Piano Tuning Part 4

[Ill.u.s.tration: ACTION OF THE GRAND PIANO.]

ACTION OF THE GRAND PIANO.

1. Indicates the felt, cloth or leather, upon which the various parts of the action rest, or fall noiselessly.

2. Key.

3. Bottom; sometimes called Key Rocker.

4. Extension; split at lower end to receive center pin in Bottom.

5. Wippen Support.

6. Jack.

7. Jack Spring.

8. f.l.a.n.g.e and Regulating Rail.

9. Regulating Screw, b.u.t.ton and Cus.h.i.+on.

10. Escapement Lever.

11. Regulating Screw in Hammer f.l.a.n.g.e, for Escapement Lever.

12. Check Wire, for Escapement Lever.

13. Screw to regulate fall of Escapement Lever.

14. Lever f.l.a.n.g.e, screwed to f.l.a.n.g.e Rail.

15. Hammer Shank.

16. Hammer.

17. Back Check.

18. Damper Lever, leaded.

19. Damper Wire, screwed into upright.

20. Damper Wire Guide, fastened to Sound-Board.

21. Damper Head and Felt.

0. Center Pins. Holes lined with Bus.h.i.+ng Cloth.

INSTRUCTIONS FOR REMOVING THE SQUARE AND GRAND ACTIONS.

First, feel or look underneath the keyboard and see if there are screws that go up into the action. In most of the better grade instruments the action is fastened in this way. If the screws have square heads, your tuning hammer will fit them and bring them out; if common screws, a screw-driver will suffice. Look through the opening in the sound board where the hammers strike and see that they are all down before pulling out the action, lest they break off by catching on the under side of the sound board. This is almost sure to happen if actions are out of order.

In most square pianos, the narrow board just below the keys can be removed by being raised straight up, as it simply sets over screw heads in the key frame. When this strip is removed, a wire handle will be found in the middle of the key frame by which to draw out the action. In some cases, and especially in grands, this strip is secured by screws found underneath the piano. In other pianos, the action is held by screws in front of the key frame, which will be revealed by the removal of the front strip, above referred to.

Be especially careful in placing the action back into the piano. As a rule, it is safe to keep the right (long) end of the square action bearing against the right side of entrance, being sure that one end of action does not get ahead, which might cause some of the hammers to strike the props for which the openings are left in the back extremities of action.

While the action is out, study carefully the purpose of every part and its movements, referring to this and the previous lesson until you have thoroughly mastered the entire mechanism. Do not rest until you can name correctly everything you see and know its use so well that you could explain it satisfactorily to an inquirer. Sometimes the tuner is asked a great many perplexing questions and is expected to respond intelligently.

We have dealt with the three types of actions that are most commonly found in the three types of pianos. The student must bear in mind that there are numerous manufacturers of actions, and that each has his peculiar method of constructing his special action to bring about the desired results, which are practically the same in all cases; and consequently, while a variety of construction will confront the beginner in piano regulating and repairing, he will understand the construction and requirements of any action that may demand his skill from the foregoing instruction, if properly mastered. In this, as in all other mechanical professions, one's inventive genius must often be summoned to a.s.sist in surmounting obstacles which are sure to arise unexpectedly.

QUESTIONS ON LESSON IV.

1. From a philosophical point of view, which do you consider the easiest and most perfect of the three types of actions? Also give reasons.

2. Considering the wippen and its attachments as one part, how many parts move when a key is struck in the upright piano? How many in the square?

3. Name the parts found in the upright action that are absent in the square.

4. Describe the three methods by which soft tone is obtained from use of soft pedal in the three types of actions.

5. What rail serves two purposes in the square action, and what are they? What rail serves two purposes in the grand action, and what are they?

LESSON V.

~REGULATING AND REPAIRING.~

FAULTS IN PIANOS, ASIDE FROM THE ACTION, AND THEIR REMEDIES.

One of the most common, and, at the same time, most annoying conditions both to the owner of the piano and the tuner, is the "sympathetic rattle." This trouble is most usual in the square and the grand pianos and is generally due to some loose substance lying on the sound board. The rattle will be apparent only when certain keys are struck, other tones being perfectly free from it. These tones cause the sound board to vibrate in sympathy, so to speak, with the weight of the intruding substance at the point where it lies, and if it be moved the distance of six inches it will sometimes cease to respond to these particular tones, but may respond to others, or cease to cause any trouble.

The article may generally be found near the front of the sound board under the top piece of the case, this being the place where it would most likely fall. No special instrument is made for the purpose of searching for such objects, but one can be easily devised with which the tuner can feel all over the sound board, and remove such articles as well as dust and dirt. Secure a piece of rattan or good pliable hickory, and draw it down to the width of half an inch, thin enough to bend easily, and long enough to reach anywhere under the stringing or metal plate. By putting a cloth over this stick you can remove anything that comes in its way. Some difficulty will be found, however, in getting under the plate in some pianos. In case you cannot procure a suitable piece of wood, a piece of clock spring will be found to answer very well. We have taken from pianos such articles as pencils, pieces of candy, dolls, pointers used by music teachers, tacks, nails, pennies, b.u.t.tons, pieces of broken lamp chimneys, etc., etc., any one of which is sufficient to render the piano unfit for use. The sound board of the upright being vertical prevents its being subject to the above difficulty.

A split in the sound board, in any style of piano, sometimes causes trouble due to the vibrating edges of the board coming in contact with each other. Insert the point of your screwdriver in the crack, holding it there firmly; if the rattling stops, the difficulty is discovered, and may be remedied by placing a screw or wedge in the crack, or a wedge of wood, cork or rubber between the sound board and iron plate or casing, if the location of the trouble permits. While this method seems a perfunctory one, it is nevertheless the best the tuner is prepared to do, for it is next to impossible to glue a crack in the sound board successfully outside of a regular factory or repair shop, where the instrument may be taken all apart and a new sound board put in or the old one properly repaired.

Sometimes the sound board gets loose or unglued at the edges, or the bridges or ribs come loose. Any part of the piano where there is vibration or loose material may become the source of the sympathetic rattle, as even parts of the case vibrate with the tones struck; so you must examine the panels, lock, hinges, soft pedal bar (in square), in fact all parts of the case and woodwork for the location of the trouble. Once found, the remedy will suggest itself. The greatest difficulty is to locate the cause. Very frequently this will be found entirely outside of the piano; a loose window gla.s.s, picture gla.s.s, lamp or other article of furniture in the room may respond to a particular tone or its octave. We have never found the sympathetic rattle in the action; it has rattles, but not of this character. Any other defect which may be found under this head will only require the exercise of a little mechanical ingenuity to suggest a remedy.

REGULATING AND REPAIRING THE UPRIGHT ACTION.

(Use cut of upright action for reference in following study.)

We will begin with the key and take up each part of the action in the succession in which motion is transmitted.