Toronto Piano Tuning

Everything you always wanted to know about Piano Tuning, but didn't know who to ask....

Tuning a piano is a skill, a craft and an art. Knowing how to do it, doing it, and understanding it are three completely separate things. My father patiently demonstrated to me how to tune, but it took a long time to learn how to do it myself. It took an even longer time to really understand, and be comfortable with it. There are many skills that have to be learned to tune a piano accurately, but there are just three basic parts to each tuning. The first, and the most important from a Tuner's point of view, is called "Setting the Temperment". This is the foundation on which the rest of the tuning is built, and the hardest part to master. It is also rather difficult to explain.

The musical scale that western ears have become accustomed to, and upon which the tuning of a piano is based, consists of twelve notes: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. This arrangement had been invented and used long before any of the composers we know of had been born. So, when they did get here, they inherited a system of music that they were forced to use, even though it has a few nasty little problems. The main problem has its root in what is called "Harmonics". If you play a string, and then divide it in half by placing your finger on the middle of the string (what physicists call "the node"), you would hear a note one octave higher than the first note, which is called the "Fundamental". (If you play middle C on a piano, and the C above it on a piano that is in tune, that is an octave.). If you then divide that half in half again, you would hear a ‘Perfect Fifth' above the Octave. (Like playing C and the G above it). If you continued to subdivide the string in this manner you would hear a rather mysterious thing: a note two octaves higher, then a third (C to E) above that. Then the fifth, then a minor 7th (C to A#), then all the diatonic notes (like all the white keys), and then every single note. If you could go even further you would hear microtones, which are not part of the western scale, but which are a part of the music of other cultures.

This is all fine and dandy, except for a problem known as the "Pythagorean Comma". The first interval of a perfect fifth in harmonics is "pure", that is to say, it does not have any warble or vibrato, called "beats", when the two notes, the Fundamental and the fifth, are played together. All the intervals after this are also "pure" with the note previous to it, but they grow increasingly sharp of the Fundamental to the point that the Octaves are not "pure" with each other. They become sharp because of the “Comma", which is a microtone that is missing in our western scale. So, in effect, we actually squeeze what are harmonically thirteen notes into our twelve-note scale. This is called "tempering" the scale, and the way in which we squeeze it is called the "Temperment". When there were no keyboard instruments, this was not a big problem. Instrumentalists and singers learned to tune each note as they played or sang, so that they would be pure to any other notes played or sung with them. Since pianos and other keyboard instruments cannot be retuned on the fly, dealing with this became a problem that no one has really been able to solve completely.

Before J.S. Bach's time, Harpsichordists dealt with the problem of Temperment by constantly tuning. They would play a piece in say, E flat, and then re-tune the instrument to play in a different key, like A or D. Large pipe organs of the time would have different temperments in separate sets of pipes, called "ranks". To play in a different key, you would change ranks. This method of changing temperments was not only awkward, but still resulted in some intervals sounding horribly out of tune.

The problem was eventually solved, or at least re-solved during Bach's lifetime. Someone figured out how to temper the scale in an equal manner so that whatever key you chose, would be equally in tune. To demonstrate this new method of tuning, Bach wrote two preludes and fugues for every key, and called the collection "Das Wohltemperierte Klavier", "The Well Tempered Keyboard". The “Equal Temperment" is now the standard tuning in every modern keyboard instrument.

The Temperment, set into an octave in the middle of the keyboard, is the first thing that is done when a piano is tuned. After that, one string of every set of strings per note is tuned from the temperment octave. When I say "set" I am referring to the fact that in the Mid-Range and Treble (Top) of the piano there are three strings per note, in the tenor there are two, and in the bass there is just one. Finally, the other strings in the sets of strings, called "Unisons" are tuned. When I first started to tune, my Dad would do the first two steps, and then I would do the last. As I mastered this, he would move me onto the previous step. Each step is an art in itself, and it takes a lot of practice to do it well. There is also the matter of learning to become comfortable with the tuning tool, called a "Hammer", not to mention the differences between pianos. It is no wonder that my Dad use to call his trade "The Art of Compromise".

Excerpted from: "Aural Piano Tuning - The Art of Compromise" by James Musselwhite

Illustrated Guide to Piano Repairs
Image: Grand Piano

Click on the links below to learn more about Piano Repairs!

Back and Belly Repairs

Action and Keyboard Repairs

Grand Piano Action

Trapwork Repairs - The Pedals, Pedal Mechanism, Legs, and Undercarriage.

Back and Belly Repairs

Bridge Repair

The "Bridge" is a long curved piece of wood that is glued to the soundboard. The strings pass over top of the bridge, guided by small pins. It is this direct connection that allows the vibration of the strings to by transmitted to the soundboard, which amplifies the sound.

Sometimes, due to environmental causes, age, or poor construction, the cap on top of the bridge cracks, and the pins become loose. This causes the sound of the strings to become indistinct or "buzzy". To correct this, the cap must be repaired or replaced, and the pins replaced, or glued and tightly re-glued.

Cleaning

When dirt or oil accumulates on the strings, the sound they make becomes dull sounding or "tubby". Sometimes, the sound of older strings can be improved by cleaning. The treble, or plain-wire strings are cleaned by rubbing them with steel wool or a nylon scouring pad. The bass strings, which are wound with copper or iron are loosened one at a time, and removed from the bottom part of the piano. Then they are vigorously rubbed with steel wool or a nylon scoring pad. Lastly, the strings is curled upon itself and bent back and forth to remove dirt between the windings. The rest of the back and belly of the piano is usually cleaned after the above procedure to remove any dirt that was loosened by string cleaning. In a Grand Piano, the soundboard is cleaned using a soft cloth and a sound-board steel.

Reconditioning

Reconditioning is the name used by Technicians to describe a collection of procedures that rejuvenate a section of a piano. Back and Belly Reconditioning includes the following steps (alphabetically):

Bridge Pin Resetting

The Bridge Pin is given a tap to ensure tightness in the bridge. This helps to correct "False Beats" in strings, giving the tone of the strings more clarity.

Cleaning

Described above.

Coil Tightening

The string coils around the tuning pin at the top of it's run. This coil must by tight together to ensure tuning stability.

Nut and Capo D'astro Bar Resetting

The string travels under and over two bars after the coil around the Tuning Pin. This bar often becomes soiled and pitted. To ensure tuning stability and pureness of tone, these bars are cleaned, and the strings are moved across their normal seat to smooth out any imperfections.

Rib Regluing

Described Below.

String and Coil Bedding

The strings must be lay tightly across the bridge and not "hang Up" on the pin. At the bottom of the string, the loop that goes around the final anchor must also be tight against the plate.

Tightening of all Screws, Nuts, and Bolts.

All the fasteners must be tight to ensure that the piano is stable and solid.

Tuning Pin Resetting

Described Below.

Re-gluing Ribs

Don't worry too much if you have a crack in your soundboard. This in itself is not important. What is important is that the ribs glued to the back of the soundboard are tight against the board at the place of the crack. If the soundboard has pulled away from the rib, they must be re-glued to ensure that the board will not buzz or rattle.

Note: A good technician only uses screws to correct this problem if there is absolutely no other way of clamping the rib and soundboard together!

Repining

If the Tuning Pins are too loose to hold the string in tune, they should be replaced with a slightly larger pin. Before this is done, the technician ensures that the Pinblock is in good shape and solid, that the strings still have enough elasticity not to break when unwound, and that the soundboard and ribs are tightly glued.

Tuning Pin Re-setting

If the tuning pins are a little loose, they may be given a hard tap, which gives the pin new wood in the Pinblock to grab and hold.

Action and Keyboard Repairs

Center Pin Replacement

The Hammers that strike the strings rotate on a small silver-coated brass pin that is held tightly by a felt bushing. When these pins become loose in the bushing, the hammer flops sideways when hitting the string causing indistinct tone, and undue wear on the hammers. To correct this, the pin is replaced with a larger size, and the bushing slightly reamed to remove wear and grease.

Cleaning

The action and keybed naturally collect a lot of dust. Although this does not usually cause technical problems, cleanliness is next to godliness, and is a normal part of piano maintenance. Rodents and insects often nest under the keys, which damages the wood and felt. Placing A few small cakes of Irish Spring soap under the keys and in the bottom of the piano is thought to repel mice in a safe and environmentally friendly manner.

Key Bushing Replacement

Small crome-plated brass pins guide the movement of the piano keys on the key frame. These pins contact a strip of felt inside the key known as bushing cloth. When this wears, the keys wiggle side-to-side, increasing un-wanted noise, and the players’ comfort. New felt is glued in to replace the worn bushings.

Keytop Cleaning and Polishing

A rule of thumb: Keep the lid open on Ivory Keys; keep the lid closed on plastic. Ivory keys become yellowed when not exposed to natural light, and plastic keys discolor with exposure. Dirt, dust and sweaty fingers leave their mark on all keys. For regular home cleaning, use two cloths: one slightly moistened with Windex, the other dry. Dry each key right after cleaning. Make sure you clean the sides of the black keys!

For a thorough job, a technician will remove the keys, clean them, and then polish out any scratches with a buffing wheel and jeweler's rouge.

Keytop Replacement

When the keytops are broken or cracked, New Plastic keytops can be applied to renew the piano's appearance. A good technician will always shape each key individually, and smooth and polish all the edges.

Reconditioning

Recondition is a term technicians use to describe a collection of procedures designed to renew a specific part of the piano. Action Reconditioning includes (alphabetically):

Cleaning

Described above.

Ensuring proper tension of Center Pins

Described above.

Re-bending of the springs

The proper working of an upright action depends on the tension of two finger springs and one coil spring. Re-bending the finger springs renews there ability to function properly.

Re-lubrication of friction points

There are many points of friction inside a pianos action. Some are metal on felt; some are wood on leather. Over time, the original lubrication wears off and must be replaced.

Replacement of the bridle straps

The hammers, after striking the strings, return to rest by the action of a spring, and the weight of the mechanism suspended beneath it, connected by a small strip of cloth called a bridle strap. The straps have and average lifetime of thirty to forty years, and must be replaced when worn out.

Replacement of the Jack Springs

This internal coil spring becomes weak with age and use, and often causes the keys to cease functioning. Replacement with brand new springs often makes a surprising difference in the "touch" of the keys.

Reshaping of the Hammers

What with all the repetitive pounding of the strings, the hammers wear deep grooves in their striking points. This causes the tone to become uneven and impure. The hammers themselves are made from multiple layers of hard felt wrapped around a wooden core. To reshape them, a technician removes a few layers, ensuring all the time that the proper shape of the hammer is maintained. A well-shaped hammer has a very small striking point - smaller than the tip of your little finger!

Tightening of all screws

Every screw in the action must be tight to eliminate noise and undue wear.

Regulation

Regulation is a collection of procedures that ensures that all parts of the Keyboard and action work correctly together. A piano's mechanism is very complex - over three thousand individual parts! Many of these parts have tiny adjustment points that must be set properly so that the piano sounds and plays like it was designed to. A piano's action is like a large and complex handmade cuckoo clock. Every little piece must work properly in order for the clock to keep the correct "time".

Trapwork Repairs

Castor Replacement

The castors or wheels that pianos are supplied with by the manufacturer are actually not designed with moving a piano around. They allow the piano to be moved a little, away from a wall for cleaning for example, but no more than a foot or two. They are small iron wheels with no bearings or cushion. They simply hold the piano off the floor. Often they break, and cause the piano to tilt. I recommend that every piano should have new ball bearing rubber castors retro-fitted to make shifting a piano easier and safer.

Pedal Replacement

Damage by movers, or by dropping the bench, can cause one or more pedals to break in half. Because they are made from cast iron, welding is usually not a practical way of repairing them. Replacing broken pedals with new ones, is much more time and cost efficient.

Pedal Re-plating

Replating with nickel or chrome can renew old, worn, and tarnished pedals. This is a relatively simple and inexpensive procedure that does wonders in improving a piano's appearance.

Spring Replacement

With age and wear, the springs that return the pedal to their "up" position may break. Replacing these springs with new ones restores the pedals function.

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