Last Three Strings

[Delwin D Fandrich]

Glen_Deligdisch@sil.org wrote:

>      Dear List,
>
>      I am restringing a York 1919 full upright piano.  While removing the
>      old strings I came across something that puzzles me.  The lower
>      stretch of the treble steel tri-strings are all 20 gauge except for
>      the last three strings.  These three go back a gauge to 19.  The piano
>      strings were original from manufacturer and the factory technician
>      clearly marked with pencil on the edge of the bridge that this is so.
>
>      I thought string scales were progressive.  I head back first thing in
>      the morning to finish stringing so will be done before many of your
>      comments come in. All the same, I am curious what you all have to
>      share?  Is this an isolated incident?  Would you go back with 19 or
>      20?  I will go back with 20 and change it later if I see I am wrong.
>
>      Thanks much,
>
>      Glen
>
>      ---------------------------------------------------------------
>
>      Glen and Ruth Deligdisch
>      P.O. Box 248
>      Waxhaw, NC  28173
>
>      Tel:  (704) 843-9089
>
>      E-mail:  Glen_Deligdisch@SIL.ORG

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Glen,

It is a bit unusual to find this type of stringing in that part of the scale. It would be interesting to know a bit more
about the piano. Specifically, the lengths of the the strings through this region.

String scales are usually progressive. The only exceptions being when the scale lengths take an abnormal jump for some
reason. The most common being a bridge that does not "jog" to accommodate a plate brace. With bridges of this type it is not
uncommon to see the wire gage drop back one or two sizes to improve the tension curve a bit. Of course, this practice also
screws up the inharmonicity curve a bit, but to the musician that is less important than is maintaining the relative power of
the adjacent notes.

Without knowing the details of the string lengths used in this particular, I'd not presume to give specific advice on
rescaling it, however I'd be really surprised if dropping back down one wire gage at that point of the scale would actually
be an improvement. Usually we're increasing the wire size at that point. My guess is that they had a real voicing problem at
that point that was made less bad by dropping tension (thereby reducing the amount of energy in the string) at that point.
This is usually a bridge design and soundboard/rib design problem but it can be treated by playing tricks with the stringing
scale. It's a lot like treating a brain tumor with aspirin. As may be, if you end up with really obnoxious sounds from the
lowest tenor notes, you might try Baldwin's trick of mass-loading the back of the tenor bridge at the point where the lowest
string set crosses it. (Actually, that practice might still be under patent. You'd have to check first.)

-- ddf