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
Notes of Interest on Tuning
HPHE student will again follow the
-•- diagram and note there are three
hampers, one marked "E", the center
one " F " and the one in front marked
A.B.C.D. (Observe the deep cuts on the
felt E, no doubt caused by hitting the
strings over a period of years.
The hammer felt on F is in fine shape
and requires no filing.
The working tools for this kind of
work is a sandpaper file, that is, a
piece of wood covered over with sand-
a good even start and being extra care-
ful not to tear the felt. This can easily
be done if careful. The procedure of
cautiousness can be traced to a good
sound judgment and thereby bringing
all three qualifications into play, i.e.,
the steady hand, the watchful eye, and
caution. Follow the arrows and go slow
and easy.
Suggestions:
THE LONG BLACK LINES REPRESENT
SANDPAPER
FILE — FOLLOW
THE
ARROWS AND NUMBERS.
paper. This can be purchased from the
piano supply companies, neatly made
and reasonable. It doesn't pay to make
them. Dexterity of the hand, a good
eye, count for a great deal plus careful-
ness.
When you start filing the felt, hold
the hammer firm, otherwise you might
break it from the stem.
Commence at "A" and follow the ar-
rows around to "B", then to "C", a
distance a little part from the centre
then return to "D" and start again fil-
ing toward "C".
Remarks:
Hold the hammer file firm and
square, keeping it below "A", getting
THE MUSIC TRADE REVIEW, FEBRUARY, 1952
The writer would suggest working on
an old set of hammers first, and get in
a little practice, before attempting to re-
shape a set of high grade hammers,
which may be too much for a beginner.
This in itself is no let-down for any-
one who wishes to practice his profes-
sion as a real craftsman.
Please remember it is easier to write
about action regulating and voicing
than doing it. The same advice applies
to any sensitive mechanical understand-
ing like regulating the mechanism of
an automobile engine.
No novice could or would try to in-
terfere with its intricate parts without
knowing just what it's all about, there-
fore the same honesty of thought should
precede the effort when working on
piano actions.
Keep in mind also, the thousands of
parts that go to make up a reliable ac-
tion to withstand the hard usage it is
subjected to. Try to cultivate the habit
of law and order. Lay out the tools you
are about to use, and give yourself
enough time for the job so that you can
relax and be comfortable. Then you
may not be apt to make mistakes, and
your action regulating will stand out in
fine shape.
Memorise Rules
It may be especially remarked that
the 88 keys constituting measurements
that make the whole requirements of
action regulating, are about the same,
and these primary rules should be mem-
orized as well as practiced.
Not many get by in the study of har-
mony without first knowing and under-
standing the intervals of music. All the
88 keys should be able to repeat nicely
and respond to the player's touch. I
have written of it before that there are
a few manuals on action regulation,
especially one put out by Jesse French
& Sons, Elkhart, Ind. It is truly com-
prehensive, and worthwhile studying.
The diagram that accompanies this ar-
(Turn to Col. 3, Page 30)
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