Reg ulation an d R e p air Piano and Play er Mechanism
together with
T u i g . n n as Sci ence and Art
ILL US TR ATED
By W IL L IAM BRA ID WH ITE
E dwar d L man B il P b /z y l, u lis er
1 Ma is n A enu e N ew rk d o v , Yo Co ri t 1 0 py gh , 9 9 BY EDWARD LYMAN BILL
Wa n D rlzi tofl C. g , . ’ Stati onen H all London Efl u md , , g Contents.
REGULATION AND R EPAIR OF PIANO AND L A E E H I M P Y R M C AN S .
— CHAPTER 1 Ou Piano - Player Mechanism ; Its P i i R u i R i r nc ples , eg lat on and epa r — CH APTER 2 Oh Pi ano R epairing
T I A E E A T UN NG S SCI NC AND R . — CH APTER 1 The Problem — CHAPTER 2 The Musical S cale — CH APTER 3 The Equal Temperament — CHAPTER 4 Practi cal Application of the
Equal Temperament — CH APTER 5 Uni son and Octave Tuning — CHAPTER 6 On the Use and Abuse of Tools — CH APTER 7 Voi cing — CH APTER 8 Outlines of Tuning Practi ce — CH APTER 9 S ome Incidental Remarks
M SO E INTRODUCTORY REMARKS .
The development of the player piano put forth under vari ous names coined by manufacturers i m u has been l ttle less than arvelo s . Whi le devi ces of one kind and another for the automatic mechani cal performance of musi c have
i for i r ac ex sted a long per od, yet the real, the p tical advance has been made withi n the past few
- i i s u i mi a years , and to day t n versally ad tted th t the player piano i s not only a powerful factor i n i u piano sell ng, b ut a great ed cational factor in i s the development of a love for music . It stimulating a love for music in thousands of i homes where formerly there were idle p anos . The growth of the industry has been so extra ordinary that there has been a dearth of player experts who are capable of solving the ordinary u i i problems of adjustment, reg lat on and repa r i tu whi ch would come qu te na rally to every dealer . There was no source from which specific i n S ome Introduct r m r k o y R e a s .
m i u i for at on co ld be obta ned outside the factories , and it i s obvious that b ut few could visit the vari ous plants for the sole purpose of acqui ring i m i nfor at on .
R ni i hi i u i u ecog z ng t s vo d, the p bl sher p t forth, m i “ so e two years ago, a work ent tled A Techni cal T i Pi a P M i reat se on no layer echan sm . Inas much as there was not at hand available data m hi inf m i u i fro w ch or at on co ld be gleaned, it w ll i in be real zed at once that, the preparation of this an i fi w s it book, ent rely new eld a explored, and was intended that thi s book should be a useful aid not m i u u , erely to repa rers and t ners , b t to m i s i dealers and sales en as well . In t preparat on it was necessary to mi nutely examine the pri n ci al a m u u p pl yer syste s, and, as a res lt of st dy, nd i lum i research a techn cal knowledge, a vo e wh ch constituted a valuable treati se on pi ano player u mechani sm was p t forth .
The u i at im m a i p bl sher that t e re arked th t, nas much as the industry was in an evolutioni stic
i as i u m u state, t w obv o s that any changes wo ld occur from time to time i n the mechanism of pi ano i n to c i players , and that, order keep pa e w th the i i it u i u changing cond t ons , wo ld be necessary to ss e um m u u a supplementary vol e at so e s bseq ent date . S ome Intr oductor em rks y R a . 7
While the essentials of piano playing mechani sm
a m i u i i s h ve re a ned nchanged, t deemed necessary to issue a work which would deal more exhaus tively with the reg ulati on and repair side of the u i b s ness . The pneumatic player i s the standard and pcpu as i lar type, and we v ew it its supremacy will
m i ai i i s be a nt ned, and t therefore the pneumatic m i i hi u syste w th wh ch t s vol me deals . The necessary peculiariti es of player construe
ti i i i m i i s on g ve r se to certa n proble s , and t the aim of this publication to simplify those problems for the tuner and repairer who i s operating at a i d stance from the factory . H ence R EGUL ATION AND REPAIR or PIANo AND ER MEC S i i fill PLAY HANI M w ll, we bel eve , an
important position i n the technical world . Combined wi th this work i s a volume entitled T As SC E CE AND ART it i s i UNING I N , and certa n that the informati on contained in its pages will be found to be interesting and instructive to the i tuner and repa rer .
s it i s i a Taken a a whole, bel eved th t the present volume will form a useful addition to the former technical works put forth by the publisher under the following titles : 8 S ome In tr oductor em r ks y R a .
’ ” “ The Pi or Tu s T ano , ner Guide, heory and ” “ P ti of Pi A T rac ce ano Forte B uilding, ech ni cal T i i reat se on P ano Player Mechani sm, and it m ay be remarked that all of these books have received the endorsement of trade and technical t n i A exper s o both s des of the tlantic .
i s t i t fi c It , herefore, w h added con den e that the u i t of i i p bl sher presen s the next the ser es , w th the belief that it will fill a useful mission in the
i c i u u techn al l terat re of o r times .
EDWA D L B IL L R YMAN , i i R m Ed tor al oo s ,
i e The Musi c Tr ade R ev w, N A u ew . 1 Madison ven e, York 1909 N R K Decem e . Ew YO , b r, REGUL ATION AND R EPAIR
PIANO AND PL AYER MECH ANIS M
CHAPTER I .
ON P A -P A ME A S M ITS P I CIP ES I NO L YING CH NI ; R N L ,
E A AND EPA R GUL TION R IR .
No matter how the piano player may strike the mu i i a mu i n s c n, the s c student or a y other expert, to the tuner its most interesting feature lies i n the fact that it i s being taken up with avi dity u i i of by the general p bl c, and that the proport on pianos to player- pi anos each year grows steadily ma s ller . As a direct consequence of thi s fact it has b e come necessary for tuners to acquire an under standing of the player mechanism as well as of i u of i i the var o s parts the p ano tself . For the up - to -date practiti oner never knows in these days when he may be called upon to regulate or repair ’ a player- piano in the regular course of hi s day s
i s hi s i u work . If he to keep pract ce he m st be able to do anything wi th the player mechanism that he m ay properly be called upon to do ; any hi in i u t ng, short, wh ch wo ld not require the equip
i - ment of a repa r shop or factory. Now it i s i u u mu obv o s that the t ner st, there 12 R eg ulati on and R ep ai r of
fore, be possessed of enough fundamental knowl T i edge to approach the subject intelli gently. h s fundamental knowledge i s not so difficult to ao ui an tai u q re, d the present chapter con ns eno gh information to enable any intelligent tuner to u h h i t i s m nderstand ow a player works, ow ade, i and what the usual maladi es are whi ch beset t. us i t nni i Let beg n a the begi ng . Cons der the u drawing attached. It shows the valve and pne mati c acti on of a simple b ut eflici ent form of out
i in i - The fi u a s de or cab et p ano player . g res h ve the following references FI 1 G. . k 1 Tr ac erboard.
2 u Tracker t be . i 3 Tracker tube jo nt . 4 P ouch . 5 E u m xha st cha ber.
5a Bleed hole . u 6 Valve b tton . 7 m i s in u m Valve ste and d sk , exha st cha ber .
8 E u -inflate m i i xha st cha ber nto pneumat c . i 9 Pneumat c . 10 i to i i fi Connect on str k ng nger . 11 i i fin Str k ng ger . 12 Pi k ano ey .
14 Reg ulati on and R ep air of
Now let us see how all thi s apparatus works . Begin by understandi ng that thi s drawing shows i Th u m 5 the player act on at rest . e exha st cha ber, , i s kept exhausted of ai r by the action of the bel lows (not shown) and the chamber under the u 4 i u po ch, , s also exhausted thro gh the bleed hole,
4a i ck d 1 i s , s nce the tr a erb oar , , closed by the roll of H i on i ts paper . ence the valve w ll stay seat, 6 i u 4 the button, , rest ng j ust above the po ch, ,
hi i s u i i i w ch drawn down by the s ct on, wh ch l ke i fi m i wi se holds the valve d sks r ly down, keep ng the exhaust from entering the pneumatic and let i i m t ng the a r in through the cha ber, 8 . Now , when a hole appears i n the perforated
i i in ck d roll and reg sters w th a hole the tra erb oar , at once the state of vacuum whi ch has exi sted down along the tracker tube into the chamber ’ u u i s as fl of ai nder the po ch destroyed, a p u r at
u u T i i r u once r shes down the t be . h s a forces p
u 4 i i s wards the po ch, , above wh ch a state of
uum i i vac , and wh ch, therefore , responds nstantly u i it Th i n to the force rg ng below . e valve n co se u i i u m i q enes r ses w th the po ch, and re a ns up as
i s ai r u i t i s s long as there nderneath ; that , a long i i as the tr ackerb oard s st ll Open . When the valve ri ses i ts upper di sk shuts off the Pi n an Pla r M h ni m 15 a o d y e ec a s . ai r pass age into the pneumatic through the i nflate deflate m i a i cha ber, from which a r has been p ss ng into the chamber through the space left by the to i Thi i u off the p d sk . s d sk has now risen and sh t ai r A h s i . t the same time the other di sk a also r sen and has opened a passage or communication with h us am 5 m i b ellbws the ex a t ch ber, , fro wh ch the are i i i H ai r i s n draw ng a r cont nually. ence the draw out f um i u inflate-deflate o the pne at c, thro gh the i chamber, and the former closes , bring ng down the fi n i nger o the p ano key. All these operations are practically instantane ous as i s b i , proved y the fact that a tr ll can be executed by the player much more rapidly than the most practiced virtuoso can attempt wi th the fin human ger .
tr ackerb oar i u When the d aga n closes, the r sh
f ai r u i s o down the tracker t be stopped, the r e maining ai r i n the tube i s drawn out through the i the u m uum bleed hole nto exha st cha ber, the vac u i s um under the po ch res ed, the valve falls and the ai r passage i s opened again into the pneu m i i i i fi m at c, wh ch opens , l ft ng the nger fro the i p ano key. Precisely the same idea i s worked i n the interi or
i i i s u in the a - i a player act on, wh ch sed pl yer p nos , 16 R eg ulati on and R ep ai r of
K FI 2 - AYER A I N EY TO G . D B E A E . OU L V LV PL CT O ,
BI E E CA N T PLAY R .
T u racker t be . T racker duct . B leed hole . im u Pr ary po ch. im i Pr ary bottom d sk. P im r m r a y ste .
P im o u r ary t p b tton .
Ai r r channel to seconda y valve . S econdary pouch . m i S econdary botto d sk . i S econdary middle d sk . S m econdary ste . to i S econdary p d sk .
Ai r u a and exha st ch nnel to pneumatic . P um i ne at c . i i ni F nger connect on faste ng. i n ti F nger co nec on . i i fi Str k ng nger.
18 R eg ulati on and R ep ai r of the only difi erence being in the connection Of the um pne atic with the pi ano action .
TH E D B E- A E STEM OU L V LV SY .
A u a ltho gh we have here illustrated, for the s ke
im i i - n s Of s pl c ty , a single valve system, ma y player
- are bui lt nowadays with the double valve system. T a i s fi i i m h t to say, the rst valve r ses d rect fro i i s the force of a r rush ng down the tracker tube, a f adi i shown above . Instead O le ng d rect to the
um i i fi or im pne at c, however, th s rst pr ary valve
i r i ai i n u opens an a passage, wh ch lets r nder the Th a i pouch of a secondary valve . e l tter r ses and i f u opens the pneumat c to the force o the exha st . Appended i s a drawing which shows how the second valve works .
TH E A E M R PL Y R OTO .
The attached drawing shows the method of roll ing the paper over the trackerb oard by means Of i h i i a pneumati c eng ne or motor . T e dev ce cons sts u fiv m h i of three, fo r or e s all bellows , eac Of wh ch i s provided with one fixed wall and one movable h i n i wall . Each fixed wall as tw o ports t, one connected with the exhaust bellows and one with i A i i s the Open a r . sl de valve sl des over the e two i ano and Pla er Mechani P y s m. 19
ports, covering both Of them at one part of its s troke, and openi ng the ai r port at the other end f o . i r i s the stroke When both are covered, the a drawn from the pneumatic through the ai r port along the passage formed by the cover of the slide a out u u u v lve, and thro gh the exha st port . Th s i e the bellows are alternately nflated and deflat d, and the reciprocal motion of the walls i s trans i ferred to a crankshaft, wh ch operates on the i spools through su table gears .
TH AYE - A E PL R PIANO CTION .
The attached drawing will show quickly how the player- action i s attached to the piano in ordi i An i nary pract ce . y one who has read ntelli gently the foregoing can understand what i s meant u througho t . T B w s H E EL L o .
The exhausting of ai r from the action box of the player mechani sm i s performed by means of Tw a set of bellows operated by the feet . o foot h i x u u . pedals are sed, eac work ng one e ha ster These exhausters are of large area and must be built very strongly and covered wi th heavy rubber 20 R eg ulati on and R ep ai r of
K FI 3 M . EY To G . E A A E . PN UM TIC PL Y R OTOR
Ex u u ha st t be .
Ex u ha st port . Ai r port into pneumatic . Slide valve showing position wi th pneu m i at c closed. Slide valve showing position with pneu m i at c open. i i Sl de valve cover ; pneumat c closed . i i Sl de valve cover ; pneumat c open . P um i ne at c closed . P um i ne at c open .
Valve connecting rod ; pneum atic closed . i Valve connect ng rod ; pneumatic open . Crankshaft connecting rod ; pneumatic
closed . Crankshaft connecting rod; pneumatic
open .
Crankshaft .
Crankshaft .
22 R eg ulati on and R ep ai r of
KEY To SECTIONAL ILLUSTRATIO N or PLAYER- PIANO
E A (INT RIOR) CTION .
F 4 IG . .
Pedal .
c i Pedal conne t on. E xhauster (one only shown) . Reservoir ; hi gh tension (low- tension reser i vo r not shown) .
Exhaust trunk . E xhaust tube to motor . i Ai r space above pr mary valves . l Secondary va ves . i Striking pneumat c . Connection from pneumatic to action of i p ano . i Piano act on.
Pneumati c motor .
Tr ackerb oar d.
24 R eg ulati on and R ep ai r of
- in Two 7 lb . and canvas cloth double thi ckness . springs are used to each to keep them pressed together and push them back promptly when they are Opened by the press ure of the feet on the pedals . But the operation of drawing ai r from the action box would be very unsati sfactorily performed if these exhausters alone were depended upon.
Some device must be used to steady the power .
-a i i s B orrowing from the organ, the player ct on fi i f tted w th a set O reservoir bellows , whi ch are placed on the side Of the main exhaust passage remote from the feeders and whi ch are always
i ne i s i a two n number . O of these of relat vely l rge size and i s kept extended by two comparatively
i T i i s c - i l ght springs . h s alled the low tens on reser i Th i s m ll in a and i s vo r . e other s a er are , extended i Thi i s h by more powerful spr ngs . s called t e
- T i f i s high tension reservoir. he funct on O these i T to keep steady the suct on power . hey operate as follows : When ai r i s drawn from the action box by the exhausters the rese r voirs also are af
footed by the suction and tend to collapse . B ut the springs in them at once begin to force them i i s open, and so when the power Of the Spr ng
a - edal s u e greater than th t of the foot p pre s r , the
26 R eg ulati on and R ep ai r of
of which i s to intercept the flow Of suction to the motor and cause i t to pass through thi s little bel
hi i s i lows , w ch kept open by a spr ng, and tends to overcome any un steadiness that mi ght be caused in the motor speed through careless pumping . Thi s little governor i s always near to the tempo
gate .
TH E R EW D L E E IN V R .
T i h s u u i a h s lever a a do ble f nct on . It ch nges the gear Of the motor and throws the music- roll u i i u i in cl tch nto mesh w th the former, th s rew nd g mu i A i i the s c. lso t sl des a gate over the entrance u i i a i to the t be, wh ch conveys suct on to the ct on
m so ti i s cu Off box fro the bellows , that the ac on t and the player cannot sound while th e musi c i s i be ng rewound .
T ED L E E H E SUSTAINING P AL V R .
In the cabinet player thi s lever i s connected
s - i mmuni i wi th a pre ser foot, wh ch co cates w th the
h i - i hi loud pedal of t e p ano . In the player p ano t s i lever acts directly on the damper rod Of the p ano . S ome instruments have a pneumatic button for f u i ffi . I i i o th s O ce n th s case, depress on the b tton admits ai r under a valve and this causes a pneu
i i u u a . mat c to collapse, wh ch p shes p the ped l rod i n n Pl M h ni m 27 P a o a d ay er cc a s .
TH E A SOFT OR CCENT L EVER .
Every player mechani sm has such a lever as hi or i i Its t s , a pneumat c button to take ts place . O b ject i s much the same as that Of the tempo e in m i i i m l ver, a echan cal sense, s nce t oves a gate b ack and forth in front of the sucti on passage to th e a i u mi i i i ct on, th s ad tt ng, accord ng to the pos i O f u i to t on the lever, more or less s ct on power th e i u i m act on, and ca s ng a ore or less powerful co i i i llapse Of the str k ng pneumat cs . Usually there i s a li ttle governi ng bellows in connecti on with h i i n t e accent lever, and pract ce varies greatly hi t s respect . There are many other varieties Of control appa i n i u m b u r atus players of var o s akes, t the fore g oing are the basic mechanisms and all others ar e founded upon them .
R E A AND REPAI OF TH E ExTERIO A E GUL TION R R PL Y R .
TO take the exterior or cabinet player first i s i n u thi i hi proper s ch a chapter as s, s nce many t ngs may be said concerning it that at the same time are u i i i ti The f lly appl cable to the nter or ac on . i u u as exter or players , tho gh no longer as pop lar t hey originally were, are nevertheless to be found
n M m ar o d all over the cou try. any of the e l and 28 R eg ulati on and R ep ai r 0 ]
u s cr de, early specimens Of an undeveloped tate Of ar The u h n i the t. a thor as had occasio to repa r and reg ulate player- actions not less than ni ne or ten years Old; patheti c survivals Of weary strug gles with the then almost insuperable difficulties Of a i n v lve act on a d control . One Of the peculi ari ties Of these Old exterior hi i t players, w ch w ll a once be apparent to the i s hi i m a the Observer, that they ex b t ost cle rly touchi ng faith Of their inventors and manufac tur ers in their absolute invulnerability against the inroads of time or the wear and tear Of daily us A on i s m u i e . t least e co pelled to s ch a bel ef, since one finds that the makers Of these i nstr u ments built them s o that their lack of general e i i i was t u i ma acc ss b l ty as o nd ngly complete . In ny Old i m a players the rew nd valve, otor g te box, expression box and other Vital parts ar e placed behi nd the exhaust trunk i n such a position that
e i u u bellows , r servo r, tr nk and valve board m st be slowly and patiently extracted before they can
be reached . S ome two years ago the present i i had wr ter was called to repa r an Old player . It stood for about five years in the clubrooms Of an ’ P E B . m B . lks lodge, and the erry rothers Of the E h d i i i i an i ui O . . a pract ced play ng t w th ass d ty Pi n n r h n m a o a d Play e Mcc a is . 29
A i the worthy of even a better cause . ccord ng to u i i u s vol ntary test mony of ne ghbors , twelve ho r p e r diem represented the usual work Of thi s long w s i i . a suffer ng nstrument In fact, there general i hi mu d im rejoi c ng when it broke down, w le ttere p r ecations might have been heard when it was known that the instrument was to be repaired ’ an d made capable again Of doing an honest day s
work . H Th in u u t mu . s owever, to ret rn o our ttons e tr l N m fi Of a l u to i . ent, rst , ref sed rew nd ext the action was not cut Ofi when the rewind lever was h T th i t rown over . hen e bellows spr ngs were b r oken and had been replaced with a pair Of coiled spring s taken from two door- closing de vi The au i as ces . exh st tens on w , therefore, some
i The i u w hat l ght ( l) . valve act on was sl ggish an m um i u d slow, and so e pne at cs ref sed to work . The i nstrument represented an excellent exam p le Of a player of the Old type that had been over w u ti it u a la ui nd orked n l nat r lly y down and q t, a a description of the methods adopted in repairing i t wi i i m n if ll nd cate, even ore clearly tha stated m the m for ally, general ethod of procedure in such c ases .
The fi to m u a in rst step was re ove the o ter c s g , 30 R eg ulati on and R ep ai r of or so mu h ti n ch Of it as would come off. T e ac o was tightly bui lt into the case and the only thing s that could be removed were the panels in the front a T and b ck. hen the door springs were tenderly removed from the exhaust bellows and the back exhaust trunkb oar d containing them was taken Ofi Thi o t i a . s part was then well cleaned u w th
Of air The i f u u jet . nner board O the exha st tr nk was then also taken OH and the gate b ox O f the i B hi rew nd mechani sm gotten at . efore t s had
th c been done, however, e primary and se ondary valves and primary bleed holes were exp osed and u A i i i caref lly cleaned of dust . p ece Of p ano w re was used to search out the small spaces around the valve stems and bleed holes and thus to clean
ut T the t them o . hen tracker tubes were de ached on u T e by one and the d st blown from them . hen the gate box for the rewind was examined and found to be suffering from a break in the con i u u i x T i n c n i b o . e t g w re , located j st o ts de the h s i u it du i main was spl ced caref lly, w h e attent on to Th i tenance of the original length. e gate box tself mi did no was also exa ned, and as the valve t work i as ff i quite square on the slot, t w squared O w th a Th plane and some fine sandpaper . e other gate boxes were then also examined and regulated i n Pi ano and Pla er Mech nis m y a . 3 1 a i i i n i di te s m lar mann er, speci al attent o be ng rec d to i ua the valves , not ng whether they worked sq re on the slots and enti rely covered the latter when
Th u k was ul r e closed . e exha st trun then caref ly ti in p laced, the screws ghtened and the bellows i ut in r eplaced. New spr ngs were p place and the valve and exhaust actions were then p r o no n u ced correct . Th m no h t e otor was w overhauled . T e exhaus and i r n i out a ports o each un t were well blown , the i mi u ff d sl des exa ned, sq ared O an made to work i nd ti Th e as ly a ghtly. e bellows were exami ned, and two small punctures i n the corners of one of inf T them patched and re orced . he gear chains and i mi u gear ng were exa ned, cleaned, l bricated d tim T i n ul . hi s u a caref ly ed ( s player ga ged, when
run i n six n ew , to seven feet seconds wi th the
m 70 n O ld m c i tempo level at ark . O a h nes thi s m i i t u speed cannot always be a nta ned, al ho gh it i s usually possible to strengthen the springs of i i hi the reservo r or tens on governor, w ch will
i fi c have the des red e e t. ) The i m and i express on, te po rew nd levers were ami m i u i next ex ned, lost ot on taken p , and reco l i T spr ngs strengthened where necessary. hen the machine was tested and found to be in good con 32 R eg ulati on and R ep ai r or
i i i of i s d t on, w th the exception a l ttle weaknes in s di c at exhaust power . It wa then s overed th the reservoi r spring was hardly str ong enough and that there was a small leak in the corner Of i cam off the reservoi r bellows . S O the reservo r e i in s ut in and aga n, a new and heavi er spr g wa p , w s and the leak cemented up . Then all a well the i i pr esent writer departed, bear ng the good w ll f i ill s m of O the Elks, and poss bly the will Of o e i i the r ne ghbors . Thi s somewhat frivolous record Of an actual experi ence indicates the line to be taken in the i i repai r ng of a cab net player . Remember that the first thing to b e expected i s that the exhaust unk i n i tr , reservo r a d pumpers w ll not be quite i hi i s u t ght, and the next t ng that the tracker d cts , im i i d i pr ar es , secondar es an bleeds w ll be more i u u . or less choked p w th d st Then the motor, if um i i i ff of the pne at c type, w ll very l kely su er from a i i i n s gener l deb l ty the bellows , a the wear and ar i tear on these e very great . Likew se the motor wi i u i valve slides ll Often st ck thro gh warp ng , T i m t u . a m da pness , or o her ca ses hen, ga n, the otor exhaust tube from the main exhaust trunk i s likely i th m Th to leak at the connect on with e otor . e same consideration applies to the action exhaust
34 R eg ulati on and R ep ai r of m a b e odern, the primary buttons can prob bly easily uncovered by taking Off the chann el that
t A i s o air protects hem . s thi s channel open t the , i it Off i no ff a i n anyway, tak ng w ll t a ect the oper t o th if im a i s n e . ow Of player N , the pr ary v lve see t i th o act properly, the trouble s in e secondary
hi m ma or valve, of w ch the ste y be bent , the valve the im i s u to badly seated . If pr ary seen to ref se u fi u act, search for the tro ble there rst by ncover i n the im mi ni it f r i g pr ary and exa ng o d rt, warp i n r g o refusal Of the valve to seat .
um ti t s When a pne a c does not repea well, ee
im i s h u and if s whether the pr ary bleed c oked p , , o, clean it by runni ng a fine piece Of piano wire or
fif - six u i i a ty ga ge dr ll through t. If the bad repetition occurs only on very gentle exhaust caused by light pumping for piani ssimo ff as in i i t e ects, play ng a soft trill at h gh speed, hen th i i . so e bleed s poss bly enlarged too much If , i t i i i glue a l t le p ece of cardboard over t, ent rely i i of covering t, and then p erce a hole the proper A i size through the cardboard . leaky pneumat c, if it a i on hi u even be c pable of act ng gh exha st, i may Often fa l to repeat on low exhaust . Most um i u players have the pne at cs gl ed on to the board, so that they may be easily removed by taking a n m 35 Pi ano and Play er Mecha is .
s kni fe and running it around and under the edge . Th ey mus t be carefully replaced in exactly the r i i a i i u e ma ed o g n l pos ti on, wh ch sho ld have b en rk m b e fore re oval . Dust in th e tracker ducts will also spoil the e a i i i f i nd ma r pe t ng qual t es O the act on, a y be removed by careful cleaning of the tubes with a h a l nd be lows . It sometimes occurs that the leather di aphragms O f the valves are unduly contracted or expanded h u i i i i s t ro gh pecul ar atmospher c cond t on . In the on e case the valve stems will be lifted too hi gh n d i hi in a the valves rai sed from the r seats , w le h e i f t other case they will not ra se ar enough. In
th e fi wi i nd rst case the player ll not start eas ly, a i n the other there will be a noticeable lack Of d ami yn c power . When either primary or secondary valves have b een removed they must be reseated with the Th g reatest care . e secondary valve should have
a i Of 5- 64 i l ft ths Of an nch . In attempting to regulate the expression devi ces O f a fi i a pl yer, let the operator rst cons der care u i u i Th f lly what the r f nct ons are . e motor gov e r or for i c d u t n , nstan e , can be a j s ed to speed up the motor and the expression governor so as to 36 R eg ulati on and R ep ai r of
i a u i g ve harder to ch, simply by increas ng the i a i i t e res st nce Of the r spr ng ension. When ther no i n i s are spec al gover ors, the spr ngs Of the r e er voi r s Th s can be strengthened . e gate valve mu ns i i n i also st be co dered, as any fa lure o the r a t t i F p r to close he r slots will cause trouble . or i if i - Off i nstance, the act on cut valve n connection with the rewind lever does not completely close i s i i i i Th t slot, the act on w ll speak on rew nd ng . e same thi ng must be considered wi th reference to m i the te po gate box . If th s does not close the slot completely when at the shut position the motor wi i n A i i u ni . f ll not ent rely cease r ng ga n, the slot i s blocked or clogged up in any way it will affect the steadiness of acceleration or retardation Of f i n i m . u u the otor O co rse , fa lts the motor tself are even more likely to be responsible for im A th i proper playing . leak under e rew nd gate
in m b x hi i s valve the te po o , w ch opened when
the i i s u Ofi mi u act on c t , ght also ca se the motor to continue moving after the tempo lever i s thrown “ ” i i to the Off pos t on . S ome players, however, u a b u ui have no s ch gate v lve, t req re that the
the i i s cu tempo lever be opened when act on t Off, the r ewind lever performing only the latter func i ti in i i a . on, add t on to ch ng ng the gear Pi ano and Pl r M h ni m 3 7 ay e ec a s .
If the choker lever that operates the expression g ate b ox i s thrown over to extreme chokin g posi ti on and the reg ulating bellows simultaneously The c th . ollapses, e player should refuse to speak s i i ame test can be made on a div ded act on, each side remai ni ng silent when its valve and corre s ondi n i p g bellows are tested as descr bed . The valve and pneumatic operati on of auto m atic accenting devi ces i s similar to that Of the u um i i mu consid reg lar pne at c act on, and they st be i ered w th reference to these facts . It should always be remembered that the marginal perfora tions through whi ch these devi ces operate are
m i i s very s all, and perfect track ng , therefore, nec
if i i r vi essary they are to g ve sat sfactory se ce . Many troubles in thi s mechanism are found to be
due m im i wi erely to proper track ng, o ng to swell ing or shri nking of the musi c- roll or other similar P fi i reasons . layers tted w th these devices gener
u tr ackerb oar ds so ally have adj stable , that these u m di n i . fa lts can be at once re e ed, even when play g no i u d Lastly, exter or player sho l ever be left as fini shed until the repairer i s sure that it has u i i been properly adj sted to the p ano , w th the digitals about 1- 32d Of an inch above the keys and the black key digitals having the middle Of 38 R eg ulati on and R ep ai r of
their contact pads just over the end of the black keys .
TH A ER E INTERIOR PL Y .
The details Of regulation and repai r Of the inte rior player are naturally Of much the same nature as the matters above discussed in reference to the
i u t i im difi er exter or, b t there are cer a n portant n i m i i so e ces . For nstance , ost nter or players are arranged that the whole valve b ox must be r e m i ne i oved to make a repa r to o valve or pneumat c, and then no test can be made until the player i s
t sufiici nt i f replaced . S O hat there are e po nts O m u u hi difi er ence to co pel caref l st dy Of t s type .
REGULATION OF TH E PLAYER -ACTION WITH TH E
PIANO .
One Of the most important Of these points has reference to the connections between the pneu
m i i i - c i T at c act on and the p ano a t on . here are
diff f c i n hi i many erent ways O efi e t g t s un on, and manufacturers have adopted a great variety of i m uma i i i u dev ces . S o e pne t c act ons str ke on tong es extended from the front Of the abstracts ; others i from underneath the wippen . S ome str ke up wards from under the keyb ed at the back Of the ni m 39 Pi ano and Play er Mecha s . a i c w r i bstracts , connecting w th ba k a dly extend ng tong ues ; others pull down on the fronts Of the keys by tape connections extending through the k i a hi i n eybed. Some operate a rock ng sh ft, w ch, i m turn, actuates the abstracts Of the act on by eans O f pitman rods extendi ng from un der the keyb eds ; o thers strike on top O f the keys just back Of the
i s ai It, therefore, necessary for the rep rer to m ake a careful study Of the particular method adopted in every player that comes under hi s i s n ot ce . H i own common sense will generally e nable him to judge how closely the player- action s u d and u i Thi ho l can be reg lated to the p ano . s i s a m im a b u ui im a ost port nt t q te s ple m tter.
REPA TH E TE A E IRING IN RIOR PL Y R .
In cases where the action i s below the keyb ed and the tracker tubes are brought down through the m o for er between the keys, look ut for the la i i on i tter st ck ng the brass connect ng tubes . If the u i t i s i hi key swells p l kely to do t s . S ee that the trackerb oar d i s fastened securely to the plate or in O f i p block the p ano , for otherwise it will
r a . m ttle Look at the otor, and use the same pre 40 R eg ulati on and R ep ai r of
cauti ous with regard to it that have been r ecom m for i ended the exter or player . There i s little to add in considering the repair ing Of interior valve systems to what has already been said on the subject wi th regard to the cabi net i All i i nstruments . nter or players now have easily accessible primary and secondary valve
a t tu i bo rds , and the racker bes also can eas ly be di splaced or replaced during the process Of clean i n E h i i i g . ven where t e pneumat c act on s below the keyb ed it i s now cu stomary to carry the
tu i n r u i tracker bes two o three gro ps , at the s de
i th e ke fr ame or between the sect ons Of y , so that t t the hey do not have o pass between keys . It i s customary also to provide the keyboard with a lock which holds the keys away from the piano - action when the instrument i s pneumati c f u hi on ally played . O co rse, t s cannot be done players where the pneumatic action pulls down on the front Of the key by a tape connection or other i i hi i m . s u s m lar eans Nevertheless , t s a feat re i h in hi a i it mi wh ch as a place t s ch pter, s nce per ts a closer reg ulati on Of the pneum atic acti on to the pi ano and consequently a cleaner touch . When rattles or buzzings are noticed i n an inte ri or player and the trouble cannot be traced to
42 R eg ulati on and R ep ai r of
r s i na i e e a . E i i and l ke xper ence, study, pract ce t v skill will supply any assistance that cannot b e i in i i i g ven pr nted d rect ons . In concluding thi s survey Of reg ulating and ai i i i s mi rep r pract ce, t well to re nd the reader m i nd i i that so e players , both exter or a nter or, ar e
i i i T i s r prov ded w th spr ng motors . hese dev ce a e u u Of im w h s ally a s ple clock ork type, geared to t e r ack i i T s t erb oar d n the ord nary manner . rouble in connecti on with these motors are little likely to occur and when they do may usually be attributed in i i i to dirt gett g nto the bear ngs , wh ch need to Th be reg ularly and thoroughly cleansed . e pedal i i m i i s u dr ven spr ng otor, wh ch kept wo nd by the movement of levers actuated by the pumper i ik u b ut it pedals , s hardly l ely to be overwo nd, might be possible to do thi s with a handle-wound m u a mai i mu be otor . In s ch a c se the nspr ng st n i removed a d d sentangled.
E E G N RAL H INTS TO TH E REPAIRER.
A a i u. i s lways carry tester roll w th y o It best, i - n . One fact, to have three for 58 note , one for
6 5- 88- note and one for note players . Always begin your work by running the tester
l e the tracker oar rol ov r b d. In thi s way you can Pi ano and Pla er M h ni y ec a s m . 43
a t once detect any defects in the speech Of the um i i p ne at cs and solate them . Motors should run at the following speeds
2 feet p er m n te w en tem o ever i s at 20 or L r o i u h p l a g . 4 feet p er mi n te w en tem o eve r i s a 40 u h p l t or Adagio. 6 feet per mmute w en tem o ever is at 60 or nd nte h p l A a . 8 feet e r mi nute w en tem o eve r is at 80 r Moder e p h p l o at . 10 feet er m n te w en tem o ever is at 100 or e ro p i u h p l All g . 12 feet er m n te w en tem o ever is at 13 ) or Presto p i u h p l . The timing can be done by marki ng out 12 feet on u i i the tester roll and s ng th s . When attempting to glue pneumatics or bellows always use hot glue and warm the edges of the
u i s wood where the gl e to set . Always carefully iron down the edges where pneumatics or bellows are glued with a warm i n flat r o .
se i ki d u hi i U very th n for po ches, w te stock nette m nd i for pneumatics , otor bellows a tens on gov
rn r s e o , and heavy canvas bellows cloth for ex us i ha ter s and reservo rs . Always be careful to replace unseated valves exactly as y ou found them . Shellac i s good to fill up small splits i n valve imi boards and s lar places .
a use mm u L stly, co on sense , st dy each player ou u a t a i o s before y ndert ke o h ndle t, and d not lo e your nerve . C APTER H II .
P REP R ON IAN O AI ING .
’ One Of the most important Of the piano tuner S
u i i s the i i of i um s E to d t es repa r ng Old nstr ent . ven day there are numberle ss Old squares i n the homes
in m ci r cum stances whi ch are il of people oderate , st l capable Of being made fit for many years Of serv i ce u , and whose owners are unwilling or nable to
ff s f n i The m a ord the exp en e o ew nstruments . sa e statement may be made to apply with equal force to u i E h in elli pr ghts and grands . verywhere t e t gent tuner finds pianos Of every kind i n a more or less wrecked condition ; pi anos that are too good to be di scarded and equally too good to be ifi in f i um u sacr ced a trade or new nstr ents . S ch i i th i p anos are fa r game for e good repa rer, who i s Often enabled to restore them to somethi ng like their pristine Vigor and thus earn good fees and u i u m th Th fi m ch grat t de fro e owners . e eld for
i i i s m u imi i repa r ng al ost nl ted, and there s no tuner wi th an independent practice b ut should regard th e repairing branch as most important
o t hi s reputati on and pocket . Pi n an Pl r h ni m 45 a o d ay e Mec a s .
N s i ill n everthele s , t w be found that a k owl edge of the essenti al principles Of repairing i s by no means as well developed or as evenly di strib u i T i ted am ong the tuners as t should be . h s lamentable state Of affairs arises largely from the fact that the factory Offers little encouragement to one who may desire a kn owledge Of the condi tions surrounding the deterioration and decay Of i um i Old nstr ents , wh le the average wareroom i s mu off in i i hardly ch better th s respect . Speak ng
m i it i i tu fro exper ence, can be sa d that v r ally noth i n ut i i i s i n i s g abo repa r ng to be learned factor e , although the kn owledge Of practical action fini sh i n u ti i i - u i g , reg la ng, str ng ng and tone reg lat ng,
i i s i im u B ut r es there ga ned, of nest able val e . the tor ati on i um i s Of Old nstr ents a neglected art, and its practice must be learned generally through ex “ ” p erimentati on on the subjects found i n the ’ h u i i i course Of t e t ner s da ly rout ne . Wh le the practical knowledge thus gained i s useful enough
h i i it i s i m to t e pract t oner, l able to be so ewhat dangerous for the piano owner who entrusts the repairing O f hi s instrument to a tuner whose ex p er i ence and knowledge are together unequal to i i i i n i hi s ambit on and enthus asm . It s the l ght Of this knowledge that various manuals and p am 46 R egulati on and R ep ai r of
hlets u i im the p have been prod ced from t me to t e, Object whereof has been to teach the fundamentals Of i i i i u h art st c repa r ng, and th s to save t e ambi tious b ut inexperienced tuner from the humili a tion Of doing bad work and perhaps spoiling an i um nstr ent altogether .
T i s m m in i i here oney to be ade repa r ng, and the good workman need never go with an empty
u A m i m t i i i s . t a p rse s all nvest en the beg nn ng , i i i h t . t e therefore , wor h wh le F rst Of all, cons der i t h u i o u appropr a e tools . If t e t ner des res t nder t t i ake large and elabora e repa rs , he should have m t i ul so e sor Of a workshop , and th s sho d be ui i u eq pped w th workbench, gl e heater , racks and ’ - A s f i - m hot box . good et o cab net aker s tools , as well as the usual instruments for regulating and i i u tun u . T ui ng, sho ld also be prov ded h s eq pped, the repai rer m ay consider himself ready for busi
L et s u i s u ness . u s ppose that he called pon to
i i s fi r d rebuild an O ld grand p ano , wh ch has u e e m f m mi m fro the ravages O oths , ce, da pness and instru hard usage for thirty years . When the i s us ment has been del vered at the work hop , let take a look at it and decide just what we are i u the going to do wi th it. We w ll s ppose, for i sake of argum ent , that the owner w shes to have Pi an o and Pla r Me h ni m 4 y e c a s . 7 i t o u h ui nd h s i th ai th ro g ly reb lt, a a g ven e rep rer car te blanch e in th m f m e atter O expense . Not any p iano owners will be found to be as accommodat i n our u i iti u n b u ur g as s ppos t o s o e , t o purposes will be better subserved by supposing this to be the case .
. Disregarding the condition Of the outer case im for the t e , we proceed to take Off the top and
mi u u c t exa ne the pper s rfa e of the pla e, sound
i As x board and str ngs . we e pected, the pins and i i u in i ti str ngs are red w th r st , d ca ng excessive
m u i s li da pness , the so ndboard sp t, and the plate i s everywhere discolored with th e combined effects f i i u O m . i s d rt and o st re Generally, the spectacle
n w us m th i a sorry o e . No let re ove e act on . What find?H mm i do we a ers worn down flat , the h gh est i n the treble almost or quite cut down to the m m wood , the da pers otheaten, the screws loose , i t the felts worn away, hard and br t le, the center
i i u O f u i p ns work ng o t place, the key b sh ngs almost i n u u d sappeared, a d the to ch s nken, shallow and i i i rattly. Altogether a most d stress ng s ght, and one calculated to strike terror into the heart of its i whomsoever has to undertake regenerat on . Let us now see what can be done with this
- m Th Old i . e fi i poor, broken down, spec en rst th ng 48 R eg ulati on and R ep ai r of
i s u i i a to be done to nstr ng our p ano . We take T- hammer and let down the middle string of each uni u m i u son gro p fro the treble downward, ncl d i ng one string from each Of the two - string uni i n sons the bass . Then we go back to the high treble again and do the same thing with one Of the other members of each uni son group until all i of these have been loosened . F nally we return once more to the top and let down the remaini ng
i n u Thi s to str g thro ghout . s process enables u gradually lessen the tension without strainin g any f part Of the plate at the expense O any other part . The next thi ng i s to cut Off the Old strings with ’ T the a cutting plier near the ag r afi es . hen all Old Th ld i wire may be cleared away. e o bass str ngs , ti u however, should be preserved en re and caref lly hung up by their hi tch-pi n loops upon another ut i i n i n hi piece Of wire or sto tw ne, the order w ch
Of they are taken from the piano . If any the bass i i ut in Of one strings are m ss ng, p place each a i i i in i piece of tw ne , s m lar length, and w th the
a r afi e i - i hi - in places for g , br dge p ns and tch p care hi m nn fully indi cated by knots . In t s a er the
- i s use Old i string maker, who to the str ngs as pat a m u hi s terns for new ones , m y be able to ake p i set perfectly and without m stake, the place of the
50 R eg ulati on and R ep ai r of
a i n u i h i h cr cks a so ndboard, then p ut n the s im w t the hi fi t t ki t n edge rs , a ng care to have it well m i war ed and see ng that the glue i s hot. Punch the shim well down into the crack and then dip a small brush into the boiling water i n the gluepot fi T i s and apply it to both edges of the lled crack. h
i hi i fit u . w ll swell the wood, so that the s m w ll sn gly i h i Then let the job stand unt l t e next day, at wh ch time y ou may take your sharp kni fe and trim Ofi f hi u the edges o the S m as neatly as y o can.
Now if o u find - i , y u sho ld that the belly br dge has it it i u dam spl , w ll be needf l to replace the
i S O o t m a aged port on. y u had be ter ake a p ttern with paper and pencil by rubbing the latter over
the m i i on for er, wh ch has been la d the cracked ti f h i Al th i i Of por on O t e br dge . low for e w den ng im i i T hi d ens ons through the crack ng . hen send t s pattern away to a soundboard maker with di rec i m i i i T t ons to ake t up n br dge lumber . ake care
- i i to have it only about one fourth of an nch th ck,
T out ut i however . hen o the broken part w th a
n saw to m very fi e the sa e depth . and when the bridge part comes back to y ou glue it in place and Y u i i t . o m sec re t w h screws u ust, of course , bore for the bridge-pins and drive these in before scour Pi ano and Play er Mechanism.
’ A so ing the new piece in place . l don t forget to blacklead and burni sh the surface . If a crack in the soundboard shows immedi ately
- fil h in underneath the belly bridge, l t e crack the
u ua he a and n the u s l way , b ut from t b ck, whe gl e i s i i i dry, drive a screw nto the br dge on both s des of the crack and place a wooden soundboard but Ou ton each screw . B efore calling the soundboard department fin ished m at , take a careful look once ore the wrest plank and other parts and assure yourself that i n u they are t ght a d sec re, and that there are no
i w s lank i s a i cracks there n. If a re tp b dly spl t, as m im it ma difli cult to so et es happens , y be very do anythi ng for it except send the piano to th e fac tory ; otherwise a split section may sometM es be o i i t i sawed ut, remade and replaced l ke a spl br dge ti B i sec on. ut great care and sk ll are necessary for u s ch work. If it i s merely a case where the wr estplank i s slightly and superficially cracked along i ts outer surface (as may be seen in open
wr est lank u ti it ma p constr c ons ) , then y be better im h t s ply to remove t e pins , ream ou the holes s i u u ma l ghtly and pl g them p with ple dowels , well u in hi i s i gl ed . In t s way it poss ble, not only to provide the tuning-pins with new and firm resting 52 R eg ulati on and R ep ai r of
ace b u pl s , t als o to reinforce the weakened wrest An plank. in jury to a wr estplank that can be gotten at and glued up may be under taken with a i u b ut it i s to m fa r prospect Of s ccess , bad onkey with w r estplanks unless one knows exactly what i one s doing. Now , when y ou have done everything needful
it th u w r st l nk w h e so ndboard, e p a , plate and i u i br dges, take a look at the nder s de of the board
if i If so and see there are any loose r bs . , there will be rattli ng and buzzing when the pi ano i s T i i i u rib played . h s w ll part cularly occ r when the springs up in the mi ddle portion from the surface
u i to i u Of the so ndboard, ow ng the loosen ng Of gl e
r i m u or through wa p ng. In order to re edy s ch a fault it i s necessary to fill up the space left between the rib and board by the springing of the
i of u ui i latter. Use a str p spr ce of s table s ze and u glue thi s in the Space referred to . S ec re with a screw .
E R STRINGING.
It i s now tim e to consider the matter Of restring in ou ha fil u uni g . If y ve led p and rebored the t ng in i difii cult i n in p holes , there w ll be no y follow g i out the traditional methods Of factory string ng . Pi ano and Pla er M h ni m y ec a s . 53
On if ou i the other hand, y ntend to use the Old pins i n it i the Old holes , w ll be necessary to take con si derable m u u i ore care abo t yo r work, n addi tion to u u u i i s all s al preca t ons . If there not a fair space between the eye of each p i n and the wrest
nk ou c n use i l f r pla , then y a not the Old p ns at al , o it will be necessary to hammer them in further than their original position in order to tighten t m i i s u t i ann he when the new w re p t on, and h s c ot be done when they ar e already sunken deeply into
wr est lank in i the p , for th s latter case the extra hamm ering will drive the pins so far in that an angle will be formed by the string and ag r afi e so acute as to insure breaking when the string i s pulled up to pitch ; so that if y ou see it to be inevitable that the pins be driven in very far i t will be best to plug up the holes and reb ore so as to have the advantage of new pins i n new holes . With most pianos y ou will find that the string er indicates the number Of wire that he i s using at any place by writing figures to correspond on the w r estplank or plate at the points where each new s You u number i s brought into u e . can, Of co rse, use these numbers for gui des i n stringing your
i b ut if mi ou i a p ano , they have been o tted y w ll h ve 54 R eg ulati on and R ep ai r of
to note, by means of a music wire gauge, where the a in ch nges number occur .
B e careful to use only the best wire and, what i i fi s ever happens , keep hot and persp r ng nger a m i us i way fro d rect contact. If necessary, e a pa r u i i in Of r bber gloves . If y ou are us ng new p ns in i in it e new holes, w d the w re round the p w h thre i i i B co ls before nsert ng the latter in the hole . e careful i n drivi ng the pins that y ou do not twist t m m m in u t a u he , and re e ber that the p m s be gr d i i n t i ally dr ven ra her than forced v olently. ou u i i a u to a If y are s ng the Old p ns , be c ref l h ve only as many coils Of wire on each as will insure a fair space between the last coil and the surface Of t nk D i i in he plate or wr estpla . r ve the p ns well i fi Of u w th a square, rm blow the hammer and p ll i the wi re up t ght at once . S ee that all the pins are at the same level and mm i i ha er down any that rema n h gh. S et the strings down well at the hitch-pins and on the bridges and see that they fit tight and snug into
their proper places .
ou c m to in i When y o e the bass str gs , b e p art cu a u i m i lar bo t handl ng the , and espec ally about the m n in hi ou i i a ner w ch y dr ve the p ns . B e careful
t ou in s i hat y do not get the bass str g m xed up . Pi ano and Pla er M h n y ec a ism. 55
Leave them on the wire upon which they ar e strung when sent to y ou and take Off only one at im a t e . When y ou have strung the whole piano in thi s w a out y , space the string groups in approximately i t t u u the d stances hat hey act ally occ py. (If the i a r afi es i i s u p ano has g th s nnecessary . ) Then it i s tim e to take up the work Of bringing the strings im i T i approx ately to p tch . h s i s what we call i i ch pp ng.
PP G CHI IN .
In chipping the strings which y ou have just in i i u placed the p ano , begin by draw ng p the middle C group well above concert pitch and then i ul u i rap dly p l p the others , above or below, est mating the pitch Of each semitone and correcting D hi each C by middle C as y ou g o along. O t s as quickly as you can and then r ub down the strings i i i w th a p ece of wood covered w th leather . N i i b u i im m ow repeat the ch pp ng, t th s t e ore
u ou i find i caref lly. Y w ll that the str ngs have all
u as to i the i stretched o t, so br ng p tch away down
i S O u mi a i aga n. p ll ddle C ga n above concert u u i i i pitch and then t ne as sual, ch pp ng the str ngs with y our fingers and laying the bearings as well R eg ulati on and R ep ai r of
ou can T u as y . hen r b down the strings again and let m - u u T the stand for twenty fo r ho rs . hen repeat
a i i s u fin i n the process , le v ng the p tch a y o d t, u less it mu i be ch below concert p tch. You can then i i f ni beg n to th nk O rough tu ng .
TH E KEY-F AME R .
B i hi i etween the second and th rd c pp ngs , how
i i i As i ever, t w ll be well to look at the act on. w ll
m m u hi in u . be re e bered, we fo nd t s a parlo s state
The amm i u hi a ik h ers , felts , p ns and b s ngs l e m mi il Showed the ravages of oths and ce, wh e the shrinking of the wood had left every screw loose
t i u u i and rat l ng . We also fo nd an analogo s cond
i o i i i i t on t ex st n the keyboard, and t w ll be well
L e to begin our repairing here . t us remove the screws that secure the action frame in place and i i Thi remove the act on ent re . s leaves the key
T u b e m board exposed . he keys sho ld then re oved
T Off and the bare keyboard exami ned . ake the
ld m - unchi n s all us O , oth eaten p g and blow d t away
ll T m i s with a be ows . hen, when the fra e well
u i i i cleane d, br sh a l ttle benz ne nto the spaces
- i Th i il Off between the rails and key p ns . i s w ll k l
the moth eggs .
58 R egulati on and R ep ai r of
s la i the m i n the at its ture, thu regu t ng ot o Of key u hi a r front end . If the b s ngs are ltogether wo n u m m i i i o t, ake so e l ttle wooden blocks , sl ghtly w der id i a than the opening in the key, each prov ed w th plug at one end adapted to go up into the opening
Thi i cu u i i Of the key. s w ll se re the b sh ngs wh le i the glue i s dry ng . u a i to When these fa lts h ve been remed ed, look i i i R an are the condit on Of the vor es . eplace y that missing or defaced and whi ten the others accord in i i g to the direct ons g ven in the next chapter . i i Touch up the black keys w th French varn sh . Then take a number Of little pieces of lead weighi ng 214 ounces each and fasten one into the Thi i ui back Of every key. s w ll be eq valent to the weight Of the action and will enable y ou to ease up or level the keys . Begin by trying the tightness Of each key on
- i fix i s e front and balance ra ls, and th ngs o that ther i s just a very little play between the openings and i A i i i u the p ns . scerta n th s by shak ng, and reg late
i - w th the key pliers . After the keys have been tested for ease of m i Of i ot on, the work level ng them can be taken u i p . In order to do th s properly we must use a straight-edge made out of thin soundboard lum i n n h ni 9 P a o a d Play er Mec a sm. 5 h r s m a to e , as long as the stretch Of key fro b ss i firm treble, and l ght enough to rest ly on the fronts f O the keys without bearing them down . Then place under each extreme bass and treble ll key a block Of wood, perforated to a ow the front
i - in h u ra l p to pass t r o gh . Let each block be three i n i hi ou in e ghths Of a nch gh . Take t or p ut enough punchi ng s on the balance-rail Of each extreme key au i fi m to c se t to hold r ly on the block Of wood . Then use these extreme keys as supporting points
i i - ll for the operat on of the stra ght edge . When a the keys have been brought level with the two i ou end ones the job w ll be complete . When y first lay the straight- edge over the fronts of the keys y ou will probably find that they sag down i i i cons derably toward the m ddle . In th s case build up the level Of the balance-rail by putting under it some slips of paper or cardboard of ap
o ri a i n T i i s m i p r p te th ck ess . h s ore rat onal than m U l w i i i u to atte pt to level p each o key nd v d ally. When an approximate level has been attained in i wa a a i di i u th s y , t ke e ch key n v d ally and Observe i s i T i i t relat ve level . est by shak ng the stra ght edge on the keys . If they shake when the stick u m r e too i b u i to ches the they a h gh, t f they ar e too low y ou will see a space between them and
M h nis m 6 1 Pi an o and Play er ec a .
TI UPRIGH T AC ON .
Key R egu lating b utton s rew Key frame c ! ac stop ra Key lead k il Ba stop Ft ont rail pin and punch ck H mm r b utt mg a e H mmer s n 5 B alance rail pin and a ha k punching H ammer molding B ack rail cloth H ammer top felt Capstan screw H ammer under felt Ab str act Wippen flang e Ab stract lever Spoon Ab stract leve r flang e Middle action r ail L ow e r action rail Damper lifting rod Action b r acket Damper lever Wippen Combination flang e damper ever and ! ack flang e l m erb utt. ! ack spring Sp ring rail sp ring ! ack knuckle Spr ing rail ! ac k Damper w i re B r d e w re i l i Damper block B ack check Damper head B r d e a e i l t p Damper felt Reg ulating rai l Action b olt
F IG . 5 . a a - i the b l nce p ne holes .
TH E ACTION .
When the keys have all been leveled lay aside the leaden blocks that were driven into the backs of m T . u i i nd the hen take p the act on, clean t well a ,
ci it on after repla ng the keyboard, proceed to examine it as follows First of all look to the condition Of the various pieces Of felt and leather that are used in the more Pa i ul i to remote parts . y part c ar attent on the
u c i i hammer kn ckles , back che ks and repet t on lever
u hi Th or on an or all c s ons . e felt leather y Of i ou ul these may need replac ng, and y sho d not i hi if ou i hes tate to do t s where necessary, y ntend to make the rebuilding thorough and permanent . In replacing such felts and leathers take care that the new pieces are Of the same thi cknesses as the
i You i i Old orig nally were . can test th s by look ng T at the corners and edges Of the Old pieces . hen look at the center pins and their bushings through
ou find u use out. If y the latter enlarged thro gh i u i i p ut in thi cker p ns . Where b sh ngs are ent rely c n u ua et fi worn away, you a s lly g new flanges tted Pi an and Pla er M ch ni m 6 3 o y e a s . to whatever action the piano contains from the m u u O f t i r m m an fact rer hat act on, o fro the akers of i i a u the p ano . Otherw se y ou m y have to do yo r
n hi n T i i s n The o o . w r eb us g . h s t very easy best plan i s found i n cutting a piece of bushing cloth to a point and then making one Of the edges
i i a . u th nner with a kn fe, well sh rpened Gl e the inn u m i a ni a th ed edge to the other, th s ak ng co c l unn i e shaped f el, the apex Of the cone be ng wher
c i T c one the cloth was ut to a po nt . hen for e end of this funi cular piece Of cloth into the bushi ng
fi ci i ai hi holes Of the flange, rst pla ng a l ttle f rly t ck i f glue around the ins de O the holes . Secure the position Of the new bushi ng with a center pin hi i u driven through the holes , w ch w ll sec re the i i i i i s T ou nd m u . cloth unt l t dry . hen t a tr to s t i mm Y u Lastly, cons der the state Of the ha ers . o will very likely find that a complete new set i s i Now i a set ham des rable . , the hang ng Of new Of i in nd mers i s not the eas est matter the world, a one must be very careful in setting about thi s kind
Of i u m ham work . F rst, of co rse, re ove the end mers Of each section and send them to a hammer i i i di maker , together w th a draw ng show ng the p i a b e a or angularity Of the scale . If the p no good, as m a ar e ou can recogni zed make , ost gr nds , y R eg ulati on and R ep ai r of
GRAND A TI C ON .
Key 2 Repetition lever regulating b tton Key frame u 23 Re et t on ever sto Key l eads p i i l p R mmer c sh on Front rail pin and punching Ha u i N To ct on r Balance r ail pin and p a i ail punching R Hammer flange Back rail cloth S Hammer sh ank Capstan screw R Hammer knuckle Wippen bottom knuckle S Top repetition lever stop Action bottom r ail S Hammer molding Wippen supporting flang e 3 1 Hammer under felt Wippen 32 Hammer top felt ! ack knuckle 33 Damper wire ! ack 34 Damper head R eg ulating rail 35 Damper lever Regu lating button screw 36 Damper l ever flang e and s rin ! ack regulating button p g 37 m er lever e ds ! ack step Da p l a 38 m er b oc Repetition lever support Da p l k R epetition lever 39 Damper wire Repetition lever spring 40 Damper head ! ack spr ing 41 Damper felt
F 6 . IG .
66 R eg ulati on and R ep ai r of probably get a set Of hammers bored at the proper angle by applying to the makers . When these are received proceed as follows : Take OR the hammer from every alternate shank by means Of the ex i u i tractor, or else by heat ng the shanks nt l the u mm i The m gl e that holds the ha ers s melted . for er T process i s far preferable . hen take the new hammers corresponding to the Old ones that have on and been removed, fit them the shanks place i i i ham the act on in the p ano , not ng how the new m m i m ers eet the str ngs . If all see s well, apply u m in u of or u im gl e to the gro ps three fo r at a t e , immedi ately setting the action back into the piano at each gluing so as to test the hang of the ham m . i u u r e ers When th s has been done thro gho t, it mai i mm u peat w h the re n ng ha ers , and p t the ti of ac on away for the rest the day to dry. Now m i i s a look at the da per act on . It perfect nuisance generally to get the damper levers and out of s if i flanges a grand ca e, th s be necessary, b ut it i s usually possible to effect ordinary repairs i u i w tho t having to do th s . If y ou have already
i us m a ou i dec ded to e new da pers and he ds , y w ll,
O f u u i s co rse, send eno gh spec mens Of the Old et to enable any action maker to send y ou new heads and u hi f r a m new felt c s ons o co plete set. When h ni m 6 7 Pi ano and Play er Mcc a s .
a a i these h ve been pl ced n the damper blocks below, test to gauge their straightness on the strings and bend the wi res until every damper lies even and firm on its i u i str ng gro p, cover ng it well and
m i i s A da p ng as proper . lso note whether each damper rises just as quickly and as far as every
t u i i i s o her when the s sta n ng pedal depressed . Correct i rregularities in these motions by bend ing the wires or altering the depth Of th e damper i in A i w re the damper head . lso pay attent on to th i whether e damper blocks r se evenly, and reme d hi if y t s they do not . Also correct excessive lost motion between the t m u ui pedal foo and da per levers . Gl e s table pieces Of felt on the ends Of the pedal sticks or i n i u hi m i other su table places to take p t s lost ot on . Also Observe whether the rods for the other l i u i B a peda s work freely and w tho t no se . lackle d m i a the when necessary . Look to the spr ng th t pushes the key- frame when the left-hand pedal i s released and strengthen it if necessary by putting paper or cardboard between it and the side walls
i so i it out a it Of the p ano , as to br ng l tle nearer to
- the key frame . i i Off Then take up the act on aga n . Clean the u if an i and remains Of gl e, y ex st , get ready to do 68 R eg ulati on an d R ep ai r of
u i i T i i s i s b yo r act on regulat ng . h s a task that y m a i nex e no e ns easy, even to an expert, and the p i c i t u unl r en ed tuner will have all k nds Of ro ble, ess im he knows exactly what he i s doing at all t es , i w if somethi ng which he i s not very l kely to kno , ,
i um him i i . ndeed, we ass e to be nexper enced B i i u i efore proceed ng w th the task Of reg lat ng, please take note Of what the action i s supposed t Th - Off amm the i o do . e let Of the h ers, r se Of h mm u t e repetition lever towards the ha er kn ckle, the position Of the jack mi dway i n the repetition i i lever groove, the strength Of the repet t on lever i i th m spr ngs , the d stance Of e back checks fro the mm t i i m m ha er a ls nch) , are a ong the ost im i Th O f portant deta ls to be Observed . e depth touch should be preser ved at three- eighths Of an “ ” i u u t - uc to nch, and there sho ld be eno gh af er to h cause the hammer to leap upwards after the let Off from the string when the key i s pressed down
fi m s s i i slowly and r ly a far a t w ll g o. In taking up a grand action for the purpose Of
u i it mus i u reg lat ng , we t pay part c lar attention to
i u now i the po nts j st cons dered . We begin by adjusting the lost motion through the capstan s i crews , or rockers , not ng that the level Of the hamm er i s adjusted so that the Shank stands Pi n n Pl r M h ni m 6 9 a o a d ay e ec a s . about an eighth Of an inch above the cushi on that h i Thi ti i s belongs to t e repetit on lever . s prac ce di fi er ent from that whi ch Obtains with upright and u ti in i mm a sq are ac ons , wh ch latter the ha er sh nks
- i rest directly on a cushi on ra l . " h - T Next attend to t e let O fl Of the hammers . hese should be arranged to escape from the jack when they have approached to a distance Of Of an i i Th i to i nch from the str ng. e eas est way do th s work i s by fixing a test frame above the action on it i the workbench, arranged w h a wooden ra l to be suspended above the hammers at the measured i i Th m u m he ght of the str ngs . e proper eas re ents may be made from the inside Of the piano case i i i m so as to Obta n the d mens ons Of the test fra e .
i - Next turn your attent on to the back checks . It i s necessary that the hamm er should be well and secu rely caught and held by the checks in
i a i Nor i i order that block ng m y be avo ded . s t less essential that the catch Of the hammer should u i i in occ r at prec sely the r ght place, order that its position may always correspond with the regu
Of i lation Of the other parts the act on . Let the
c c li as i to the mm i he ks e near as poss ble ha er ta l, and see that the catch occurs when the hammers have fallen away from the strings to a distance Of 70 R eg ulati on and R ep ai r of
- ua n i i the three q rters of a nch. In connection w th of amm i i catch the h er, be t Observed that the pos tion and regulation Of the escapement lever i s a im very portant part Of the checking operati on. The springs that actuate thi s lever must be sufli ci ently strong to cause the hammer to rise a little i when released, or when the key s pressed down fi ml i i t o. r y as far as w ll g In other words , the springs must be strong enough to lift the hammers i i T i sl ghtly by the r own power . est these spr ngs and strengthen them if necessary by bending with
- i i i imi b a damper spr ng bend ng ron or s lar tool . O serve also whether the repetition lever i s properly
adjusted as to depth Of descent at the back end . When the hammer i s caught and held by the u m check, there sho ld be a s all space left between the repetition lever and the little nook found at n it that e d Of . The other end Of the es capement or repetition i i i it i b e lever must be cons dered l kew se , and w ll i u i i a seen that there i s a l ttle b tton, prov ded w th i mm u screw thread, fastened nto the ha er b tt and Th touchi ng the front end Of the lever . e Object Of thi s little button i s to prevent the escapement i as in it lever from coming up too h gh, that case would tend to force the hammer against the string i ano and la er M h ni 1 P P y cc a sm. 7
a after the c tch Of the check, thus causing a r e u h bo nd . T e function Of the repetiti on lever in a grand i s to make the first lifting effort on the mm i ts i i ha er, and pos t on i s such that it can force the hammer against the string unless regulated ui i i properly, q te rrespect ve of the position Of the jack . S crew down the little button on top Of the hammer butt until it stops the repetition lever as soon as the hammer has approached within a li ttle more than one- eighth Of an inch from the i P str ng. ractice will enable the regulator to deter mi hi di a i ni ne t s st nce w th great cety .
TUNING .
Now ou w c u , when y have ell and aref lly done all hi ou ma i u m as t s, y y cons der yo r task co plete far s i You a the action regulat ng i s concerned . now may turn your attention to the tuning and tone
ul i ou u u i ou i reg at on . If y know yo r b s ness y w ll not have neglected to give the piano at least one l i Thi rough tuni ng before the action regu at ng . s rough tuning should be done i n such a way as to test out thoroughly the stretching powers Of the u u a i strings , and the t ner sho ld not be fra d Of As hurting hi s fingers by poundi ng. soon as the i i s fi i u ai regulating Of the act on n shed t ne ag n, 72 R eg ulati on and R ep ai r of and then once or twice more at an interval of two or t Th i m u hree days . e p ano ay now be tone reg t lated . B ut befor e taking up this task pay at en tion to a few remarks on the subject Of tuni ng new
i The i mu t w res . p tch st be ested constantly, and if the piano i s to be maintained at i nternational
i as u u um i mu p tch, I have thro gho t ass ed, t st be i i continually drawn a l ttle above th s , and allowed to sink to international after it i s placed i n its ’ m M i mu owner s ho e . oreover, the str ngs st be
i u Th e ki well pounded and the p ns well t rned . nd “ Of tuning that i s known as springing the pins
u t i i in m s be avo ded, nor w ll any other process of p
ni i i i u in ma pulat on ava l except pla n, honest t n g, i i i and good pound ng Of the str ngs down to p tch . i i im i in u Otherw se the p ano s ply w ll not stay t ne, and the reputation Of th e repairer will suffer
i An t i : The m tu i accord ngly . o her th ng ore n ngs y ou can give th e piano the more sati sfactory will h o f be the result in t e end . If y u have plenty O im if m u u i i u i t e, and the a o nt of yo r b ll w ll j st fy i ou u six im su t, y had better t ne t es and be re than three and be sorry.
‘ E E AT TON R GUL ING . Voi cing or tone regulating i s a task demandi ng — the hi ghest qualities the longest experi ence and
74 R eg ulati on and R ep ai r of
throughout to soften the hammers only enough i m m T to Obta n a tone oderately ellow and full . ake
it i s i too i i care that ne ther br ll ant nor too mushy. Careful preparation Of the hammers by di gging well into the depths Of the felt will assist here
. ou m u i greatly When y co e to even p the tone , t will be necessary frequently to withdraw and
i M i in replace the act on . ake li ttle penc l marks the mi f i i o i ddle O the vor es , r at the r top ends when
u i di ou y o wish to n cate a black key, whenever y
find i i ou a hammer need ng attent on, and when y ix hi i have s or more marked t s way, w thdraw the action and subject them to such treatment as they d m i nee , then erase the arks , replace the act on
i i u ou m and test aga n . Watch cont n ally lest y ake
ou all the hammers too soft . When y have done
o u m that y u can, t ne once ore, and then send for
u i u you r customer . Yo r p ano o ght now be near
an approach to a new one .
KEY P S I IVORY OLI H NG.
It i s a very useful thi ng to know how to clean
i i i T i i s and pol sh vory keys on Old p anos . h s a
t t i ui i u ask tha Often s req red of the p ano t ner, b ut there i s considerable variety in the methods Pi n n P r M h n m 75 a o a d lay e ec a i s .
m as hi u e ployed, well as i n the ideas w ch t ners a i generally h ve regard ng them . Upon examination of the keyboard of an Old i i t il t i a p ano, w l Of en be foun d that the vory he d pieces are worn into hollows from long years Of use . When these hollows are so deep as to ma i im c i cab ke t ma t le to scrape the Old keys, then i i mu i new vor es st be glued in the r places , other wise the tuner m ay set about removing the yellow s ai i n h i t ns from the keys t i s mann er : F rst, let T the black keys be removed . hen fasten down the row of whi te keys by means Of a strip Of wood runni ng across them just i n front of the balance i A i i i i s ra l . fter th s take the vory scraper, wh ch a square piece of steel rubbed down tr ue on the
i i nd i one edges w th an o l stone, a w th end scrape m a u i each key fro the b ck toward the front, nt l all m the yellowness has been removed and a s ooth,
u i s i ki i s level s rface rema n . Cons derable s ll needed in hi i i i s to t s Operat on, as t very easy scrape i u in u on slant ngly, so that the res lt g s rface the f u hi mu i f . key w ll be out O level O co rse, t s st be i in to i a avo ded at all costs , and order obv te the i i i f poss b lity of th s sort o trouble, another and u T longer b ut easier method may also be sed . ake i f u Six i u in a p ece O wood, abo t nches long, fo r ches 76 R eg ulati on and R ep ai r of
i i f i i broad and an nch deep . Cover one s de O t w th N O . i t u m sandpaper, and w h the block th s for ed r ub i w i the vory back ard and forward, tak ng care
u on u to keep the block Sq are and level the s rface . B y this means the yellowness will gradually be
m u i i s hi M re oved nt l the whole surface w te . ore tim ill c um in i b ut u e w be ons ed th s way, the res lt i s s s u s A u i far less likely to be di a tro . fter r bb ng
i h i mus w th rough sandpaper, t e operat on t be
i mu c fi um e O f u repeated w th a h ner n b r paper, s ch 0 T i m s O . i s c a N 0 . h s to re ove the scrat hes left by
fi ti S O s sm u the rst opera on, a to leave a ooth s rface i hi for the pol s ng .
to m hi In order perfor t s last part of the work, take a piece of coarse rubbing felt and fasten it f M i u to a sui table block o wood . o sten the pad th s
c i k hi i u it formed with al ohol and spr n le w t ng pon ,
r ub as i m i i then before , keep ng the pad o st w th
A m i i ui Ob the alcohol . s ooth pol sh w ll q ckly be
ain d A i i s fini se t e . fter everyth ng shed e that the n i i keys are ot wetted at the r open ngs , and scrape
u l m i f i i away caref l y all re a ns O wh t ng, and all dust . i hi hi i it mu r e In do ng anyt ng Of t s k nd, st be membered that the surface Of the keys h as to be i . O r kept level , whatever happens nly a ve y sl ght Pi ano and Pla r M h ni m 77 y e ec a s .
sidewi se movement Of the hand i s required to make a depression in the surface Of the ivory.
M ur i s i to i oreover, the Old s face l kely be th n
wn s t c in i and worn do , o hat arelessness handl ng the sandpaper blo ck m ay be expected to cause
even a rubbing through i n some part Of the key. T i f u mu . O h s st be looked after at all costs co rse, th e scraper provides th e qui cker and more accu
t me h b u e i i m ra e t od, t b g nners are l kely to do ore harm than good with this instrument until they
i u se i u i ui s have learned ts proper . Var o s l q d are
in u s ect O f i i s to m also e, the Obj wh ch s ooth the
i s i E x e u of i as as t. s rface the vory, well to pol h p
i cu m to w w e im r ce see s Sho , ho ver, that the s ple method outlined above will answer for all p ur
i t t u e i s i n poses , prov ded ha eno gh care be xerc ed
i s th e different operat on . It will sometimes also be found that the fronts u O f ivory keys are broken and chipped . In s ch
i i A use u hi cases glue on new vor es . lways p re w te ix i i i s m t u . u . e gl e If nec s ary, wh ng w th the gl e In connection with the present di scus sion Of th e
mi utiae i a e i i as i si n of p no r pa r ng, and a d gres on
m i it att i to th e owi therefro , I nv e ent on foll ng let
m Mi i c e wh o s ter fro a ch gan orr spondent, prefer that I suppress hi s name R egulati on and R ep ai r of — Dear Si r I would be very glad if y ou would take up some time the matter of the advi s ability Of repairing pianos outside Of the factory when a new pin- block or sounding-board i s r e ui h i q red . Is there any reason why t i s l ne Of repai ring could not be accompli shed as success fully and arti stically in a well- equipped shop as i n ?A u i ui a factory lso , wo ld t pay to eq p a shop for thi s purp ose ?There i s plenty Of thi s kind of i i in i c i h repa r ng to be had th s lo al ty , and I ave been thi nking Of bui ldi ng and equi pping a shop and Obtaini ng the services Of a fir st- class carpen
i -m An ter or cab net aker whenever necessary . i answer will be great apprec ated. Undoubtedly a well- equipped repair shop ought i i i i to be capable Of car ng for any k nd Of repa r ng, i f u i f even to the po nt o absol te reconstruct on . O
c u r hi u th o rse, eve yt ng depends pon e knowledge, experience and skill Of the man at the head Of ffai inni on i a rs . In beg ng the present talk p ano i i the u repa r ng, I spoke Of advantages to be fo nd
in s i m of m the e tabl sh ent co plete Shops , and I have no doubt whatever that profit and pleasure alike i f may be derived from thi s k nd O work. R u i s i i ecollect, however, that s ch work as mpl ed
i n ui di i m ki the reb l ng Of a p ano de ands rare s ll, Pi ano and Pla r M h ni m 79 y e ec a s . and even thi s i s Of little value unless backed up b i i i i s m t y the best fac l t es . It not an easy a ter to fit up a new p in -block or soundb ound into an Old i nor m b e p ano , should work be atte pted y anyon i who has not had practical experience i n belly ng . Enthusiasm alone will not compensate for lack Of
ui i i in i -m ki And the req s te sk ll p ano a ng. , anyhow, I am Often inclined to think that good repairers m are born ore Often than made . The equipment Of a repair shop i s a matter for
u ni u s u caref l plan ng . S ch a place ho ld be dry, su m It ul fi i nny and well war ed . sho d be tted w th
c i t m- m ra ks for varn shed work, a s ea box for war in i u i u g parts wh ch are to be gl ed, a pract cal gl e
e t i udi if i h a er, benches and tools z ncl ng, poss ble, a
i - u i A small saw and dr ll ch ck dr ven by power . small space should be partitioned Off for varni sh
n i g .
ul u It wo d not be a good plan, I fear, to tr st mu m i f a A very ch to the tender erc es O c rpenters .
u i -m u m fin thoro gh cab net aker, acc sto ed to e hand mi m b ut work, ght Often be e ployed to advantage, i man hi m mu mu the p ano self st oversee, as he st i f m i r . be respons ble o , every s allest deta l
umm u hi m hi : S ed p , the whole t ng co es to t s If i i i s u o a ou your ab l ty eq al t the t sk, and y are able 80 R eg ulati on and R ep ai r of
i i i to nvest the necessary cap tal , a repa r shop
- B u m i i i . e sho ld be a good, money ak ng propos t on
u i very s re what y ou are do ng, however, before i n y ou start .
AP CH TER I.
TH E P B EM RO L .
The first step towards the correction Of an error has been taken when we have defin ed and imi f i An l ted the nature O the correct ve process . d thi s cannot be done until the nature Of the error i ul fin i tself has been d y de ed. S O in the solut on m th i Of any proble whatever, e enunc ati on thereof i s fi i . mu n in the rst essent al We st k ow, short, u a it i s a a n i j st wh t th t we h ve to attack, a d l ke i i i w se exactly what t s not. We cannot then begin the present chapters better than with an attempt thoroughly and clearly to delimi t and defin e the nature Of the problem whi ch the pi ano tuner i s An d i i called upon to solve . the v tal mportance Of thi s step i s even more clearly recognized when it i s remembered that the principal reason for the latter- day decadence Of tuni ng as a fine ar t i s to be found in the all too frequent ignorance Of u hi m am a atu j st t s atter, n ely, the ex ct n re Of the l prob em. 4 T nin n n Ar t 8 u g as S ci e ce a d .
Nor can we enti r ely attribute thi s lamentable state Of affai r s to the ignorance or perversity of i u i i s the present generat on . When the a thor t e m u i m the selves are so far from s bstant al agree ent , who Shall guide the learner aright ?Certainly he can hardly be expected to di scriminate between
u i i false and tr e teach ng . Yet he w ll be able to make hi s own path much more clear and smooth when he understands from th e start ju st what i t i s that he has to learn, and why. m i i s fi Th e proble Of tuning the p ano , then, rst m i i to be stated as co prehens vely as poss ble . We may enunciate it as follows : It i s r equi r ed to manip ulate the s tri ng s of th e pi ano i n such a mann er that th e p i tch of each shall b ear such har moni c r elati on to the p itch of every oth er as to p er mi t of ag r eeable chor d s tructur e in any and
ever t nalit ed i n m si c and ik i h l y o y us u , l ew s e s a l allow of fr ee modulati on fr om any g iven tonali ty into an oth er tonali t wi thout brin in i nt y y , g g o in nd l diss on nt h d b e g u u y a c or s . Now the Observer will at once note that the above defini tion (which m ay be considered as sufli ci ently accurate) i s very far from being ri gidly
i ifi i fini . to u sc ent c It refers vag e and nde te terms . “ ” It speaks Of agreeable chord structure and Th P m e r oble . 85
u ul di na im i ha nd y sso nt chords, and SO pl es t t there are such thi ngs as di sagreeable chord ” “ ” u u l Now str ct res and du y di ssonant chords . any one who knows anything Of the science of har m i s a u i i s ony ware that, tr ly speak ng, a chord it e her consonant entirely or altogether di ssonant . Consonance and di ssonance are really strict and fi i im m . T de n te ter s herefore, when we ply the existence Of states not comprehended within the i fini i m str ct de t on, we undoubtedly refer to atters not altogether wi thin the rigid lines Of musical s i An i i u c ence . d the conclus on s no less tr e than i i hi i nev table . For reasons w ch we shall d scuss n i later o , and whi ch have the r rise in the con
u i limi i i he str ct onal tat ons Of the p ano , t art of tuning i s based upon a scientific compromi se ; upon a sort of arbitrated award between the con
im m ni c tending cla s Of har ony and musical mecha s .
fin i s i m In e , the tuner obl ged to do a great any hi i u i n t ngs that would be nexc sable, and ndeed u u i necessary, were he not bo nd down to the ex st ing thi rteen semitones whi ch form the octave in As m keyed instruments . we shall co e to show um mi i s i later on, such a n ber Of se tones ent rely inadequate for the task Of expressing every possi i i T u i s ble interval in every poss ble tonal ty . h s a 86 Tunin ci enc an Ar t g as S e d .
compromi se wi th musical truth made Obligatory , and thus does the ar t of tuning largely dep end for its successful practice upon the skill with whi ch i i a th s necessary compromi se s made . Underst nd in i ifli in i i g th s, we shall have no d culty perce v ng the necessity for a thorough acquai ntance with h i u i t e methods Of musical tonal ty constr ct on, inasmuch as we cannot properly undertake the i f i u d stortion O chords and intervals , unt l we nder
in h fi r i i a stand, t e rst place, how they a e or g n lly
constructed . T i u m f uni i s O recap t late, the proble O t ng essen ti ally the problem of S O di storting the structure of each member O f the true musical tonalities as to permi t Of modulations and chord formations that would otherwi se be impossible Of expressi on i i u hi rt upon the p ano . Obv o sly, work Of t s so cann ot be undertaken until we know a great deal about the general make-up Of the various tonali in m i And our mu ties used us c . knowledge st be O f their physical nature rather than of their other
i i c it i s hi u hi ar propert es , s n e t s nat re w ch we e to learn how to change in accordance with our p ur
Th e fi i s ami a i poses . rst step clearly an ex n t on of the nature Of the musical sounds Of whi ch a i i ar i u ton l t es e bu lt p . Th r l m e P ob e . 87
SO D UN .
0 ! S u u o nd, tho art the echo of a word That broke the primal stillness by command
An u s echo , thro gh whose strain our souls have heard A mi u pro se of the choral rapt res grand, T i in i i hat, vo c g love and pra se, forever r se M i ’ i ” In us c s natal home beyond the sk es .
T i u Z m i n u u Dr . hese bea t f l words , q oted by ah of hi s n Mu i i e the preface work o S ound and s c, g v us an ethereal and spiritual View of the nature of
u hi c i s no so i u it ma so nd, w h, however, t fanc f l as y F i — appear . or the sensat on of sound sound as a — sensation has absolutely nothing Of Objective
i s i i i reality . It a sensat on generated w th n the secret passages O f the brain by a series of motions engendered by the action Of ai r particles upon udi u Of u of hi the a tory apparat s . the nat re t s s ensation or of the preci se means whereby it i s transformed from physical motion to phy si ologi i un i B ut cal sensat on we are profo dly gnorant . we are not less ignorant Of the nature Of the tr ansformatory process as regards any other kind of i i s us sensat on. In fact, there open to no way of crossing the line whi ch di vides the physical 88 T nin ci n nd Ar t u g as S e ce a . action Of the cerebral hemi spheres from the physi i i i i T olog cal sensat on therefrom ar s ng . herefore , we must needs avoid further consideration Of i t. B ut it will be Observed also that we have to
i un nl i b ut cons der so d, not o y as sensat on, also as
i i s i ai r i mot on . It the mot on of the , exc ted by
mm u i udi external Objects , and co n cated to the a
u u i tory apparat s , that prod ces the sensat on, how
m i u N hi i f ever yster o sly . ow t s phys cal aspect o
u mu ni u i i s i so nd st be recog zed, altho gh t not str ct ly correct to call thi s physical process by the name “ ” f s un s u i s u o o d . For o nd the res lt, the sensa
i i i s t on . The physical cause Of the sensat on the
- u hi m . so nd process , not ng ore
N u h as i evertheless , c stom sanct oned the rather
mi o ll loose ter nology here adverted t , and we sha therefore not caus e further confusion by an
i i u attempt at strict and punct l o s correctness . (I might mention here that a recent critic takes “ m e to task for stating in Theory and Practice of ” Pianoforte B uilding that sound has no Objec
i i i un sci n t ve ex stence . It s regrettable that the e tific mi nd i s entirely un able to grasp so Obvi ous and implicit a di stinction as that mentioned above . )
90 Tunin as S ci ence and Ar t g . dimini shin g intensity until the body again comes to rest. Observe that the kind of motion i s always Vibra
. T i s to s i o i of i i n tory hat ay , t c ns sts a sw ng on di i i i e uilib e rect on, a return to the pos t on of q rium and i in i i , a sw ng the oppos te di rect on, the lengths of the di vergences in each di rection from i i i u Th e m ti the central pos t on be ng eq al. o ons hi u u i m i w ch prod ce so nd, then, are V bratory ot ons Of the molecules of the ai r ; sound i s produced by molecular Vibration Of the atmosphere . Now thi s vibration can be excited i n the atmos pher e by the shock or fri ction engendered by some
i If for m i sol d body. , exa ple, we take an elast c i of it it p ece steel, and shake back and forth,
i i i in one di i i t v brates . When t sw ngs rect on
u ai r m it p shes the nearest layer of away fro , and thi s body Of ai r rushes back when the direction
i i s i air of the sw ng reversed, wh le the adjacent i i nd to the new pos t on i s i n turn pushed away, a in u r u N if t i m t rn shes back. ow , the s eel str p akes ten Vibrations per second it i s Obvious that the adjacent ai r will be excited into ten Vibratory c di m i in m f im orrespon ng ot ons the sa e length o t e . When the number of such Vibrations per second — — is sufficiently great above thi rty the ear begins The r l m P ob e . 91 to communi cate them to the brain as a collected u i rm i s and n fo result, and the sensation Of sound u a bro ght bout. It will also be Observed that the motion Of the ai r i s in the form of alternate condensation and i as rarefact on, each layer rushes back and forth in Obedi ence to the shocks inflicted upon it by the i i V brat ng body. When we begin to consider sound in reference to certain parti cular mani festations whi ch have
i i for us— i n c n espec al nterest when, short, we o sider musical as differentiated from non-musical — sounds we fin d a number Of interesting phenom Mu i ena . s cal sounds are di stingui shed from such as are non-musical from the fact that the former i i i i i are propagated by per od cal V brat ons , wh le the latter take their origin from non-periodi cal or nfus i of i i s fi f co ed ser es V brat on . In the rst o the present articles we di scussed the nature of these
i i Of m u i f i r V brat ons the olec lar part cles o the a . It now remains for us to di stinguish between the various kinds Of sounds that are produced in thi s m nn As i a er. already stated, the dist ngui shi ng characteristic of the musi cal variety of these u is i i di i i sa so nds the r per o c ty ; that s to y , the reg ularly recurrent nature of their generating vibra 92 Tunin a ci n an g s S e ce d Art. ti Th m i i s u . u i n ons e s cal sound, fact, prod ced by Vibrations which follow each other in regular and
fi i u As on de n te seq ence . we shall show later , the gravity or acuteness Of musical soun ds varies as th i i i i e frequency of the r generat ng V brat ons , and the lowest frequency of Vibration whi ch produces sounds audible to th e hum an ear exceeds twenty A m u i s i u i per second . s aller freq ency na d ble, for th e reason that the ear i s un able to blend the
Vibrations into one coalescing soun d . When the frequency exceeds twenty per second the effect
upon the ear i s that of a single sound . im i i i If we exper ent w th a wave s ren, th s fact m i u Th i i s beco es at once Obv o s . e wave s ren an instrument whi ch delivers puffs Of ai r at any fr e quency desired through a suitable receiving appa u B m u i i m rat s . y eans Of a co nt ng mechan s the number Of puffs produced per second may be read Off on i S i i s i a d al, O that t poss ble to note exactly how many are required to produce any given
un or mu i i i s so d s cal tone . When the s ren oper ated very slowly the puffs of ai r at first produce
i u b ut m er no s ngle so nd, when ore than twenty p second are coming from th e instrum ent they begin u i u i to coalesce , the res lt ng so nd be ng very grave . As the Speed of the siren i s increased the sounds Th Pr l m e ob e . 93 become progressively hi gher and hi gher until when the Speed of about twenty- five thousand i s i reached the sound ends in a sibilant hiss ng, and m i u beco es na di ble .
Th u i u i un e a d ble compass of m s cal so ds , then, ranges from those that are produced by about
i i i i s su as twenty per od c v brat on , to ch are gener ated by about twenty- five thousand i n the same
im B ut h c i c c s musi t e . t e pra t al ompa s of cal
u m s i i s u i n rm so nds , the co pa s wh ch sed the perfo f i i i Th o mus c s o s as s . e ance , n t o great th lowest tone of the modern piano has a frequency of about t - c i wenty seven per se ond, and the h ghest does not exceed four thousand one hundred at the same i i A p tch, the sounds i n question be ng the lowest i i . and the h ghest C , respect vely It i s necessary that we should investigate some what the laws that govern the frequencies of these mu i u Th fi f s cal so nds . e rst o these has already i i been ndicated . It i s not essent al that we should un m s i f hi h dertake a de on trat on o t s law, and t e
i Oi n l i i s bare statement w ll be suM e t y Obv ous . It as follows The pi tch of a musi cal s ound vari es as the num r vi r ati n r ec nd be of b o s p e s o .
T i i s fi mu i u i h s the rst canon of s cal aco st cs, as 94 Tuni n as ci nc nd Ar t g S e e a . applied to the purposes Of the present investiga i l a u t on . We Sha l t present content o rselves with stating thi s law and proceed at once to note what u i ma i im ded ct ons y leg t ately be drawn therefrom .
L AW OF S D S S OUN ING STRING .
S ound i s produced through the agency Of numer ous di h bo es . W ile it requires the in terpositi on Of m i ui its i fi so e elast c fl d for propagat on, the rst step i n its production i s taken when some body i s s t i i i T u e nto V brat on by an external agency . h s ,
i t ll um of ai r str ngs, rods, pla es, be s, col ns and other bodies are capable of being set into vibra tion in such a mann er as to influence adjacent layers Of ai r and thus propagate and transmi t
ur i i i sonorous waves to the ear . O nvest gat ons a to mm m t i rel te the co onest, al os , Of these agenc es ; m i i mu i na ely, to V brat ng strings . In s c, at least , it ma i i i um y safely be sa d that str nged nstr ents , n i in um i some form or other, predom nate n ber T u u i over all others . h s the nat re and govern ng f i m n t m f laws O str ngs present proble s , o erely o i i i o u b f i mmed ate nterest t o rselves , ut o essent al i mu i i n importance to the sc ence of s c general . We have already stated that the pitch of a — musi cal soun d by which we mean its relative T he Pr oblem . 95 — gravity or acuteness varies as the number of vi b r ati ons per second Of the string or other sonorous A im body. s ple experiment will demonstrate that pitch i s also dependent upon another factor ; m u t h i . na ely, pon the leng h Of t e str ng If a rope of twenty feet in length be stretched tightly b e tween two supports and then be struck a sharp it i u i se n i . blow, w ll be t V bration B ut the freq ency O f the Vibrations will be slow ; we shall have no difli culty in distingui shi ng each vibration of the
iffi . ill i d rope In fact, there w probably be sl ght culty i n estimating the frequency by the eye alone . If now we dimi ni sh the length Of the rope by one fourth we at once Observe a sensible increase i n u i imi i the freq ency, and as we cont nue to d n sh length the Speed Of vibration i s seen to increase . i No us um progress vely. w let carry the arg ent a i u h u i l ttle f rt er . S ppose that we have a str ng of i i any given length and tune t to any given p tch . T m i i i i m hen, by co par ng th s p tch w th the sa e n i ma s u sounded o a wave S ren, we y ee j st how many vibrations per second are performed by this i u t string at the given p tch . Sho ld we hen take another Similar string and tune i t to the octave u find t um of above, we Sho ld at once tha the n ber vibrati ons was just twi ce as great as before ; in 96 Tunin as ci nc n g S e e a d Ar t.
i i other words , that the octave vibrates w th tw ce
idi of s ik i the rap ty it fundamental . L ew se we should fin d that the fifth above the given fun da mental note vibrates three times while the fun da m i s n B u u ental v brates Once, and o o . t we sho ld also find that if we divi de the first given string exactly at one- half of i ts length it will produce Now k the octave above . we now that the octave above a given fundamental i s produced by twi ce the number Of vibrati ons in the same time as are ui un m T i req red for the f da ental . hus we arr ve at the second great law of the acoustics of musical strings : Th e p i tch of any gi ven s tring var i es invers ely as the len th o th e s tr i n —the hor t r th e s tr i n g f g s e g , the hi h r th i tch g e e p .
Thi fi n u P s law was rst a no nced by ythagoras,
- i i i con the Greek pre Chr st an ph losopher, and
firm f M n di s ed by the labors O Father erse ne , the tingui shed ecclesiastic and s cienti st of the seven
n h tee t century .
As i s k u f u i well nown to all st dents o aco st cs , mu i s i s u i mu i s cal tr ng , when prod c ng s cal tones , must be stretched at s ome relatively considerable
i s not ui muc i to tens on. It doe req re h Observat on discern the truth that the tension at which a string
98 Tunin as S ci enc and r t g e A .
anoth er will have on e-hal the r e u enc o and f f q y f, on e ct l r i h h th n tri n o ave owe p tc t an e s eco d s g . The laws laid down above are not correct ab so lutely when we are dealing with strings of less i i Th i i i than deal construct on . e deal mus cal str ng will be Of perfect uni formity and perfect flexibili t f c u it i s si o m i y . O o rse , not pos ble t ake str ngs
hi i m i hi ui m H ow w ch w ll co e w t n these req re ents .
di ff i for ever, the erences are sl ght, and other than ifi u i i scient c p rposes negl g ble . II CHAPTER .
AL A E TH E MUSIC S C L .
It i s not necessary for us to g o much into detail i n considering the origin of the musical scale . S ufli ce it to say that the present diatoni c scale Of tones was first named and defined by Gui do Of A i n h AS i s rezzo t e eleventh century. well known, hi i mu i t s scale of tones forms the foundat on of s c, and upon it the design of all musical instruments i s i si necessar ly based . It con sts of seven tones m fi na ed after the rst seven letters Of the alphabet, i i i s to and ame and an e ghth, wh ch the octave , n d fi after the rst . Th e frequencies of the various tones Of thi s u i Scale h ave been caref lly ascerta ned, and we are able therefore to Observe that each and every degree Of thi s scale bears a di rect ratio to every T i u of fi of other . ak ng the freq ency the rst note
s uni fin d the the scale a ty, we that the others bear following proportions to it : C D E F G A B C 1 2
Let us proceed to examine the relations Of these T i i n degrees to each other . ak ng the proport o s 100 Tunin ci ence an Art g as S d . m ti i i n en oned above, we d v de each pair of these, o e u i f by the other, and th s Obtain the rat os o each to T u degree the next . h s we are able to note the proportionate intervals that separate the scale
one m degrees , fro the other . Proportionate intervals between scale degrees C D E F G A B C 10/9 9/8 10/9 9/8 Close examination Of the second Of these two analyses will Show that there are j ust three di ffer i i T ent nterval proport ons represented . hey are distingui shed by the three different ratios and Th e first of these i s slightly
t t h i i s i grea er han t e second, and e ther cons derably h hi i i s i u a greater than t e t rd . Now t Obv o s th t since the ratio between the first and second de grees of the scale i s and between the second and thi rd th e interval i s greater in the first h i n . t so case than the second In other words, e called “ whole tone ” or “ whole step ” between C and D i s greater than the simi larly denomi nated E Th m di interval between D and . e sa e screpancy
appears when the other degrees are compared . i E and B The semitone ntervals between F, and
u m and C , are nat rally a good deal s aller than the i others . S O that we see there are three k nds of
102 Tunin a ci n n g s S e ce a d Zrt. tonality i s separated by the interval Of a mi nor m hi tone fro the second degree thereof, w le we know that the interval between these Should be m n i mu that Of a ajor tone . Simi lar co fus on st
u i S as nat rally ex st everywhere, O long the tones Of any given scale are fixedly tuned in pure and true i i ntonat on. S O that we ar e reduced to the necessity either Of having a different set Of soun d-producing appa ratus for every tonality i n whi ch we may want to f i ul in i play , or else O man p at g the nterval propor tions i n such a way as to extingui sh the differ i ence between the whole step ntervals . i i M i A flcul . gain, another d i ty presents tself us c cann ot satisfactorily express all its moods and thoughts through the medi um Of a pure diatoni c h s i u scale . It a long s nce been fo nd necessary to interpolate other sounds between the whole steps . “ These sounds have become known as chromati c ” T i i di f semi tones . hey are Obta ned by tak ng the ference between a mi nor tone and a di atoni c semi tone (as by dividing the ratio Of one by the ratio i i Of the other) , and the appropr ate rat o Of the interval thus formed i s found to be Now if we consider the C of the scales above given to have a frequency Of 512 vibrations per second (the Th M i l l 103 e us ca S ca e.
pitch generally used for conveni ence in calcula i i i t on, as t s the ninth power Of we find that the frequencies Of a diatoni c scale thus calculated will be :
N es r s . am of deg ee . C D 9
Rat o e ch to C . . 1 i , a 8
Internal p roportions .
0 0 c c 3 3
5 o 5 c: m c: a:
S . 2 3 . 2 s 8 s s a s: a 2 2 C: 2 2 2 C:
re u n F q e ci es . . 512 576 640 768 960 1024 C D E F G A B C Now a chromatic semitone may readily be Oh in The ta ed to any of the degrees above calculated . ’ process i s to divide or multiply by the difler ence between the intervals O f a minor tone and a i i mito m i S O d aton c se ne ; na ely, by the rat o that the chromatic semitone above C 512 will be
- Th ch r o C Sharp 512 ! or plus . e matic semitone below the adjacent D will be D-flat
- 576 or Thi s shows that D flat, n rt 104 Tuning as S ci ence a d A .
i i i hi in i an contrary to suppos t on, s gher p tch th
- r C sha p .
N n i u C- ow , k ow ng the freq ency Of sharp accord
O f us it i n i ng to the above given scale C , let note a scale Of whi ch the toni c i s D (the major second f In hi u O f the scale O C) . t s latter case the so nd,
- i m s O f D . C sharp, s the ajor seventh of the cale Thi s tonic D being the major second of the scale
i u 576 so fr e C , w ll have a freq ency Of , that the
u nc - its m in q e y Of C sharp, ajor seventh, that scale , will be 576 ! or B ut thi s C- Sharp wi ll be the octave above the C- sharp which i s the m i chro at c semi tone above C in the scale Of C . T u Of it herefore, the freq ency the octave below ,
t n - f 0 or the la ter C , should be o e half O or 54 .
Our u i calc lat ons , however, have shown that the frequency Of the chromatic semitone above C
- i s T u s ( C Sharp) plus . h s we ee that the m i mit s i ni chro at c se ones, a well as the d ato c scale iff in u i i degrees , d er, p re ntonat on, according to the variation Of the toni c Of the scales Of whi ch m they for a part . These simple illustrations serve to Show in a very clear m anner that the requi rements Of pure intonation are beyond the capacity O f keyed musi cal i ume u a c i a nstr nts, constr cted c ord ng to p r eS
106 Tunin ci n n g as S e ce a d Art.
m i mu i i h s u have for ed the bas s Of s c, t a been fo nd imil iffi ul i i i that S ar d c t es Of ntonation have ar sen, so that from earliest times systems of tempering
i a Of the nterv ls the scale have been invented .
i u i i i s W tho t go ng nto elaborate deta l, let u pro ceed to consider at once the system Of tempera m hi i s uni i i s ent w ch now versally pract ced . It “ ” n E T m n i s n k own as the qual e perament, a d t i v i n ent o i . B u has been ascr bed to ! . S ach, altho gh
it i m t th or ti certa nly see s o have been known, e e hi im sa at s . us cally least, long before t e Let y “ ” at once that the Equal Temperam ent possesses i u i i Obv o s advantages , and glar ng d sadvantages . i s im i u nv ni It S ple, eas ly nderstood, and very co e i t i ui i n mi ent . It div des the oc ave nto eq d sta t se i i ff tones, and abol shes the d erences between major mi i i m i mi and nor tones , and d aton c and chro at c se
I se tones . t reduces the whole octave to a t Of i mi u i m a th rteen se tones , eq ally d stant fro e ch
T u i mi u un r am other. h s t per ts an absol tely t l d m m u i u me e freedo Of od lat on, and a conseq ent i i i i i extraord nary lat tude i n mus cal compos t on .
Its di sadvantages are not less clear . It de prives us at once Of the deli cate and subtle differ
ences between consonant and dissonant chords ; it reduces all chords and intervals to a uniform Th M i e us cal S cale. 107
an u n i nf dl in harshness d ro ghness , a d s co esse y , m a a hith fact, a co promi se with difficulties th t h ve i u in erto been nsol ble, rather than the last word mu i i s cal ntonation. AP E III CH T R .
TH E E A E PE A E ! U L T M R M NT .
i In sp te, however, Of the di sadvantages that we S O u i m i j stly ascr bed to the equal te perament, t i s u i i seless , as th ngs now are , to cons der any other m of i i i i syste ntonat on. Unt l mechanical ngenuity h as u i the i s um nd s ppl ed n tr ents , a composers have m ul ti m arranged the od a ons , for the perfor ance of mu i in u i i mu s c p re ntonat on, we st perforce be
i E u m m contented w th the q al Te pera ent . It there fore remains to investigate its application to the i ni i pract cal work Of tu ng the p ano .
As m a m i i s a tter Of co par son, there appended herewith a table showing the pure modern dia tonic- chromatic scale contrasted with an equiva
in lent s cale equal temperament. In each case the frequency i s calculated from C 512 and the figures u i h R are taken on the a thor ty Of t e ev. Father
hm one Of m mi e m acous Za , the ost e n nt of odern
ci ans u t u i u s i ti , and a thor Of tha bea t f l cla s c ” M si Sound and u c .
110 Tunin ci nc n Ar t g as S e e a d .
fi m i m m fths . It re a ns for us to di scover so e ethod ‘ whereby we may proceed without serious difli culty to the task Of estimating the actual impuri ties per mi i in ss ble each case . It i s Obvious that even if we know exactly by how many vibrations per second each degree Of the tempered scale must be altered at any given
i i m i ifli c t stimat p tch, there st ll re a ns the d ul y Of e
n i i g these proportional impurities while tun ng . Th e work Of tuni ng i s performed fun damentally
i IS n by means Of aural percept on . there a y way in whi ch we can gui de our auditory faculties S O that we m ay at once cogni ze any required impur
i t ?The u i s in afli rma y answer, fort nately, the i i i . u t ve S ch a way does ex st, and presents, ndeed, a very sure and accurate means for estimating iff these slight and elusive d erences . In order it mu di a to appreciate , however, we st gress for our u i few moments, and hark back to aco st cal
researches .
BEA TS .
The student Of acoustics i s famili ar with the i s sa i phenomena of interference ; that to y , w th the sing ular results that ar e Observed to ensue from the simultaneous projection Of sonorous The E ual Tem ram nt 111 q p e e .
hi u waves w ch have different phases . In s ch cases , as when two sonorous waves Of a Similar fr e
uenc i i q y , generated by two sound ng bod es , bear to each other such relations that the condensation of one wave synchroni zes with the rarefaction Of the n i i other, the crest of o e wave w ll synchron ze i w th the trough Of the other, and the two waves and m will therefore cancel one another, co plete i i i u ext nct on Of sound w ll res lt .
T i s Of un i here another class so ds, wh ch, how
m u n m ever, are ore freq ently e countered ; na ely, sounds whi ch ar e not quite i n unison with one w u m i n ni another . When t o so nds not co pletely u son imu a u i i f i are s lt neo sly exc ted, nstead o be ng i i i i ext ng ui shed, they g ve r se to certa n peculi ar ‘ ” " ‘ ” Th s phenomena denomi nated beats . ese b eat are easily r ecogui z able and form criteri a for very accurate estimation Of mi nute differences in fr e
u i u if c n l q eney. Obv o sly then, we a earn what h i m beats are and ow to recogn ze the , we can at once see how it may be possible to arrive at most accurate determinations of minute frequency dif f r nc s u i in u i i e e e , s ch as are cons dered t n ng nter m vals i n equal tempera ent . We know that sounds are at the same pitch when they ar e generated by sonorous bodi es hav 112 Tunin as S ci ence an Ar t g d .
in m Of i i it i s s g the sa e Speed v brat on, and ea y to
i if i r u di perce ve that, two such bod es a e so n ng i ti together, the condensat ons and rarefac ons Of i i i the layers Of a r w ll synchroni ze w th each other , S O that both will be exciting condensations at the same instant and likewise will generate r ar efac i imu And if di t ons S ltaneously. even the two bo es
a m u i h ve not exactly the sa e Speed, the res lt w ll be equally Simple as long as thei r speeds bear sim i Thu w i i ple rat os to each other . s t o bod es wh ch are emitting sounds at the interval Of a fifth or a fourth will generate condensations and r ar efac tion i n such a manner that they will not interfere
B u i s difi er ent one with another. t the case where two sounds ar e separated by differences in pitch i that cannot be expressed by s mple ratios . For
m if one u one i i exa ple, so nd be v brat on per second i i s hi gher in frequency than another, t clear that by the time the first sounding body has completed i s i um i i i t g ven n ber Of v brat ons , the other w ll be hi i one vibration be nd . When, therefore, the v bra tions of the first body are continued into the next
i one i b e com second, the condensat on Of wave w ll pletely synchronous neither with the condensati on fi nor the rarefaction of the other . In the rst case we have a considerable augmentation of sound
114 T n n t u i g as S ci ence and Ar . t i n u if it m hat are nearly consonance . Th s , beco es a matter Of tuni ng a certain interval a little flat or sharp i n order to comply with the requirements of E u T m m ti ma q al e pera ent, the opera on y be readily performed by Observing the number Of beats that are heard between the two sounds when one m i fla d of the s Sharped or tte . S O that all schemes Of tuning must necessarily be founded upon a recogni tion Of thi s important phenom enon . Th e above i s quoted from the fourteenth chap “ ter Of Theory and Practice of Pianoforte B uild ” i n i i i i i i g , s nce t g ves a descr pt on Of the phys cal
' u i u i i t s h i ch nat re and pract cal t l y Of beat , w I can hardly improve upon for the purposes Of the pres a i ent tre t se . AP E CH T R IV.
P APP O F TH E E A TEMPERAM EN RACTICAL LICATION ! U L T .
In the last chapter we discussed the acoustical and musi cal Signi ficance Of the Equal Tempera ment and its influence upon the in tonation Of the mu i s cal scale . We also devoted some Space to i i of m f cons derat on the pheno ena o beats , and demonstrated their essential importance and i n di spensableness as guides i n the work of tem
i mu i u m s i per ng s cal so nds . Fro what wa then sa d, i t will be apparent that the work Of applying the principles Of Equal Temperament to the work of i uni i m i p ano t ng w ll be acco pl shed when we know, fi h u iff i s rst, ow m ch d erence there to be between the true sounds and their tempered equivalents ; use se u and, second, when we can the beats t p between the slightly di sturbed interval members as guides for determining the correct proportion i of d sturbance . Whi le the pitch Of the scales already given i s calculated from the acoustical C 512 rather than from the musical C there will be no difli 116 Tuni n i nc n Ar t g as S c e e a d .
culty in applying our information to the case Of
i s d u the latter, wh ch i generally used to ay nder “ ” the name Of Internation al Pitch for tuni ng
i c s p anos and other musi al instrum ents . Let u
S proceed to do O . S uppose that we tune an ascending major thi rd i m i ni t nterval fro any g ven to c, and hat we then build another major thi rd upon the first and a i imi i n The th rd s lar nterval upon the second o e . distance between the original sound and the last n so i i n wi o e Obta ned w ll be o e octave . It ll, how
u u ui u m ever, be fo nd that the octave th s b lt p fro the original tonic will be flatter than the octave di rectly Obtained by doubling the frequency Of i i ni the or g nal to c .
A i if ui u i f u c n c ga n, we b ld p a ser es o fo r o se u i mi t i i n m t ve nor h rds the sa e way, we shall also i i i i un Obta n an octave , and aga n t w ll be fo d that such octave very considerably differs from the t i i m i i oc ave Obta ned d rect fro the or g nal tonic . In i th i i th s case e d rect octave s flatter . A similar result i s Obtained by building up cu i fi u twelve conse t ve fths . S ch a progression
e and~ extends to exactly s ven octaves , y et the last tone so obtained difi er s considerably from the tone produced b y the building Of seven octaves
T nin i n n rt u g as S c e ce a d A . constituting a tempered fifth should be such as to generate between them Of one beat per sec ond in the octave around mi ddle C at the interna ti onal i T i s s t it p tch . hat to ay that at s andard p ch a r oxima C) , there should be an average pp tion of 3 beats in 5 seconds between th e soun ds that consti tute perfect fifths withi n that octave . Now it i s Obvi ously impracticable to attempt to hold the clock on beats in the mann er suggested
b u if s u e fif h to above, t we do o t ne thes t s as Obtain an average of two di stinctly audible b eats u i i before the , so nd d es away we shall Obta n two
in im s as ai st beats approx ately three econds , ag n a simi lar number i n three and one- third seconds ; the latter being the actual rate as calculated by m m find H el holtz . In the sa e way we that the tempering Of fourths should produce an average
n or u i in Of o e beat per second, three a d ble beats i i m it t . three seconds, w th n the sa e oc ave Let
here be noted that the beat- rates above m en t u um ti oned are averages, and hat the act al n ber Of beats increases i n an ascending di rection ; thus causing the intervals below middle C to heat more slowly than th e average and those above more
rapidly. fi As we stated before, the fths must be flatted Pr acti cal A li i n pp cat o .
i n order to satisfy the requirements Of Equal T m m T e pera ent . herefore, we see that it i s nec essary to tun e these intervals within the mi ddle octave so that the upper sound of the fifth i s flat
of u i two u i imi p r ty by a d ble beats. S larly, the upper sound Of the fourths must be tun ed S O
as b e i to Sharp by three aud ble beats .
f u i s i O co rse, t i not the easiest th ng in the world
to estimate accurately the beat- rates of i ntervals
so u u and fif that are nearly p re as the fo rths ths . B ut there ar e various tests that can be used to
ui our F r m h g de work . o exa ple, w en we have fixed the pitch of mi ddle C and are about to con “ ” i n i i i s i t n e lay ng the bear ngs (that , adjust ng the temperament of one octave of soun ds by
u hs fi r i fi u fo rt and fths o otherw se) , we rst t ne the mi mi F below ddle 0 , then the G below ddle C, and D h hi then the above G . When we reac t s last
un fin i i so d, we d that a new nterval presents tself ;
F- D fi i the major sixth . If the fths already obta ned i i are too flat the s xth w ll beat too slowly, and con ver sely will beat too fast if the opposite condi i i Th m i u d u t on preva ls . e ajor S xths sho l beat abo t m i a u i ni ne per second, and the ajor th rds bo t e ght
o to in the same time. N w when we proceed the 120 T nin i nc n Ar t u g as S c e e a d .
uni D D- A next sound after t ng and tun e , we shall
m hi F-A T i i us have a ajor t rd . h s g ves another i test Of the correctness of our work . In th s way ’ the work goes on un til th e whole octave Of tem i pered sounds have been Obta ned . It will be well to p ut in tabular form a state “ ment of th e method followed in laying the bear ” i i th ima - s ngs , together w th e approx te beat rate
u i tu thro ghout . Let t be understood that ners are pretty nearly agreed in tuning from middle C and “ ” the method Of laying the bearings by fourths and fifths has the sanction Of the most eminent
t f i s exponen s o the art . It necessary to start the “ work Of tuning by thi s plan Of laying the bear ” ings simply because it would be impracti cable to attempt the tempering Of every interval
u u m of i um thro gho t the co pass the nstr ent, with out to i reference any other nterval . In order to
im i i im u n s pl fy th ngs , we s ply adj st o e octave of soun ds by careful estimation Of the beat- rates and then proceed to tune all the others from thi s one by octaves . The method of laying the bearings then may be described as follows 1 Tu i u i . ne p tch C by t n ng fork .
122 Tunin as S ci ence and Ar t g .
b T - - eats flat . est the third G shar p C and the chord
G- - B - sharp E .
11 T - - . u D fi ne sharp above G sharp , a fth, so that
D- is T hi D- a sharp two beats flat . est the t rd sh rp
B and the chords F- Sharp - A- D- sharp and G- sharp
B -D- r sha p .
1 T - - 2 . u A D u so ne sharp below sharp, a fo rth, that A- sharp i s a li ttle less than three audible
T hi A- - F- A beats flat . est the t rds sharp sharp ,
- D F- A- -D sharp , and the chord sharp .
T - i s 13 . u A fi so ne F above sharp, a fth, that F T F F flat by two beats . est the octave and the
- - - - F Thi chord G sharp C sharp . s last F i s the octave of the first F tuned and should coincide a i it i i i mi ex ctly w th , the co nc dence be ng deter ned i by the ent re absence Of beats . After the bearings have been laid in thi s manner the work i s continued i n either direction by octaves . The practical handling Of the tuning hammer and the methods to be adopted to accustom the ear to the estimation Of beats will be the subjects of the next chapter .
S N UNI ON TUNI G. It now becomes necessary to consider the mat ter Of tuning the various intervals in a practical ractical A li cati n 1 P pp o . 23 m n id i a ner. We shall begin with a cons erat on Of uni uni i s o s u son t ng ; that t ay , Of the act al work Of bringing the three strings Of a string-group into a u i ex ct t ne w th one another . P E CHA T R V.
D E UNIS ON AN OCTAV TUNING .
Th e statements made in earlier chapters relative to the phenomena Of beats and their influence upon th e science and art Of piano tuni ng mu st have made it already abundantly clear how pro Th e foundly they affect every part of the work .
u i u im u Ob ser whole art Of t n ng rests , lt ately, pon vation and comparison Of the phenomena indi
i ni s For un i s i s cated by d sturbed u ons . the on the first and simplest interval and the easiest manner Of Observing the operation of beat-phe n m n s u in nn i i o e a i fo nd co ect on wi th t. In fact it i s considerably easier to detect the exi stence Of beats between two soun ds that are nearly in uni s on than betwe en two soun ds that are merely
i n n onance it i s almost co s . In other words , not so difli cult to detect and coun t the beats between two strings Of the same unison group on a pi ano as to undertake the same task with strings that i n it th i sa are separated p ch by e ntervals Of, y , a fourth or a fifth .
126 Tuning as S ci ence and Ar t
i one the uni son group i s reduced to two str ngs , of whi ch i s connected with the pin upon whi ch mm h A umi the ha er as been placed . ss ng that these two strings are exactly in uni son ( and if
not so they are , they Should be made by a pro f s i i s u es i onal tuner before the exper ment beg n) , turn the hammer slightly to the left (away from the body when the ri ght hand i s on the hammer) . This will flatten the pitch Of the string by slacken in i s i T n i i to g t tens on . he l sten attent vely the soun d whi ch ensues when the correspondi ng key i s t n u struck . A once o e will Observe a conf sed i i u m i s jangl ng and howl ng, m ch the sa e as heard when a cracked church bell i s sounded from a
ul u of hi steeple . Observe caref ly the nat re t s i f i u confused jangle . It cons sts o a cont n al alter i i i f u nate r s ng and fall ng, ebb and flow, o so nd, where the two contesting elements generated by
the two non- uni sonal strings seem each to be al ternately the victor and the vanqui shed in the
contest . Let the hammer now be gradually moved back i so t i u i n the opposite di rect on, hat the d st rbed
ach s u i string gradually r eapp r o e the n sonal state . Th e first change in the sound i s at once perceived in the slackeni ng of the r ate at whi ch these r i s ni n n Tuni n 127 U s o a d Octave g . ings and fallings succeed each other ; in a length ni As ham o i s sa Of i i . ng, that to y , the r per od the m r i s i h i i e st ll further turn ed, t e r s ngs and fall i hi i “ ngs , w ch already we d scern as those beats u u m and whose nat re we have di sc ssed, beco e less u i m i less freq ent, unt l at last they erge ent rely n i hi into the uni sonal sound a d van sh . When t s f i uni i s a i state O affa rs i s reached, the son ga n perfect and the two strings exactly in tune one i w th another . h a i if T e above expl nat on, carefully r ead and
i d i i a i m f r d geste , w ll prov de certa n eans o detect i n g the presence or absence of beats . Inasmuch as we are to gauge the excellence of our tuni ng u u work by j st s ch means , the importance of train ing the ear to Observe and discern these pheno m i mi i u i i Th ena w ll be ad tted w tho t d scuss on. e student undoubtedly ought to devote considerable im of i i u d u i t e to the work correct ng d st rbe n sons , and for the present he wi ll be doing enough if he merely g ets hi s strings in and out of tune without much regard for a professional method i m Of handl ng the hammer. When he has astered the art of detecting the beats in a disturbed uni son he may consider the applicati on Of hi s knowl f uni Th edge to the matter o octave t ng . e pro 128 Tunin a i nc n r g s S c e e a d A t. cedur e i s i two u essent ally the same , and the so nds will be foun d to merge into one another just as Th s do the two or three sounds Of a unison . e beat will occur i n precisely the same manner and thei r number will be the same as i n simi lar uni sonal
Th e u i ui m cases . st dent w ll req re, however, a so e what longer time to detect the beats i n thi s in
erval t i i s t , and when de ected t will be a l ttle les
s i i ea y to perce ve when they ent rely di sappear . Particular care should therefore be taken i n thi s matter and the student must not consider himself proficient i n the matter Of unison and octave tun ing until he has assured hi mself of hi s abili ty successfully to adjust these intervals in all parts
i fli cult i m i Of the piano . Cons derable di y w ll be an i n i m i u fest certa n parts Of the co pass, part c larly i n th e b ut i low bass , pat ence and perseverance
i i Pr ac w ll enable the learner to preva l at last . tice with double octaves as tests will be found u very helpf l .
i i s i When pract cal work taken up n earnest, there will be foun d the want Of an authoritative f i M test for the correctness o octave tun ng . ere reliance upon the detection Of beats between the extreme sounds of the octave cannot uniformly
u i in be depended pon, espec ally the lower bass
130 Tunin i n g as S c e ce and Ar t.
i ur C3 u i hi fi in in i d st bed n son, t s sound di er g p tch according to its position i n one or other Of the
i i un T f uni i s or g nal so ds . he disturbance o son , Of u du co rse, e to the process Of temperament. An other test for the correctness of octave tun in i s - g found in the major under thirds and tenths .
m F- Fl F- C In the sa e case , the beats between
r m u - hi m i sha p, a ajor nder t rd, are co pared w th
- - Fl t i e those between C sharp , a tenth . In h s cas also the beats on each Side must be equal to assure
i Th i n hi s correctness of p tch . e cause of beats t
i s i imi f u hi case prec sely s lar, o co rse, to that w ch has already been described .
i i s u f u It w ll be observed, as nat rally o co rse i the case, that the beats between such ntervals increase i n number as the frequency Of the soun ds i Th t i i c i n ncreases . e b oa s w ll therefore n rease
um i u i S O n ber as the p tch Of the so nd r ses , that there are more beats between sounds in the treble
n . than i the bass , and conversely u i t When t n ng he lower bass tones , the young O iffi u tuner will find a great deal f d c lty at first . It i s indeed very difficult to dis cern the tr ue beats generated by the clashi ng Of non - uni sonal sounds iff i in thi s r egister, and to d erent ate between them and such as are inh erent and produced by defects Unis on and ctave Tunin O g . 13 1
i m i ai Of the str ngs the selves . Long pract ce, a ml mu cate ear, and ch patience are requi red before these perplexing sound problems can be solved i T hi i i l w th correctness . he nts already g ven w l be Of much value i n assi sting the student towards m i ms And a better co prehens on of these proble . u m i m i s fi s ch co prehens on, when co plete, the rst i step towards solut on .
’ One Of the most frequent causes of trouble in connection with the tuning of uni son strings i s found in the false beats oftentimes generated i i f i a there n . Faulty draw ng o the w re, c reless
i i u i Of i i i tw st ng d r ng process str ng ng, ncorrect tension due to mistakes in scale drawing ; all these i n in s caushs operate to produce false beats str g . In such cases the sound given out by a single i i i u nd m i s di s str ng, nstead Of be ng p re a s ooth, f i i figured by the presence O beats , wh ch are l able to cause great confusion whenever two strings m im i i are to be tuned together . So et es th s cond tion of affairs i s S O serious that it renders smooth i i uni son tuning qui te mposs ble . When thi s kind of thi ng exi sts it i s better to compromi se with the evil than di rectly to assault m a a o im uni soni sati on it. In so e c ses an ppr x ate may be brought about by slightly Sharping or flat 132 Tuni n as S ci n g e ce and Ar t.
in i n t g the other str ngs Of the group , so that o e set m a it u i Of beats y , as were, ne tral ze the other . i i Care, attent on, pract ce, and refinement Of th e auditory powers will render such tasks continu di ffi ally less cult .
A question that has been much agitated p r o and con has to do with the prevalent custom Of tunin g
hi u the gher treble tones p rposely too Sharp . The o r eti call u u i s i i i y , s ch a co rse ent rely ndefens ble , and if everyone possessed perfect appreciation Of
i u n m f p tch, there wo ld be o de and or what i s really i u . u m a corr pt on Unfort nately, however, al ost all car s tend to hear very high tones as flatter than
H u u i they really are . ence, nq est onably, the feel ing that accurately tuned octaves in the hi ghest
i of m fl t i s o m port ons the co pass are a . It t overco e thi s almost universal tendency that tuners have agreed in tuni ng the highest octave and a half or so of m h tones so ewhat s arp . The principal trouble with thi s practice i s that there exists no standard whereby the exact appro p riate proportion Of Sharpin g m ay be ascertained
i H it i s to i and appl ed . ence necessary rely ent rely upon the in dividual judgment Of the tuner ; by no
i has means an ideal method . Personal exper ence
134 Tunin i n n g as S c e ce a d Ar t.
i t i hi ds contrary, w ll be found that in the case of t r i i i i d and S xths the r beats are very d st nctly hear , and the only chance of confusi on lies in the great i i i hi much rap d ty w th w ch they ar e produced. Inas as we base our tuni ng scheme upon fourths and fi s fths , and u e the other inter vals for compari son and u i test, we m st cons der the matter Of tuni ng the former with due regard to the peculi arities Of E u As m d a T m m . i the q l e pera ent w ll be reme bere , it i s requi red to Obtain an average Of app r oxi m wo in fi ately t di stinct beats the fths , and three in h u wi hi mi . T the fo rths, t n the ddle octave e beats generated in these intervals are naturally i un i s or flat al ke, whether the note t ed Sharp Of Thi a i iffi ul m im the other . s m kes t d c t so et es to
i n r i know whether one s o the sha p or flat s de . In order to reduce the chances Of error here it i s well first to tune th e interval perfect and then
” to dep ress or raise the pitch until the r eqm r ed number of audible beats are heard . It has already been stated that tests of the correctness Of fourth and fifth tuni ng ar e made by compari son Of the thirds and Sixths as the A u it i work goes on. ltho gh has been poss ble to state the number Of beats that these latter should give out and to be sure of the correctness of Uni on T nin 135 s and Octave u g .
u a m i im i s ch st te ents , yet it s almost poss ble to estimate these beats numeri cally by the unaided N hi u n ear. ot ng b t practi ce ca enable one to deter mine instinctively when a thi rd or Sixth i s quite f u u ul a u correct . O co rse, s ch a res t follows n t ral ly when the work on the fourths and fifths i s i mu i also free from fault, b ut nas ch as the th rds and Sixths are used to check the correctness Of the others it i s necessary to be well acqu ainted
- A i a . S ai with the r proper be t rates before s d, hi u however, t s can only be well done after m ch i i practice and experience . Unt l the beg nner has had m i th e hi so e pract cal, work, therefore, nts fi already given must suf ce .
P A OF TH E A E MANI UL TION TUNING H MM R .
We have here a problem that has been attacked m m i fro any s des , and to whi ch the answers are
um u c n i i E or n ero s and o flct ng . very tuner sooner later develops a peculiar style Of holding hi s tun in amm i vi f i g h er, and an ndi dual manner O turn ng
in i it A u i i s ot the p s w th . ltho gh t n part Of our
i i o i n hi u present ntent on t dogmat ze o t s s bject, there are a few hi nts that should be given and if a i s ui followed, proper style to be acq red from th fi e rst . 136 Tunin a i n g s S c e ce and Ar t.
i t m m i a Let be re e bered, n the first place, th t the pins Of an upright piano tend constantly to lean u of forward and downward, under the press re the i . S u f fi i r s i s str ngs ch a state O a a , however, bad, and manufacturers adopt various expedi ents to hi i i i Th i i n retard t s nev table sagg ng . e p ns are dr ve into the w r estplank wi th their heads inclin ed up i ward . Wooden collars are fitted t ghtly around them where they pass through the holes in a full i a ron pl te ; these and other methods are in use . None Of the ordinary causes which operate to p r o u in i s i s s mm n d ce sagg g Of the p n , however, o co o and disastrous as improper handling Of the tuning mm All u ’ ff di ha er. the t ner s e orts should be rect ed towards the development Of a style that will enable hi m to turn the pins without either bend
i n r hi m In o m i g o wrenc ng the . order t acco pl sh thi s it i s absolutely necessary to hold the hammer as nearly as possible in a vertical positi on ; a r e
n hi imi i i i qui r em e t w ch el nates the s tt ng pos ti on . amm m no Moreover, the h er ust t be dragged down u in i wards s o as to p ll the p down with t. The ideal method Of turni ng the pi n i s to bring the hammer into close engagement with it and then gently to work the former forward and back
ul m Of arm u i by a musc ar move ent the , s ng no
138 Tuni n ci n an Ar t g as S e ce d .
i s - d i i adv p ano case, make a left han pos t on an i ta us . a geo for these Gener lly , however, the r ght n hand position i s better o the grand . CHAPTER VI.
ON TH E U SE AND AB USE OF TOOL S .
7 The first and most important Of the tuner S tools i s a a , of course, the tuni ng hammer . We have lre dy had somethi ng to say concerning the mani pulation of hi i s m i main dis t s n tru ent, and t now re s to u i i c ss t from another point Of v ew. i f m In the first place, let us cons der the or and u uni mm AS ma o nat re of the t ng ha er . de t day, it u i i us ally cons sts Of a long, hollow handle, hav ng in i hi c an extensible Steel shaft concealed t, w h latter can be pulled out so as practi cally to double i n d the effect ve length of the handle . O a threa tapped in the end of the shaft i s screwed the
Thi instru hammer head . s important part Of the ment i s provi ded with an orifice shaped to permi t
m uni - in F r us u engage ent with the t ng p . o e on sq are i m i p anos, these heads are ade w th Oblong aper tures ; for uprights and grands the holes are out
- u a either square or star shaped . When one b ys
i i i s head Of the Oblong var ety, t better to get the s vi i o double kind ; that i , a head pro ded w th tw 140 Tunin ci n nd Ar g as S e ce a t.
shafts and having the holes cut at different angles . By thi s means one i s able to adjust the hammer
n i n in n ni o the p a co ve ent manner always .
The star- head will be found a great deal more conveni ent than any other kind for work on grands
u i Thi i s i o i and pr ghts . s ow ng t the fact that w th i t one can always adjust the hammer to the pin ni i i i u conve ently, w thout the necess ty Of cont n ally turni ng from one side of the head to the other . Th ’ fi s e student of the tuner s art, when rst he get
uni in s i s ik a a t ng hamm er hi hand, l ely to fall t i i u i i to a once nto bad hab ts, and all nw tt ngly wre k vari ed and di verse sorts of destruction upon th e pianos whi ch he i s permitted to use for exp eri m ni ula i mental purposes . For the proper a p t on i s i ffi ul i of the hammer a del cate and di c t th ng, whi ch must be approached in a patient and deter mi m ned anner . A t t on m im s was s a ed before, e Of the ost por tant problems to be considered in conn ecti on with thi s matter has reference to turni ng the pins wi th u i i h out also bending them . In the pr ght p ano t e position of th e pins i s such that thi s bendi ng inev
ul im mm - i itably res ts from an proper ha er pos ti on. H ence the student must try to acqui re a correct so b ad a i ma style from the start, that h b ts y not
142 Tunin t g as S ci ence and Ar . encour ages slovenli ness Of work and careless m d di i etho s generally, lea ng to bent p ns, wrenched wr es l nk l tp a s and i nnumerable other evi s . When the angle made by the hammer wi th the i s a i a mm i s i n floor r ght ngle, then the ha er the i i i Fo u i i s diffi . r t best poss ble pos t on , th s placed, u n in hi c lt ot to turn the p correctly, whereas t s difficulty runs more and more the other way as the angle Of the hamm er with the floor becomes more m and ore acute . Of the other tools whi ch the piano tuner mu st
a i him i uni - i s always h ve w th , a rel able t ng fork m a and i . I ost necess ry essent al n these days , when some sort of an attempt i s being made to mai n ain i a i i i t i s ab so t the standard ntern t onal p tch, lutely essenti al to possess a tuni ng- fork guaran i i A or teed to g ve 435 vibrat ons per second for , u i per second for C . S ch forks can be Obta ned at a moderate cost from piano supply houses . Next i n immrtance we must consider the pro i s us vi sion Of suitable wedges . It customary to e long wedges made of rubber or felt for stopping off the strings in the middle and lower registers i i for hi e Of the upright p ano, wh le the gher trebl
' us i it i s the custom to e a long, narrow st ck of wood it i end cov pointed at one end, and w h the po nted On the s e and A u T 143 U b s e of ools .
i ered w th felt. Thi s i s generally known as a stick wedge and it i s necessary to use it in the upper i f u i i on u of port on o the pr ght p ano , acco nt the fact that the hammers in that part strike so close to the upper bridge that there i s no room to insert
i u s the ord nary r bber or felt wedge . Practi ce differs greatly as regards the use Of m m u n these necessary instru ents . S o e t ners , whe
i u use laying the bear ngs , are acc stomed to a set
s Off of thi rteen rubber wedges, o as to stop all b ut the mi ddle string Of each string group i n the f hi m i in octave . One advantage o t s ethod l es the fact that it i s thus possible to make any necessary modi fications in the pitch Of any tone withi n the
a i i an d oct ve after the bear ngs have been la d once, yet to do so without di sturbing more than one i i i s ngle str ng on each group . When the bear ngs have been satisfactorily laid and tested i n this
m i ni m m of u manner, the re a ng e bers the gro ps
u nn ni can be adjusted at leis re . It ca ot be de ed that thi s method has many advantages for the
u i mu i s i to ui st dent, nas ch as he certa n req re very frequent modifications and tests whi le learni ng i Th the ar t Of laying the bear ngs . e seasoned
on an u al l tuner, the other h d, do btless gets ong wel 144 Tunin as i g S c ence and Art.
u i b u i s eno gh w th fewer wedges , ut such a co rse not to be recommended to the beginner. ’ We now have to consider another Of the tuner s instruments whi ch i s exceedi ngly important . I
i i n s B ut refer to the felt p ck ng eedle . before we consider the use Of these valuable aids it i s noces sary for us to di scuss at some little length the i ifi i f i i i sc ent c bas s Of the art O vo c ng the p ano .
146 Tunin g as S ci ence and Art.
i il Th str ng are necessar y more or less di ssonant. e proportion Of di ssonance increases with the r e m oteness Of i H i mu as the the p art al . ence, nas ch hammer strikes a string at a point between one
i - f i s n di to its e ghth to one tenth o t le gth, accor ng i i in i hi ar e pos t on the scale, the part al tones w ch most likely affected by the stroke Of the hammer are those high tones generated by segments Of th e i m n - i f its str ng s aller than o e e ghth O length . N i f u ow, since the qual ty O the tone depends pon
mi i i i s i i t i s the pro nence and ntens ty of t part als , Obvi ous that such partials as we have been descr ib i n i i in i u mu neces g , be ng d ssonant the r nat re, st sar il fi ec f y a t the color o the tone . When they are permi tted to vibrate freely the color must neces s a m m wa rily be ore or less harsh . In the sa e y when they are damped Off the effect must be that u i m m a Of prod c ng a ore ellow, less h rsh, and less metalli c quality Of tone . Thi s i s the scientific explanation of the effect upon the piano Of toning or voicing its hammers A u hi by means of the needles . ltho gh t s process has been in use ever since the production Of felt amm it i s u th covering for h ers , nevertheless tr e at many tone-regulators do not understand the phy si
cal basi s Of their work . V i cin o g . 147
When we comprehend properly this phy si cal
i - ul i o i ar e a e bas s Of tone reg at ng r voic ng , we bl to understand much more clearly why certain meth ods of mani pulating the needles wi ll give better efliects m i l for us than other ethods . It w ll be we l to i cons der these methods somewhat carefully. The tuner whose work lies outside of the factory i s usually called upon to improve the tone of Old
i H i s m fr e p anos , not Of new ones . ence he ost quently engaged i n working with Old and partly
- T f u m out mm . worn ha ers hese , o co rse, de and par
ti cul r m a treat ent . B efore attempting to mani pulate the felt Of old
A hammers with the needles it i s necessary to see ui T i u whether they req re to be sandpapered . h s m st in mm always be done, fact, when the ha ers are very much out into and flattened by their continual im i i im i pact aga nst the strings . It s poss ble to make any good impression with the needles upon mm n u ha ers that are badly k ocked o t Of shape, and consequently in such cases one must resort to the Thi i s i use Of the sandpaper file . s a str p Of wood u i x in s m abo t s che long, preferably ade from a n i i cigar b ox cover a d about one nch w de . S and
paper i s glued upon each side. When hammers ar e in a very much worn-down conditi on it i s 148 Tunin i n n Ar t g as S c e ce a d .
m u necessary so etimes to use a coarse paper, s ch as 2 T N . hi o . s can be smoothed and corrected file later by the use of a fine paper on another . i 1 r d u NO . e For or nary p rposes , however, V2 pap i g ves the best results . Every effort should be made when filing the
hammers to preserve their original Shape . In
ul u not to file m other words, one Sho d be caref l the Thi e m S O as to make the crown flat . s can be a co pli shed by filing from the back Of the hamm er towards the front and from the top to the bottom
i s t i fili s des separately, o as o br ng the ng to a
mm . point at the crown of the ha er In cases , how mm so tt ever, where the ha ers are fla ened that thi s cannot be done satisfactorily it i s better to
m u use Of ma flati r on Shape the p by the a s ll toy , heated to the same temperature as an ordi nary
flati r n m i o , and with a da p cloth held t ghtly over the hammer to prevent it from being scorched and to give the advantage Of the steaming that thu s The unk an arises . felt can be shr en d shaped very i m hi mu neatly by th s ethod, w ch, however, st be i i used with great d scret on .
mm O f Old i When the ha ers an or worn p ano , by m i h any Of the eans already descr bed, ave been i d nf m i i worked up nto goo co or at on, the vo cer pro
' 150 T in n n un g as S ci e ce a d Art. acts on the surface and has neither effectiveness m Th ul a nor per anence . e hammer sho d be st bbed all un its u s i the ro d s rface, the needle enter ng as f i h it spokes O a wheel towards the r hub . W en appears upon examination that the hammers are almost uniformly hard throughout they may be
n m e the u i i softened e ass , and ro gh vo c ng then smoothed out by individual tests of each note . Upon the ski ll with which the vari ous processes incident to voicing are performed depends Often u i in a times the whole virt e Of a repa r g job, ccord f m . ing to the judgment o the custo er Indeed, veteran tuners will usually confess that a little judi cious voicing will frequently give better satis
faction than the finest and most arti stic tuni ng . Thi s lamentable condi tion exi sts largely through the fact that it i s easier to perceive di fferences i f i Of tone qual ty than O p tch . While, Of course, one must not thereby take any less care to do ’ n s uni as i i hi o e t ng as perfectly poss ble, st ll t s does show that the matter of voicing i s exceedi ngly u mm n important, and sho ld co a d the careful atten h u . t u w i s tion of every t ner Indeed, e t ner ho not an accomplished voi cer has not mastered his pro
fessi on by any means . AP E CH T R VIII.
T I ES OF N P A E OU L N TUNI G R CTIC .
As in i n s all other profess o s , o in ours , there have grown up certain practices whi ch have been a im i i h llowed by t e nto precedents , and thence nto u i b ut - i T i nwr tten well recogn zed laws . hese ch efly refer to the deali ngs and conduct Of the tun er
hi s i u f towards patrons , the quant ty and nat re o “ work included within what i s known as a tun in n B a d m f . u g , other atters o a cognate form t equally included withi n thi s classification are other matters whi ch may better be referred to the practice of the art as di sting ui shed from i ts u i i ill us o b s ness s de . It w be necessary for t con
sider both Of these di visions in their order . in h fi to i Tak g t e latter rst, we have cons der such matters Of tuni ng practice as we have not hi therto di scussed or to whi ch it h as been impossible to Am i s devote separate chapters . ong these the matter of what may be called elementary repair
mg . n n t 152 Tuning as S ci e ce a d A r .
The tuner who has completed a course Of work i n a factory or wareroom and has there learned a great deal about fin e tuni ng of new and com
ar ativel i ul mi p y new p anos , wo d be greatly staken if he were then to imagine that hi s professi on had
m i i n h s been astered . For t s only when o e a had a
lengthy experience with Old and worn- out i n str u m of m t i i f i ents every ake , s yle and cond t on o deb l i ty that one can truly call oneself a graduate u t ner . And it i s the treatment Of small problems Of i i ul m deta l, the l ttle extra reg ations that ust be
i u u th e i ui i done, the sk llf l to ch here , nt t ve knowl
Of to u m edge how c re a jar there, that ark the i u i i hand Of the master . Nor can th s s perlat ve k nd
O f ability be attained without long experience . Yet the hi nts contained in the following lines may b e Of great assistance i n smoothi ng the path The one cardi nal rule to be remembered by him who aspires to success as an outside tuner i s thi s Very few customers are able to appreci ate the
s fi f i f r ubtle re nements O tun ng. When they send o “ ” th e tuner they do s o because the piano sounds i mu wrong to the r ears . Inas ch as these are gen
u ul i it er ally more or less nc t vated, follows that what sounds wrong to them i s likely to be as much
154 Tuni n a i n g s S c e ce and Art. a di scus sion Of the matters included will be a part
Of the next chapter .
As u no in i s ggested before, we are w a pos tion to take up for discussion certain aspects Of the attitude assumed by the tuner towards hi s patrons .
i of all i i u i k u F rst , th s d sc ss on must ta e acco nt Of the quantity Of work whi ch the tun er may rea sonabl for n y do a reasonable fee . O the average it i s fair to estimate the fee for tuni ng as two fif T in n dollars and ty cents . ak g the whole cou try
i s u . together, th s average i very close to the tr th Now u i f hi u , the q ant ty O work w ch a t ner can
u i hi s reasonably do depends pon the s ze of fee .
a two one - a it i If th t fee be dollars and h lf, w ll be profitable to undertake tuni ng i n so comp r ehen sive a way as to destroy the possibili ty of com
i m i i M wn ex eri pla nt fro ntell gent persons . y o p
has me o mu i m ence led t for late the follow ng ethod, to whi ch I adhere as consi stently as possible When I am called to tune a piano for the first im i i i mi ni it ui t e, I nvar ably beg n by exa ng q ckly, S O as to ascertain whether any grave defects exist
ui i m nd f r that may req re Spec al treat ent, a o the i n remedying Of wh ch a extra fee must be charged. In thi s category one will include soundboard Outli nes o Tunin Pr i 155 f g act ce.
li s u and Sp t , spr ng loose soundboard ribs, broken t i li i d s r ngs, sp t br dges, broken hammers an other imi s lar matters . S uppose that there i s nothing of this sort r equi r in tm Th g trea ent . e fee being fixed at the tuner Should proceed to blow out the dust and ’ di rt from action strings wi th a pi ano -maker s bel h i u i lows, t en t ghten p the act on screws, and do such regulating as may be absolutely necessary to secure the correct operation Of any hammer or
mm T uni ha ers . hen the t ng may be done . u i When ndertak ng the actual tuni ng , note that it will frequently be impossible to make an Old
i in i n i u p ano stand tune w th o e operat on . In s ch cases never hesitate to p ut in extra time at the
i afi ected as work, go ng over the parts as Often requi red DO not attempt to Slight or slur any part Of the work. n a i s O the contr ry, however, there no sense whatever in undertaki ng to raise or depress the
i r i n ma u p tch Of a piano fo one fee , s nce o e y th s know in advance that at least three thorough tun i m a do i ngs , so e days apart, are necess ry to th s E i kind Of work so that it will stand well . ven w th
r i it i s u u im i to u eve y precaut on, s ally poss ble g ar antee that a much-used piano will stand at a 156 Tunin n n rt g as S ci e ce a d A . hi gher pitch than that to whi ch it has been accus
i it was i t m d . o e , and for wh ch des gned When the attempt i s to be made to rai se the pitch let the instrument be cleaned Of the rust that gathers on u ni - in il - i n hi - i t r ng p co s , belly br dge a d tch p ns, and then let the strings be qui ckly and roughly drawn up a little hi gher than the desired pitch and then immedi ately be gone over again with
u m greater care . If the c sto er will consent, let another tuni ng be given i n three days time or so and fi on u a nal e abo t a week after the second . In thi s way one i s doing everythin g possible to
u i i in ass re the stand ng Of the p ano tune . Similar precautions Should be taken when one i s u i i abo t to depress the p tch Of an nstrument . The tun er needs to possess sometimes no little tact when attempting to make such matters as these clear to the understandi ng of hi s customer . H e i find i u i m w ll t needf l to be pat ent, cal and
i b ut f r i i s hi b ut pol te, also firm, o t Often anyt ng an easy task to make a customer appreciate either
i f of ai i n ai the necess ty or , or the cost a det l rep r in g . Difli culti es Of this ki nd can only be explained when one fully appreci ates the fact that the aver
APTE I! CH R .
S ME IN IDE A EMAR KS O C NT L R .
i i We have nvest gated, in the last eight chap i u ters , the var o s problems that the piano tuner i s obliged to encounter and solve in the course of hi s ai Th h d ly work . e task as been pleas n ant, or has there ever been cause for regret that i t was u T ndertaken . here has been every reason to believe that practical pi ano men would welcome further discussion Of th e fundamental problems i u i in i s i a and Of p ano t n ng, both t theoret c l Rspect as f i i A im a matter O da ly pract ce . t the same t e it Should not be supposed that th e di scussi on just fini u a i For a u . shed has been bsol tely exh st ve , i s The i wa n . ndeed, th s ot to have been expected subjects taken up and treated were large in con tent and unlimi ted in the scope whi ch they give
di u i and a i ini . I to sc ss on v r ety Of op on ndeed, the chief value Of such a series as we have just com pleted i s that it affords a basis whereupon the u difi er ent ini pholders Of schools of op on, or even i i i the individual free lances , may cr t c se, destroy S ome Inci dental R emarks 159 . or construct the numberless systems whi ch from time to time one or another practitioner feels ll u ca ed pon to erect . ’ It i s one thing to be certain Of one s facts and to n f k ow how to p ut a resume o them on paper . ’ It i s qui te another thin g to assume that one s own i s i i knowledge ent rely un mpeachable , or b e i i i yond cr t c sm . One i s impelled to the above remarks by the reflection that the publication of systems of prao tice i s necessarily a somewhat deli cate under tak in u u u g . In an art s ch as o rs , where the very f nda m n ls m t i e ta are a a ter of quest on, and where the premises upon whi ch conclusions ar e based are continually being subjected to further analysi s
n i s u in umi a d criti ci sm, there no val e ass ng an i att tude Of oracularity. hi ul It i s a most remarkable fact, w ch wo d be
incredi ble as appli ed to almost any other art, n a i if that the general r u Of tuners p y l ttle, any, attention to critical and analyti cal work in refer i An d ence to the science and practi ce of tun ng . y et it is not to be believed that thi s attitude i s entirely owi ng to natural indifference or indo uld a u u lence . It wo be bs rd to s ppose that ware m u and i d un who m roo , o tside, ndepen ent t ers, for 160 Tunin as ci n g S e ce and Art. the ma i m jor ty Of y readers in thi s department , and who are conceded to be the pi ck Of the mechan i of i u i i al o n cal forces the nd stry, are less cr t c r kee in thei r attitude toward di scussi ons that cann ot b ut fi m be Of bene t to the selves and to the trade . T on i s un herefore, e bo d to look for some other answer to the question impli ed in thi s present di s cussi n o . We want to know why i t i s that the best tuners and other simi lar hi gh- class men are S O m i h i An slow to co e forward w th t e r ideas . d the only possible answer seems to be that they are too bashful. It i s true that many men imagine that these di scussions ar e academic and of no interest to any i u i save professed sc entists . It s rely needs l ttle reflection to convince anyone Of the utter falli bil
For i s it not O i u ity Of such a view. bv o s that the principal result of attending to and express ’ ing one s Opini on concerni ng matters whi ch deal with the fundamentals Of our professi on i s to i Of our give us a wider and broader v ew work, to lead us to devise better ways Of attaini ng to and in to ma us our practical ends , , short, ke better tuners or better piano builders ?An d does it need any special demonstration to convince any intelligent man that just i n proportion as he i n.
16 2 Tunin a ci nc n Ar t g s S e e a d .
fi a i a a i i d n nc l ss stance . H i s equipment cons ste solely Of an excellent education and a marked
ani i n i i hi five le ng toward sc ence a d mus c . W t n years Of the day that he first started to learn stringing and action fini shin g i n an Obscure shop in New s s York, he had been able to evolve the y tems Of piano construction and tuni ng practi ce whi ch were afterward elaborated in Theory and ” P An h s ractice . d yet he ad to work as hard a
i nor as hi s any other apprent ce, w work done for the purpose Of getting a h ttle extra pocket money ; i i on the contrary, those were days when the p t
s fully small weekly wage wa badly needed . It i s wi th no boastful feelin g that the author hi hi s nl i speaks Of these t ngs . Indeed, o y des re i s m m ami i him to Show by the exa ple ost f l ar to , that a position in the industry and a fund Of useful knowledge i s at the command of anyone who cares “ H to take the trouble to acqui re it. e who runs ” may read . This may appear to be a somewhat remarkable ending to a seri es of chapters on a techni cal sub i H o ec b in i i i s m . w j t, ut real ty t ost appropr ate can I better emphasize the necessity for acqui r ing the kind of information that I have been try i ng to impart in these chapters than by pointing S ome Incidental R m r k e a s . 16 3
out u the advantages to be derived from st dy,
i nd u ll i to our reflect on, a tho ght on a l nes related profession?
Piano s b earing nam e E m erson were
re a in 18 first c ted 4 9 .
They imm ediately favor with critical
i ove rs an as a r su t h n fo r m u s c l , d e l t e de m a d them cam e with increasing force from all parts
of the cou ntry .
The E m erso n has fairly w on its right to the positio n amo ng the s trictly high grade pianos i a in Am e r c .
It IS so d b eadin dea ers in all secti ns l y l g l o , and appeals with irresistib le strength to those who are tru e ud es of to ne u a it j g q l y . D um é/e
No” T met é/esome
U SE D IN O VE R 90 96 O F T H E H IG H EST G R A DE PL AYE R PI ANO S
A technical tre atise showmg how to regu late and
‘ ad u st A uto Pneu m atic A ctions wi b e m ailed free t j , ll o Piano Tu ners and those i nterested in Player- Pianos b y
Auto Pneumatic Action Go .
2 West ot/t S tr eet N em Y r 6 15 6 9 g , o k Do you know th at American steel is b ei ng sent ab road to Euro e ? p — ! ust a straw b ut it shows in what direction the trade wind is blowing . It shows th at the product of American skill and Ame rican o o ente rprise is b e ing appreci ated in oth e r ci rcl es than ur wn .
It means th at the tide is turn ing .
o o no t at th mer can S te e St W re C o. manu D y u k w h e A i l i , facture all wi res of wh atever nature whi ch are used in p iano ? player mechani sm Do y ou know th at this s ame corporati on is suppl in p i ano ! y g w re to some of the most cr t cal and most d stin u s h e d of i i?i i g i American piano manufacturers Do you know th at the special products of this great corpora t on known as the i ,
! PE R FE CTE D and CE O WN
w e b rands of pi ano wi re are steadily gai ni ng ground i th th — m o anc and w t Ame ri can pi ano trade gai ning with out fla b y y i h — s h r out yrotechnics of any nature gain ing s imply b ecau e t e e p ? is quality b ehi nd th em THAT IS ALL !
BUT TH INK IT OVER . IT IS WO RTH YOU R WH ILE.
Am e r ican S te e l W ire Co .
NEW YOR K WORCESTER C H ICAGO DENVER S AN FRANCI SCO
o New Yor o ct Ex ort C . Uni te d S tates S teel Pr du s p , k , Export Representatives
Am e rican Fe lt C o .
1 10 - 1 E TH RTE ENTH NEW YO R K 1 6 . I ST. ,
Pi o H m m er Felt an a s , s ,
h n n chin s C lot s a d Pu g .
PL AYER H AR DW AR E Y A S PECIAL T .
l/V r Pian and Or an M usi c i e, o g
H ar dwar e and Tools .
’ ’ n R e r Tu ne rs a d e pair s O u tfits . Tha h o t h H P Ne n e Co . t t r duc of t e . . so p l ,
Chica cou d not have won its resent ositio n go , l p p sav e hrou h m ri n t g e t alo e .
Th H P N o n i nos are m anu factu red e . . els p a in a modern and splendidly equ i pped plant u nder the careful su pervision of m en who have b een
rai n in the ar f ian b ui in t ed t o p o ld g .
R esult !
n i r u —flawl s A sple d d p od ct e s .
The H N e on Pla er Pian s ss : . P. ls y o po ess special attrib utes which will b e im m ediately
b viou s to se who exam ine t m o tho he .
There ar m an r n h H e eas s w he . y o y t P.
Nels n ine is rofitab e to the dealer o l p l .
W I E— ASK UES IO NS R T ! T .
P E L H . S ON C N O .
’ 816 - 838 Nor t/t Keaz ie A venu e I CH I CA GO , L L . C F G O EP . . EL 81 C O .
13 7 E. 13 th Street, N ew York
EVE RYTH IN G IN
TOO LS AN D R E! UISITES FO R
R e pai r i ng Play ers
Tracker b ars b rass tu b es ru bb er h se and tu bin , , o g, fib re iscs st k n b s escu tche ns ve nt ca s take d , op o , o , p , u s o s wind m tors ru nnin ears s e cia p p ol , o , g g , p l wires s ecial un chin s woode n b u ttons whee s , p p g , , l , ia w den arts neu m atic leat ers . s ec e tc , p l oo p , p h , ke hain e ru b b er sheetin dri s etc. s roc t c s tc. g ll , , p , Two or three samples of each ite m desired shou ld h in u irie b e su b mitted wit q s .
Car ry a Full L i ne oi g /t G r acie
Commoditi es for the Pi ano Tr ude
A FR L E L ED D O G E F L T C o .
M A N U F A C T U R E R S O F 1172 ea
PIAN O FEL TS an d H AMM ER S
M IL L S D OL GE VIL L E
L os A n g e les Cou nty Califor n ia
Faunt/ed 186 , 9 To Pi a n o M a n u f a c t u r e r s
Th ere is one player you can install in your s mall est uprigh t piano without the slightest ch ange in the s z e or a earance of an a o i pp y p rt f the pi ano or its case . The he avy expense of making and carryi ng sp ecial cases for our l a er- anos is avoidable b ecause eve r y p y pi , y u p righ t piano you p roduce can b e made a pl aye r- piano by me rely installing the ll r ans en 0 720 6 7”
The Player that can be mstalled m ANY upr ig ht pi ano
T s is the lo ical wa nd t e mos t ro table wa hi g y , a . h p fi y , to s upply the g rowi ng demand o f your trade for play e r i nos p a . The re are four featu res of the Gulbransen that your de e rs and t e r c s tomer s w ns t nt reci e al h i u ill i a ly app at . It is he eas i est um of all n ers t p pi ng pia o play . The pedals dis appear under the piano withou t the use o r r n o f an uns ght y do rs ods o c s . y i l , hai It contains no compli cated de vi ces to p roduce e xpres s on tom t c b ut t ro th e n s s ens itivenes s o f i au a i ally , h ugh u u ual “ ” the pedals the per former actually fee l s in touch with the
piano. The player- piano contai ni ng the G ulbransen Player is no lar er re i res no more room t n an ordmar g , qu , ha y y
upright pi a no. If y ou want to market the best poss ible player- pi ano ex ens e and most rofit s end for our tw o c ren with le ast p p , i “ ” lars WH AT A PL AYER PIANO O ucH r TO B E AN D Do and WH Y A PL AYER S H O UL D B E MADE TO FIT TH E
PIANO . They will b e s ent only to bona fide manu facturers d To s uc we can address ing us on the i r firm l etterhe a s . h
i t on. offer a most i nteres ti ng and p rofi tabl e p ropos i
Write us to day .
- G u lb ranse n Dicki nson C o . C H IC AG 3 15 UNION PARK C OURT O n e r u
re ation
That 13 what a trade expert rem arked after testing l the rece nt player produ ct pu t forth by the hou se of Do l . t ' Thi s latest Doll creatIO n emb od1e s or1g1nal1ty of c nstru ction and with it it is ssib e to rodu ce the o , po l p m st elicate e ffe in la i o d cts p y ng .
Its simplicity of constru ction will appeal with force to the ractica iano n p l p ma . — Its eas access to all parts its pe rfect m eans of —y regu latio n are all factors w hich m ake for the success of this s en id la er creatio n pl d p y .
A ll parts of the m echanis m for the pianos an d — — player piano eve n to the hardware are made in the
D oll factor and it m eans that whe n the r du ct is com y, p o leted it is a harm oniou s whole and eve r dea er who is p , y l lo oking for the b est in the player fie ld will m ake no mistake in investigating the m erits of this inge niou s ianistic creation p .
! AC O B DO L L S O NS MANUFACTUR ERS O F PIANOS AND PIANO PL AYERS
Estaoltslzed 1871
Factorie s S ou thern Boulevard and Trinity Ave nu e
A S A p p l i e d T o
e ctric lan e s
ART STYL E ELECT RIC
The constructi on through out marks an era in the development of and the rea z at on of rade d a s L et us te electric pianos li i high g i e l . ll
ou the H ow en and ere of a rofitab e se n am a n . y , Wh Wh p l lli g c p ig
P P. B R I. S EE U G IAN O C O . 09 S t te S t eet C c 2 a r , hi ag o
O n M 1 1 3? a , 10 , w e w move to ar er uarters at u te y 9 ill l g q , S i 6 1 - 6 16 te nw a H a 1 Van Buren tr et C e a o 5 S i y ll , 7 S , hic g TO G IVE TH E BES F R ESULTS S H OULD HAVE
’ Mu tty s Sp ecial R u b b e r C l o t hs
O N AL L
P m e Pne u m t c an d Be w ri ari s, a i s llo s
' n ot forgetting R U b b Cl Tu bi ng of which we l i thi w rk m ake severa grades adapted spec ally to s o . We m anu factu re high grade R U B B E R C L O TH S and T U B ING of ever descri tion and can fill y p , r r r m t o de s p o p ly .
L . I. M UTTY CO . BO STO N “ A T echnical T reatise on Pian o Play er Mechanism contains detailed description of the various types of interi or and exterior a ers embra n manua neumat automat me ani a and ele tr pl y , ci g l , p ic , ic , ch c l c ic . All w ho are familiar w ith the evolution o f piano playe rs have realiz ed for some time past the ab sol ute necessi ty of some tech nical treatise w hich s ou d onve a urate nformat on on h l c y cc i i up this subjec t.
It onta ns re ab e nformat on w r tten in an n terest n readab e and c i li l i i , i i i g, l att form ch y . It is an i nstructi ve and h elpful medium w hich sh ould b e in the hands of ever tuner and ano sa esm an y pi l .
PRICE POS I PAID
E DWAR D L YM AN BIL L Pub li , sh e r
I MA D ISO N AV E N U E N E W YO R K ome usto
6 72i ca
E H L RE M A T C NICA T ATI SE O N PIANO PLAYER MEC H ANI S . In t s or ano a m d hi w k p i pl ye r echanism is i nte lligently tre ate . the arts The re are ch apters on pl aying and repai ri ng . All p are named and it is a b ook of the gre atest value to everyone ntereste de o men Pr e i d in player ve l p t. ic TH EORY AND PRACTIC E or Pi ANO FO RTE B UI LDIN G is th e only b ook ever put forth in the English language wh e re i n pi ano ma n s te en r ate d ki g i in llig tly t e . The re are various illustrations in this b ook and it tells all about the ano in ever sta e of its d ve o m I ou d b e pi y g e l p e nt. t sh l in he b rar of ever one nte reste d in the ano Pr ce t li y y i p i . i ’ ” TH E PIANO O R T UN ER S G UI DE is a standard work on tun I h b een endorse d b ead n ex e rts in ever sect on ing . t as y l i g p y i ce of the country . Pri REGULATION AND REPAI R O F PIANO AND PLAYER MEC H AN AN A s is a IS M TOGETH ER WI TH TU I G AS S I E E D RT. h , N N C NC T i o i o It is a wor new work which is virtually two v lumes n ne . k w hi ch should b e in the h ands of every repai rer and re gul ator and it deals w ith the repai r s ide of the pl ayer proposition inex o haustively and advances new ide as up n tuning . Th ese b ooks should b e in the h ands of every deale r in
Ame ri ca. Remittances for the above works may b e made by ch eck or fo postal orde r and wh e n rece ive d the b ooks w ill b e promptly r
w arded osta e a d to rem tter . , p g p i , i
m to foreI n countri es lSc. addI lf i ntended to forward th e g ,
ook s ou d b e nc ude d. tional pe r. b h l i l
EDW AR D L YMAN BIL L Publi c/ter