Piano Tuning: A Simple and Accurate Method for Amateurs

by J. Cree Fischer

The inevitable inference is that the piano is an evolution of the harp principle. This instrument was known centuries previous to the Christian era. From the best history obtainable, we learn that about three hundred years ago, the first effort was made to interpose a mechanical contrivance between the performer and the strings whereby it would only be necessary to strike the keys to produce tone from the strings, thereby decreasing the difficulty in finding the strings and picking them with the fingers, and greatly increasing the possibilities in musical rendition.

History gives credit to Italy for the first productions of this kind, about 1600 A.D., when the faculty of music was beginning to manifest itself more boldly. Scientists saw that wonderful developments were possible, and we have reason to believe that experiments were made in England, France, Germany and all civilized countries about this time, for the production of the instrument which we call, in this day, a Pianoforte. (Piano e forte: soft and loud.)

At this time communication between the different countries was, of course, slow and uncertain, and experiments of this kind were probably unknown outside of the immediate neighborhood in which they were tried; therefore, much valuable and interesting history has not come to light. However, from the specimens which we have had the pleasure of seeing, and some of which we have had the opportunity to work on, we infer that about the same line of difficulties presented themselves to all of these early experimenters, most of which were not efficiently overcome until in the last century, and the most important of which it fell to the lot of American inventors to overcome.

Some of these early instruments were not even provided with dampers for stopping the tone when the key was released; consequently, when a number of keys were struck in succession, the tone continued from all, so long as the strings would vibrate. The strings and sound-board being very light, the sustaining qualities were meager compared to those of the modern piano; consequently the dampers were not so much missed as they would be if removed from a modern upright or grand, which would surely render them unfit for use.

In the first attempts at piano building, the difficulties to be overcome may be enumerated as follows: The frames were not strong enough to resist the tension of the strings; they were made almost entirely of wood which yields to the pull of the strings and is subject to climatic changes; the scale was very imperfect, that is, the length, tension and weight of the strings were not properly proportioned, the result being a different quality of tone from different portions of the keyboard; the actions were either heavy and imperfect, or too light to produce sufficient vibration; the proper point upon the strings for the hammers to strike and for the dampers to bear had not yet been ascertained; the preparation and seasoning of the wood for the different parts of the instrument had not received sufficient attention.

One cannot conceive how difficult it is to produce something that has never existed, until he tries. The requirements necessary to such results as are obtainable from the modern piano are numerous and rigid and the result of many costly experiments.

Probably the most important essential in piano building is the production of a frame of such strength and stability that the enormous tension of the strings is completely resisted in all parts of the scale. In many of the cheaper pianos of this day, the lack of this essential manifests itself in an annoying degree to the piano tuner. In tuning, the workman "brings up" his temperament in the middle of the instrument; in most cases the temperament stands all right. He next tunes the treble, then the bass; after doing his work perfectly he will often find that the treble fell somewhat while he was bringing up the bass; or, in a few cases, he may find that the treble sharpened, thus showing that there was yielding of the frame. Of course, this defect might be overcome by using an extremely heavy metal plate and wooden frame; but the commercial side of the question, in this day, calls for lightness in the instrument as a check to the expense of production, and, consequently, pianos that are "made to sell" are often much too light to fulfil this requirement.

In the upright piano, the back frame of wood is first made; at the top of this is the pin-block, sometimes called the wrest-plank. This is composed of several layers of wood firmly glued together with the grain running in different directions to prevent splitting and warping. Into this plank the tuning pins are driven. The sound-board is fitted firmly into this frame of wood below the pin-block.

Next, the strong metal plate is secured to the frame by large bolts and screws. Openings are left in the plate for the bridges, which project from the sound-board beyond the metal plate; also for the tuning pins, action bracket bolts, etc.