Showing posts with label pianist. Show all posts
Showing posts with label pianist. Show all posts

Monday 30 December 2013

A Good Piano

A good piano, wherever it is, appears to have an open invitation to any passing pianist to sit and play. Piano manufacturers like a Steinway, Bluthner, Bechstein, Fazioli, Bosendorfer etc. all have established reputations to maintain, and they continue to produce highly respected pianos which are greatly treasured by their owners! 

The search for a good piano usually eliminates the lesser-known, relatively inexpensive pianos. But many very fine pianos have faithfully served their owners and given hours and hours of music-making pleasure to all who appreciate piano music even though the name on the front may not be widely known.   

It is a mistake for pianists with more modest means, to think that buying a really good piano has to cost a fortune. For the more fortunate, no price is too much to pay for a particular piano. For most, the best piano available for a given cost will have to do. Interestingly, expensive does not guarantee 'good' and a low price does not always mean wasted money. There are so many variables with pianos that dogmatic generalisations are unhelpful. Seek advice where possible.

Popular opinion seems to prefer a grand piano over an upright piano. As a general rule however, a good upright piano is better than an average grand piano. A baby grand piano is chosen as much for its elegant looks as for its value as a piano. If you are wanting to spend a fixed amount of money on a baby grand OR an upright piano, almost certainly, the upright will be a better piano than the grand.

In days of old, to categorise grand pianos, odd names were used e.g. boudoir grands, semi-grands, cottage grands and mini grands. All had clear meanings when these pianos were sold originally, but today manufacturers generally distinguish their grand pianos by giving their size. The exceptions might be the terms Baby Grand and Concert Grand.

The very best pianos will always be expensive to buy. Most people manage to come to terms with the best piano they can afford. Dreams of one day buying a Steinway or something similar is a very worthy aspiration! Dreams - even dreams about pianos, come true!  
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Pianology

How a Piano Works

The piano perfectly pairs mechanical movement with an infinite range of dynamics of sound. This pairing is made possible by the precision engineering of the piano action and keys, and the wonderful rich tones of vibrating strings. At the heart of the piano, the sound-board projects sound generated by the vibrating strings after they have been struck by the hammers of the action.

The hunt for the wood used for the soundboard begins in the forest. Experts look for trees with specific acoustic properties and are harvested only when a tree is ‘ready’. Foresters are specially trained to know the 'signs' that indicate when a tree is ready! For uninitiated observers, one tree will look pretty much the same as any other, but these guys know the appropriate time to fell the tree.

Manufacturers like to keep their methods to themselves. Some believe their designs, specifications and particular construction features give their pianos a unique sound and tone, and so are keen to protect their ideas from being copied.  

Glued to the sound-board is a wooden ‘bridge’. This is the all-important link between  the strings and the soundboard. Every string passes over the bridge and is kept firmly in position by locating 'bridge-pins'. These define one end of the ‘speaking-length’ of the string. The metal frame is fitted - attached around the edges of the soundboard, leaving the soundboard to vibrate freely. 

The frame provides the strength needed to withstand the sheer tension across the 7 and a quarter octaves of strings! Each string travels from the tuning-pin, through an agraffe or over what defines the beginning of the speaking length of the string, across the central part of the soundboard, to the 'bridge' (the end of the speaking length) and finally to the hitch-pin anchored in the metal frame. 

The soundboard is slightly convex in shape. This and the tension of the strings when tuned, produces a sensitive and highly charged unit at the core of the piano. 

The action and the keyboard - dealt with in another post here, are the mechanical link between the pianist and the sounds created by the vibrating strings. 

'How a piano works' is too complicated an issue to cover in a few paragraphs. This post is a general overview and I hope will help give the beginning of a clear understanding of the workings of a piano.

The Piano World

© Steve Burden  
Pianology

Thursday 26 December 2013

Grotrian Pianos - A short History

Grotrian Pianos deserver their place among the very best piano makers in the world. Since 1866, with a simple 'love of music' as their guiding principle, the family-owned Grotrian piano company has navigated the stormy seas of history and, with a dogged commitment to sheer craftsmanship, they have faced and overcome the challenges of industrial and economic change.

Fredrich Grotrian was born in Braunschweig in 1803 and in 1830 left Germany to establish a music business in Moscow. Maintaining close relationships with many pianists, he sought to understand what pianists look for in a piano. This knowledge was invaluable when he came to be building his own pianos. On his return to Germany1858, Fredrich became partner of a piano factory.  

In 1866, Wilhelm Grotrian became the sole proprietor of the factory and was able to develop his pianos with no outside or conflicting interests. In 1895, his sons Willi and Kurt became partners. To impart his straightforward purpose in making pianos, Wilhem said to his sons, "Lads, build good pianos and the rest will take care of itself." 

Willi and Kurt were sent on an international journey to gain experience in piano building, learning as they went what it meant to 'build good pianos!' They combined the best of their newly acquired knowledge with the craftsmanship inherent in Germany and soon established a golden reputation for quality and tone. 

The Grotrian piano factory was completely destroyed in the Second World War, but thanks to the perseverance and courage of Helmut and Erwin Grotrian, the sons of Kurt Grotrian, production was restored very soon after the war.

In 1974, a new factory was built iin 'Grotrian Street' in Braunschweig.


Directory of Piano Makers

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Sunday 22 December 2013

Looking for A Suitable Piano?

If a student shows promise at playing the piano, ensuring this emerging talent has room to grow and that the motivation to progress is properly encouraged, discussions about suitable pianos are very much part of the zone. A starter piano is just that: it will get a young player started. A keen and talented student who has to work with a 'starter piano' will constantly be fighting frustration and discouragement as they try play 'with feeling' a piano that has as much delicacy as a bulldozer!

Piano Exams mark the student's progress through to competent musicianship. The higher grades, obviously demand greater ability than the lower grades but there is a corresponding suitability gap between a piano that is just good enough for the elementary grades and one that is built to handle for the more advanced grades.

The world of pianos is thick with variations on a theme of good and bad: good tone, bad action; good action, bad tone; light touch; heavy touch; responsive; unresponsive; bright tone; mellow tone; brand new; worn out; playable; unplayable! The list is endless. No sane person would ever try to document every aspect of every piano ever made. However, in a subtle and informal way, the pianos we encounter help us to make judgements and form preferences that reflect our tastes and style of playing.

There is no list of pianos that could be the definitive guide to suitable pianos. Guidelines and statistics are all a list can offer. Due to the nature of pianos no two of them are alike. Even statistical facts are no proof or guarantee of satisfaction or suitability. Any tuner will have met with many good people who's piano purchases have gone wrong... 'but we were told it was in good working order!'

Choosing a suitable piano will always come down to the best value-for-money piano on offer. Get as much advice as you can find. Talk to your tuner. Pin-point as clearly as you can what you are looking for in a piano, e.g. tone, responsiveness of action, casework etc. Happy hunting!

The Piano World

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Pianology

Sunday 24 November 2013

Pleyel Pianos - A short history

Ignace Pleyel was a student of Haydn for 5 years, spent some time at the court in Naples, moved to Strasbourg where he devoted much time composing. In 1793 he moved for a short time to London appearing in concerts but soon returned to Strasbourg. 
During the French Revolution, to prove his loyalty to the cause of the Republic, he was ordered to compose music to a revolutionary drama. His composition was so well received that his allegiance was no longer doubted.

In Paris, 1805, he began a Music Publishing business. In 1807, opened a piano factory. The piano of the early 1800s was still a primitive instrument but being an accomplished player, Ignace could direct technical developments from a pianist's perspective. 

1824, he transferred the business to his son Camille who spent several years learning the art of piano making in London at Broadwoods and with Collard and Clementi, Camille too, was an accomplished musician and formed a close friendship with Frederick Chopin who became a great champion for Pleyel Pianos. 

When Camille died the business underwent various changes of name: Pleyel Wolff & Co. and late to Pleyel Lyon & Co. Under Gustav Lyon, the company developed the metal frame for the piano. Right up until our modern times, the Pleyel has always been a maker of fine pianos. They recently collaborated with Peugeot to produce a stunning concept piano. 

It is a very sad day when a well established piano maker has to close their operation down. All that history abruptly brought to an end! Pleyel is the most recent of the long line of piano makers who, due to a sharp decline in the demand for new pianos, have 'played through the final few bars' of their masterful piece of piano-making history.

Their passing is a great loss to the piano world. Let us hope that the makers that remain can weather the 'storm' until brighter times return. We must not lose the great diversity the piano world has always cherished

Saturday 16 November 2013

Top Piano Manufacturers

The top piano manufacturers like Steinway, Bluthner, Bechstein, Fazioli and Bosendorfer have established their well-deserved reputations by continually building great pianos. They use the best materials and production methods available and go about the business of building a piano using the unique traditions handed down by their founders as the basis for their pianos. The finished product is an inspiration for any pianist!

In any year, a manufacturer can produce thousands of the same model of piano, but no two of them are exactly alike. A particularly good piano will command a lot of interest and mysteriously, pianists will select it from among others to use for a recital or recording. 

There are plenty of superb pianos makers that would not be listed in the Super-League of Piano Manufacturers, but whose pianos are superbly put together and reward their owners with faithful and ruggedly reliable service year after year.  

In days of old, piano makers used to categorise the various sizes of a grand piano by giving names to the different size-groups, e.g. boudoir grands, semi-grands and cottage grands mini grands. All these charming names, seem to have had precise meanings when the pianos were sold originally, but now, these meanings are not so clear and certainly, the top manufacturers ordinarily categorise grand pianos by size.

The pianos from the top manufacturers will always be expensive to buy, and will need plenty of tuning to keep them sounding good. Most people manage to come to terms with the best of what their own piano can give. But, dreams of one day buying a Steinway or something similar is not so out of place. Ah! One day... 

© Steve Burden 

Sunday 16 June 2013

Ibach Pianos - A Short History

Ibach Pianos have been made since 1794 - and it is no surprise that the oldest piano-making operation should also produce the very finest of pianos. Solidly-built and beautifully put together, Ibach Pianos are instruments of elegance and distinction. A piano manufacturer's long history is like a bank of traditions and experience which brings purpose and direction to the long and complex process of building pianos. Pianists love to find a firm and responsive action with a clear and singing tone - these are the distinguishing features of Ibach Pianos.

There are many, very old examples of Ibach Pianos still being used today. Even if they are rather tired and long passed their best, the sheer quality of manufacture still shines through. 

It was Johann Adolph Ibach who in 1794, began building organs and pianos but soon chose to devote his efforts solely to pianos. He handed the business on to his son Carl Rudolph Ibach in 1825. Carl Rudolph, after establishing himself in the new role, sought to find an ever greater market for his product. He travelled to France and Spain entering his pianos in competitions and invariably coming away with an award.

From 1863, the 20 year-old Rudolph took charge and changed the name of the firm to Rudolph Ibach Sohn. His strong and dynamic personality soon enabled the extension of the factory to cope with the growing demand for Ibach pianos. Many of the great piano virtuosos of the time played Ibach pianos. 

Rudolph sent his son younger brother Walter to study the methods of other great piano makers. Walter spent some time in Paris with Gaveau but also visited Brussels, and London before going to America spending some years with George Steck. 

During World War II, the Ibach factories, concert halls, retail houses and even their archives were completely destroyed. At the close of the war, another chapter in the unfolding story of Ibach Pianos was begun at Schwelm. Ibach Pianos continue to be among the finest in the world. Modern Ibach Pianos still impress any pianist looking to play his music on a first-rate piano.  


Ibach family names include: Johann Adolph Ibach, Carl Rudolph Ibach, Peter Adolph Rudolph Ibach, Hulda Reyscher, Albert Rudolph Ibach, Johann Adolph Ibach, Rolph Ibach.

Wednesday 22 May 2013

Steinway Pianos - A Short History

The history of the Steinway Piano begins with Heinrich Steinweg. His father, a forester, had to leave his large family while taking his older sons with him to fight in the Napoleonic wars. On the father's return, only Heinrich and 2 other children had survived from the lack of proper food and shelter. Even this was not the harshest blow to hit the young Heinrich - shortly after, his father and the remainder of his family were all struck by lightening! Henrich's ability to survive was further proved when he was awarded a medal for bugling in the face of the enemy during the Battle of Waterloo.

After the war, while still in the army, he devoted his spare time to woodwork and the making musical instruments. He made a mandolin, a dulcimer and a zither. Perhaps he had absorbed an understanding of wood from his father, but his talent with wood was permanently to change his fortunes and by so doing, give the world of music the gift of the Steinway Piano!

Before long Heinrich had decided to devote all his time to the making of pianos. The political turmoil of 1848 threatened to interrupt the onward progress of the Steinweg family and business. His son Charles who had previously moved to New York, persuaded his father to join him in America. So it was that Heinrich Steinweg emigrated and changed his name to Henry Steinway.

Henry took great care in selecting timber for all the different parts of the piano. His innate understanding of wood was at the core of his piano building principles. His sons each absorbed Henry's vision and brought to the business their own skills and abilities as engineers, craftsmen and researchers.

1980s UK Letterhead

Firmly established as among the very best of piano makers, Steinways strengthened their place in the music world still more by sponsoring concerts and tours featuring the most prominent pianists from Europe and America. Consistently building success upon success, the Steinway Piano has earned its place on the concert platforms of the world. Many Steinway pianos become treasured heirlooms handed down from generation to generation.

The story of the Steinway piano began in the privations of the early 1800s but looks into the future with assured security and universal acclaim. - This is a worthy legacy from a young survivor with a talent with wood!  


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Wednesday 22 August 2012

Broadwood Grand Pianos

Broadwood Pianos have been around since 1728. Not many examples of an 1860s Broadwood piano survive to this day, and even fewer of these are in good working order today. When new these pianos were stunning examples of high-quality, English craftsmanship. A hundred and fifty years takes quite a toll on a piano and ordinarily, I am not a fan of these relics of the 19th century but it is refreshing to be surprised by good examples when they are met with. I have come across 2 such pianos that deserve mention. 

1980s Broadwood Letterhead
One of the pianos must have been at least 7' 6" long - if you sat at the keyboard and squinted a little, you could just about make out the far end of the piano! I did not expect it to be up to pitch, but it was only a quarter-tone flat. The strings had been replaced at some point but the wrest pins were still the old, oblong ones that were fitted when new. One of the pins in the bi-chord section of the bass strings had snapped off, so instead of two strings on that note, there was only one.

The hammers had been recovered, but not terribly well - the high treble hammers jammed against the front edge of the wrest plank. Not too much of a problem for most players, but we fussy old tuners like all the notes to work! 

The rich colours of its rosewood case, made it a very fine-looking piece of furniture. The flat wooden pedals always look odd to modern eyes but at least they are the 'real thing' - if they had ever been replaced with modern pedals, it would no longer look the part.

The ivory keys were still white and still had a shine to them. Some were worn thin in the middle of the playing surface, but this is not surprising after more than a century of use. So often, the original ivories are yellowed with age, and more often than not a few of the originals have been replaced with ill-fitting substitutes.

So there it was, this remarkable old piano, in a charmingly renovated house that was even older than the piano, - a perfect setting for an instrument so well-preserved. The fascinating thing is that after 150 years, this piano is still regularly played, loved and appreciated. John Braodwood & Sons certainly knew how to build a piano that would last! 

The second piano is another grand - the serial number of this piano does not fit neatly into any of the categories listed in the Pierce's Atlas, but I reckon it must have been made about 1860. 

The case, for its age, is stunning - the rich Rosewood veneer still boasting the bold stripes of the grain. The polish has been preserved to the point that most would not think it in need of any particular attention.

But from a tuner's point of view, the most remarkable thing is that it is only a little flat in pitch - (I believe when this piano was built, the standard pitch was a little lower than A 440.) Over the years, 2 bass strings have been replaced, and couple of treble strings - apart from these, the strings are those fitted when new! A few treble strings are absent. The original oblong tuning pins still holding firmly in the original wrest plank! 

The piano is regularly used to accompany singers, occasionally for concerts but is always appreciated by pianists and audiences alike. Live music is still a wonderful social phenomenon that dates back to long before this piano was made.

The action is one of the odd incarnations of Broadwood's own design but still playing acceptably and capable of expression and colour. The tone is the one big give-away, but even here, the sound is extremely good for its type.

These grand old pianos are from a time when serious craftsmen built everything to last, a time when gentleman tuners wore hats. If I had a hat, I would take it from my head as a mark of respect, a salute to the beauty of  esteemed craftsmanship. These pianos are works of the piano-maker's art.   

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Tuesday 24 July 2012

How Often a Piano Needs to be Tuned

Music demands that a piano should be in tune. Regular tuning is the most reliable way to keep a piano in stable tune. However frequently the piano is tuned, the tuning is never static - the weather, temperature and humidity all affect the tuning. This is the same for fine quality pianos and the not so very good ones. In different sections of the piano - the middle, treble and bass - the tuning can move about unevenly

Piano tuning is an ongoing battle with the conditions in which a piano is kept. The pianist who has a keen ear and the concert pianist who demands perfection, both expect the piano tuner to have the piano in tune whatever the weather. Achieving this golden goal can be done only by a period of over-tuning the piano. Only when a degree of tuning stability is established, can the time between tunings can be lengthened.

One thing is certain: if while tuning a piano, the pitch has been raised, say, half a semitone, it will take a while for the piano to settle nicely in tune at that higher pitch. So it is quite possible to have a piano tuned, only to find that all too quickly, it loses that recently-tuned sound. This is not the fault of the tuner! 

From the tuner's point of view, a change in pitch is always countered by the stretch of the strings. Altering the pitch of a piano is like pushing something heavy up a slope. Even when the tuner thinks the pitch of the strings are going to stay where he put it, a force - like the downward pull of gravity, fights back as if it would prefer the tuning to go back where it was! 

It is a mistake to think that because the piano was tuned last week, last month, last year or 2 years ago, it will not need tuning again. As a general rule, a piano should be tuned about twice a year and definitely not left longer than a year. If you have a keen ear, you may find the piano needs to be tuned 3 times a year! 


© Steve Burden

Sunday 17 June 2012

Prestige, Priorities and Pianos.

Imagine: a posh, exclusive hotel - the perfect setting for just about any kind of event - with extensive and flawlessly kept grounds, an award winning restaurant, golf courses, conference facilities... and a piano! 

In a corner of the dining room is a double-overstrung Ibach baby grand piano. It is not ancient, but if there were an 'MOT' Test for pianos, this one would fail. It needs re-stringing and a lot of careful rebuilding work before it could once again give worthy credit to the Ibach name.

In spite of its condition the piano plays fairly well, and though tuned rather infrequently, when it is tuned the tone proves the old rule that a 'quality' piano can sound good and play acceptably, even when it is in a bad state of repair. 

I was told that, at quite a considerable cost, the lid had recently been re-polished! Sure enough, the lid was beautifully French polished and looked as good as new. But am I alone in thinking the money was spent on the wrong part of the piano?

The guests pay good money to sit and eat in the 'award-winning' restaurant. Whether the top of the piano looks nice, is of no consequence to someone who cringes at the unharmonious sounds coming from the piano! I know I fuss about these things but a top restaurant is about good food - the clean plates and cutlery are taken for granted. Pianos made to look nice without a thought of what they sound like, is the same as serving poor food on clean plates.  

In such an exclusive hotel, where the best of everything is on offer, it is sad that a tired, old piano is considered good enough to entertain the guests as they enjoy award-winning food in such prestigious surroundings. 

Ah well, they might have got the piano wrong but at least they got the super-luxurious paper towels in the toilets right! 

To achieve an air of real class and prestige, surely the choice of piano ought to be a  little higher on the priority list!
© Steve Burden

Tuesday 12 June 2012

Piano Actions

The piano action is made up of thousands of components but its one single purpose is to present the pianist with an even and responsive touch. The repertoire of piano music can be played with so much more confidence and freedom when the pianist knows the full range of dynamic expression is at his fingertips. 

In the early days of piano history, fierce competition fuelled efforts to develop a strong, reliable piano action and to do it with efficient and economic methods of manufacture. The basic design of the piano action today is not significantly different from what it was 120 years ago. For a hundred years, generations of piano makers have been entrusted with a perfect working template.


Action makers in the early 1900s achieved an impressive degree of perfection - all  without the aid of computer technology. Even now, only minor variations in the comparative geometry of actions from different makers distinguish one from the other. Changes now, are restricted mostly to materials and glues. The use of carbon fibre is a most interesting development - clearly, the material's strength, coupled with its weight (or lack of it) opens exciting possibilities for its wider use in the construction of both piano and actions. 

The drawings of some of the early actions by the likes of Schroter (1717), Christofori (1707), and Stein (1780) are only primitive sketches. Very different from what the piano action has become. No doubt, these brave pioneers spent many tense hours thinking up new ideas and alternative ways to transfer the simple movement of the piano key through to the hammer and thus, to the string.

By 1850, Sebastian Erard had developed the piano action to the point of being recognised as more or less, the design used today. Further 'variations on the same theme' were tried, some proved useful, but many came to nothing. Herburger, Schwander, Langer, and Renner were among the best of the many action 'houses'. Actions made by these makers are found in many of the better quality pianos around today.

The recent rise of piano-making in China and the far east, has meant that the Piano Trade is now a truly global affair. It is sad for we nostalgic types in the west, where local piano-building traditions have all but died out, to accept that piano production has shifted almost entirely from the West to the East. This is the stark reality of our contemporary world. Materials are sourced from anywhere on the globe to make the piano a truly multi-national product. Perhaps it is too much to hope that peace and 'harmony' in the world might yet be a happy by-product from the manufacture of pianos!

The Piano World

© Steve Burden

Sunday 3 June 2012

Piano Brochures

Brochures about New Pianos are littered with adjectives that imply a superiority of tone, craftsmanship, build quality, choice of materials, the range of models... on and on!

The unfortunate would-be buyer, has to learn a sort of code before coming close to making a decision. Then, when the piano is delivered, the tuner often has to 'iron out' the niggles and tweak the odd misbehaving notes before the customer feels he has made the right choice.

The most difficult part about using words and pictures to describe a piano, is that every piano is so different. Tastes are different. The process of choosing a particular piano is a deeply personal thing. Any attempt to narrow the decision down to a particular piano by simply reading a brochure, is doomed to meet with disappointment.

In a glossy brochure, references made to the piano maker's art, is little more than part of the overall intention to impress the reader. What does it really mean? Great skill and patience are essential to build a piano but building a piano is also an art. Craft, experience and a profound love of the work are the special ingredients needed to produce that spark of inspiration for the piano buyer. 

What buyers really need to know is that their choice will match their expectations.

As a tuner, I come across many new pianos. Sadly only a few of them get my 'thumbs-up' vote. This is not because I do not like new pianos, but because I am often disappointed myself with the condition of the piano when I get to tune it in the customer's house.

If I were spending serious money on a piano, I would feel justified in having high expectations - Isn't that what the brochures are trying inspire in the buyer? 

A while ago, a customer who bought a top name 'silent' piano, to replace a piano that was rather old and definitely inferior, said she regretted ever buying the new one! Why? Because it was not what she led to believe it was. This is not a customer who will go about saying she was 'completely satisfied' with the piano. 

Another customer bought a high-end and expensive piano. After the free tuning, she was less than overwhelmed with it - only to be told by the tuner/technician that she was being too fussy! 

Piano makers seem not to care about their pianos once in the hands of the retailer. Pianists are the buyers and users of pianos - if the goods supplied are poor, the demand will soon drain away. In the Piano Trade, we have a lot of work to do!  

The Piano World

© Steve Burden

Sunday 6 May 2012

Buying a Used Piano

Buying a good used piano should not be difficult, so long as you do not get carried away with what a piano looks like or by the fact that it is cheap. It is very easy to pay a lot of money for a piano that is simply not worth buying. Pianos, when they are 80 years old or more will almost certainly need some repair work, so it is essential to consider the cost of any work before you agree to buy it. 

Piano repairs are extremely time-consuming and therefore expensive. You do not want to buy a piano and have it delivered only to find that it is beyond any viable repair. Pianos are for playing music - not for stressing you out! Keep the following points in mind when you are looking to buy a piano:
  • Never get sentimental over a piano.
  • Never buy a piano just because it looks nice.
  • Buy as young a piano as your budget allows.
  • If you can, get professional help.  
Any piano may be better than no piano but if you go to the trouble of looking for a useable piano, it helps if it actually works and is tuneable. These basics cannot be assumed if you are looking for the cheapest piano available. The pianist who has to play it, might play it once and never again if he feels it is too much of a challenge. 

Generally speaking, for most piano-owners, the average time between tunings is getting longer all the time: months turn into years and all that time the pitch will be gradually sinking. Claims that a piano for sale was tuned 6 months ago, though not meant to deceive, might be a little exaggerated. A vague "recently tuned" is probably more truthful, but could mean 2 or 3 years ago!

There can be any number of mechanical problems hidden from view, inside a pretty case. If notes do not repeat; play a couple of times and then stop working; if there are clicks and knocks every time you play a note; if the key sticks down when played... there are serious problems within! Walk away.

Of course, if you want to spend £50 and no more, then you will need a lot of luck. I hope you manage to find something, but you are very unlikely to get a reliable piano.

What makes should you look for? Don't even think of it! There were thousands of makers producing pianos that were nothing special when they were new. These are the sorts of piano that are now being sold very cheaply or even given away. To start looking for specific makers, you are at the very least, considering pianos a couple of price brackets up the scale.

You will save yourself much worry, pain and regret if you seek the advice of a trusted professional - at least to steer you away from a disastrous choice. Happy hunting!

The Piano World

© Steve Burden 


Piano Action and Keys

The piano action and keys are the great link between the pianist and the music heard by the listener. This sophisticated mechanism is capable of a vast range of dynamics and expression - it is a masterpiece of engineering. Every one of the eighty-eight notes has it’s own key, it’s own hammer, it’s own strings and it’s own set of levers. 
The movement created by depressing the key, is delivered to the hammer via a series of levers. The hammer strikes the string - thus generating the audible musical sound of the chosen note.

The design of the piano action has altered very little over the last 120 years or so, which means that the basic piano action design was perfected long before the computer was even thought of - let alone being brought in to help. Those who devoted themselves to the task of developing the piano action, used sheer inventiveness and dedication to get their ideas to work.


A grand piano action

A quote from a book about piano action design by Walter Pfeiffer: “...the action is that much closer to perfection the less the player is aware of it” 

The modern piano has the potential to achieve this lofty state of function. Pianists, not having to worry about the technical aspects of the mechanism, are free to give themselves to making music. 

Technicians strive to get the very best out of a given piano. With their detailed understanding of the workings of the action, the piano becomes far more than just a machine. The less the player is aware of the mechanism, the more able is the artist to explore that mysterious zone only a musician understands - and thus the piano is to closer to perfection. 

The Piano World

© Steve Burden