Chapter 2

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.

_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. The bottom of the hole in the key fits closely around the balance pin; at the top, it is the shape of a mortise, parallel with the key, which allows the key to move only in the direction intended. The mortise in the wooden cap on top of the key at this point is lined with bushing cloth which holds the key in position laterally, and prevents looseness and rattling, yet allows the key to move easily.

_L_, is the lead put in this portion of the key to balance it, and to insure uniformity of "touch," and quick and certain return of key to its rest position. As there is more or less difference in the length of keys, and also in the weight of the hammers operated by them, some keys are leaded much more heavily than others. In some cases the lead is inserted in the extreme back end of the key; in others it is put near the balance rail according to the requirement. In some actions the lead is omitted entirely; but in the best actions it is almost invariably present. In the action of the grand piano the keys are leaded in front of the balance rail instead of back of it. This is due to the fact that in the grand piano the hammer rests in a horizontal position and its whole weight must be actually lifted and the force of gravity overcome, while in the upright, the hammer rests in a vertical position, only requiring to be thrown forward.

_G P_, is the guide pin, generally of oval shape, with the longest diameter in line with the key. The hole in the lower portion of the key, in which the guide pin works, is bushed with bushing cloth and is made to fit so closely that the key will not move laterally, yet not so tightly that the key will not work easily.

_Bm_, is a wooden block called the bottom; sometimes called the key-rocker. It is held in position by the two screws shown in cut by which it can be adjusted or regulated.

_E_, is the extension communicating the motion of the key to the upper part of the action. There are various ways in which the extension is connected to the bottom. In this action, the extension is made round at the lower end and fits snugly into a hole in the bottom upon a felt disc. When the action is taken out, the extensions simply lift out of the holes, and when it is put back it is necessary to enter each one in its place. In other actions, the upper side of the bottom where the extension rests has no hole but simply a felt covering upon which the extension rests; in this case it is necessary to provide what is called an extension guide which is hinged to the extension guide rail shown in the cut at the left of the extension. In actions of this kind, the extensions remain in place at all times and the trouble of placing them properly on the bottom when replacing the action is obviated. Other methods also are employed which are readily understood upon slight examination, but are essentially similar to the above. Instead of the bottom, a capstan screw is used in some actions as follows:

_Cpn_, is a capstan screw used in some actions in place of the bottom. It is turned by inserting a pointed instrument in one of the four holes, thus raising or lowering the capstan in regulating. The lower end of the extension is felted. In such actions the extension is invariably provided with the extension guide.

_B_, is the metal action bracket. The bracket is one solid piece of metal. There are generally four brackets in the upright action. The brackets rest on supports in and at the sides of the keybed, and are secured at the top by large bolts,

_BB_, which go through the metal plate and into the wooden frame or pin block. At the top of each bracket is an opening to receive this bolt and a thumbscrew (not shown in the cut, being behind the hammer) which fastens the action securely in position.

_M R_, is the main rail; so called because the main constituents of the action are attached to it. (Everything designated as "rail" in the action runs the entire length of the action in one solid piece.)

_W_, is the wippen. Those pieces upon which or by which the small letter _g_ is shown are the flanges. The one at the left of the wippen is called the wippen flange. It is made fast to the main rail by a screw, and upon it the wippen is hinged by means of a "center-pin" at the lower end. The center-pin in the wippen is driven through a hole in which it fits tightly and immovably in the middle part, and it (the center-pin) is consequently stationary in the wippen. The flange extends down at the sides of the wippen and the holes in flange are made large enough to receive bushing cloth in which the center-pin works freely but not loosely. All flange joints are of this nature; some, however, are provided with a means for tightening the center-pin in the middle portion of the joint.

_j_, is the jack. The purpose of the jack is to communicate the motion of the wippen to the hammer. The precise adjustment of the jack and the adjacent parts upon which it depends for its exact movements, play an important part in regulating the "touch" of the piano, and will be fully entered into in following lessons.

_js_, jack spring. Its purpose is to hold the jack inward against the "nose" or "heel" of the hammer butt. (See _Bt_, hammer butt.)

_Rr_, regulating rail. The _regulating button_ is shown attached to the rail by the regulating screw which is turned by means of its ring on top of _Rr_. The purpose of the regulating button is to throw the point of the jack out of the nose of the hammer butt, and allow the hammer to rebound from the string. If the button is too high, it does not throw or trip the jack in time to prevent blocking. When the button is too low, it disengages too soon, and much of the force of the key is lost before it reaches the hammer.

_BR_, is the block rail, felted on the side next to the jack which strikes against it when thrown from nose. This rail is absent in some actions, in which case the back of the jack is felted and strikes against the "back catch," which is also felted on inner side. (The back catch has no mark in the cut, but is explained below in connection with the "back check.")

_BC_, is the back check which is simply a piece of wood with a thick piece of felt glued to the inner face and suspended on a wire.

_BCW_, back check wire supporting the back check, and screwed to the wippen. The purpose of the back check is to check the hammer by coming in contact with the "back catch" (the backward projection of the butt), at a short distance from the string in its return, and prevent the hammer from falling entirely back to its rest position, thereby preventing quick repetition.

_Bl_, bridle. This is a piece of tape about an eighth of an inch wide with a piece of leather glued to the end and a hole near the end for the point of the "stirrup" or bridle wire. The cut shows where the bridle is fastened in the hammer butt by being put into the hole in the butt, and the back catch stem covered with glue and driven in by it which precludes all possibility of its coming loose. The bridle passes through a hole in the lower part of the back catch. Its purpose is to assist the hammer to return quickly by hanging to it with the weight of the wippen, extension, jack, etc., when the key is released. Thus the bridle becomes the main factor in the matter of quick repetition.

_Bl W_, bridle wire, screwed into wippen, bent in the shape of a buckle at top to hold bridle.

_Bt_, butt; or, more specifically, hammer butt. In some cheap actions the butt is joined to its flange _g_, by the means described under the head of wippen flange; but in this action the center-pin is held firmly in the butt by a small strip of brass containing a set screw; somewhat obscure in the cut, but discernible. As explained elsewhere, all center-pins turn in the flange and not in the middle part.

_HS_, hammer shank in rest position.

_H_, hammer showing wood body or head, and covering of two layers of felt.

_H R_, hammer rail, resting on felt cushion, _c_, glued to rail or bracket. The hammer rail is held in position by the rod, shown under the hammer shank, which is hinged to the bracket at the lower end, and which allows it to be moved forward when the soft pedal is used. The soft pedal communicates with this rail by a rod which moves it forward and thereby shortens the stroke of the hammers and produces a softer tone.

_sr_, spring rail screwed to the brackets. This rail supports the light wire springs which assist the hammers in returning to rest position.

_S_, string.

_D_, is the damper head secured to the damper wire by a set screw.

_DL_, damper lever, working in damper flange _g_, which is screwed to main rail.

_s_, spoon; so called from its shape. It is screwed into the wippen. When the key is struck, the motion on the wippen throws the spoon forward, pushing the lower end of damper lever forward, and releasing the damper from its contact with the string. The damper is held against the string by the wire spring which is seen running from the damper flange to the top of the damper lever.

_DR_, damper rod. This is a rod running from the left or bass end of the action to the right as far as the dampers are continued in the treble. It is acted upon by the "loud" or damper pedal, which raises the outer projection, and by being hinged to the main rail about the same height as this projection, the entire rod is thrown outward against the lower ends of the damper levers, releasing all the dampers simultaneously. This being the only office of the right pedal, it is readily seen that this pedal does not increase the loudness, but simply _sustains_ any number of tones struck successively, giving the effect of more volume.

The student should familiarize himself with all technical terms used in this lesson, as they will be referred to frequently in the succeeding lessons on repairing and regulating.

QUESTIONS ON LESSON III.

Without reference to anything but the cut, give technical names for parts of action represented by the following letters or abbreviations:

1. Bnc R, c, G P, BP, Ky, L.

2. Bm, Cpn, E, W, j, js, g, and M R.

3. Rr, B C, B R, B C W, Bl, and Bl W.

4. Bt, H, H S, H R, and sr.

5. S, D, D L, D R, s, B, and B B.

6. Explain the purpose and movements of the jack.

7. Describe a flange and the joint of same.

8. Give names of the four flanges shown in cut.

9. What is the purpose of the back catch and back check?

10. Explain the mechanical action of the damper pedal, and its effect when used; also, that of the soft pedal.

LESSON IV.

~ACTION OF SQUARE AND GRAND PIANOS.~

ACTION OF THE SQUARE PIANO.

Up to about the year 1870, the square was the popular piano. The grand has always been too expensive for the great music-loving masses, and previous to this time the upright had not been developed sufficiently to assert itself as a satisfactory instrument. The numerous objections to the square piano forced its manufacture to be discontinued a few years after the introduction of the improved new upright. Square pianos that come, at the present day, under the hand of the tuner, are usually at least fifteen years old, and more frequently twenty or more. However, in some localities the tuner will meet numbers of these pianos and he will find them a great source of revenue, as they are almost invariably in need of repair.

Compare the three cuts of actions in the study of this lesson.

The main constituent parts of the square action are similar in appearance to those of the upright; in fact, most of the parts are the same in name and office. However, the parts are necessarily assembled very differently. In the square action, the hammers strike in a vertical direction, while in the upright they strike in a horizontal direction; the motion of the key being the same in both.

Of the three types, the square is the simplest action, as many of the parts seen in the upright and grand are entirely absent in the square.

Beginning with the key, it has its balance pin, guide pin, cushions, etc., practically the same as in the other types.

The bottom, or key rocker, is reversed in the square; the end transmitting the motion being nearest the performer.

The extension and wippen are absent in the square, as the jack is attached directly to the bottom or key-rocker.

The back check is screwed to the key, and as the hammer head rests against it after striking, the use of the contrivance called the back catch in the upright is unnecessary.

ACTION OF THE SQUARE PIANO.

A. Action Frame.

B's Indicate the Cushions, or Bushing, of felt, cloth or leather.

C. Balance Rail.

D. Balance Pin. Round.

E. Mortised Cap for Balance Pin. Bushed.

F. Key.

G. Lead.

H. Back Check.

I. Bottom or Key Rocker.

J. Bottom Screws; used to regulate height of Jack.

K. Jack.

L. Jack Spring; concealed under Bottom.

M. Center Pin to Jack.

N. Hammer Rail.

O. Regulating Screw.

P. Regulating Button.

Q. Flange Rail.

R. Flange. Split.

S. Flange Rail Screw.

T. Flange Screw, to regulate jaws of flange.

U. Hammer Butt.

V. Center Pin.

W. Hammer Stem or Shank.

X. Hammer Head.

Y. Hammer Felt. Treble hammers sometimes capped with buckskin in old instruments.

TOP ACTION OF SQUARE PIANO.

1. Damper Lifter Wire.

2. Damper Lifter Buttons.

3. Damper Felt.

4. Damper Head.

5. Damper Lever.

6. Damper Leads.

7. Shade, supported by wire stanchions, on top of which are screwed shade buttons.

8. Damper Rail. Tilted by Loud Pedal Rod which raises all the dampers simultaneously.

9. Damper Flange.

10. Flange Screw.

11. Damper Lever Center Pin.

THE TRAP ACTION

consists of Pedals, Pedal Braces, Pedal Feet, Pedal Rods, Roller Boards or Elbows, Studs, Plugs, Trap Springs, Wires and Lifter Rods.

The cut is from the French action. Nearly all square pianos in use at the present time are of this type.

The hammer rail in the square, in addition to serving its purpose as a rest for the hammers, also serves the purpose of the regulating rail, as you will see the regulating screw, with its button, attached to it. This rail is stationary in the square, not moving toward the strings and shortening the stroke as it does in the upright when the soft pedal is used. The soft pedal in the square piano simply interposes a piece of felt between each hammer and its corresponding string or strings. This felt being much softer than that of the hammers, the tone is greatly subdued.

The mechanical arrangement of the dampers is very different in the square from that in the upright. The dampers are above the strings. Instead of springs to hold them against the strings, they simply rest upon them with their weight. In many old squares some of the dampers fall upon nodal points, causing defective damping or harmonic after-tones.

The stationary parts of the square action are: action frame, to which is secured the balance rail, balance pins and guide pins, hammer rail, flange rail, and damper rail. When the key is struck, the parts that move upward are: the back end of the key, bottom, jack, hammer, back check, damper wire and damper lever. The hammer falls back upon the back check immediately after striking, and remains there until the key is released, when all movable parts fall to rest position.

The action of the jack is the same in all types.

ACTION OF THE GRAND PIANO.

After thoroughly going over the details of the action of the square and upright pianos, there remains very little to describe in the action of the grand.

The grand action partakes of the characteristics of both the upright and the square, and is somewhat more complicated than either.

The bottom and extension are almost identical with those of the upright; the extension, however, is necessarily very short.

The wippen is of different construction, and somewhat more complicated in the grand.

The flange rail in the grand is made also to serve the purpose of regulating rail, as the hammer rail is made to do in the square.

The back check is identical with that of the square.

The dampers are the same in their working principles as those of the square, but are generally different in construction; yet, some squares have the same arrangement of dampers as those shown in the cut of the grand action.

The soft pedal of the grand shifts the entire action to the right so that the hammers strike only two and in some cases only one of the strings.

The student should study the three types of actions from the actions themselves, if possible.

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. Flange and Regulating Rail.

9. Regulating Screw, Button and Cushion.

10. Escapement Lever.

11. Regulating Screw in Hammer Flange, for Escapement Lever.

12. Check Wire, for Escapement Lever.

13. Screw to regulate fall of Escapement Lever.

14. Lever Flange, screwed to Flange 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 Bushing 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 assist 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, buttons, 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.