We're gettin' there. Just a couple more (below)???? Thanks. "These instruments will never SOUND like nor PLAY like a modern instrument" How do they sound different? I have only tuned one square. It sounded like a piano to me. In fact, it sounded a lot better and more piano-like than many spinets & old uprights I have had the displeasure to meet. How do you mean they will never sound like a modern instrument? I agree that they play a little bit different, but even with that, they can play much better than some spinets and old uprights - not that that is saying much, but many children are faced with learning to play on those instruments. Are you trying to indicate that a square in good condition will play and sound worse than a beat-up spinet or old upright? "the problem of "Cheek Lift" What is Cheek Lift? Rebuilding is a type of surgery - so why not a cheek lift? Seriously, I am not familiar with the term. Terry Farrell ----- Original Message ----- From: "Joseph Garrett" <joegarrett@earthlink.net> To: <pianotech@ptg.org> Sent: Tuesday, September 18, 2001 9:10 PM Subject: Olde instrument Scaling, etc. > Terry & list, > To answer your questions directly. > #1 These instruments should Never be used by students. > I should qualify that by saying they should never be used by begining > students. Reason? These instruments will never SOUND like nor PLAY like a > modern instrument. They are not designed that way. When a student goes to > the teacher's, he/she is doing the lesson on a modern piano, (hopefully). > Then the student goes home to practice on something other than a modern > piano. It doesn't sound like the teacher's piano and doesn't respond like > the teacher's piano. This, IMHO, causes confusion, on the part of the > student, and eventually leads to the student getting frustrated. End result, > a bad musical experience for the student AND the parents. > #2 The scaling of these pianos is different, in many ways. To begin with, > the scale balance is totally out of whack. This one factor, IMHO, is why > most techs and players hate them. The Bass bridge strings start out with a > length that is at least equal to that of a 7' Grand. By the time we get to > the upper, (tenor), section of the bass bridge, the length is equal to > approx. a 5' to 5'3" piano. Now, that in itself is enough to mess up any > balance. But, THEN, we get to the treble bridge. The first strings are about > the length of a 6' Grand and get, (quickly), shorter to the point of the > bridge, where it takes a hard right turn. At that point the strings are > shorter than just about any piano known to man. THEN, we get to around the > hard right turn and all the strings are TOO LONG for any kind of upper > treble scale! All these things have to be considered in proper(?) scale > evaluation and change. AND IF THAT AINT ENOUGH, we have to ALWAYS keep in > mind the problem of "Cheek Lift", which is ever present in these > instruments. A rule I have is: If the piano has "cheek Lift", I will not > rebuild it, as the structure has already begun to self-destruct and will > never be even slightly acceptable in end result. > I hope this answers your immediate questions. > Best Regards, > Joe Garrett, Oregon > >
This PTG archive page provided courtesy of Moy Piano Service, LLC