spinet repitition problems

[Horace Greeley]

Eliot,

Glad to see we haven't scared you off.

However, in relying on us "pundits", you may have resurrected, once again,
our favorite form of low humour...

At 07:27 PM 2/13/97 -0700, you wrote:
> Dear List,
>
>        I just serviced an Aolian, Metropolitan spinet at a Senior Center.
>

My condolences.

>        It has repitition problems with many keys.
>

It did the day it was new, it has only gotten worse.

>        I talked with a local tech here, Larry Messerly, and he said that
>it could be the flanges and he dabs them with some type of powder using a
>paintbrush,
>

That's one approach.  See below.

>        I would like to avoid taking it out if at all possible I think the
>sentiments are the same with all technicians on a spinet action...
>
>        Maybe some of you found a way to take them out quickly, but that is
>another thread.
>

This is one of the things one does from time to time.  The piano is
garbage.  The most that you can reasonably hope to do is to make is less
egregiously offensive.


First of all, though, just how bad are the repetition problems?  Also, have
you seen that there is a crack in the pinblock?  What symptoms are being
exhibited by the piano?  These questions should help drive your decision
about how involved to get.

Further, what is the level of expectation of the client?  A Senior Center?
OK, is this mostly going to be used for thundering out songs on Wednesday
(or whatever) evening, or, are there folks there (or visitors) who just
might like the thing to work?  (At least sort of.)

Since we've had several posts related to being (sort of) related to being
financially responsible to yourself as well as to your client, let me
suggest that you have several options.

The first is to do as your friend suggests - removing the action etc.
However, I think I might be inclined, if I were going to go to that much
trouble, to see if either an application of alcohol and water and/or use of
a drying box might be more effective a cure.

Before doing that, you may want to be sure you don't have a bunch of
plastic parts in there.  Nasty.

If neither of these seem reasonable, in your judgment, you can install a
DamppChaser (that's an unsolicited plug for a good product), or do
something as simple as use a hair dryer/heat gun/flood lamp.

At different points in our several careers, we've all worked on this type
of thing.  With sufficient coercion, we might even admit that we still do...

My advice would be to run, do not walk to the door.

On the other hand, (Story Time):

Off and on, I had the great pleasure of tuning for Jorge Bolet, truly one
of the great musicians/pianists - it's not his fault he wound up on
Baldwins (sorry). =20

He took some time dying of emphesyma, and during his bad spells, spent time
in a "rest home" near where I lived.  I had not seen him in some time, and
it came to pass that a friend asked if I would consider donating a tuning
to this convalescent home for "some old guy".  It was a 7' Wurlitzer.  You
can imagine the condition.  Well, I had given my promise, so I replaced
some strings, fixed a few broken keys/dampers/you-name-it, did some tuning
.... in general, just tried to make it comfortable.  As I was packing up to
leave, someone started to play Chopin Op.28.  I turned and saw Bolet.

I tuned there several times after that, just doing what I could.  He always
played.  Then he smoked and we drank coffee.  The last time I saw him, it
was clearly to be the last time.  I worked.  We talked.  He played.  He
played the Bach-Busoni Chaconne, the Chopin Op.28 (again) and few
nocturnes, and ended (!) with the Lizst Tannh=E4user Overture transcription.
I cried.  I almost am right now with the memory of it.

Some time later, I was teaching at a convention - introducing some
recordings I think to be representative of different styles of recorded
piano, etc., one of Bolet's recordings figures there.  As I was doing this,
Ben McKlveen told me that Bolet had died just days before.  I am quite
afraid that it brought me to a complete stop for a bit.  I just put on a
recording and let folks listen.

I will never forget the faces of those folks in the hospital - most of them
just waiting to die.  Wanting to die.  No one really caring.  And then,
this music!  Yes, like the ruins of Rome, a mere glimpse (at times) of
former glory.  Yet, at others, the full power and majesty of an artist at
their peak of technical prowess and sensitivity of expression.  The
inspiration reflected in the care-worn faces of the aged
audience...everything ceased...the phones miraculously went on hold...pages
were silenced...Time...ah, yes, time...stood still - NO, went back - and
age no longer mattered...the final chords sounded, as they do for us
all...but just one more time...just once more to be transported to such a
place...by such inexpressively beautiful music...


So, Eliot, I must phone home.

And yes, I still do this kind of work - at times in preference to things
for which I know very well I could make a good deal more money.

There's just something about a well-voiced D Major chord, though...

Best to all, and my apologies, if not contrition, to those who may have
found the preceding altogether too wallowingly maudlin and sentimental.

Horace

Horace Greeley

Ars langa, Vita brevis

Stanford University
email: hgreeley@leland.stanford.edu
voice mail: 415.725.9062
LiNCS help line: 415.725.4627