Olde instrument Scaling, etc.

[Richard Brekne]

I think what he is saying Terry, is that these instruments require a more
delicate touch. Modern pianos can take quite a beating really... but these old
squares have action pieces that will easily break in comparison.

So, most folks having used modern pianos perhaps are not aware that fist playing
and instruments from the 1830's or the like dont mix to well.

I dont think he meant anything about one kind being better then another.

I think anyways..
RicB

Farrell wrote:

> 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
> >
> >

--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway
mailto:rbrekne@broadpark.no