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J. CREE FISCHER
PIANO TUNING
A SIMPLE AND ACCURATE METHOD
FOR AMATEURS
DOVER PUBLICATIONS, INC.
NEW YORK
Copyright © 1907 by Theo. Presser.
All rights reserved under Pan American and International Copyright
Conventions.
Published in Canada by General Publishing Company, Ltd., 30 Lesmill
Road, Don Mills, Toronto, Ontario.
Published in the United Kingdom by Constable and Company, Ltd., 10
Orange Street, London WC 2.
This Dover edition, first published in 1975, is a republication of the
work originally published in Philadelphia in 1907. The following
sections have been omitted from the present edition because they were
out-of-date: Practical Application of Piano Tuning as a Profession,
Business Hints, Ideas in Advertising, and Charges for Services. This
edition is reprinted by special arrangement with Theodore Presser
Company, Presser Place, Bryn Mawr, Pennsylvania, publisher of the
original edition.
_International Standard Book Number: 0-486-23267-0_
_Library of Congress Catalog Card Number: 75-14759_
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N.Y. 10014
PREFACE.
For some years past a lack of competent men in the profession of Piano
Tuning has been generally acknowledged. This may be accounted for as
follows: The immense popularity of the piano and the assiduous efforts
of factories and salesmen have led to the result that nearly every
well-to-do household is furnished with an instrument. To supply this
demand the annual production and sale for the year 1906 is estimated
at three hundred thousand pianos in the United States. These pianos
must be tuned many times in the factory before they are shipped to the
salesroom; there they must be kept in tune until sold. When, finally,
they take up their permanent abode in the homes of the purchasers,
they should be given the attention of the tuner at least twice a year.
This means work for the tuner. But this is not all. Presuming that the
average life of the piano is about fifty years, it is evident that
there exists in this country an accumulation of instruments variously
estimated at from four to five millions. This means _more work for
tuners_.
While production and accumulation have been increasing, there has been
little, if any, effort made to provide tuners to look after the needs
of this ever-increasing number of instruments, no provision for the
thorough instruction of the learner of Piano Tuning, outside the walls
of the factories, and of the few musical colleges where the art is
taught. Doubtless there are many persons who are by nature well
adapted to this agreeable and profitable occupation--persons who would
make earnest effort to acquire the necessary skill and its honest
application if they had a favorable opportunity. Musical colleges in
which tuning is taught are few and far between; piano factories are
built for the purpose of producing pianos and not tuners, for
mechanics and laborers and not for teachers and pupils; furthermore,
very little fine tuning is done in the factory; rough tuning is the
bulk of the work there, and a long apprenticeship in the factory, with
its meager advantages, is rarely sufficient to meet the demands of the
would-be-thorough tuner. This may account, in part, for the fact that
many who are incompetent are following this profession, and that
there is an increasing demand for tuners of skill.
In view of these facts the author came to the opinion that if a course
of instruction were prepared which would demonstrate clearly the many
abstruse details of the art in an interesting and comprehensible way,
it would be appreciated by those who are desirous to learn. Acting
upon this impulse, he began the preparation of such a course.
The present book is the outgrowth of a course of instruction, used
successfully with pupils from various parts of the United States and
Canada, conducted partly by correspondence; partly at the school
directed by the author. Although it has been necessary to revise the
course somewhat for publication in the present form, no essential
matter has been omitted and much has been added.
In preparing this course of study the utmost effort has been made to
present the various topics in the clearest, most comprehensive manner,
literary excellence being a secondary consideration.
While the book is designed for self-instruction, the systematic
arrangement of the text, and the review questions with each lesson,
suggest its use as a text-book for schools and colleges which give
personal training in the care of the piano.
To the talented individual of either sex who is ambitious to acquire a
dignified and profitable profession, to the scientifically-inclined
musician who is eager to learn the fundamental principles underlying
all musical harmony, and finally to the non-professional who loves to
read because of a fondness for science, the book is submitted; if it
should prove a boon to the former, a benefit to the second, or a
pleasure to the latter, I shall feel rewarded for the work of its
preparation.
THE AUTHOR.
CONTENTS.
page
LESSON I. 7
Introduction.
LESSON II. 11
General construction of the piano and something of its
evolution and history,
LESSON III. 20
Technical Names and Uses of the Parts of the Upright
Action,
LESSON IV. 32
Action of the Square Piano. Action of the Grand Piano.
Instructions for Removing the Square and Grand Piano
Actions,
LESSON V. 43
Regulating and Repairing. Faults in Pianos aside from
the Action and their Remedies. Regulating and Repairing
the Upright Action,
LESSON VI. 56
Regulating and Repairing the Square Action.
Miscellaneous Repairs,
LESSON VII. 66
The Study and Practice of Piano Tuning,
LESSON VIII. 72
The Temperament. Beats, Waves, Pulsations. The New
System of Temperament. The Octave. The Fifth. Pitch.
Diagram of the Fischer System of Temperament,
LESSON IX. 85
Specific Instructions in Setting Temperament. The
Continuous Mute,
LESSON X. 97
Theory of the Temperament. Equal Temperament. Unequal
Temperament,
LESSON XI. 109
Technique or Modus Operandi in Piano Tuning.
Manipulation of the Tuning Hammer. Setting the Mutes or
Wedges in the Upright Piano. Setting the Mutes or
Wedges in the Square Piano,
LESSON XII. 126
Mathematics of the Tempered Scale. Rationale of the
Temperament. Proposition I,
LESSON XIII. 139
Rationale of the Temperament, Concluded. Proposition
II. Proposition III. Numerical Comparison of the
Diatonic with the Tempered Scale. Various Mathematical
Tables and Examples,
LESSON XIV. 150
Miscellaneous Topics Pertaining to the Practical Work
of Tuning. Cause of the Beats. Finishing up the
Temperament. Tuning the Treble. Tuning the Bass. False
Waves,
LESSON XV. 163
Miscellaneous Items Pertaining to the Practical Work of
Tuning, Regulating, and Repairing. Comparison of the
Different Systems of Temperament. System A. System B.
System C. Final Inspection. Loose Pins. Split Bridges.
Stringing. Wire Splicing,
LESSON XVI. 178
Tuning and Repairing the Reed Organ. Cleaning. Stops.
Examination. Sticking Keys. Leaks. Pedal Defects.
Sympathetic Vibrations. Tuning,
LESSON XVII. 193
Concluding Professional Hints. Peculiar Expressions
Used in Designating Qualities of Tone. Questions often
Asked the Piano Tuner. Seasons for Tuning,
INDEX, 199
LESSON I.
~INTRODUCTION.~
Undoubtedly every human being is fitted for some sphere of
usefulness--some industry by which he can benefit mankind and support
himself in comfort. Just what we are fitted for must, almost
invariably, be decided by ourselves; and the sooner the better, else
we may plod among the thousands whose lives are miserable failures for
the reason that "they have missed their calling."
In the consideration of Piano Tuning as a profession, one should first
determine if he possesses the necessary qualifications, the most
important of which are a musical ear and some degree of mechanical
ability. Having these, all else may be acquired by study. It is not
necessary to possess a musical education or to be a musician; although
a knowledge of music will be found a great aid. Still, an elementary
knowledge of the principles of music is a necessity to the student of
this course, as it has been found impossible to avoid the use of a few
technical terms. In most cases, however, they are set forth in such a
way that they will be readily apprehended by anyone who has even a
slight knowledge of the fundamental principles of music.
In teaching Piano Tuning, it is the custom of the "Central School of
Piano Tuning," for which these lessons were originally prepared, to
have all students prepare two lessons in harmony as a test of their
acquaintance with the intervals and chords used in tuning. The lessons
are not difficult, and they embody only those principles which are
essential to the proper understanding of the key-board: the intervals
of the diatonic scale and the major common chord in the twelve
different keys, C, D, E, F, G, A, B, B-flat, D-flat, E-flat, G-flat,
and A-flat. In connection with the harmony lessons, we use as a
text-book "Clarke's Harmony,"[A] and the student is required to master
the first two chapters and prepare manuscripts upon each of the
lessons. Below is a number of the most important questions selected
from those lessons upon which manuscripts have been written:
1. Every white key on the piano represents an "absolute pitch."
By what names are these pitches known? How are the black keys
named?
2. How many tones constitute the diatonic scale? Give numerical
names.
3. Intervals are measured by steps and half-steps. How many steps
from 1 to 3 in the diatonic scale? 1 to 4? 1 to 5? 3 to 5? 5 to
8? 1 to 8?
4. Why is there no black key between E and F, and between B and
C?
5. From 1 to 3 is called an interval of a third; from 3 to 5,
also a third; from 1 to 5, a fifth: they are so called because
they include, respectively, three and five members of the
diatonic scale. What is the interval 3 to 6? 2 to 5? 5 to 8? 2 to
6? 1 to 8?
6. Thirds are of two kinds: major (larger) thirds embrace two
whole-steps; minor (smaller) thirds embrace a step and a half.
What kind of a third is 1-3 in the diatonic scale? 2-4? 3-5? 6-8?
7. What do we mean by the term, Fundamental of a chord? What is
added to it to complete the common chord?
8. What absolute pitches comprise the common chord of C? What
kind of interval between the first two members? What between the
first and last? What between the second and last?
9. What tones would you use if told to strike the common chord of
C in four-part, close harmony, using the fundamental for the
highest tone?
10. How many keys (white and black) are there between the
fundamental and the third? How many between the third and the
fifth? How many between the fundamental and the fifth when the
fifth is played above the fundamental?
11. How many keys (white and black) are there between two keys
comprising a perfect fourth?
12. (Most important of all.) What keys of the piano keyboard
comprise the common chord founded upon G as the fundamental? Upon
F? Upon F♯? Upon G♯? Upon B♭? Upon D♭? Upon E♭? Upon D? Upon E?
Upon A? Upon B?
If one is able to answer these questions correctly he is qualified to
begin the study of Piano Tuning.
[A] Published by Theodore Presser, Philadelphia, Pa.
LESSON II.
~GENERAL CONSTRUCTION OF THE PIANO; SOMETHING OF ITS EVOLUTION AND
HISTORY.~
The piano of today is, unquestionably, the most perfect, and
consequently the most popular and beloved of all musical instruments.
That enchanting Queen of the home,
Whose place in the hearts of the family
Is as dear as though it could speak
In words of joy and sorrow,
Sadness or consolation;
Soothing, animating, enrapturing,
Charming away the soul
From its worldly weight of cares,
And wafting it softly
Into the realm of celestial dreams.
The untiring efforts of genius for over a century have succeeded in
producing a musical instrument that falls little short of perfection.
Yet other inventions and improvements are sure to come, for we are
never content with "good enough."
The student of these lessons may, in his practice, discover defective
mechanical action and by his ingenuity be able to improve it; he may
likewise see where an improvement can be made in acoustic
construction; where a better scale can be drawn; or where different
and perhaps new materials may be used for the component parts of the
instrument. The possibilities are numerous along these lines, and in
addition to bestowing a favor upon the general public, the man who has
the originality to produce something new, places himself beyond want.
The inevitable inference is that the piano is an evolution of the harp
principle. This instrument was known centuries previous to the
Christian era. From the best history obtainable, we learn that about
three hundred years ago, the first effort was made to interpose a
mechanical contrivance between the performer and the strings whereby
it would only be necessary to strike the keys to produce tone from the
strings, thereby decreasing the difficulty in finding the strings and
picking them with the fingers, and greatly increasing the
possibilities in musical rendition.
History gives credit to Italy for the first productions of this kind,
about 1600 A.D., when the faculty of music was beginning to manifest
itself more boldly. Scientists saw that wonderful developments were
possible, and we have reason to believe that experiments were made in
England, France, Germany and all civilized countries about this time,
for the production of the instrument which we call, in this day, a
Pianoforte. (_Piano e forte_: soft and loud.)
At this time communication between the different countries was, of
course, slow and uncertain, and experiments of this kind were probably
unknown outside of the immediate neighborhood in which they were
tried; therefore, much valuable and interesting history has not come
to light. However, from the specimens which we have had the pleasure
of seeing, and some of which we have had the opportunity to work on,
we infer that about the same line of difficulties presented themselves
to all of these early experimenters, most of which were not
efficiently overcome until in the last century, and the most important
of which it fell to the lot of American inventors to overcome.
Some of these early instruments were not even provided with dampers
for stopping the tone when the key was released; consequently, when a
number of keys were struck in succession, the tone continued from
all, so long as the strings would vibrate. The strings and sound-board
being very light, the sustaining qualities were meager compared to
those of the modern piano; consequently the dampers were not so much
missed as they would be if removed from a modern upright or grand,
which would surely render them unfit for use.
In the first attempts at piano building, the difficulties to be
overcome may be enumerated as follows: The frames were not strong
enough to resist the tension of the strings; they were made almost
entirely of wood which yields to the pull of the strings and is
subject to climatic changes; the scale was very imperfect, that is,
the length, tension and weight of the strings were not properly
proportioned, the result being a different quality of tone from
different portions of the keyboard; the actions were either heavy and
imperfect, or too light to produce sufficient vibration; the proper
point upon the strings for the hammers to strike and for the dampers
to bear had not yet been ascertained; the preparation and seasoning of
the wood for the different parts of the instrument had not received
sufficient attention.
One cannot conceive how difficult it is to produce something that has
never existed, until he tries. The requirements necessary to such
results as are obtainable from the modern piano are numerous and rigid
and the result of many costly experiments.
Probably the most important essential in piano building is the
production of a frame of such strength and stability that the enormous
tension of the strings is completely resisted in all parts of the
scale. In many of the cheaper pianos of this day, the lack of this
essential manifests itself in an annoying degree to the piano tuner.
In tuning, the workman "brings up" his temperament in the middle of
the instrument; in most cases the temperament stands all right. He
next tunes the treble, then the bass; after doing his work perfectly
he will often find that the treble fell somewhat while he was bringing
up the bass; or, in a few cases, he may find that the treble
sharpened, thus showing that there was yielding of the frame. Of
course, this defect might be overcome by using an extremely heavy
metal plate and wooden frame; but the commercial side of the question,
in this day, calls for lightness in the instrument as a check to the
expense of production, and, consequently, pianos that are "made to
sell" are often much too light to fulfil this requirement.
In the upright piano, the back frame of wood is first made; at the top
of this is the pin-block, sometimes called the wrest-plank. This is
composed of several layers of wood firmly glued together with the
grain running in different directions to prevent splitting and
warping. Into this plank the tuning pins are driven. The sound-board
is fitted firmly into this frame of wood below the pin-block.
Next, the strong metal plate is secured to the frame by large bolts
and screws. Openings are left in the plate for the bridges, which
project from the sound-board beyond the metal plate; also for the
tuning pins, action bracket bolts, etc.
At the lower end of the plate, and just below the bridges,[B] the
hitchpins are driven firmly into holes drilled to receive them. Their
purpose is to support the lower ends of the strings. The bass strings
are separate, and each has a loop with which to fasten it to the
hitchpin. In the treble, one piece of wire forms two strings; the two
ends are secured to the tuning pins above, and the string is simply
brought around the hitchpin. The bridges communicating with the
sound-board are at the lower end of the sound-board. Notice, there is
a portion of the length of each string between the bridge and the
hitchpin.
[B] There are two sections of the lower bridge, one for the treble
and one for the overstrung bass.
[Illustration]
At the upper end of the strings, a "bearing-bar," situated between the
tuning pins and upper bridge, is attached to the pin-block by screws
which draw it inward; its function is to hold the strings firmly in
position. You will notice that the lengths of the strings, above the
bearing-bar, vary considerably, even in the three strings comprising
the unison. (We will speak of the effect of this in tuning, farther
on.)
After that portion of the case is completed which forms the key-bed or
action frame, we are ready to set in the
ACTION.
By this is meant the keys and all those intricate parts which convey
the motion of the key to the hammers which strike the strings, and the
dampers which mute them.
The requisites of the action are as follows:
The keys must descend quickly and easily at the touch of the
performer, giving quick response.
The weight of the hammer must be properly proportioned to the strings
it causes to vibrate.
The hammer must rebound after striking the string. (Where the hammer
remains against the string, thereby preventing vibration, the term
"blocking" is used to designate the fault.)
The action must be capable of quick repetition; that is, when a key is
struck a number of times in quick succession, it must respond
perfectly every time.
After striking and rebounding from the string, the hammer should not
fall to its lowest position where it rests when not in use, as this
would prevent quick repetition. For catching the hammer at a short
distance from the string, a felted piece of wood suspended on a wire,
called the back check, rises when the key is depressed, and returns
when the key is released, allowing the hammer to regain its resting
position.
A damper, for stopping the tone of the string when a key is released,
must leave the string just before the hammer strikes, and return the
instant the key is released.
A means must be provided for releasing all the dampers from the
strings at the will of the performer. The loud pedal, as it is
called, but more properly, the damper pedal, accomplishes this end by
raising the dampers from the strings.
In the square and the grand piano, the action is under the
sound-board, while the strings are over it; so the hammers are made to
strike through an opening in the sound-board. In the upright, the
strings are between the action and the sound-board; so no opening is
necessary in the latter.
The "trap-action" consists of the pedals and the parts which convey
motion to the action proper.
QUESTIONS ON LESSON II.
1. What have been some of the salient obstacles necessary to
overcome in producing the perfected piano?
2. Of what use are the dampers? Explain their mechanical action.
3. Mention several of the qualities necessary to a good action.
4. Describe the building of an upright piano.
5. Contrast the musical capacity and peculiar characteristics of
the piano with those of the organ, which has the same keyboard.
LESSON III.
~TECHNICAL NAMES AND USES OF THE PARTS OF THE UPRIGHT PIANO ACTION.~
In the practice of piano tuning, the first thing is to ascertain if
the action is in first-class condition. The tuner must be able to
detect, locate and correct the slightest defect in any portion of the
instrument. Any regulating or repairing of the action should be
attended to before tuning the instrument; the latter should be the
final operation. As a thorough knowledge of regulating and repairing
is practically indispensable to the professional tuner, the author has
spared neither means, labor nor research to make this part of the
lessons very complete, and feels sure that it will meet with the
hearty approval of most, if not all, students. The piano tuner who
knows nothing of regulating and repairing will miss many an
opportunity to earn extra money.
The illustration accompanying this lesson is from a Wessell, Nickel
and Gross Upright action. This firm, whose product is considered the
acme of perfection, makes nothing but actions. Most manufacturers of
pianos, of the present day, build the wooden frame, the sound-board
and the case only; the action, metal plate, strings, tuning-pins,
etc., being purchased from different firms who make a specialty of the
manufacture of these parts. A few concerns, however, make every piece
that enters into the composition of the instruments bearing their
names.
[Illustration]
_Ky_, is the Key in its resting position.
_c_, wherever found, represents a cushion of felt or soft leather upon
which the different parts of the action rest or come in contact with
each other. Their purpose, as is readily seen, is that of rendering
the action noiseless and easy of operation.
_Bnc R_, shows the end of the balance rail, extending the entire
length of the keyboard.
_B P_, is the balance pin. This is a perfectly round pin driven firmly
in the balance rail. The bottom of the hole in the key fits closely
around the balance pin; at the top, it is the shape of a mortise,
parallel with the key, which allows the key to move only in the
direction intended. The mortise in the wooden cap on top of the key at
this point is lined with bushing cloth which holds the key in position
laterally, and prevents looseness and rattling, yet allows the key to
move easily.
_L_, is the lead put in this portion of the key to balance it, and to
insure uniformity of "touch," and quick and certain return of key to
its rest position. As there is more or less difference in the length
of keys, and also in the weight of the hammers operated by them, some
keys are leaded much more heavily than others. In some cases the lead
is inserted in the extreme back end of the key; in others it is put
near the balance rail according to the requirement. In some actions
the lead is omitted entirely; but in the best actions it is almost
invariably present. In the action of the grand piano the keys are
leaded in front of the balance rail instead of back of it. This is due
to the fact that in the grand piano the hammer rests in a horizontal
position and its whole weight must be actually lifted and the force of
gravity overcome, while in the upright, the hammer rests in a
vertical position, only requiring to be thrown forward.
_G P_, is the guide pin, generally of oval shape, with the longest
diameter in line with the key. The hole in the lower portion of the
key, in which the guide pin works, is bushed with bushing cloth and is
made to fit so closely that the key will not move laterally, yet not
so tightly that the key will not work easily.
_Bm_, is a wooden block called the bottom; sometimes called the
key-rocker. It is held in position by the two screws shown in cut by
which it can be adjusted or regulated.
_E_, is the extension communicating the motion of the key to the upper
part of the action. There are various ways in which the extension is
connected to the bottom. In this action, the extension is made round
at the lower end and fits snugly into a hole in the bottom upon a felt
disc. When the action is taken out, the extensions simply lift out of
the holes, and when it is put back it is necessary to enter each one
in its place. In other actions, the upper side of the bottom where
the extension rests has no hole but simply a felt covering upon which
the extension rests; in this case it is necessary to provide what is
called an extension guide which is hinged to the extension guide rail
shown in the cut at the left of the extension. In actions of this
kind, the extensions remain in place at all times and the trouble of
placing them properly on the bottom when replacing the action is
obviated. Other methods also are employed which are readily understood
upon slight examination, but are essentially similar to the above.
Instead of the bottom, a capstan screw is used in some actions as
follows:
_Cpn_, is a capstan screw used in some actions in place of the bottom.
It is turned by inserting a pointed instrument in one of the four
holes, thus raising or lowering the capstan in regulating. The lower
end of the extension is felted. In such actions the extension is
invariably provided with the extension guide.
_B_, is the metal action bracket. The bracket is one solid piece of
metal. There are generally four brackets in the upright action. The
brackets rest on supports in and at the sides of the keybed, and are
secured at the top by large bolts,
_BB_, which go through the metal plate and into the wooden frame or
pin block. At the top of each bracket is an opening to receive this
bolt and a thumbscrew (not shown in the cut, being behind the hammer)
which fastens the action securely in position.
_M R_, is the main rail; so called because the main constituents of
the action are attached to it. (Everything designated as "rail" in the
action runs the entire length of the action in one solid piece.)
_W_, is the wippen. Those pieces upon which or by which the small
letter _g_ is shown are the flanges. The one at the left of the wippen
is called the wippen flange. It is made fast to the main rail by a
screw, and upon it the wippen is hinged by means of a "center-pin" at
the lower end. The center-pin in the wippen is driven through a hole
in which it fits tightly and immovably in the middle part, and it (the
center-pin) is consequently stationary in the wippen. The flange
extends down at the sides of the wippen and the holes in flange are
made large enough to receive bushing cloth in which the center-pin
works freely but not loosely. All flange joints are of this nature;
some, however, are provided with a means for tightening the center-pin
in the middle portion of the joint.
_j_, is the jack. The purpose of the jack is to communicate the motion
of the wippen to the hammer. The precise adjustment of the jack and
the adjacent parts upon which it depends for its exact movements, play
an important part in regulating the "touch" of the piano, and will be
fully entered into in following lessons.
_js_, jack spring. Its purpose is to hold the jack inward against the
"nose" or "heel" of the hammer butt. (See _Bt_, hammer butt.)
_Rr_, regulating rail. The _regulating button_ is shown attached to
the rail by the regulating screw which is turned by means of its ring
on top of _Rr_. The purpose of the regulating button is to throw the
point of the jack out of the nose of the hammer butt, and allow the
hammer to rebound from the string. If the button is too high, it does
not throw or trip the jack in time to prevent blocking. When the
button is too low, it disengages too soon, and much of the force of
the key is lost before it reaches the hammer.
_BR_, is the block rail, felted on the side next to the jack which
strikes against it when thrown from nose. This rail is absent in some
actions, in which case the back of the jack is felted and strikes
against the "back catch," which is also felted on inner side. (The
back catch has no mark in the cut, but is explained below in
connection with the "back check.")
_BC_, is the back check which is simply a piece of wood with a thick
piece of felt glued to the inner face and suspended on a wire.
_BCW_, back check wire supporting the back check, and screwed to the
wippen. The purpose of the back check is to check the hammer by coming
in contact with the "back catch" (the backward projection of the
butt), at a short distance from the string in its return, and prevent
the hammer from falling entirely back to its rest position, thereby
preventing quick repetition.
_Bl_, bridle. This is a piece of tape about an eighth of an inch wide
with a piece of leather glued to the end and a hole near the end for
the point of the "stirrup" or bridle wire. The cut shows where the
bridle is fastened in the hammer butt by being put into the hole in
the butt, and the back catch stem covered with glue and driven in by
it which precludes all possibility of its coming loose. The bridle
passes through a hole in the lower part of the back catch. Its purpose
is to assist the hammer to return quickly by hanging to it with the
weight of the wippen, extension, jack, etc., when the key is released.
Thus the bridle becomes the main factor in the matter of quick
repetition.
_Bl W_, bridle wire, screwed into wippen, bent in the shape of a
buckle at top to hold bridle.
_Bt_, butt; or, more specifically, hammer butt. In some cheap actions
the butt is joined to its flange _g_, by the means described under the
head of wippen flange; but in this action the center-pin is held
firmly in the butt by a small strip of brass containing a set screw;
somewhat obscure in the cut, but discernible. As explained elsewhere,
all center-pins turn in the flange and not in the middle part.
_HS_, hammer shank in rest position.
_H_, hammer showing wood body or head, and covering of two layers of
felt.
_H R_, hammer rail, resting on felt cushion, _c_, glued to rail or
bracket. The hammer rail is held in position by the rod, shown under
the hammer shank, which is hinged to the bracket at the lower end, and
which allows it to be moved forward when the soft pedal is used. The
soft pedal communicates with this rail by a rod which moves it forward
and thereby shortens the stroke of the hammers and produces a softer
tone.
_sr_, spring rail screwed to the brackets. This rail supports the
light wire springs which assist the hammers in returning to rest
position.
_S_, string.
_D_, is the damper head secured to the damper wire by a set screw.
_DL_, damper lever, working in damper flange _g_, which is screwed to
main rail.
_s_, spoon; so called from its shape. It is screwed into the wippen.
When the key is struck, the motion on the wippen throws the spoon
forward, pushing the lower end of damper lever forward, and releasing
the damper from its contact with the string. The damper is held
against the string by the wire spring which is seen running from the
damper flange to the top of the damper lever.
_DR_, damper rod. This is a rod running from the left or bass end of
the action to the right as far as the dampers are continued in the
treble. It is acted upon by the "loud" or damper pedal, which raises
the outer projection, and by being hinged to the main rail about the
same height as this projection, the entire rod is thrown outward
against the lower ends of the damper levers, releasing all the dampers
simultaneously. This being the only office of the right pedal, it is
readily seen that this pedal does not increase the loudness, but
simply _sustains_ any number of tones struck successively, giving the
effect of more volume.
The student should familiarize himself with all technical terms used
in this lesson, as they will be referred to frequently in the
succeeding lessons on repairing and regulating.
QUESTIONS ON LESSON III.
Without reference to anything but the cut, give technical names for
parts of action represented by the following letters or abbreviations:
1. Bnc R, c, G P, BP, Ky, L.
2. Bm, Cpn, E, W, j, js, g, and M R.
3. Rr, B C, B R, B C W, Bl, and Bl W.
4. Bt, H, H S, H R, and sr.
5. S, D, D L, D R, s, B, and B B.
6. Explain the purpose and movements of the jack.
7. Describe a flange and the joint of same.
8. Give names of the four flanges shown in cut.
9. What is the purpose of the back catch and back check?
10. Explain the mechanical action of the damper pedal, and its
effect when used; also, that of the soft pedal.
LESSON IV.
~ACTION OF SQUARE AND GRAND PIANOS.~
ACTION OF THE SQUARE PIANO.
Up to about the year 1870, the square was the popular piano. The grand
has always been too expensive for the great music-loving masses, and
previous to this time the upright had not been developed sufficiently
to assert itself as a satisfactory instrument. The numerous objections
to the square piano forced its manufacture to be discontinued a few
years after the introduction of the improved new upright. Square
pianos that come, at the present day, under the hand of the tuner, are
usually at least fifteen years old, and more frequently twenty or
more. However, in some localities the tuner will meet numbers of these
pianos and he will find them a great source of revenue, as they are
almost invariably in need of repair.
Compare the three cuts of actions in the study of this lesson.
The main constituent parts of the square action are similar in
appearance to those of the upright; in fact, most of the parts are
the same in name and office. However, the parts are necessarily
assembled very differently. In the square action, the hammers strike
in a vertical direction, while in the upright they strike in a
horizontal direction; the motion of the key being the same in both.
Of the three types, the square is the simplest action, as many of the
parts seen in the upright and grand are entirely absent in the square.
Beginning with the key, it has its balance pin, guide pin, cushions,
etc., practically the same as in the other types.
The bottom, or key rocker, is reversed in the square; the end
transmitting the motion being nearest the performer.
The extension and wippen are absent in the square, as the jack is
attached directly to the bottom or key-rocker.
The back check is screwed to the key, and as the hammer head rests
against it after striking, the use of the contrivance called the back
catch in the upright is unnecessary.
[Illustration: ACTION OF THE SQUARE PIANO.]
ACTION OF THE SQUARE PIANO.
A. Action Frame.
B's Indicate the Cushions, or Bushing, of felt, cloth or leather.
C. Balance Rail.
D. Balance Pin. Round.
E. Mortised Cap for Balance Pin. Bushed.
F. Key.
G. Lead.
H. Back Check.
I. Bottom or Key Rocker.
J. Bottom Screws; used to regulate height of Jack.
K. Jack.
L. Jack Spring; concealed under Bottom.
M. Center Pin to Jack.
N. Hammer Rail.
O. Regulating Screw.
P. Regulating Button.
Q. Flange Rail.
R. Flange. Split.
S. Flange Rail Screw.
T. Flange Screw, to regulate jaws of flange.
U. Hammer Butt.
V. Center Pin.
W. Hammer Stem or Shank.
X. Hammer Head.
Y. Hammer Felt. Treble hammers sometimes capped with buckskin in
old instruments.
TOP ACTION OF SQUARE PIANO.
1. Damper Lifter Wire.
2. Damper Lifter Buttons.
3. Damper Felt.
4. Damper Head.
5. Damper Lever.
6. Damper Leads.
7. Shade, supported by wire stanchions, on top of which are
screwed shade buttons.
8. Damper Rail. Tilted by Loud Pedal Rod which raises all the
dampers simultaneously.
9. Damper Flange.
10. Flange Screw.
11. Damper Lever Center Pin.
THE TRAP ACTION
consists of Pedals, Pedal Braces, Pedal Feet, Pedal Rods, Roller
Boards or Elbows, Studs, Plugs, Trap Springs, Wires and Lifter
Rods.
The cut is from the French action. Nearly all square pianos in
use at the present time are of this type.
The hammer rail in the square, in addition to serving its purpose as
a rest for the hammers, also serves the purpose of the regulating
rail, as you will see the regulating screw, with its button, attached
to it. This rail is stationary in the square, not moving toward the
strings and shortening the stroke as it does in the upright when the
soft pedal is used. The soft pedal in the square piano simply
interposes a piece of felt between each hammer and its corresponding
string or strings. This felt being much softer than that of the
hammers, the tone is greatly subdued.
The mechanical arrangement of the dampers is very different in the
square from that in the upright. The dampers are above the strings.
Instead of springs to hold them against the strings, they simply rest
upon them with their weight. In many old squares some of the dampers
fall upon nodal points, causing defective damping or harmonic
after-tones.
The stationary parts of the square action are: action frame, to which
is secured the balance rail, balance pins and guide pins, hammer rail,
flange rail, and damper rail. When the key is struck, the parts that
move upward are: the back end of the key, bottom, jack, hammer, back
check, damper wire and damper lever. The hammer falls back upon the
back check immediately after striking, and remains there until the
key is released, when all movable parts fall to rest position.
The action of the jack is the same in all types.
ACTION OF THE GRAND PIANO.
After thoroughly going over the details of the action of the square
and upright pianos, there remains very little to describe in the
action of the grand.
The grand action partakes of the characteristics of both the upright
and the square, and is somewhat more complicated than either.
The bottom and extension are almost identical with those of the
upright; the extension, however, is necessarily very short.
The wippen is of different construction, and somewhat more complicated
in the grand.
The flange rail in the grand is made also to serve the purpose of
regulating rail, as the hammer rail is made to do in the square.
The back check is identical with that of the square.
The dampers are the same in their working principles as those of the
square, but are generally different in construction; yet, some squares
have the same arrangement of dampers as those shown in the cut of the
grand action.
The soft pedal of the grand shifts the entire action to the right so
that the hammers strike only two and in some cases only one of the
strings.
The student should study the three types of actions from the actions
themselves, if possible.
[Illustration: ACTION OF THE GRAND PIANO.]
ACTION OF THE GRAND PIANO.
1. Indicates the felt, cloth or leather, upon which the various
parts of the action rest, or fall noiselessly.
2. Key.
3. Bottom; sometimes called Key Rocker.
4. Extension; split at lower end to receive center pin in Bottom.
5. Wippen Support.
6. Jack.
7. Jack Spring.
8. Flange and Regulating Rail.
9. Regulating Screw, Button and Cushion.
10. Escapement Lever.
11. Regulating Screw in Hammer Flange, for Escapement Lever.
12. Check Wire, for Escapement Lever.
13. Screw to regulate fall of Escapement Lever.
14. Lever Flange, screwed to Flange Rail.
15. Hammer Shank.
16. Hammer.
17. Back Check.
18. Damper Lever, leaded.
19. Damper Wire, screwed into upright.
20. Damper Wire Guide, fastened to Sound-Board.
21. Damper Head and Felt.
0. Center Pins. Holes lined with Bushing Cloth.
INSTRUCTIONS FOR REMOVING THE SQUARE AND GRAND ACTIONS.
First, feel or look underneath the keyboard and see if there are
screws that go up into the action. In most of the better grade
instruments the action is fastened in this way. If the screws have
square heads, your tuning hammer will fit them and bring them out; if
common screws, a screw-driver will suffice. Look through the opening
in the sound board where the hammers strike and see that they are all
down before pulling out the action, lest they break off by catching on
the under side of the sound board. This is almost sure to happen if
actions are out of order.
In most square pianos, the narrow board just below the keys can be
removed by being raised straight up, as it simply sets over screw
heads in the key frame. When this strip is removed, a wire handle will
be found in the middle of the key frame by which to draw out the
action. In some cases, and especially in grands, this strip is secured
by screws found underneath the piano. In other pianos, the action is
held by screws in front of the key frame, which will be revealed by
the removal of the front strip, above referred to.
Be especially careful in placing the action back into the piano. As a
rule, it is safe to keep the right (long) end of the square action
bearing against the right side of entrance, being sure that one end of
action does not get ahead, which might cause some of the hammers to
strike the props for which the openings are left in the back
extremities of action.
While the action is out, study carefully the purpose of every part and
its movements, referring to this and the previous lesson until you
have thoroughly mastered the entire mechanism. Do not rest until you
can name correctly everything you see and know its use so well that
you could explain it satisfactorily to an inquirer. Sometimes the
tuner is asked a great many perplexing questions and is expected to
respond intelligently.
We have dealt with the three types of actions that are most commonly
found in the three types of pianos. The student must bear in mind that
there are numerous manufacturers of actions, and that each has his
peculiar method of constructing his special action to bring about the
desired results, which are practically the same in all cases; and
consequently, while a variety of construction will confront the
beginner in piano regulating and repairing, he will understand the
construction and requirements of any action that may demand his skill
from the foregoing instruction, if properly mastered. In this, as in
all other mechanical professions, one's inventive genius must often be
summoned to assist in surmounting obstacles which are sure to arise
unexpectedly.
QUESTIONS ON LESSON IV.
1. From a philosophical point of view, which do you consider the
easiest and most perfect of the three types of actions? Also give
reasons.
2. Considering the wippen and its attachments as one part, how
many parts move when a key is struck in the upright piano? How
many in the square?
3. Name the parts found in the upright action that are absent in
the square.
4. Describe the three methods by which soft tone is obtained from
use of soft pedal in the three types of actions.
5. What rail serves two purposes in the square action, and what
are they? What rail serves two purposes in the grand action, and
what are they?
LESSON V.
~REGULATING AND REPAIRING.~
FAULTS IN PIANOS, ASIDE FROM THE ACTION, AND THEIR REMEDIES.
One of the most common, and, at the same time, most annoying
conditions both to the owner of the piano and the tuner, is the
"sympathetic rattle." This trouble is most usual in the square and the
grand pianos and is generally due to some loose substance lying on the
sound board. The rattle will be apparent only when certain keys are
struck, other tones being perfectly free from it. These tones cause
the sound board to vibrate in sympathy, so to speak, with the weight
of the intruding substance at the point where it lies, and if it be
moved the distance of six inches it will sometimes cease to respond to
these particular tones, but may respond to others, or cease to cause
any trouble.
The article may generally be found near the front of the sound board
under the top piece of the case, this being the place where it would
most likely fall. No special instrument is made for the purpose of
searching for such objects, but one can be easily devised with which
the tuner can feel all over the sound board, and remove such articles
as well as dust and dirt. Secure a piece of rattan or good pliable
hickory, and draw it down to the width of half an inch, thin enough to
bend easily, and long enough to reach anywhere under the stringing or
metal plate. By putting a cloth over this stick you can remove
anything that comes in its way. Some difficulty will be found,
however, in getting under the plate in some pianos. In case you cannot
procure a suitable piece of wood, a piece of clock spring will be
found to answer very well. We have taken from pianos such articles as
pencils, pieces of candy, dolls, pointers used by music teachers,
tacks, nails, pennies, buttons, pieces of broken lamp chimneys, etc.,
etc., any one of which is sufficient to render the piano unfit for
use. The sound board of the upright being vertical prevents its being
subject to the above difficulty.
A split in the sound board, in any style of piano, sometimes causes
trouble due to the vibrating edges of the board coming in contact
with each other. Insert the point of your screwdriver in the crack,
holding it there firmly; if the rattling stops, the difficulty is
discovered, and may be remedied by placing a screw or wedge in the
crack, or a wedge of wood, cork or rubber between the sound board and
iron plate or casing, if the location of the trouble permits. While
this method seems a perfunctory one, it is nevertheless the best the
tuner is prepared to do, for it is next to impossible to glue a crack
in the sound board successfully outside of a regular factory or repair
shop, where the instrument may be taken all apart and a new sound
board put in or the old one properly repaired.
Sometimes the sound board gets loose or unglued at the edges, or the
bridges or ribs come loose. Any part of the piano where there is
vibration or loose material may become the source of the sympathetic
rattle, as even parts of the case vibrate with the tones struck; so
you must examine the panels, lock, hinges, soft pedal bar (in square),
in fact all parts of the case and woodwork for the location of the
trouble. Once found, the remedy will suggest itself. The greatest
difficulty is to locate the cause. Very frequently this will be found
entirely outside of the piano; a loose window glass, picture glass,
lamp or other article of furniture in the room may respond to a
particular tone or its octave. We have never found the sympathetic
rattle in the action; it has rattles, but not of this character. Any
other defect which may be found under this head will only require the
exercise of a little mechanical ingenuity to suggest a remedy.
REGULATING AND REPAIRING THE UPRIGHT ACTION.
(Use cut of upright action for reference in following study.)
We will begin with the key and take up each part of the action in the
succession in which motion is transmitted.
1. _Key_.--Keys stick; that is, after being struck, they fail to come
up quickly, if at all. First ascertain if the trouble is really in the
key, or in the upper part of the action. To do this, lift the
extension or wippen until the upper part of the action is entirely
free from the key, so that you may test the key independently. Some
keys are leaded so that they will fall in front of the balance rail,
others so that they will fall back of it; in either case, lift the low
end and let go, to see if it will fall by its own weight. If it seems
quite free, you may know the trouble is not in the key; you will also
find that when you release the extension or wippen, it will not fall
readily, showing that the trouble lies in the upper part.