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FIRST AID IN PIANO REPAIRS
By ALEXANDER
HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of the National Association
of Piano
Tuners
EDITOR'S NOTE: Piano Tuners who would like to further
their training are at liberty to consult Mr. Hart, c/o
Music TRADE REVIEW. 1270 Sixth Ave.. New York SO. N.Y.
The Piano Tuner—
What It Means To Be One
One of the first things in the mind
of one who wants to be a mechanic,
is how much is in it for him. We
often hear this statement, "I would
like to take something up as a side-
line."
This same trend of thought fits in
here—as, quite frequently, there is an
ardent desire—for the one who plays
the piano a bit, to take up piano tun-
ing on the side. I do not believe the
tuner's profession can be thoi-oughly
mastered as a side-line.
I do agree that those who play the
piano for a livelihood ought to know
how to take care of it for his own
pleasure, just the same as musicians in
general look after their own instru-
ments.
Unloosening the hairs from
a violin bow, does not give him credit
for repairs. Replacing a broken string
on a violin, a loose peg, or fitting a
new bridge, does not create a master
craftsman for handling delicate resto-
rations often required for certain ex-
pensive instrume»ts, only to be ruined
if not taken care of by those who have
had wide experience in the making of
instruments. What it means to be a
piano tuner—covers a wide range of
brainwork.
Piano Tuner is Underestimated
The word alone, piano tuner, is
underestimated at times and what is
expected of him. If he is not wide
awake, the honest inclination to tackle
a job that should go to the factory,
often hurts his reputation. This state-
ment does not include the factory tuner
who goes from one piano to another,
with a chance to pick up a lot of
information about pianos.
The Parts of a Piano
If one is at all observing, especially
in a piano manufacturing plant, it is
extremely interesting to know about the
material used.
The essentials are wood, felt, metal,
g-lue, etc.
After the selection of materials—
assuming we have a young apprentice
who desires to learn all about the
parts that go into a finely built piano—
the first in order are:
THE MUSIC TRADE REVIEW, MARCH, 1946
1. The framework or foundation.
2. The wrest plank or pin-block.
3. The Sound-Board.
4. The wood for the sound-Board.
5. The Sound-Board Bridge.
6. The metal plate.
7. Strings.
8. Steel for the strings.
9. Tempering the strings.
10. Tuning-pins and hitch-pins.
11. Felt for the hammers.
13. How felt is made.
14. Dampers.
15. Demper-felt.
16. Keys.
17. Key-tops.
18. Ebony for black-key tops.
19. Miscellaneous parts.
20. Loud and Soft pedals.
21. Foundations and veneers.
Let us change our direction and
meet the superintendent who must be
a piano maker. One who knows the
original nature of the materials he
uses and also their tendency to change
under variations of temperature.
Reverting for a moment to our orig-
inal caption—-The Piano Tuner and
what it means to be one—will give him
some idea about his own lot, at least,
and how fortunate he should be that he
has no such responsi'bilties. The piano
is made and ready to be tuned. No
putting up a factory, hiring: superin-
tendents—and special craftsmen for
scale designing—appointing dealers to
handle their goods and shouldering all
the burden.
Analyzing the situation it also brings
out many points.
The small piano being made is not
intended for heavy use—or hard con-
stant practicing is often overheard as
an argument—to off-set the well in-
tentioned buyer, for neither animosity
or mere personal attachment should
enter in the minds of these who's busi-
ness it is to be neutral.
ing it with others. If he takes his
profession seriously he can soon build
up a very comfortable livelihood.
If a piano tuner can qualify as an
action regulator or stringing a case
that could be considered well done—
besides gluing on a set of hammers—
evenly, such a man can actually pick
his own work and own time to do it. A
Mechanic that knows his stuff wins the
prize.
We have mentioned what parts are
used in the making of a piano. Now
comes another phase, i.e: putting a
piano together.
If one would take a walk through
the various departments he would be
surprised to find a room but few are
allowed to enter. This is where draw-
ing of the "scale" is done. In this
particular room, is often a superin-
tendent's pet—his pride—a cherished
idea to unfold a scale design that not
only will show up on paper, but an
actuality when the parts purchased are
put together, and assembled according
to plans.
Here is a partial summary of what
the departments are doing.—
Here we find a set of men joining
the frame, gluing on the wrest-plank,
putting on the Sound-Board, attach-
ing the ribs and bridges, fastening
the Bridge, the string bearing on the
Bridge, Height of the bridge, making
the plate, boring holes for the tuning
pins, holes for bridge pins, putting
on the strings, partial casing, putting
in the action, regulafcmg the touch,
tuning, tene-regulating.
We begin to see that it is not all
gold that glitters. . . .and t« tune a
piano is not just pounding ivories and
let it go at that.
To be continued in April.
Suggests Factory Training
Along With Tuning Courses
Tampa 5, Florida
February 11, 1946
Mr. Alexander Hart
Music Trade Review
1270 Sixth Avenue, N. Y. C.
Dear Sir:
I am interested in becoming an in-
dep.endent piano repairman.
I have
had one year's experience in a piano
rebuilding shop, regulating actions and
restringing grand pianos. This partic-
ular shop is so set up that there is no
opportunity for one to become ac-
quainted
with
piano
construction
theory, therefore your series of articles
in the Music Trade Review prompts
Little Capita] Needed to Start
this letter.
A piano tuner starting out for him-
In your opinion, do you thing it
self, need not worry about a large
nossible for one to master the funda-
sinking fund.
The most required ©f
mentals necessary for this work from
him is a basic knowledge built on
readme: alone? If this is possible would
experience, co-ordinating, and shar-
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