Piano Tuning Part 6

5. _Hammers_, when made of felt, will of course require the same treatment as those in the upright. In many old squares the hammers are built up of buckskin. If this becomes beaten down hard, it is well to cap the hammer with a new soft piece of buckskin, gluing only at the back ends.

6. _b.u.t.ts and f.l.a.n.g.es_.--A click just as the key comes up, indicates that the felt cushion, against which the jack rests, is worn out and must be replaced.

In all square actions the center pin, in the b.u.t.t, is held by friction alone, but rarely gets loose; if it should be found loose, put in a larger pin.

The f.l.a.n.g.e, shown in the cut, is what is called a split f.l.a.n.g.e. By the set screw T, the jaws can be regulated so that they neither clamp the center pin so tightly as to make the action sluggish nor so loosely as to let the hammer wabble.

If the bushing cloth is found to be badly worn, it is better to put in new, which must be done neatly, or the result will not be satisfactory.

Hammer f.l.a.n.g.es, like all other wooden parts, shrink away from the screw heads and allow the hammer to drift to one side or rattle. While the action is in the piano, strike the keys to see if there are any that strike improperly. Mark the keys so as to indicate just what the trouble is, so that you will know how to remedy it when the action is out. If the hammers are set so close that they rub against each other, you may have to cut off a slight shaving of felt, but this is rarely necessary; for if properly placed, there is generally room for all; yet sometimes the expansion of the felt or warping of the shank makes cutting necessary.

7. _Dampers_.--The dampers in the square action depend entirely upon their weight for their efficiency in damping the strings and returning after being raised by the key. Often, after the key is struck, the damper will not return to its place and the string is undamped. This is generally found to be caused by the wire sticking in the hole through which it pa.s.ses, the wire being rusty or bent or some foreign substance being in the hole round the wire. The bushing cloth in the hole may be in such condition as to r.e.t.a.r.d the free pa.s.sage of the damper wire, in which case the wire may be heated with a match and run up and down a few times through the hole, which will free it. The damper may not fall readily on account of a sluggish joint in the f.l.a.n.g.e. Work it back and forth as far as it will go a few times; if necessary, take it off the damper rail and look for the cause of the trouble.

Damper f.l.a.n.g.es get loose on the damper rail and work to one side, causing defective damping and rattling. See that they are all tight, and in their places.

Damper lifter b.u.t.tons sometimes hold the damper off the string. See that the top b.u.t.ton falls so low that the damper lever does not touch it when the key is released. This is accomplished by altering the lower b.u.t.ton. Examine the damper felts to see if they are moth-eaten, or have become hardened or in any way impaired. Notice the adjustment of the shade; that it is not too low or too high. The purpose of the shade is to prevent the damper levers from flying up; but it should be high enough so that the levers do not touch it when the key is depressed gently.

Defective damping is one of the most annoying conditions, and when one is employed to regulate a piano thoroughly and put it in order, he should see that no key is left in which this occurs. Strike each key and immediately let it up to see if it stops the sound quickly, or, in other words, damps perfectly; if it does not, find the cause and regulate until satisfactory.

8. _The grand action_ being, in principle, practically the same as that of the square and the upright, containing the same mechanism as is found in those actions, it is needless to give special instructions concerning it; as the previous work has given the pupil a thorough knowledge of the requirements of all actions, their common faults, and proper methods of regulating to bring about satisfactory results. Let us merely remark: Study thoroughly the behavior of every component part of each action that comes under your observation; understand what each part is for, why it is there, and how it works or should work properly to fill its office. Then regulate and try for results. If you have natural mechanical genius, a little experience will prepare you to do all regulating and repairing with skill and quickness.

MISCELLANEOUS REPAIRS.

A few miscellaneous difficulties, common to all styles of actions, are occasionally met with and need to be rectified.

1. _Broken Hammer Shank_.--Glue the ends, lay a nicely fitting piece of wood, well coated with glue, on each side and wrap with binding wire. If it is broken off up so close to the hammer as not to permit this, drill a hole through the hammer head in line with the center of the shank, with a small-sized screwdriver such as watchmakers use, and run the wire through this and around the shank, drawing it firm; glue as before; when dry it will be as strong as ever. When the shank is broken off close to the b.u.t.t, the same treatment will sometimes answer, but the strain here is so much greater that it is sometimes necessary to put in a new shank. In fact, it is always better to do so.

2. _f.l.a.n.g.es, damper heads_, and all small wooden parts are liable to break or come unglued. The watchmaker's screwdriver, the binding wire and the glue must always be at hand for these emergencies. These breaks are generally in places where wrapping is not permissible, and you are compelled to drill. Keep the screwdriver well sharpened and the drilling is easy.

3. _Ivories_.--When unglued, sc.r.a.pe the old glue off, apply glue to both surfaces and clamp with an ivory clamp or rubber band until the glue is firm. Apply the same treatment to ebony sharps.

4. _Leads_ in the keys and the dampers of the square piano get loose and rattle. Hammer them just enough to tighten; too much might split the key.

5. _Friction_.--Where different materials, such as wood and felt, would rub together they are covered with black lead to lubricate them.

The point of the jack where it comes in contact with the b.u.t.t, the toe of the jack which strikes the regulating b.u.t.ton, and the long wooden capstan which takes the place of the extension and works directly on the under side of the wippen, which is covered with felt, are black-leaded. When a key squeaks and goes down reluctantly, the trouble can usually be traced to these places; especially to the wooden capstan, the black lead having worn away. Use powdered black lead on these parts.

There are many things in this kind of work that require only the exercise of "common sense." These we have omitted to mention, treating only of those things the student does not know intuitively.

QUESTIONS ON LESSON VI.

1. When a key snaps or clicks at the instant it is let up, give two or more conditions that might cause it.

2. When a key simply rattles, what parts of the action would you examine for the trouble?

3. When a key is struck and there is no response, what may be the cause?

4. Give two causes for defective damping in a square piano.

5. Give cause of and remedy for a squeaking key.

LESSON VII.

~THE STUDY AND PRACTICE OF PIANO TUNING.~

Before commencing the systematic study of piano tuning, we want to impress the student with a few important facts that underlie the great principles of scale building and general details of the art.

If you have followed the suggestions, and thoroughly mastered the work up to this point you should now have some idea of the natural and artificial phenomena of musical tones; you should have a clear knowledge at least of the fundamental principles of harmony and the technical terms by which we designate intervals and their relation to each other; a knowledge of the general and specific construction of the different types of pianos and their actions, and the methods employed to put them in perfect working condition mechanically. This admitted, we are ready to consider the art of tuning--one, the appreciation of which is in direct proportion to the understanding of it. Let us now view this art for a moment in its past, present and future phases.

You may be a little surprised at what we are about to tell you, but it is a fact, gleaned from long experience in traveling and observation, that many, verily, the majority of pretending tuners have not so much practical knowledge of a piano as you should now have. We have no doubt that you, if you have a musical ear, could, without further instruction, improve an instrument that was extremely out of tune. You could detect and improve a tone which you should find extremely sharp or flat; you could detect and improve a unison that might be badly out, and you might produce an entire scale in which none of the chords would be unbearably rasping. But this is not enough. You should aspire to perfection, and not stop short of it.

It may seem to us who are musicians with thorough knowledge of the simpler laws of music, that a scale of eight tones is a simple affair; simply a natural consequence; the inevitable arrangement; but a historical investigation will prove our mistake. We will not go into the complexities of musical history; suffice it to say that the wisest philosophers who lived prior to the fourteenth century had no idea of a scale like that we have at the present day.

In piano tuning, as in other arts, many theories and conjectures have been advanced regarding the end to be sought and the means by which to gain it. There must be a plan--a system by which to work. The question is: What plan will insure the most perfect results with the least amount of labor? In Piano Tuning, this plan is called the Temperament.

Webster defines the word thus: "A system of compromises in the tuning of pianofortes, organs," etc. Later on we will discuss fully what these compromises are, and why they exist; for it is in them that the tuner demonstrates his greatest skill, and to them that the piano owes its surpa.s.sing excellence as a musical instrument, and, consequently, its immense popularity. For the present, the term "temperament" may be considered as meaning the plan or pattern from which the tuner works.

No subject of so great importance in the whole realm of musical science has been so strangely neglected as the method of setting a temperament. Even musicians of high learning, in other respects, give little attention to scale building, and hence they differ widely on this topic. There can be but one "best way" of doing a thing, and that best way should be known and followed by the profession; but, strange to say, there are a half dozen systems of setting the temperament in vogue at the present time. The author has, in his library, a book on "Temperament" which, if followed, would result in the production of a scale in which every chord would be unbalanced, harsh and unbearable.

This is mentioned merely to call attention to the fact that great differences of opinion exist among scientific men regarding this important subject.

In the author's practice, he was curious to try the different methods, and has tuned by all the systems of temperament in vogue at the present, or that have ever been used extensively. His experience has proved that all but one is hampered with uncertainty, difficulty of execution or imperfection in some respect.

A system which will positively insure the strictest uniformity of difference in pitch of any given interval in all the keys, and that makes use of the fewest intervals in tuning and the easiest ones--those in which a discrepancy is most readily perceived by the ear, is the best system to adopt and follow. Such a system is the one followed by the author for years with the most satisfying results. He does not claim any high honor by this statement, but does claim that, while his system differs but slightly from some of the others, it is more certain to produce the best results, is the simplest to understand, is the easiest to follow, and, consequently, is the best.

To become a piano tuner of the highest skill, many things are necessary; but what may be lacking at the outset may be acquired by study and practice. More depends upon the ear than upon anything else; but no person, however talented, has a sufficiently acute perception to tune perfectly without some culture. Some practice in tuning is necessary to bring the ear to that acuteness of perception so indispensable in certain portions of the instrument. It may also be said that no extraordinary talent for music is absolutely necessary, since many of the best tuners are not musicians in any sense of the word. Patience and perseverance, a.s.sociated with conscientiousness and an insatiable desire to excel, are among the foremost requirements.

Having these it only remains to gain a thorough knowledge of every detail of the work; a little practice will bring skill and dexterity.

Finally, we would impress the student with the strenuous importance of thoroughly mastering the lessons which immediately follow. You should be inspired with the utmost confidence, both in yourself and in the possibilities of the profession to those who merit a reputation. And, while this lesson contains little technical instruction, if by its study the pupil is impressed with the maxims herein presented, and is inspired to make earnest effort in his future work, both in acquiring and in practicing the art of Piano Tuning, the author will feel that its mission is, by no means, the least significant one in the course.

LESSON VIII.

~THE TEMPERAMENT.~

Some tuners favor the term, "laying the bearings," others say "setting the temperament." The former is more commonplace, as it merely suggests the idea of laying a number of patterns by which all others are to be measured. The latter term is extremely comprehensive. A lucid definition of the word "temperament," in the sense in which it is used here, would require a discourse of considerable length. The following statements will elicit the full meaning of the term:

The untutored would, perhaps, not think of setting a temperament to tune by. He would likely begin at some unfavorable point, and tune by various intervals, relying wholly upon his conception of pitch for the accuracy of the tones tuned, the same as a violinist in tuning his four strings. To be sure, pitch has to be reckoned as a rude guide in setting the tones; but if pitch alone were the guide we would never attain to any degree of perfection in scale forming. We could never adjust our tones to that delicate fineness so much appreciated, which gives to the instrument its surpa.s.sing brilliancy.

~Beats, Waves, Pulsations.~--To obtain absolute accuracy the tuner is guided by beats, waves or pulsations. These three words refer to one and the same thing, a phenomenon that occurs in certain intervals when two tones are sounded together that are not in exact tune. These terms must not be confounded with the term "sound wave" or "vibrations" so often used in discussions on the theory of sound. However, we think the student is thoroughly familiar with these terms. The rate of vibration of two tones not in a favorable ratio, may produce the phenomenon known as "beats, waves, or pulsations." Vibrations may exist either with or without pulsations.

These pulsations are most perceptible in the unison, the octave and the fifth. They are more easily perceived in the unison than in the octave, and more easily in the octave than in the fifth. They are also perceptible in the perfect fourth, the major and minor third and some other intervals, but on account of their obscurity, and because these intervals are unnecessary in tuning they have long since been abandoned in "temperament making" (with the exception of the perfect fourth) by most tuners, although a few still make use of it. We do not say that the fourth is unsafe to tune by, but you will see later on why it is not best to make use of it.