Piano Tuning | Page 5

screws
which draw it inward; its function is to hold the strings firmly in
position. You will notice that the lengths of the strings, above the
bearing-bar, vary considerably, even in the three strings comprising the
unison. (We will speak of the effect of this in tuning, farther on.)
After that portion of the case is completed which forms the key-bed or
action frame, we are ready to set in the
ACTION.
By this is meant the keys and all those intricate parts which convey the
motion of the key to the hammers which strike the strings, and the
dampers which mute them.
The requisites of the action are as follows:
The keys must descend quickly and easily at the touch of the performer,
giving quick response.
The weight of the hammer must be properly proportioned to the strings
it causes to vibrate.
The hammer must rebound after striking the string. (Where the hammer
remains against the string, thereby preventing vibration, the term
"blocking" is used to designate the fault.)
The action must be capable of quick repetition; that is, when a key is
struck a number of times in quick succession, it must respond perfectly
every time.
After striking and rebounding from the string, the hammer should not
fall to its lowest position where it rests when not in use, as this would

prevent quick repetition. For catching the hammer at a short distance
from the string, a felted piece of wood suspended on a wire, called the
back check, rises when the key is depressed, and returns when the key
is released, allowing the hammer to regain its resting position.
A damper, for stopping the tone of the string when a key is released,
must leave the string just before the hammer strikes, and return the
instant the key is released.
A means must be provided for releasing all the dampers from the
strings at the will of the performer. The loud pedal, as it is called, but
more properly, the damper pedal, accomplishes this end by raising the
dampers from the strings.
In the square and the grand piano, the action is under the sound-board,
while the strings are over it; so the hammers are made to strike through
an opening in the sound-board. In the upright, the strings are between
the action and the sound-board; so no opening is necessary in the latter.
The "trap-action" consists of the pedals and the parts which convey
motion to the action proper.
QUESTIONS ON LESSON II.
1. What have been some of the salient obstacles necessary to overcome
in producing the perfected piano?
2. Of what use are the dampers? Explain their mechanical action.
3. Mention several of the qualities necessary to a good action.
4. Describe the building of an upright piano.
5. Contrast the musical capacity and peculiar characteristics of the
piano with those of the organ, which has the same keyboard.

LESSON III.

TECHNICAL NAMES AND USES OF THE PARTS OF THE
UPRIGHT PIANO ACTION.
In the practice of piano tuning, the first thing is to ascertain if the action
is in first-class condition. The tuner must be able to detect, locate and
correct the slightest defect in any portion of the instrument. Any
regulating or repairing of the action should be attended to before tuning
the instrument; the latter should be the final operation. As a thorough
knowledge of regulating and repairing is practically indispensable to
the professional tuner, the author has spared neither means, labor nor
research to make this part of the lessons very complete, and feels sure
that it will meet with the hearty approval of most, if not all, students.
The piano tuner who knows nothing of regulating and repairing will
miss many an opportunity to earn extra money.
The illustration accompanying this lesson is from a Wessell, Nickel and
Gross Upright action. This firm, whose product is considered the acme
of perfection, makes nothing but actions. Most manufacturers of pianos,
of the present day, build the wooden frame, the sound-board and the
case only; the action, metal plate, strings, tuning-pins, etc., being
purchased from different firms who make a specialty of the
manufacture of these parts. A few concerns, however, make every piece
that enters into the composition of the instruments bearing their names.
[Illustration]
Ky, is the Key in its resting position.
c, wherever found, represents a cushion of felt or soft leather upon
which the different parts of the action rest or come in contact with each
other. Their purpose, as is readily seen, is that of rendering the action
noiseless and easy of operation.
Bnc R, shows the end of the balance rail, extending the entire length of
the keyboard.
B P, is the balance pin. This is a perfectly round pin driven firmly in
the balance rail.