Hello Piano Players and music lovers. This blog is about the effects of Humidity, the lack of enough humidity, and the changes in Humidity on a piano.
High humidity does two things to a piano. Its causes rust and causes the wood to swell. The Main parts rust affects on a piano is the strings. The tone is affected by rust on the strings. This happens usually in pianos subjected to a lot of high humidity. It is also common on old pianos. Rust on strings also causes what is called false beats. This is where one string sounds like it is out of tune. This will affect the higher strings more though it can affect the middle of the piano. When tuning a piano like this we can make this problem a little better by using phase cancellation. If the high end of your piano sounds like it is not in tune as well as the rest of the piano right after a tuning, this is why. Note: right after tuning. The high end usually is the first part to go out of tune because the strings are shorter.
Hammer Shaping and Regulating are the two most common things that could be done to a piano to improve on its tone and the way a piano plays. Hammer shaping just improves tone. Regulating improves the tone and how well the piano plays. Most used pianos can stand some Hammer Shaping and Regulating. For this post we are just going to talk about Hammer Shaping and I will post another Blog on Regulation. I want a place that my customers can go to so they can see what Hammer Shaping and Regulating is and exactly what is done. So two different posts will help with clarity and there will be no confusing the difference between the two.
WHAT IS A PIANO HAMMER?
The Piano Hammer is what hits the strings to produce the sound.
WHAT IS THE PIANO HAMMERS JOB?
The Piano Hammer’s job is to hit the strings and get off of the string as quickly as possible. Watching a professional Kettle Drum player will give you a great example. They hit the drum and get off of it quickly. If they didn’t it would effect the tone. It would deaden the sound more.
When children learn to play a musical instrument, they strengthen a range of auditory skills. Recent studies suggest that these benefits extend all through life, at least for those who continue to be engaged with music.
But a study published last month is the first to show that music lessons in childhood may lead to changes in the brain that persist years after the lessons stop.
Indeed, scientists are puzzling out the connections between musical training in childhood and language-based learning — for instance, reading. Learning to play an instrument may confer some unexpected benefits, recent studies suggest.
We aren’t talking here about the “Mozart effect,” the claim that listening to classical music can improve people’s performance on tests. Instead, these are studies of the effects of active engagement and discipline. This kind of musical training improves the brain’s ability to discern the components of sound — the pitch, the timing and the timbre.
“To learn to read, you need to have good working memory, the ability to disambiguate speech sounds, make sound-to-meaning connections,” said Professor Nina Kraus, director of the Auditory Neuroscience Laboratory at Northwestern University. “Each one of these things really seems to be strengthened with active engagement in playing a musical instrument.”
Skill in appreciating the subtle qualities of sound, even against a complicated and noisy background, turns out to be important not just for a child learning to understand speech and written language, but also for an elderly person struggling with hearing loss.
In a study of those who do keep playing, published this summer, researchers found that as musicians age, they experience the same decline in peripheral hearing, the functioning of the nerves in their ears, as nonmusicians. But older musicians preserve the brain functions, the central auditory processing skills that can help you understand speech against the background of a noisy environment.
“We often refer to the ‘cocktail party’ problem — or imagine going to a restaurant where a lot of people are talking,” said Dr. Claude Alain, assistant director of the Rotman Research Institute in Toronto and one of the authors of the study. “The older adults who are musically trained perform better on speech in noise tests — it involves the brain rather than the peripheral hearing system.”
Researchers at the University of California, San Francisco, are approaching the soundscape from a different point of view, studying the genetics of absolute, or perfect, pitch, that ability to identify any tone. Dr. Jane Gitschier, a professor of medicine and pediatrics who directs the study there, and her colleagues are trying to tease out both the genetics and the effects of early training.
“The immediate question we’ve been trying to get to is what are the variants in people’s genomes that could predispose an individual to have absolute pitch,” she said. “The hypothesis, further, is that those variants will then manifest as absolute pitch with the input of early musical training.”
Indeed, almost everyone who qualifies as having truly absolute pitch turns out to have had musical training in childhood (you can take the test and volunteer for the study at http://perfectpitch.ucsf.edu/study/).
Alexandra Parbery-Clark, a doctoral candidate in Dr. Kraus’s lab and one of the authors of a paper published this year on auditory working memory and music, was originally trained as a concert pianist. Her desire to go back to graduate school and study the brain, she told me, grew out of teaching at a French school for musically talented children, and observing the ways that musical training affected other kinds of learning.
“If you get a kid who is maybe 3 or 4 years old and you’re teaching them to attend, they’re not only working on their auditory skills but also working on their attention skills and their memory skills — which can translate into scholastic learning,” she said.
Now Ms. Parbery-Clark and her colleagues can look at recordings of the brain’s electrical detection of sounds, and they can see the musically trained brains producing different — and stronger — responses. “Now I have more proof, tangible proof, music is really doing something,” she told me. “One of my lab mates can look at the computer and say, ‘Oh, you’re recording from a musician!’ ”
Many of the researchers in this area are themselves musicians interested in the plasticity of the brain and the effects of musical education on brain waves, which mirror the stimulus sounds. “This is a response that actually reflects the acoustic elements of sound that we know carry meaning,” Professor Kraus said.
There’s a fascination — and even a certain heady delight — in learning what the brain can do, and in drawing out the many effects of the combination of stimulation, application, practice and auditory exercise that musical education provides. But the researchers all caution that there is no one best way to apply these findings.
Different instruments, different teaching methods, different regimens — families need to find what appeals to the individual child and what works for the family, since a big piece of this should be about pleasure and mastery. Children should enjoy themselves, and their lessons. Parents need to care about music, not slot it in as a therapeutic tool.
“We want music to be recognized for what it can be in a person’s life, not necessarily, ‘Oh, we want you to have better cognitive skills, so we’re going to put you in music,’ ” Ms. Parbery-Clark said. “Music is great, music is fantastic, music is social — let them enjoy it for what it really is.”
Correction: September 11, 2012
A previous version of this post contained an incorrect hyperlink for a paper by Alexandra Parbery-Clark.
A pitch raise is essentially a special tuning procedure designed to leave the piano approximately in tune. For moderate pitch corrections the procedure takes about the same time as a tuning, or less. Extreme pitch changes may require two separate pitch adjustments.
The pitch adjustment and subsequent tuning may be done in one visit, or the tuning may be scheduled for a short time later depending upon how far the pitch had to be changed. In general, the longer a piano has gone without regular service, the more tunings will be required to reestablish tuning stability.
Like your car, your piano is a major investment which deserves regular servicing to keep it working well and preserve its value. Most importantly, the well-maintained piano sounds better, plays better, and gives you and your family a wealth of musical pleasure.
If your piano has not been tuned in the last year and is more than 5% off pitch, it may need what is called a pitch raise. This re-tightens your piano’s strings and allows it to hold the fine tuning.
Just when a pitch raise or lowering is necessary depends upon how accurate the final tuning must be, and the size and quality of the piano. Any net change in a piano’s string tension during tuning will distort the final result and reduce stability.
Realistically, a pitch difference of a few percent can usually be accommodated successfully during tuning. For average situations, when a piano’s pitch is noticeably different from that of other standard pitched instruments, a pitch correction procedure is necessary before tuning.
Whenever exact pitch level is critical, such as in concert or recording instruments, any pitch deviation must be corrected before tuning.
If a piano has gone without tuning for an extended period, its pitch may have dropped far below A- 440. This means that each of its approximately 220 strings needs to be tightened considerably, adding tremendous additional tension to the piano’s structure.
The problem is that as each string is tightened, the additional load causes the pitch of previously adjusted strings to change. Thus it is impossible to make a substantial change in pitch and end up with a fine, accurate tuning in one step. Instead, a process called “pitch raising” must first be done, in which all strings are raised to their correct average tension levels. (Likewise, when a piano’s pitch is higher than standard, a pitch lowering procedure must be done to reduce string tensions to approximately correct levels.) Only then can the piano be accurately tuned. In other words, accurate tuning is only possible when all strings are so close to their proper tension that only small further changes are needed during tuning. These small changes then do not disturb the tuning of other strings.
Piano strings change pitch for two primary reasons: the initial stretching and settling of strings when the piano is new, and soundboard movement due to humidity variation. In the case of new pianos, the pitch drops quickly for the first couple of years as the new strings stretch and wood parts settle. It’s very important to maintain any new piano at the proper pitch during this period, so the string tension and piano structure can reach a stable equilibrium. (Most piano manufacturers recommend three to four tunings the first year, and at least two per year after that.)
Piano tuning is the act of making minute adjustments to the tensions of the strings of an acoustic piano to properly align the intervals between their tones so that the instrument is in tune. The meaning of the term ‘in tune’, in the context of piano tuning, is not simply a particular fixed set of pitches. Fine piano tuning requires an assessment of the vibration interaction among notes, which is different for every piano, thus in practice requiring slightly different pitches from any theoretical standard. Pianos are usually tuned to a modified version of the system called equal temperament (see: Piano key frequencies, for the theoretical piano tuning).