Nigel Donovan
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PIANO CLINIC
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When my piano was last tuned the tuner informed me that the pitch was slightly high - how could this be? I always assumed that pianos went flat over time, not sharp.
You are right in thinking that the general trend, over time, is for the pitch of a piano to drop due to the great tension exerted on the strings and frame – something has to give and if left long enough the pitch will inevitably drop. However, in the short term other factors come into play. Bearing in mind that the piano is constructed from many different materials, humidity and temperature have considerable effect on the tuning and its stability. Too little humidity and the soundboard, being made of wood, will shrink allowing the strings to relax a little of their tension with a resultant drop in pitch. This usually happens during the winter months when the central heating is running and the air is drier. Conversely, if the summer months are particularly humid or damp, the soundboard can easily absorb the extra moisture and swell, forcing the bridges upwards which then have the effect of tightening the strings and raising the pitch. Unless you are particularly anxious for the piano to be at concert pitch at the time of tuning, it is probably best to leave the pitch slightly high as it will fall again when the humidity falls. This annual ‘breathing’ of the soundboard is one of the reasons why piano tuners are so welcomed twice a year!
My eight year old upright piano has a music ledge but nothing to hold the pages of books open. I find this so frustrating - can anything be done?
Manufacturers of modern pianos are reluctant to put the old fashioned ‘bookholders’, brass clips that hold music open, on their instruments either because of the risk of scratching the casework and keys through misuse or because they spoil the clean lines of the design. Whatever the reason, most pianists would prefer to take the risk and place practicality over aesthetics. Your PTA tuner will probably be able to oblige by screwing in a pair of bookholders for a modest fee.
I’ve always been happy with my piano tuner but last time I noticed he was referring to a program on a pocket PC and tuned all the notes consecutively from bass to treble. I’m not sure what to think about this - isn’t it cheating to use a machine?
There can’t be many fields of human endeavour where keeping up with the latest technology causes so much suspicion and mistrust! In the case of piano tuning this probably originates from the idea of tuners having the gift of superhuman hearing; that tuners are born, not made. The mundane truth is that good tuners are the result of good training and experience and that any tool is only as efficient as the person operating it. Electronic Tuning Devices (ETDs) have come a long way in the last few years and are nothing like the fixed frequency tuner you may use to tune your stringed instrument. These are dedicated piano tuning instruments designed to replicate the listening process to a degree of accuracy possibly exceeding that of the human ear. If your tuner has started to use an ETD then the net gain should be a more accurately tuned piano. The other point to be made is that listening is only a part of what the tuner does – actually setting the tuning pin so that the tuning remains stable after prolonged heavy playing requires just as much skill. Although ETDs are not cheap, there is nothing to stop an unqualified ‘tuner’ from acquiring and using one to tune your piano. If, however, you employ a Member of the PTA then a certain level of competence can be assured and the machine will be used to your advantage.
My piano was tuned in May but by August was sounding awful. Should I have called the tuner back to re-tune?
Maybe it’s connected to global warming but this year (2006) we have experienced some rather untypical extremes of humidity and temperature in the UK which have made most pianos very unstable. Instruments which normally hold their pitch have gone considerably sharp. By all means call the tuner back if it becomes unbearable but, unless you are sure it was due to circumstances other than the weather, it would be unfair to expect him to re-tune without charging. As a point of interest, an ETD makes the job of pitch adjustment easier and far more accurate.
Is it possible to give my four year old piano a warmer, mellower tone? My previous piano was made in 1960 and had a beautifully rich tone which I would like on the newer piano.
The tone on new pianos can be a little bright at first until the hammer felts settle down and develop a more mature, mellow sound. However, after four years you are probably listening to the true tone of the instrument. Piano tone is very subjective - what may seem overly bright or even harsh to one person is delightfully clear to another whilst a subdued mellowness can be heard as woolly and soft. When choosing a piano it is important to hear as many different models as possible to be aware of what an attractive tone means to you. A mistake made at this stage can be hard to rectify. Bear in mind that cheap pianos usually come with a cheap, tinny sound which even the best piano technician will be hard pressed to change. Toning (voicing) a piano includes treating the hammers with needles to loosen the fibres of the woollen felt, softening and mellowing the tone. It may be possible to considerably improve your newer piano by toning but it is also possible that it never achieves the same warmth of your older piano. Sometimes there is no substitute for good quality materials and the ageing process.
My poor old piano has suffered some abuse over the years and several of the keys are chipped. Can anything be done?
Hopefully, yes! It depends on the material your key coverings are made from; generally ivory, celluloid, or plastic. The most drastic repair is to replace all your old ivories or celluloid keys with plastic which could be quite expensive and involve a period where the piano is out of action while the work is carried out. If only a few are chipped it may be possible for your tuner to replace them in situ, although the colour and grain of ivory differs with every piano. It is much more difficult to replace individual celluloid keys. It is also feasible to repair broken ivories using a quick drying resin which can be readily sanded and polished. When done properly, this repair is almost invisible but be prepared to pay for the tuner’s skill and expertise. Incidentally, key chips are usually caused by small children using the piano keys as a drum – you have been warned!
My tuner recently paid his six monthly visit to my 30 year old Yamaha upright and managed to break a string whilst tuning it. I was charged an extra £10 for replacing it but now I wonder if I was right to pay it?
You are probably wondering why you should have to pay for a problem which the tuner apparently caused in the first place. Pity the poor tuner! It was almost certainly not his fault that the string broke but an unfortunate consequence of the tuning process - rest assured that the tuner was just as annoyed as you were for breaking the rhythm of his tuning. The secret of a good tuning lies in the ability of the tuner to ‘set the pin’ so that the piano remains in tune for a reasonable length of time, assuming the piano is in good condition. This requires the strings to be struck with considerable force, more than you would use in normal playing. Sometimes a string which has been weakened by time or rust breaks during this process which could be an early warning sign that others are also about to break. If the broken string happens to be one in the copper covered bass section, be prepared to pay more as a replacement will have to be made by a specialist piano string maker which will entail a return visit to fit. Consider broken strings to be part of the ongoing maintenance of a piano. Therefore, it was correct to be charged an extra £10 which is a very reasonable sum for a job which requires considerable skill.
How do I know if my piano tuner has done a good job?
This is not as easy to answer as it first seems. The tuner is listening to the sounds of the strings whereas the average person is listening to the piano as a whole. Unless you are able to accurately distinguish the ‘beats’ set up between different pitches then you will have to rely on the overall sound of the finished instrument – does it sound pleasing to your ears? If not, try asking your tuner why; a satisfactory answer might include either the condition of the sounding parts or the quality of manufacture. Look also at the professionalism of your tuner - if he appears businesslike, confident and disciplined then this is likely to be reflected in the way he tunes your piano. Try to choose a tuner who has been recommended to you by someone whose opinion you can trust or find a Member of the PTA. He or she will have passed a stringent test of competence.
I’m confused about what to buy as a beginner’s piano for my daughter to start her lessons on - I don’t want to spend too much in case she doesn’t take to the piano.
There is very rarely a good instrument to be had for two or three hundred pounds which is the sum most people have in mind when thinking of a ‘beginner’s piano’. Such instruments will most probably be straight strung, overdampers from the 1920’s or 30’s – the budget pianos of their day. They were often bought as ‘furniture’ to show to the world how cultured the family was and will be found lacking in tone and touch. After the novelty of having a piano has passed, your daughter may be put off piano playing for life! A good piano must not be seen as something which can be acquired for next to nothing, rather as an investment in your child’s future musical career, even if she barely progresses from ‘Chopsticks’. It would be a far better idea to spend a little more on a really good instrument which, if bought wisely, will maintain its value if or when your daughter decides to switch to the clarinet. Why not make friends with a trusted piano tuner before you make your purchase and get some valuable advice? He will be able to look over prospective purchases and may even know of a good piano available for sale within your budget. However, his best advice will probably be to spend as much as you can afford.
What is the point of the soft pedal on an upright? Mine doesn’t seem to have any effect at all.
The soft pedal on an upright piano has a different function to that of a grand which has the una corda – a device for making the hammers hit only two of the three strings making up one note. There are actually two types of soft pedal on an upright and the one you are referring to is probably what is called the ‘half blow’ pedal. This moves all the hammers towards the strings, effectively halving the blow (the distance the hammer travels to the strings) and reducing the force with which the hammer strikes the strings. All very well in theory but in practise it has hardly any effect on the volume as you have noticed. The other negative effect of this pedal is the way it introduces lost motion in the action of the piano, making it feel loose and reducing its efficiency. Placing your foot on the left pedal may, however, make you play more softly thus achieving the desired effect.
What exactly is Perfect Pitch? Should my tuner have it?
Perfect pitch (sometimes called absolute pitch) is the ability to remember and therefore name, any given note perceived aurally without reference to a pitch source. If you have passive perfect pitch you will be able to name any note played on a piano in the next room immediately upon waking in the morning. If you have active perfect pitch you will also be able to produce any given note either by singing or whistling. This is not to be confused with relative pitch which is the ability to remember pitch for a period of time but will need refreshing by referencing a pitch tone. While it is possible to improve your skill in relative pitch, perfect pitch appears to be a gift you are either born with or acquire in your early years. Some musical ability is essential in recognising that an individual possesses perfect pitch as the pitches of notes and their labels have to be learned and memorised. However, it is also something which ideally has to be refined according to the frequency assigned to any note. For example, standard pitch is said to be A440; that is, the note A vibrates at 440 cycles per second or its multiples. If the standard changes to A442 then someone with perfect pitch would have to adjust their perception of pitch accordingly; something which many find very difficult. Most piano tuners would probably admit to having a degree of relative pitch but most do not have perfect pitch. It is certainly not a prerequisite for becoming a piano tuner. Those that do have it will still use a tuning fork or other means of setting the pitch because they are modest enough to realise that the fork is more accurate to the degree required for tuning a piano. As it is not prone to variance due to colds or slight illness, the fork is also far more reliable.
I have just inherited my mother’s old piano and moved it into my house. How long should I wait before having it tuned?
You are right in waiting for a period of time after moving a piano before having it tuned. The reason for this is to allow the piano to ‘settle’ after its upheaval and for it to adjust to the temperature and humidity changes that are inevitable after a change in the environment. Even moving the piano from one room in the house to another will require a wait followed by a tuning. Sometimes you will notice the tuning deteriorate quite rapidly but often this decline is more subtle. Two to three weeks is usually sufficient for this settling period but if the piano sounds really offensive then call in your PTA tuner earlier and be prepared to have it tuned again a month or so later.
Where is the best place to position my piano?
When deciding where to place your beloved instrument it is a good idea to consider how climate and environment can affect a piano. The important thing to try to achieve is stability with a constant temperature of around 20 degrees Celsius (65-70 degrees Fahrenheit) and a relative humidity of between 45-60 per cent. A simple greenhouse gauge is inexpensive and will give you a general idea of temperature and humidity in your chosen room. Central heating systems can dry the air, drawing moisture from the wooden components of the piano. When the heating is switched off at night the humidity rises, and conversely, as it is switched on in the morning, the humidity drops. These changes in relative humidity cause the wood to alternately expand and shrink causing tuning instability and much worse, can be responsible for serious problems such as loose tuning pins and a split soundboard. Radiators are an obvious hazard to avoid then, as are other sources of heat – direct or indirect – such as a radiator in an adjacent room where heat may be transmitted through the wall behind the piano. Direct sunshine (blinds may be a solution here) can be a particular problem for a grand piano where the spot in which it looks perfect is that sunny bay window. If you have underfloor heating then the best advice is to consider another room although a heavy rug underneath the piano may insulate it sufficiently to survive the winter months. A separate music room is obviously the ideal, even if a little ambitious, solution to your piano positioning problems but the dining room may be suitable compromise as this will usually be maintained at a lower temperature, and have a reasonably constant humidity level. Should you feel that your piano is in an unsuitable environment and moving it is not an option, then you should consider buying either a humidifier to counteract excess dryness, or a dehumidifier for excess dampness. Your PTA tuner will be able to advise you.
What exactly is Concert Pitch?
Concert pitch is the commonly accepted convention that a piano is tuned so that the A above middle C is tuned to the frequency of 440 cycles per second. This will enable it to be played with every other instrument that is tuned to the same pitch. Hundreds of years ago there was no recognised standard frequency and each village would take their pitch from the local church organ. A standard pitch was not possible until the tuning fork was invented by John Shore in 1711 but it took until 1953 for the International Standards Organisation to recommend A440 as the standard frequency throughout the world. So much for the theory – in practice pitch has been creeping up and is commonly A442 on the Continent. Piano tuners prefer to stick to the standard A440 to avoid having to move the pitch up and down which is very unsettling for both the piano and the tuner.
I don’t know much about how pianos work so I have to rely on my nine year son to tell me when the piano needs tuning. The last time my tuner came he said that the action needs regulating but I’m wondering if my son would know the difference?
This is a tricky situation for you because you are pitting the immaturity of your son whom you trust, against the wisdom and experience of a trained technician who you feel may be suggesting unnecessary work to boost his income. Unless your child is an authority on the correct regulation and tuning of pianos, it is probably wise to trust your tuner to suggest ongoing maintenance and the likely interval between required tunings. Sometimes it is necessary to make adjustments to the action which do not show any improvements to the playing of the piano but which, if left, will eventually become apparent and even deteriorate into more serious and costly repairs. Your tuner is actually doing what you are paying him for – looking after your instrument and keeping it in the best possible condition regardless of whether your infant prodigy notices any difference. Look at it this way – if the tyres on your car need inflating, wouldn’t you just do that even if you didn’t notice any improvement whilst driving the car? Your PTA tuner is qualified to assess the condition of your piano and if you trust his judgement will maintain it well.
How much should a piano tuning cost?
The Pianoforte Tuners’ Association, in its Yearbook, publishes a recommended local tuning price which excludes VAT, applies to pianos tuned at least twice a year, the location being within a radius of one mile from the tuner’s base, assumes the tuner to be self-employed and working from home, and does not include additional repairs, pitch raising, etc. It is considered to be the lowest possible amount compatible with a successful business. These figures for 2007 are; in areas where the cost of living is lowest £33.76 and where highest £45.03. Where the cost of living is highest and travel restricts the tunings to four a day, £56.27. In practice, most tuners charge between £45 and £55. What should also be borne in mind is that, being self-employed, the tuner loses out on benefits an employer would normally pay such as days off, paid holidays, pension plan, sick pay, company car and an expense account! All these have to be funded by the tuner himself and must be reflected in his price. If it seems expensive to you then just remind yourself what a plumber would charge for the same amount of time.
I recently discovered that my piano tuner is not the pianist I thought he was. After the last tuning he was playing some nice sounding chords so I asked him to play a piece and he admitted that he couldn’t. Surely he should be able to?
Actually, although it is a commonly held belief that piano tuners must be able to play, it really isn’t necessary at all. Tuning is a very different art to playing the piano and the tuner and pianist are listening to very different sounds when they are concentrating on their separate skills. The pianist is listening to the pitch and tone of musical notes while creating melodies and harmonies. The art of the tuner is to enable that to happen by ensuring that the individual notes flow evenly through the scale and octaves, from deep bass to high treble, with the smoothest graduations of tone and touch that the quality of the instrument will allow. The tuner is not necessarily listening to the pitch of the note he is tuning but the interference or ‘beats’ which occur when two strings of different intervals are struck together, or in the case of a unison, the absence of beats. This is a skill which takes years to develop and has nothing to do with pianistic skills which actually wouldn’t help him much. Those chords that your tuner plays after his work is done are to test how the piano might sound to a pianist’s ears and also for you. It is far more sensible to employ a properly trained tuner who cannot or chooses not to play than a competent pianist who thinks he can tune as well as play.
I have a Danemann upright piano which I have always been happy with but as my piano skills have improved I’ve noticed that sometimes the hammers bounce on the string hitting it twice. Can this be repaired by regulating the action?
It is quite likely that the action or keys need regulating which ensures that each note is working efficiently and evenly throughout the compass of the piano. With use, the fine measurements and tolerances set up between the various parts of the action change and must be reset. There is, however, the possibility that it is your technique in playing the piano that could be causing this particular problem with ‘bubbling’ hammers. It is sometimes possible on an upright to deliberately make the hammer bounce on the string by playing the key very softly and not depressing it to the full extent of the key depth. By merely skipping over the keys rather than playing them fully, you are not allowing the key to set in motion all the aspects of the action which lead to the successful playing of the note. The piano action is a highly developed extension of your fingers and must be allowed to perform properly. Regular maintenance and good technique will allow this to happen.
I have had my Steinberg upright piano for over 40 years during which time it has been regularly tuned every 6 months. Recently, however, the strings in the upper register go considerably flat two weeks after tuning. What could be causing this?
If the tunings over the last 40 years have been stable and have only recently become less so then you will need to look closely at what may have changed. Assuming the piano has not been moved then the most obvious thing to look for is a change in the heating system of the house. Anything which affects the temperature and most importantly, the humidity of the room in which the piano is kept is likely to have a detrimental effect on the piano. Has the central heating changed in some way? A more efficient boiler or new radiators, even the installation of double glazing may dry the air to the degree that the wrest plank (the block of laminated wood which holds the wrest, or tuning, pins tightly in place) becomes over seasoned or too dry which in turn causes the pins to become loose and unable to hold the high tension required to keep the strings at pitch. The fact that in your case the top treble seems to be affected most might indicate the presence of an over efficient radiator near that end of the piano. If you are very lucky, removing the source of heat (e.g. turning that radiator off) may restore the wrest plank to its former condition. Otherwise there are several options which you must discuss with your tuner. The easiest and simplest possible solution is to hammer the pins, knocking them further into the plank to gain a little more purchase, but this may only be a delaying tactic – a better answer would be to replace the wrest pins with a larger size, maybe only the treble section if the others really are still tight. This may be an ideal opportunity to consider restringing the piano; however, the cost of this may outweigh the value of the piano, again something your tuner will be able to advise on.
How do I go about becoming a piano tuner?
Details of college courses are available on the Pianoforte Tuners’ Association website: www.pianotuner.org.uk . Learning to tune pianos is very similar to learning to play the piano in that it is possible to learn some of the basics on your own, from a book or by a correspondence course but, no matter how well motivated you may be, there is no substitute for having a qualified teacher on hand to show you what to do, where you might be going wrong, and how best to progress. There are three centres of learning in the UK; London, Newark, and Hereford which for most people will probably mean leaving home to study for two or three years. This is the commitment which most good, qualified tuner / technicians have made and truly there are no short cuts. Training the ear to hear the ‘beats’, an essential skill, takes time and a great deal of patience; a virtue which, along with a certain practical ability, applicants must have in abundance. Nevertheless, a career as a piano tuner can be one of the most rewarding.
I have been told by my tuner that our old family piano has a cracked frame. Just how serious is this and can anything be done to save the piano?
The piano frame is made of cast iron which needs to be very strong to hold the enormous tension exerted by the strings but is also quite brittle. Cracks can appear if the piano is dropped but can also be due to defects during the manufacturing process which only become apparent years after the piano is out of its warranty period. Generally, it is an unfortunate occurrence and you will need to monitor it carefully to check if the crack is increasing in size. Often, there are no ill effects at all but if the tuning in the area of the crack seems to slip rather more quickly than it should, it might be prudent to ask your tuner to lower the pitch to reduce the strain and improve the tuning stability. Cast iron cannot be welded but there is a process available which can repair a piano frame to its former strength. However, this is not a cheap option and should only be considered if the piano is of sufficient quality to justify the expense of removing the frame to be shipped to the repairer. If your piano is an upright then it is almost certainly not worth considering the repair but before rushing out to buy a new one, just be sure that the crack in the frame really is affecting the piano.
I have been looking at second-hand pianos from various outlets and I’m confused by the different terms that dealers use to describe the work done to their pianos, such as ‘refurbished’ and ‘reconditioned’. What do they mean?
It is no surprise that you are confused! However, until all piano dealers agree to use a standard set of definitions to indicate the amount of work undertaken on a piano, these terms will be vague and interchangeable. The PTA has initiated just such a scheme to formally standardise terms used to describe the condition of second-hand pianos which carries the full support of the Institute of Musical Instrument Technology, the Association of Blind Piano Tuners and the Music Industries Association. These definitions refer to the condition of the piano and the work undertaken, are quite precise in the minimum requirements for each category, and range from ‘rebuilt’ through ‘reconditioned’ to ‘renovated’ and ‘tidied up’. For example, ‘rebuilt’ should mean that major structural work has been undertaken, including replacement of at least one of the following: soundboard, wrest plank, substantial casework parts, or action and keys. Repinning, restringing, etc. must have been done. Armed with a full set of definitions (available from the PTA Secretary), you could return to your dealers and politely ask which pianos conform to these standards.
When my tuner takes off the casework to tune my piano I notice how dirty and dusty it is inside. Is there anything I can do to keep the piano clean myself?
Treat your piano like a valuable piece of furniture: keep it clean and avoid standing drinks, vases of flowers, or potted plants on it. Spilled liquids can cause serious damage, the repair of which may amount to a serious overhaul. New pianos are generally finished in polyester which requires only to be wiped over with an anti-static cloth or special cleaning preparation, definitely no wax polish! Unless you are very confident in what you are attempting, it is probably best to leave the inside of the instrument to the care of your tuner. Even removing the top door, fall, and bottom door can prove problematic as can replacing them properly. The dust and debris you can see when the tuner is working on your piano is best left where it is, not causing any problems. Dust tends to settle inside where it does no harm and moving it around could change that delicate balance; it takes only a small bit of grit to jam two keys together. That said, if your piano is really dirty, ask the tuner to clean it for you. At least if he knocks the delicate action out of kilter, he will be able to put it right again.
The bass section beyond F below middle C on my upright piano has a dull thudding sort of tone, what could be causing this?
Bass strings are quite different to treble strings in that they have a copper winding around a steel core. If the piano is getting on in years then the strings will also be old; one feature of bass strings is the development of a ‘tubby’ tone, losing the sparkle of higher frequencies they once had. If you think how often a violinist or guitarist changes his strings, you’ll appreciate that piano strings last a very long time indeed. It is sometimes possible for your tuner to brighten the tone by putting an extra twist to each bass string, putting more tension on the windings, but it may be that your strings simply need replacing. This can be done in isolation to the treble strings but it is often necessary to replace all the strings in the piano. A set of bass strings will have to be made specifically for your piano from a pattern which your technician will make and send to the stringmaker. There is also a gloomier diagnosis for the cause of poor tone in the bass section; it could be a fault with the bridge, which is that part of the piano which carries the vibrations of the string to the soundboard. If this has become damaged (woodworm?) or detached from the soundboard or if the pins which hold the strings in position are loose then you are likely to describe the tone as ‘dead’ or ‘buzzing’.
Are piano tuners who are members of the PTA really any better than those who are not?
This is an interesting question and one which doesn’t have a straightforward answer. If you are looking for a tuner and don’t have a recommendation to go on, then getting in contact with a Member of the Pianoforte Tuners’ Association (MPTA) either through the PTA website or in Yellow Pages or similar, is an essential first step. To become a Member, applicants must have had at least five years experience in tuning pianos and pass an advanced examination in tuning, repairing and general piano knowledge. This requirement is the Association’s greatest strength but also a major stumbling block in attracting new Members amongst existing established tuners. Some very good tuners are reluctant to put themselves through the ordeal of being judged by their peers and manage well enough on their own. There are, however, plenty of ‘tuners’ out there with no formal training and no real skill either who can fool some of the people often enough to supplement an income derived elsewhere, possibly teaching piano. Members of the PTA have to conform to certain standards or face possible disciplinary measures via a complaints procedure, which is, happily, rarely used! As was mentioned in the last issue of Pianist, training opportunities for student piano tuners may be reaching crisis point which could encourage more and more amateurs to call themselves tuners. Why take that risk when employing a qualified tuner who is a Member of the Association is just as easy?
My tuner rang to say that as it is now 6 months since he last tuned the piano, we should make an appointment for another visit. I told him the piano seems fine and doesn’t need another tuning just yet. Should I have said yes to him anyway?
Yes, you should have made an appointment while he was on the phone to you. He was probably going to be in your area and now you don’t know when he will phone you again if he thinks you are not keen on keeping the piano in good shape. The onus will now be on you to remember to phone him when the piano seems to you to be out of tune which probably means (to the trained ear) it is very out of tune. The idea behind regular six monthly tunings is to make seasonal adjustments to the pitch and keep the tuning to within certain limits; the less the tuner has to move the strings to the correct tension, the more stable the tuning becomes and the less you think you need the tuner because he catches it just before it begins to sound really off pitch. Leave it for much longer than he recommends and you will appreciate why his visits come around so regularly. If you have a tuner who is efficient enough to phone you so regularly that the piano never seems to be out of tune, then he is doing you a service and you should treasure him! (Especially if he is an MPTA)
The top treble notes on my piano ring on unlike all the other notes which stop when I release the key. Can something be done about this?
You have noticed something which is common to all pianos and the short answer to this question is no! There are two qualities about a piano string, volume and sustain, which need to be addressed when designing a piano. The bass strings tend to produce the loudest sound and you will notice that for the first octave or so, there is just a single copper wound string for each note. Moving up, this becomes two strings as they approach the treble around the C below Middle C where the strings are made of steel and become trichords or three strings per note. The strings are also becoming thinner or lighter in gauge as the notes rise in frequency up the treble. The reason for all these changes is to maintain the volume, as much as possible, throughout the whole compass of the piano as the natural tendency is for both volume and sustain to drop as you rise through the treble. Most notes have pieces of felt called dampers which fall back on the strings when the key is released to finish the note and stop it sustaining. There comes a point, usually around two octaves above Middle C, where the sustain of the note is so weak that the dampers are no longer required and would actually make the note sound oddly cut short if they were damped. You can find this point on your piano if you listen carefully for where the sustain of the higher treble notes continue after they have been played.
I recently inherited my Grandmother’s piano and, having moved it into my house, found it is not the same piano at all – the tuning is awful and notes are sticking – can moving a piano really have such a drastic effect on its condition?
This is actually quite a common problem and is partly due to the moving process but more to do with the change in environment to which the piano has been subjected. Moving a piano, even from one room to another, can upset the tuning just because the temperature might be different, or because it catches the evening sun, or it’s now sitting in a draught. It is quite possible that, if the piano has been kept in an unheated or barely heated front parlour for many years and is then moved suddenly into a warm centrally heated house, this type of problem will occur or indeed, be almost inevitable. Dampness and even mildew can lie dormant deep inside the piano without appearing to have any effect until it is moved into a warmer, drier environment where the piano will mysteriously develop classic symptoms of damp such as sticking notes or a sluggish action. The only solution is to wait until the piano has completely acclimatised to its new position before having it properly tuned and repaired which may possibly entail quite a major restoration.
