPT. “Of Touchweight and Ratios or, The Balance of the Action.” Available at http://home.broadpark.no/ ~rbrekne/referhtml/touchweight.html. Bressette-Mills, Jack, RPT. “The Thoughtful Technician, Part 4.” Piano Technicians Journal, September 2002, pp. 32–34.

Christiana, Asa. “Shop Vacuums.” Fine Woodworking, Tools & Shops issue, 2012, pp. 70–74. Clinkscale, Martha Novak. Makers of the Piano 1700 – 1820. Oxford: Oxford University Press, 1993. Available in database form at http://earlypianos.org/. [List of piano makers] “Clothes Moths: Integrated Pest Management in the Home.” Pest Notes. Publication 7435. University of California Division of Agriculture and Natural Resources, December 2000. Available at http://www.ipm.ucdavis.edu/PMG/PESTNOTES/pn7435.html. Closson, Ernest. History of the Piano. 2nd ed. Trans. Delano Ames. London: Paul Elek, 1974. Cohen, H. F. Quantifying Music: The Science of Music and the First Stage of the Scientific Revolution, 1580–1650. Dordrecht, Holland: D. Reidel Publishing Co., 1984. [History of tuning theories and practices] Crawford, Matthew B. Shop Class as Soulcraft: An Inquiry into the Value of Work. New York: The Penguin Press, 2009. Crombie, David. Piano: Evolution, Design and Performance. New York: Barnes & Noble, 2000.

Briggs, G. A. Pianos, Pianists, and Sonics. Idle, U.K.: Wharfedale Wireless Works, 1951.

Cushing Smith, Mary, ed., Jim Ellis, RPT, and James Arledge, RPT. “False Beats,” Q&A Roundtable, Piano Technicians Journal, December 2005, pp. 12-–14.

Bunger [Evans], Richard. The Well-Prepared Piano, 2nd American ed. San Pedro, CA: Litoral Arts Press, 1981. [A guide to “prepared piano”]

Davies, Clair. The Trigger Point Therapy Workbook, 2nd ed. Oakland, CA: New Harbinger Publications, Inc., 2004. [Addressing pain by massaging muscular “trigger points”]

Busby, Jim, RPT and John Dewey. “Aluminum Screw Hole Repairs,” Piano Technicians Journal, September 2007, p. 10.

Davis, Bob, RPT and Dale Erwin, RPT. “Everyday Voicing.” 7-part series. Piano Technicians Journal, May 2003, July to October 2003, December 2003, January 2004.

Cantrell, Norman, RPT. “Of Mice and Men and Pianos: A Look at Hantavirus in Relation to Piano Technicians.” Piano Technicians Journal, May 1997, pp. 22–23.

Dewey, John A. “Steinway Action-Rail Replacement.” Piano Technicians Journal, October 2006, pp. 20–21.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Books, Articles, Videos, Online Resources

Dietz, Franz Rudolf. Das Intonieren von Flügeln/Grand Voicing. Frankfurt, Germany: Das Musikinstrument, 1968. Dietz, Franz Rudolf. Steinway Regulation/Das Regulieren von Flügeln bei Steinway. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-16-4. Dolge, Alfred. Men Who Have Made Piano History. Vestal, New York: The Vestal Press, 1980. Originally published as Pianos and Their Makers, Vol. II. Covina, CA: Covina Publishing Co., 1913.

511

Fine, Larry. Acoustic & Digital Piano Buyer. Palm Springs, CA: Brookside Press, published semiannually. Free version is available at http://www.pianobuyer.com. Fine, Larry. The Piano Book, 4th ed. Boston, MA: Brookside Press, 2001. [Consumer guide for buying new and used pianos] Flexner, Bob. Understanding Wood Finishing: How to Select and Apply the Right Finish, 2nd ed. East Petersburg, PA: Fox Chapel Publishing (American Woodworker series), 2010.

Dolge, Alfred. Pianos and Their Makers. Covina, CA: Covina Publishing Co., 1911. Available at http://www.archive.org.

Fostle, D.W. The Steinway Saga: An American Dynasty. New York: Scribner, 1995.

Dornberg, John. “Beyond Perfect Pitch: How Ernst Kochsiek Makes Great Pianists Sound Their Best.” Connoisseur, October 1986, p. 151.

Frisch Walter. Brahms and His World. Princeton, NJ: Princeton University Press, 2009.

Dornfeld, Bruce, RPT. “Replacing Young Chang Growing Action Brackets.” Piano Technicians Journal, August 2009, pp. 26–27. Dresdner, Michael. “Flow Chart Part 3: Sealers and Pore Fillers.” Woodworker’s Journal, June 2008. Available at http:// www.woodworkersjournal.com.

Dubal, David. The Art of the Piano: Its Performers, Literature, and Recordings, 3rd ed. Pompton Plains, NJ: Amadeus Press, 2004. [CD of rare piano recordings included] Dufau, P.A.(Pierre Armand), Paul Emile Benaimé, and M. Tahan. Claude Montal, facteur de pianos (aveugle); sa vie et ses travaux. Paris: Didot Frères, Fils et Cie, 1857. Available at http://digital.lib.uiowa.edu. Duffin, Ross W. How Equal Temperament Ruined Harmony (and Why You Should Care). New York: W.W. Norton, 2007.

Funke, Otto. Das Intonieren von Pianos und Flügeln. Frankfurt, Germany: Das Musikinstrument, 1977. ISBN 3-920112-60-1. [Essay on tone regulating] Funke, Otto. The Piano and How to Care for it. Trans. C.H. Wehlau. Frankfurt, Germany: Das Musikinstrument, 1961. [Practical aspects of piano care and maintenance] Gaines, James R., ed. The Lives of the Piano. New York: Holt, Rinehart & Winston, 1981. [Essays] Galembo, Alexander. “Perception of Musical Instrument by Performer and Listener.” From the 2001 conference Human Supervision and Control in Engineering and Music. Available at http://www.engineeringandmusic.de/individu/galealex/ Galambo-Paper.html.

Eder, Alan, RPT. Non-Traditional Piano Use. Valencia, CA: California Institute of the Arts, 1994. DVD. To order, contact Alan Eder at [email protected].

Galembo, A., Askenfelt, A., Cuddy, L. L., & Russo, F. A. “Perceptual significance of inharmonicity and spectral envelope in the piano bass range.” Acta Acustica, 90, 2004, pp. 528–536. Available from http://digitalcommons.ryerson.ca/cgi/ viewcontent.cgi?article=1005&context=psych.

Ehrlich, Cyril. The Piano, A History, 2nd ed. Oxford: Clarendon Press, 1990. [Contains a list of piano makers since 1851 in Appendix I]

Gallaway, Kent, RPT. “Epoxy Pinblock Consolidation in an Upright Piano: A Report.” Piano Technicians Journal, July 2010, p. 12.

Eigeldinger, Jean-Jacques. “Chopin and Pleyel.” Clavier Companion, May/June 2010, Vol. 2 No. 3. Available at http://www. claviercompanion.com/may-june-2010/chopin-and-pleyel/.

Gazette musicale de Paris. Paris: Gazette musicale de Paris, 1834, 1835. See also “Revue et gazette musicale de Paris.” Available at http://www.archive.org.

Ellis, Jim, RPT. “An Analysis of a Broken Plate.” Piano Technicians Journal, November 2000, pp. 28–32.

Good, Edwin M. Giraffes, Black Dragons, and Other Pianos, 2nd ed. Stanford, CA: Stanford University Press, 2001.

Emerson George F., RPT, Keith Bowman, RPT, Mike Carraher, RPT. Hailun Piano Service Manual. Richland, WA: Hailun USA, 2011. Available at http://www.hailun-pianos.com.

Goold, Madeline. Mr. Langshaw’s Square Piano: The Story of the First Pianos and How They Caused a Cultural Revolution. London: Corvo, 2008.

Engelbrecht, Jüri, Avo Mägi, and Anatoli Stulov. “Grand Piano Manufacturing in Estonia: the Problem of Piano Scaling.” Proc. Estonian Acad. Sci. Engin., 1999, v.5, N.2, pp. 155–167. Available at http://www.cs.ioc.ee/~stulov/Engart.pdf.

Granholm, John, RPT, ed. “Impact Tuning Levers and Ergonomics.” Piano Technicians Journal, January 2008, pp. 10–12. [Interview with Dean Reyburn]

Eschete, Ken, RPT. “Epoxy Consolidation: An Alternative Method for Restoring Piano Pinblocks.” Piano Technicians Journal, April 2009, pp. 22–25. Fandrich, Darrell, RPT. “Riblet Update,” Tips, Tools & Techniques, Piano Technicians Journal, November 2007, pp. 8–9. Fandrich, Delwin, RPT. “Are Soundboards All They’re Cracked Up To Be?” Piano Quarterly, Summer 1992, p. 63. Fandrich, Delwin, RPT. “The Designer’s Notebook: Last Resort Soundboard Repairs.” 4-part series. Piano Technicians Journal, June 2002, pp. 19–22, July 2002, pp. 19–22, August 2002, pp. 18– 21, September 2002, pp. 28–30. Fandrich, Delwin, RPT. “Running out of the Good Stuff.” Piano Technicians Journal, November 2011, pp. 14–18.

Gravagne, Nick, RPT. “Bearing on the Old Soundboard.” Piano Technicians Journal, November 1988, pp. 19–21. Gravagne, Nick, RPT. “Downbearing: An Introduction.” Piano Technicians Journal, February 1988, pp. 23–24. Gravagne, Nick, RPT. “Elements of Quality Soundboard Construction.” Piano Technicians Journal, November 1987, pp. 23–25. Gravagne, Nick, RPT. “How Much Crown Should There Be?” Piano Technicians Journal, April 1987, pp. 23–26. Gravagne, Nick, RPT. “Lowering the Plate: Part One.” Piano Technicians Journal, April 1989, pp. 28–31. Gravagne, Nick, RPT. “Plate Lowering: Part Two.” Piano Technicians Journal, May 1989, pp. 27–30.

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Gravagne, Nick, RPT. Downbearing and Bridge Notching Video. DVD. Available from http://www.gravagne.com. Gravagne, Nick, RPT. Soundboard Installation Video. DVD. Available from http://www.gravagne.com. Grossbach, Jan. “Repairs to Matt Finishes.” Europiano, Issue 2, 2012, pp. 31–37. Grove Music Online. http://www.oxfordmusiconline.com. Grover, David S. The Piano: Its Story From Zither to Grand. New York: Scribner’s Sons, 1978. Grijalva, Robert, RPT. “Introduction to the Treble Resonator.” Piano Technicians Journal, October 2006, pp. 16–18. Hall, Donald E. Musical Acoustics: An Introduction. Belmont, CA: Wadsworth Publishing Co., 1980. [A thorough, well-illustrated textbook] Hansing, Siegfried. The Pianoforte And Its Acoustic Properties. Nabu Press, 2010. ISBN 978-1146325493. [A reprint of an early 20th century classic on piano acoustics] Harding, Rosamond E. M. The Pianoforte: its history traced to the Great Industrial Exhibition, 1851, 2nd ed. Old Woking, England: Gresham Books, 1978. [History of pianoforte to 1851] Harrison, Sidney. Grand Piano. London: Faber and Faber, 1976. [History of pianos, piano makers, and pianists] Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music. (1863) 2nd English translation by Alexander J. Ellis. New York: Dover, 1954. Herzog, H. K., ed. Europe Piano Atlas, 5th ed. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-46-6 [Lists of serial numbers and years of manufacture for most popular brands of pianos]

Honor of H. Wiley Hitchcock. Ann Arbor, MI: The University of Michigan Press, 1990, pp. 132–153. Available from http:// americanhistory.si.edu/steinwaydiary/resources/. Hoover, Cynthia Adams. “The Steinways and Their Pianos in the Nineteenth Century.” Journal of the American Musical Instrument Society, Vol. VII, 1981, pp. 47–89. Available from http://americanhistory.si.edu/steinwaydiary/resources/. Hopfner, Rudolf. Meisterwerke der Sammlung alter Musikinstrumente: Kurzführer durch das Kunsthistorische Museum. Vienna, Austria: Kunsthistorisches Museum Wien, 2010. [CD included] Huber, Alfons, ed. Das österreichische Cembalo: 600 Jahre Cembalobau in Österreich. Tutzing, Germany: Hans Schneider, 2001. Huggins, David, RPT. “Affordable Vertical Touchweight Refinement.” Piano Technicians Journal, June 2012, pp. 28–31. Hughes, David G., RPT. “A Modern Approach to Piano Restoration.” Piano Technicians Journal, October 2012, pp. 18–20. Hunt, Newton J. The Piano Technicians Guide. Dallas, TX: Selfpublished, 1985. Newton Hunt, 3253 Lockmoor, Dallas, TX 75220, USA. Tel: (214) 352-6846. [Estimated times for piano servicing and rebuilding] Instruments pour demain: conservation & restauration des instruments de musique: 9es journees d’etudes de la Section francaise de l’institut international de conservation, Limoges 15–16 juin 2000. Champs-Sur-Marne: SFIIC, 2000. Isacoff, Stuart. A Natural History of the Piano: The Instrument, the Music, the Musicians—from Mozart to Modern Jazz and Everything in Between. New York: Alfred Knopf, 2011. Isacoff, Stuart. Temperament: The Idea That Solved Music’s Greatest Riddle. New York: Alfred Knopf, 2001.

Hickey, Jeffrey T., RPT. “Broken Agraffe Removal with Jim Schmitt, RPT.” A document from a meeting of the Portland Chapter of PTG, August 2012. Search for “Agraffe class” at http://my.ptg.org. Also printed in the Portland Soundboard newsletter.

Johnson, Jim, RPT. “Impact Tuning Hammers.” Q&A. Piano Technicians Journal, January 1996, pp. 12, 14.

Hildebrandt, Dieter. Pianoforte: A Social History of the Piano. London: Hutchinson: 1988.

Johnson, Roland. “Plumbing a Shop for Air.” Fine Woodworking, Tools & Shops issue, 2002, pp. 51–53.

Hipkins, Alfred J. A Description and History of the Pianoforte. London: Novello, 1896. Available from http://www.archive.org.

Jorgensen, Owen. Tuning the Historical Temperaments by Ear. Marquette, MI: The Northern Michigan University Press, 1977.

Hirschkorn, Martin. “Dynamic Model of a Piano Action Mechanisms.” MAS Degree Thesis. University of Waterloo, Ontario, Canada, 2004.

Jorgensen, Owen, RPT. “The Well-tempered Clavier.” 6-part series. Piano Technicians Journal, August 2003 to January, 2004.

Hirschkorn, Martin, John McPhee, and Stephen Birkett. “Dynamic Modelling and Experimental Testing of a Piano Action Mechanism.” ASME Journal of Computational and Nonlinear Dynamics, Vol. 1, 2006, pp. 47–55. Hirschkorn, Martin, Stephen Birkett, and John McPhee. “Kinematic Model of a Piano Action Mechanism.” Proceedings of the 19th Canadian Congress of Applied Mechanics (CANCAM 2003), Calgary, Canada, June 1–6, 2003. Available at http://www.fortepianos.com/piano%20action.htm. Hirt, Franz Josef. Stringed Keyboard Instruments 1440–1880. Boston, MA: Boston Book and Art Shop, 1968. Hoadley, R. Bruce. Understanding Wood: A Craftsman’s Guide to Wood Technology, 2nd ed. Newtown, CT: The Taunton Press, 2000. Hohf, Bob, RPT. “Bechstein Pinblocks: Part III.” Piano Technicians Journal, March 1997, pp. 18–23. Hoover, Cynthia Adams. “The Great Piano War of the 1870s.” From A Celebration of American Music: Words and Music in

Johnson, Roland. “Choosing a Compressor.” Fine Woodworking, July/August 2003, pp. 50–53.

Junghanns, Herbert. Der Piano- und Flügelbau, 7th ed. Frankfurt, Germany: Bochinsky, 1991. Katalog der Sammlung alter Musikinstrumente, 1. Teil: Saitenklaviere. Vienna, Austria: Kunsthistorisches Museum, 1966. Kawai Grand Piano Regulation Manual. Ver. 1.5. Shigeru Kawai Piano Laboratory, Kazuo Goka, supervisor, June 20, 2012. Available from http://www.kawaius-tsd.com/ (click Acoustic Downloads). Kehl, Roy F. and David R. Kirkland. The Official Guide to Steinway Pianos. Milwaukee, WI: Amadeus Press (Hal Leonard Corp.), 2011. Keller, James M. “Bechstein on the Brink.” Piano & Keyboard, November/December 1993, No. 165, p. 15. Kennedy, K. T. Piano Action, Repairs, and Maintenance. London: Kaye & Ward, 1979. Kent, Earle L., ed. Musical Acoustics: Piano and Wind Instruments. Stroudsburg, PA: Dowden, Hutchinson & Ross, Inc., 1977. [A compilation of several excellent papers with editor’s comments]

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Kern, Evan J. Harpsichord: Design and Construction. New York: Van Nostrand Reinhold Co., 1980.

Mattheson, Johann. Vollkommener Capellmeister. Hamburg: Christian Herold, 1739. Available at http://books.google.com.

Kirsten, Shirley. “How Could This Happen to My Piano?” The Piano Quarterly No. 146.

Matthias, Max. Steinway Service Manual. Frankfurt, Germany: Bochinsky, 1990.

Klaus, Sabine. “German Square and Harp-Shaped Pianos with Stossmechanik in American Collections: Distinguishing Characteristics of Regional Types in the Eighteenth and Early Nineteenth Centuries.” Journal of the American Musical Instrument Society, Vol. XXVII, 2001, pp. 120–182.

Maunder, Richard. “Mozart’s Keyboard Instruments.” Early Music, Vol. 20 No. 2, May, 1992, pp. 207–219.

Knize, Perri. Grand Obsession. New York: Scribner, 2008. [Memoir about searching for the original beauty in a new GrotrianSteinweg piano]

McFerrin, W. V. The Piano: Its Acoustics. Boston, MA: Tuners Supply Co., 1972. [Acoustics, mechanics, and mathematics of the piano—vector forces, piano wire, inharmonicity, downbearing of strings, piano scale, and more]

Korty, John, director. Miracle in a Box: a Piano Reborn. DVD. Available from http://www.miracleinabox.com. Koster, John. “Among Mozart’s sprättischen Clavier: a Pandaleon-Clavecin by Frantz Jacob Spath, Regensburg, 1767?” Early Keyboard Journal, Vols. 25/26, 2010, pp. 153–223. Koster, John. “Some Remarks on the Relationship Between Organ and Stringed-Keyboard Instrument Making,” Early Keyboard Journal, Vol. 18, 2000, pp. 95–137. Kottick, Edward L., The Harpsichord Owner’s Guide. Chapel Hill, NC: University of North Carolina Press, 1987. [Harpsichord maintenance and repair] Kunz, Johannes. Bösendorfer: Eine Lebende Legende. Vienna, Austria: Molden Verlag, 2002. Kushner, Michael. “Paternalism and the Skilled Worker: The Rise of Unionism at Steinway & Sons.” MA Thesis, Dept. of History, Columbia University, 1987. Laible, Ulrich. Fachkunde Klavierbau, 3rd ed. Bergkirchen: Edition Bochinsky, 2000. Largo, Key. “The Talk of the Town.” The New Yorker, February 22, 1993, Vol. 41, No. 2, p. 41. [Removing ivory from a 1920 Érard grand to meet the U.S. import regulations.] Laurence, Alastair. Five London Piano Makers: Brinsmead, Challen, Collard, Danemann, Welmar. London: Keyword Press, 2010. ISBN 978-0-9555590-1-3. Lenehan, Michael. “Building Steinway Grand Piano K 2571: The Quality of the Instrument.” The Atlantic Monthly, 1982. Leonard, George. Mastery: The Keys to Long-Term Success and Fulfillment. New York: Dutton, 1991. Levitan, Daniel. The Craft of Piano Tuning. New York: The Soundboard Press, 2011. http://www.soundboardpress.com. Levitan, Dan, RPT. “Cyanoacrylate Angst.” Piano Technicians Journal, August 2003, pp. 30–31.

Maunder, Richard. “Mozart’s Walter fortepiano.” Early Music, Vol. 29 No. 4, November 2001, p. 669. See http://em. oxfordjournals.org/content/XXIX/4/669.extract.

Meyer, Jürgen. Akustik und musikalische Aufführungspraxis. Frankfurt am Main: Verlag das Musikinstrument, 1972. [Acoustics of musical instruments, room acoustics, directional characteristics of sound in musical instruments, includes musical examples] Michel, N. E. Historical Pianos, Harpsichords, and Clavichords. Pico Rivera, CA: Self-published, 1963. [Photos of keyboard instruments] Michel, N. E. Old Pianos. Rivera, CA: Self-published, 1954. Miller, Franklin, Jr. “A Proposed Loading of Piano Strings for Improved Tone.” The Journal of the Acoustical Society of America, Vol. 21, No. 4, July 1949, pp. 318–322. Available from http://asadl.org/jasa/. Mohr, Franz. My Life with the Great Pianists. Grand Rapids, MI: Baker Book House, 1992. Montal, Claude. L’Art d’accorder soi-mème son piano: d’après une méthode sure, simple et facile, déduite des principes exacts de l’acoustique et de l’harmonie, 3rd ed. Paris: Published by author, 1865. http://www.archive.org/details/ lartdaccordersoi00mont. Montal, Claude. L’Art d’accorder soi-mème son piano: d’après une méthode sure, simple et facile, déduite des principes exacts de l’acoustique et de l’harmonie, 1st ed. Paris: J. Meissonnier, 1836. http://books.google.com. Montanari Giuliana. “Bartolomeo Cristofori: A List and Historical Survey of His Instruments.” Early Music XIX, p. 383. Music Trade Review: Music Industry Magazine. http://mtr.arcade-museum.com/. Musselwhite, James. The Art of Compromise: Aural Piano Tuning. Self-published, 2004. Available for purchase at https://www.createspace.com/3759944.

Levitan, Daniel. The Levitan Professional Tuning Lever. Video. http://vimeo.com/37869859.

Nelson, Trevor, RPT. “The State of Piano Manufacturing and Piano Technology in Japan.” Piano Technicians Journal, January 2012, pp. 22–25.

Lieberman, Richard K. Steinway & Sons. New Haven, CT: Yale University Press, 1995.

Neuhaus, Heinrich. The Art of Piano Playing. Trans. K.A. Leibovitch. London: Barrie & Jenkins, 1973.

Libin, Laurence. Keyboard Instruments. New York: The Metropolitan Museum of Art. [Survey of keyboard instruments in the Metropolitan Museum of Art]

Neupert, Hanns. Harpsichord Manual. Kassel, Germany: Bärenreiter, 1960.

Loesser, Arthur. Men, Women, and Pianos: A Social History. New York: Simon & Schuster, 1954; London: Victor Gollancz, 1955. Magne, Daniel. Guide pratique du piano pour l’amateur et le professionnel. Paris: Éditions Francis van de Velde, 1978. ISBN 2-86299-001-9. Marpurg, Friedrich Wilhelm. Kritische Briefe über die Tonkunst. 3 vols. Berlin, 1760–64.

NSWC Carderock Division, Curator of Navy Ship Models. “Lead Corrosion in Exhibition Ship Models.” Available at http://www.navsea.navy.mil/nswc/carderock/pub/cnsm/lead/ lead_01.aspx.

Oey, Mary. “Some problems in musical instrument conservation in museum collections.” Paper presented at the Association of North American Graduate Programs in Conservation (ANAGPIC) 2006 Conference. Available at http://www.ischool. utexas.edu/~anagpic/2006doc/2006ANAGPIC_Oey.doc.

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Oorebeek, André. The Voice of the Piano. Nanaimo, BC, Canada: Crescendo Publications, 2009. http://www. thevoiceofthepiano.com. [Voicing. DVD included.] Palmieri, Robert, ed. Encyclopedia of Keyboard Instruments: the Piano, 2nd ed. New York: Routledge, 2003. Pfeiffer, Walter. The Piano Hammer. Trans. Jim Engelhardt. Frankfurt-am-Main, Germany: Das Musikinstrument, 1978. ISBN 3-920112-61-X. Pfeiffer, Walter. The Piano Key and Whippen. Trans. Jim Engelhardt. Frankfurt-am-Main, Germany: Das Musikinstrument, 1967. Phillips, Ruth. “Finish Touch-up and Repair.” 4-part series. Piano Technicians Journal, January 2003, pp. 20–24 (part 1: polyester repair); February 2003, pp 24–29 (part 2: polyester repair, continued); March 2003, pp. 28–29 (part 3: “Business Aspects of Finishing & Repair”); May 2003, pp. 20–24 (part 4: “Lacquer Touch-up”). Piano Technicians Guild. Guidelines for Effective Institutional Piano Maintenance, 2nd ed. Kansas City, KS: Piano Technicians Guild, 2004. Available at http://www.ptg.org. Pianos Bolduc. Bridge Cap Replacement (Without Removing the Plate), 2010. DVD. Available from www.pianobolduc.com and Pianotek.

Ratcliffe, Ronald. Steinway. San Francisco, CA: Chronicle Books, 1989. Ramon, Alba and Asami Inouye. “Piano Tone Color and Touch: A Controversy Compromised.” The Piano Quarterly, Fall 1979, p. 36. Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. 2nd ed. Vestal, New York: The Vestal Press, 1993. “Recreating the Famed Mason & Hamlin Piano.” Music Trades Magazine, October 1990. Reprint available from Mason & Hamlin, 35 Duncan Street, Haverhill, MA 01830. Reibeholz, Lutz. Das Regulieren von Steinway & Sons Klaviermechaniken and deren Reparatur. Frankfurt, Germany: Das Musikinstrument, 1981. ISBN 3-920112-81-4. Restle, Konstantin. Faszination Klavier: 300 Jahre Pianofortebau in Deutschland. München, London, New York: Prestel, 2005. ISBN 3-7913-2308-3. Revenko-Jones, Paul, RPT. “The Mysterious Agraffe.” Piano Technicians Journal, February 2005, pp. 18–21; March 2005, pp. 18– 21. Revue et gazette musicale de Paris. Paris: Gazette musicale de Paris, 1835–1880. See also “Gazette musicale de Paris.” Available at http://www.archive.org.

Pianos Bolduc. Full-fit Grand Pinblock Replacement, 2010. DVD. Available from www.pianobolduc.com and Pianotek.

Richmond, Barbara, RPT, et al. “Voicing the Soundboard with Weights and Riblets.” Piano Technicians Journal, August 2007, pp. 26–30.

Pianos Bolduc. Installation of the Grand Pre-Crowned Soundboard, 2010. 2 DVDs. Available from www.pianobolduc.com and Pianotek.

Roberts, Dave. “Calculating Technician.” 20-part series. Piano Technicians Journal, September 1979 to April 1981.

Pierce, Bob. Pierce Piano Atlas. 10th ed. Long Beach, CA: Selfpublished, 1997. Pierce, John R. The Science of Musical Sound. New York: Scientific American Library, 1983. [General acoustics, sound, hearing, theories] Pirsig, Robert M. Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values. New York: William Morrow & Co., 1974.

Roberts, Dave. The Calculating Technician. Kansas City, KS: Piano Technician’s Guild. Roell, Craig H. The Piano in America, 1890–1940. Chapel Hill, NC: The University of North Carolina Press, 1989. Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications. Bloomington, IN: Bloomington University Press, 1988.

Pollens, Stewart. “Beethoven’s Pianos.” Piano Today 1 (Fall, 2006), pp. 7–8; 2 (Winter, 2007), pp. 20–21; 3 (Spring, 2007), pp. 24–25.

Rossi-Rognoni, Gabriele, ed. Restauro e conservazione degli strumenti musicali antiche: la spinetta ovale di Bartolomeo Cristofori. Proceedings of the International Workshop organized by the Department of Musical Instruments of the Galleria dell’ Accademia on October 21, 2002. Florence: Nardini Editore, 2008.

Pollens, Stewart. “Christoph Gottlieb Schröter, Inventor or Fraud?” Early Keyboard Journal, Vol. 18, 2000, pp. 139–153.

Rothstein, Edward. “When the Piano Came of Age: A Sonic Museum.” The New York Times, January 23, 1994, sec. H, p. 25.

Pollens, Stewart. The Early Pianoforte. Cambridge: Cambridge University Press, 1995; second printing 2009.

Rowland, David. A History of Pianoforte Pedalling. Cambridge: Cambridge University Press, 1993.

Pollens, Stewart. “The Pianos of Bartolomeo Cristofori.” Journal of the American Musical Instrument Society, Vol. X, 1984.

Russel, Dan. Acoustics and Vibration Animations. Grad. Prog. Acoustics, The Pennsylvania State University website. http://www.acs.psu.edu/drussell/demos.html.

“Plastic Piano Keys Use Ivory as Model.” The New York Times, June 12, 1993, sec. C, p. 2.

Pollens, Stewart. “The Restoration of a Fortepiano by Conrad Graf, ca. 1838, in the Collection of the Metropolitan Museum of Art.” Actes des Rencontres Internationales Harmoniques, Lausanne, 2008, forthcoming.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians®, 2nd ed. 29 vols. London: Macmillan Publishers Ltd., 2001. See also “Grove Music Online.”

Pollens, Stewart. “The Schumann/Brahms Conrad Graf Piano.” The American Brahms Society Newsletter, Vol. 24, No. 1, Spring, 2006, pp. 1–4. Available at http://brahms.unh.edu/ newsletter/24-1.pdf.

Sadie, Stanley, ed. The New Grove® Dictionary of Musical Instruments. 3 vols. London: Macmillan Press Ltd., 1984. Select articles available in separate books, such as The New Grove Piano. Many articles are available at Grove Music Online.

Powell, Sam, RPT. “Effects of Hammer Bore on Escapement Friction.” Piano Technicians Journal, September 1993, pp. 42–43.

Sadie, Stanley, ed. The New Grove® Piano. New York: W.W. Norton, 1988.

Protzman, Ferdinand. “Keeping in Step in a Free Market.” The New York Times, October 15, 1991, sec. C, p. 1. [Blüthner factory in unified Germany]

Schlosser, Marty. “Cyclone Dust Collection for a Small Shop.” Canadian Woodworking, October/November 2008, pp. 16–19.

Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. Books, Articles, Videos, Online Resources

Scott, Steve. “Dust Collection Demystified: Tips for choosing and configuring a system to fit your needs.” Fine Woodworking, Tools & Shops issue, 2007, pp. 52–57. Seidl, Helmut. Frequenztafeln Cent-Hertz. Frankfurt am Main: Verlag Das Musikinstrument, 1970. [Conversion tables between Hertz and cents] Shead, Herbert, A. The Anatomy of the Piano. Old Woking, Surrey, England: Unwin Brothers Ltd (The Gresham Press), 1978. Shepherd, Stephen A. Hide Glue: Historical & Practical Applications. Salt Lake City, UT: Full Chisel, 2009. Available from http://www.pianofortesupply.com/books/. Shepherd, Stephen A. Shellac, Linseed Oil, & Paint: Traditional 19th Century Woodwork Finishes. Full Chisel, 2011. Available from http://www.pianofortesupply.com/books/. Shull, Bill, RPT. “Restorative Conservation in PIano Rebuilding.” Piano Technicians Journal, September 2012, pp. 18-21. Singer, Aaron. Labor Management Relations at Steinway & Sons 1853–1896. New York: Garland Publishing, Inc., 1986. ISBN 0-8240-8371-7. Smit, Christopher. The Piano Deconstructed. Website. http://www.piano.christophersmit.com/index.html. Smith, Eric. Pianos in Practice. London: Scolar Press, 1978. Snelson, Richard Oliver. “A Double-Safe Engineered Plate Repair.” Piano Technicians Journal, November 2000, pp. 38–40. Spaethling, Robert, ed. Mozart’s Letters, Mozart’s Life. New York: W.W. Norton, 2000. Spurlock, Bill. “Grand Hammers: Boring, Tail Shaping, and Installation.” Available from http://www.spurlocktools.com/id36.htm. Spurlock, Bill. “Router Repair of Soundboard Cracks Using the Spurlock Specialty Tools.” Europiano, Issue 1, 2011, pp. 44–48. Spurlock, Bill. “Using the Renner Bushing Cloth.” Available at http://www.rennerusa.com/PDF/flange-bushing.pdf. Stanwood, David, RPT. “Hammer Felt Close-ups.” Piano Technicians Journal, May 1996, pp. 30–31. Stanwood, David, RPT. “Looking at Grand Pianos Through the Eyes of the New Touchweight Metrology.” Vineyard Haven, MA: Stanwood Piano Innovations, 2000. Available at http://www.stanwoodpiano.com/PTGMarch00.pdf.

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niques, Lausanne 2002. Bern, Switzerland: Peter Lang, 2004. ISBN 3-03910-244-3. Excerpts available at http://books.google. com. Steinway & Sons. World-Wide Technical Reference Guide. Long Island City, NY: Steinway & Sons, 2007. [Reference guide for servicing New York and Hamburg Steinway, Boston, and Essex pianos—available from Steinway & Sons Parts Department] Steinway, Theodore E. People and Pianos: A Pictorial History of Steinway & Sons, 3rd ed. Pompton Plains, NJ: Amadeus Press (Classical Music Today), 2005. “Steinway’s Landmark 500,00th Piano.” Music Trades Magazine, October 1988. Stulov, Anatoli. “Experimental and Computational Studies of Piano Hammers.” Acta Acustica united with Acustica, 2005, Vol. 91, No. 6, pp. 1086–1097. Available at http://www.ioc.ee/ ~stulov/PUB.htm. Sturm, Fred, RPT. “An A-centered Temperament Sequence.” Piano Technicians Journal, October 2005, pp. 17–19. Sturm, Fred, RPT. “A Clear and Practical Introduction to Temperament History.” 9-part series. Piano Technicians Journal, May to September 2010, November 2010 to February 2011. Sturm, Fred, RPT. “The Invention of the Sostenuto Pedal.” Piano Technicians Journal, December 2011, pp. 24–26. Sturm, Fred, RPT. “Removing Lacquer from Hammers.” Piano Technicians Journal, June 2009, p. 36. Sumner, Leslie. The Pianoforte. New York: St. Martin’s Press, 1966. Sutherland, David. “Domenico Scarlatti and the Florentine Piano.” Early Music, May 1995, pp. 243–256. Sutton, Ed, RPT. “The ‘Mathushek’ Upright Action.” Piano Technicians Journal, November 2009, p. 33 Swartz, David. “Smoke Damage Restoration for Pianos.” Search for this title at http://www.ptg.org. Tarbuk, Nela. Glazbeni instrumenti iz fundusa Muzeja za umjetnost i obrt. Varazdin, Croatia: Varazdinske barokne veceri, Gradski muzej Varazdin, Muzej za umjetnost i obrt, 2007. Tasciotti, Lou. “The Technician’s View: Piano Rebuilding.” The Piano Quarterly No. 152.

Stanwood, David, RPT. “Mastering Friction with the Balance Weight System.” Piano Technicians Journal, November 1990, pp. 16–18. Also available at http://www.stanwoodpiano.com/ BWsys.pdf.

Taylor, S. K., ed. The Musician’s Piano Atlas. Macclesfield, England: Omicron, 1981.

Stanwood, David, RPT. “The New Touchweight Metrology.” Piano Technicians Journal, June 1996, pp. 16–18. Also available at http://www.stanwoodpiano.com/ptgjune96.htm.

Todd, Larry R., ed. Nineteenth-Century Piano Music, 2nd ed. New York: Routledge, 2004.

Stanwood, David, RPT. “The New Touchweight Metrology as an Analogy of the Grand Piano Action to a Catapult.” Vineyard Haven, MA: Stanwood Piano Innovations, 2002. Available at http://www.stanwoodpiano.com/seesaw.pdf. Stanwood, David, RPT. “Standard Protocols of the New Touchweight Metrology.” Piano Technicians Journal, February 2000, pp. 20–23. Also available at http://www.stanwoodpiano.com/ NTM.pdf. Steiner, Thomas, ed. Cordes et claviers au temps de Mozart, Bowed and Keyboard Instruments in the Age of Mozart. Bern, Switzerland: Peter Lang, 2010. ISBN 978-3-0343-0396-5. Excerpts available at http://books.google.com. Steiner, Thomas, ed. Instruments à claviers - expressivité et flexibilité sonore: Actes des Rencontres Internationales harmo-

Tittle, Martin. “Amplifying the Kenzoid: Part 3—Voicing.” The Piano Quarterly, Summer 1979, p. 42.

Travis, John W. A Guide to Restringing, 2nd ed. Takoma Park, MD: Self-published, 1982. Available for purchase at http://www.ptg.org. Travis, John. Let’s Tune Up. Self-published, 1968. Wakin, Daniel J. “For More Pianos, Last Note Is Thud in the Dump.” The New York Times, July 29, 2012. Wald, Matthew. “A Changing Steinway Stirs Alarm.” The New York Times, March 28, 1991, sec. C, p. 1. Watson, John R. Artifacts in Use: The Paradox of Restoration and the Conservation of Organs. Richmond, VA: OHS Press, 2010. Weitzmann, Karl Friedrich. A History of Pianoforte-Playing and Pianoforte-Literature. New York: G. Schirmer, 1897. Available at http://books.google.com. Wessell, Nickel & Gross. “Adjustable Plate System Instructions.”

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White, William B. Piano Tuning and Allied Arts, 5th ed. Boston, MA: Tuners Supply Co., 1950.

The Galpin Society Journal

White, William B. Theory and Practice of Piano Construction. New York: Dover, 1975. [Originally published as Theory and Practice of Pianoforte Building. New York: E.L. Bill, publisher, 1906] ISBN 0-486231-39-9.

[History of musical instruments]

The William Steinway Diary, 1861–1896. Smithsonian website. http://americanhistory.si.edu/steinwaydiary.

Journal of the American Musical Instrument Society

Wythe, Deborah. “Conrad Graf, 1782–1851: Imperial Royal Court fortepiano maker in Vienna.” Ph. D. Thesis, New York University, 1990.

Keyboard Perspectives

Wood, Alexander. The Physics of Music, 7th ed. Westport, CT: Greenwood Press, Publishers, 1980 [7th ed originally published by Chapman and Hall, Ltd. in 1975] [Theory]

http://www.galpinsociety.org/journal.htm

International Piano Magazine http://www.rhinegold.co.uk/magazines/international_piano/

Also available via amazon.com. http://www.amis.org/publications/journal

http://westfield.org/publications/kp4/

[A periodical by Westfield Center, dedicated to performance practice and keyboard instrument building in historical styles] Piano Technicians Journal http://www.ptg.org/journal.php

Wood Handbook: Wood as an Engineering Material. Madison, WI: U.S. Department of Agriculture, Forest Service, Forest Products Laboratory, 2010. http://www.fpl.fs.fed.us/documnts/ fplgtr/fpl_gtr190.pdf.

Archives in digital format are available for purchase from the Piano Technicians Guild

Yeager, Michael. “A Letter to the Editor.” Museum of the American Piano Newsletter, 211 West 58th Street, New York, NY 10019, October–December 1991, p. 7. [Response to an article regarding warranty policies on Steinway soundboards with cracks and pressure ridges.]

WoodMagazine.com

Young, R.W. “Inharmonicity of Piano Strings.” Acoustica 4, 1954, p. 259. Young, Robert W. “Inharmonicity of Plain Wire Piano Strings.” The Journal of the Acoustical Society of America, Vol. 24 No. 3, May 1952, pp. 267–273. Available from http://asadl.org/jasa/. Young, Wilford, RPT. “Welding Cracked Plates: A Proven Method.” Piano Technicians Journal, November, 2000, pp. 34– 36.

Journals Early Keyboard Journal http://www.ekjournal.org

[Topics related to keyboard instruments until about 1850]

Popular Woodworking Magazine http://www.popularwoodworking.com

http://www.woodmagazine.com

Woodworkers Journal http://www.woodworkersjournal.com

Online Groups and Forums Note: The following are several popular user groups and forums dedicated to piano technology. Search the web to get an up-todate list. CAUT at PTG. “College And University Technicians forum. Accessible through http://my.ptg.org. Piano rebuilders on LinkedIn®. http://www.linkedin.com/groups? gid=2365009&trk=hb_side_g. Pianotech at PTG. Accessible through http://my.ptg.org. Pianotech on Google Groups. http://groups.google.com/group/ pianotech.

Europiano Magazine

Piano Tuners & Technicians on LinkedIn. http://www.linkedin. com/groups?gid=1592467&trk=hb_side_g.

http://www.ppvmedien.de

Piano World. http://www.pianoworld.com.