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Guidelines for Effective Institutional Piano Maintenance
Guidelines for Effective Institutional Piano Maintenance What is the Piano Technicians Guild? The Piano Technicians Guild (PTG) is a nonprofit, international organi- zation of piano technicians. The mission of PTG is to promote the highest possible standards of piano service by providing members with opportuni- ties for professional development, by recognizing technical competence through examinations and by advancing the interests of its members. Membership is open to all individuals with a professional or avocation- al interest in piano technology. A Registered Piano Technician (RPT) member has passed three rigor- ous examinations that assess the knowledge and skills required to tune, maintain, and repair pianos. Copies of this publication and other PTG materials may be purchased from: The Piano Technicians Guild, Inc. 4444 Forest Avenue Kansas City, KS 66106-3750 PH: (913) 432-9975 FAX: (913) 432-9986 [email protected] www.ptg.org 2004 Piano Technicians Guild, Inc. ii Table of Contents Foreword............................................................................................iv Introduction........................................................................................ v General Recommendations................................................................ 1 Staffing and Workload....................................................................... 3 The Contract Technician......................................................... 4 Minimum Qualifications and Training.................................... 5 Budgets.............................................................................................. -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Model-Based Digital Pianos: from Physics to Sound Synthesis Balazs Bank, Juliette Chabassier
Model-based digital pianos: from physics to sound synthesis Balazs Bank, Juliette Chabassier To cite this version: Balazs Bank, Juliette Chabassier. Model-based digital pianos: from physics to sound synthesis. IEEE Signal Processing Magazine, Institute of Electrical and Electronics Engineers, 2018, 36 (1), pp.11. 10.1109/MSP.2018.2872349. hal-01894219 HAL Id: hal-01894219 https://hal.inria.fr/hal-01894219 Submitted on 12 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Model-based digital pianos: from physics to sound synthesis Bal´azsBank, Member, IEEE and Juliette Chabassier∗yz October 12, 2018 Abstract Piano is arguably one of the most important instruments in Western music due to its complexity and versatility. The size, weight, and price of grand pianos, and the relatively simple control surface (keyboard) have lead to the development of digital counterparts aiming to mimic the sound of the acoustic piano as closely as possible. While most commercial digital pianos are based on sample playback, it is also possible to reproduce the sound of the piano by modeling the physics of the instrument. The pro- cess of physical modeling starts with first understanding the physical principles, then creating accurate numerical models, and finally finding numerically optimized signal processing models that allow sound synthesis in real time by neglecting inaudible phe- nomena, and adding some perceptually important features by signal processing tricks. -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice. -
Roland AX-Edge Parameter Guide
Parameter Guide AX-Edge Editor To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device. AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge. © 2018 Roland Corporation 02 List of Shortcut Keys “[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH). When entering a name Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals. 2 Contents List of Shortcut Keys .............................. 2 Tone Parameters ................................... 19 COMMON (Overall Settings) ............................. 19 How the AX-Edge Is Organized................ 5 SWITCH .............................................. 20 : Overview of the AX-Edge......................... 5 MFX ................................................. -
DGX-660 Owner's Manual
Setting Up Setting Owner’s Manual Basic Guide Reference Thank you for purchasing this Yamaha Digital Piano! We recommend that you read this manual carefully so that you can fully take advantage of the advanced and convenient functions of the instrument. We also recommend that you keep this manual in a safe and handy place for future reference. Before using the instrument, be sure to read “PRECAUTIONS” on pages 5–6. Appendix Keyboard Stand Assembly For information on assembling the keyboard stand, refer to the instructions on page 12 of this manual. EN For DGX-660 SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply This product may also use “household” type batteries. Some of (adapter). DO NOT connect this product to any power supply or these may be rechargeable. Make sure that the battery being adapter other than one described in the manual, on the name charged is a rechargeable type and that the charger is intended for plate, or specifically recommended by Yamaha. the battery being charged. WARNING: Do not place this product in a position where any- When installing batteries, never mix old batteries with new ones, and one could walk on, trip over, or roll anything over power or con- never mix different types of batteries. Batteries MUST be installed necting cords of any kind. The use of an extension cord is not correctly. Mismatches or incorrect installation may result in over- recommended! If you must use an extension cord, the minimum heating and battery case rupture. wire size for a 25’ cord (or less ) is 18 AWG. -
Blueprint for the Arts N Music Letter from the Chancellor
Grades PreK - 12 - PreK Grades For Teaching and Learning in Learning and Teaching For Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 205 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation New York City Department of Education © 2005 Carmen Fariña, Chancellor Second Edition (2008) Contributors Third Edition (2015) Contributors Dorita Gibson, Senior Deputy Chancellor Phil Weinberg, Deputy Chancellor of Teaching Music Curriculum Development Co-Chairs Music Educators, Music Curriculum Development Co-Chairs New York City Department of Education and Learning Barbara Murray, Director of Music Programs Barbara Murray, Director of Music Anna Commitante, Senior Executive Director, Office of Arts and Special Projects, Donald Christiansen Robert Lamont, Music Consultant Curriculum, Instruction & Professional Learning New York City Department of Education Roberta Feldhusen Paul King, Executive Director, Office of Arts and Shellie Bransford, Music Consultant Janet Grice Special Projects Elizabeth Norman, Director of Education, Elizabeth Guglielmo Music Educators, St. Luke’s Orchestra New York City Department of Education First Edition (2004) Contributors Jaime Jacobs Gregory Pierson, Director of Education, Maria Schwab Eric Dalio Music Curriculum Development Co-Chairs Brooklyn Philharmonic Thomas Toriello Elaine Fauria Nancy Shankman, Director of Music/ George Wanat Ian Kanakaris Deputy Senior Instructional Manager for Arts Education Moishe Weidenfeld Music from the Inside Out Contributors Portia Lagares Thomas Cabaniss, Director of Education, Jerome Korman, Project Director, Music Consultant, New York Philharmonic Office of Arts and Special Projects Cultural and University Community Music Educators, Nancy Shankman, Director of Music, Deputy Senior Dr. -
Manual Pitch to Drop
PITCH RAISING Your piano, just like every piano, is designed to sound its best when tuned to A-440 (the A above middle C vibrates at 440 cycles per second), the international pitch standard. It has been designed to perform at a specific tension, and when strings stretch beyond, or drop below this tension, pitch adjustments are required to bring it back to A-440. It’s important to remember that maintaining your piano at standard pitch allows you to play along with other instruments which are all designed to this same standard. Through neglect, pianos may deviate from this standard, making them unsuitable to play with other instruments and causing them to lose market value. In addition, lower pitched instruments can compromise the pianist’s ear training. It’s important to note that pianos do not go flat or sharp uniformly. Some strings will invariably change more than others. If I Haven’t Had My Piano Tuned Regularly, MANUAL How Can I Get it Back in Good Playing Condition? After years of regular use, your piano may have fallen silent when the family member who studied moved away from home. Though your home is no longer filled with music, it’s important to remember your piano is still a living, breathing thing. Its wood continues to expand and contract with seasonal changes in temperature and humidity, and the string tension also fluctuates accordingly. If your piano has gone without tuning for an extended period, its pitch may have dropped far below the pitch at which it was designed to perform. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
A New History of the Carillon
A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars. -
Design and Application of the Bivib Audio-Tactile Piano Sample Library
applied sciences Article Design and Application of the BiVib Audio-Tactile Piano Sample Library Stefano Papetti 1,† , Federico Avanzini 2,† and Federico Fontana 3,*,† 1 Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts, CH-8005 Zurich, Switzerland; [email protected] 2 LIM, Department of Computer Science, University of Milan, I-20133 Milano, Italy; [email protected] 3 HCI Lab, Department of Mathematics, Computer Science and Physics, University of Udine, I-33100 Udine, Italy * Correspondence: [email protected]; Tel.: +39-0432-558-432 † These authors contributed equally to this work. Received: 11 January 2019; Accepted: 26 February 2019; Published: 4 March 2019 Abstract: A library of piano samples composed of binaural recordings and keyboard vibrations has been built, with the aim of sharing accurate data that in recent years have successfully advanced the knowledge on several aspects about the musical keyboard and its multimodal feedback to the performer. All samples were recorded using calibrated measurement equipment on two Yamaha Disklavier pianos, one grand and one upright model. This paper documents the sample acquisition procedure, with related calibration data. Then, for sound and vibration analysis, it is shown how physical quantities such as sound intensity and vibration acceleration can be inferred from the recorded samples. Finally, the paper describes how the samples can be used to correctly reproduce binaural sound and keyboard vibrations. The library has potential to support experimental research about the psycho-physical, cognitive and experiential effects caused by the keyboard’s multimodal feedback in musicians and other users, or, outside the laboratory, to enable an immersive personal piano performance.