Music Trade Review

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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor in
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
CHAPTER 27 - Piano Tuning in Review
I
T must be understood clearly that
once a piano is tuned and placed to
its proper "pitch," it is not so easy to
change this—unless you have plenty of
time.
The voice can do this at will. Other
voices can harmonize and blend. Differ-
ent instruments can help along (to a
degree) to transpose or modulate here
and there, but the piano cannot do this
by itself. The tuner is the one to alter any
discrepancy, otherwise il is a custom for
musicians to say to the pianist—"give
me the 'A'."
The oboe player sounds his instru-
ment "A." The orchestra tunes up from
that. We can conclude by these remarks
how particular one should be to have
tuning that is always on the button, i.e.,
tested now and then—to 440-A or 523-C,
meaning the fork should vibrate 440,
in one second of time acting on the drum
of the ear.
A few encouraging words may be all
right for those who have not yet tuned
pianos for bands, orchestra? and ac-
companists.
Don't worry too much about the tone,
when you are confronted with a piano
half the pitch out of the way. The pitch
in this case is the thing. Playing, sing-
ing, and dancing to pianos in pitch,
please all concerned.
It is only too true to say that the
neglect of pianos in clubs, i.e.. night
clubs, theatres, where pianos have been
standing idle, often require extra and
careful attention or special service at
the last moment. This inattention on the
part of piano owners falls hard on the
conscientious service man.
The main advice is keep the piano up
lo the fork, come what may. The musi-
cians can skip a few sour notes, but not
so readily when the pitch is loiv.
Another point to remember is to make
it clear to one who pays for the work
what you are going to do that no argu-
THE MUSIC TRADE REVIEW, MARCH, 1951
ment remains after the work is com-
pleted.
Don't go ahead on your own respon-
sibility to take care of this or that, with-
out first consulting about it. Try to be
honest in the deal. You will feel much
better after.
Another suggestion for the new re-
cruit in the piano world is, do not (if
you can possibly avoid it) get yourself
involved, especially on old wornout
pianos, where a new one would be bet-
ter in its place. Unless you know some-
one who has a first class repair shop,
or one of your own, be extremely cau-
tious.
I will admit that it is hard to see some
repair work slip between the fingers.
On the other hand, seeing some easy
money in sight might be tempting, yet
it pays dividends in the long run by hav-
ing the honest intent in mind.
It is not the work for a novice to even
attempt to shim a sound-board, for
this step alone entails lots of experience
as" well as craftsmanship.
Look well, examine the instrument
thoroughly tag every move you make
before any estimate is made. I say this
because the action parts in many instru-
ments manufactured seventy-five years
ago are not obtainable.
Don't start the job unless you are sure
these special parts can be purchased.
Repairs that call for split bridges,
cracked sound-boards, loose pins, loose
ribs, or dried butt pin-blocks, restringing
and varnishing are better off in a fine
repair plant. In short, always try to make
room for a new piano.
Here is a suggestion that will save
your eyesight and lots of worry, es-
pecially with spinets, when one must
look under the key bed, for lighting
screws in the action. Lights anywhere
that will help the service man are out
of the question. Don't be without an ex-
tension cord. Make yourself comfortable
when working on the action.
Dampp-Chasers Being Used
Successfully in Organs
According to O. Jack Buckley, sales
manager of Dampp-Chaser Inc., the de-
mand for Dampp-Chasers in organs is
increasing rapidly. "All troubles caused
by dampness can be eliminated perma-
nently," said Mr. Buckley.
"Electrically operated, they should
be installed in the console, chests, speak-
ers, lofts and each extra cabinet used to
enclose tone units, to protect the fol-
lowing vital parts: key actions, reeds,
electro magnets, valves, bellows, metal
parts, leather parts, coils, transformers,
condensers, switches, speakers.
"To prove this, we are now asking
organ manufacturers to send us a tech-
nical description of their consoles and
all cabinets, including the inside dimen-
sions. After our engineer has studied
these, we will able to advise the length,
wattage and number of Dampp-Chasers
usually required to properly protect
each compartment.
"In order to make whatever thorough
test necessary, we are willing to send
a sample Dampp-Chaser. No obligation
is involved—the samples will be sent
on memo charge and can be returned
for full credit.
"A few years ago we made this same
offer to the piano manufacturers. To-
day, almost without exception, they are
recommending the Dampp-Chaser to
eliminate sticking keys, sluggish actions,
and rust. One manufacturer installs
them in all his pianos."
Church Buys a Wurlitzer
Mr. J. H. Troup Music Co., Harris-
burg, Pa., recently sold a Wurlitzer,
Model 2300, to the Pillow Evangelical
Reformed Church at Pillow, Pa.
The Colvin Nursing Home at Bellvue,
Ohio, recently purchased a Wurlitzer
Piano, Model 315, from D. M. Blaine,
Sandusky, Ohio.
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