CAUT

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.

Alan

Wonderful instrument this.  Have experienced a number of the Graf copies both from Pauls shop, Rod Regier and others.  

One of the challenges we have with the early pianos and harpsichords is the various pitch levels and temperaments the musicians request.  With enough time we can easily accommodate their requests.  

Not only do we experience tuning issues with raising the pitch but also lowering it.  Done improperly one can have broken strings in the high treble when lowering the pitch on non-transposing instruments due to the case expanding.  

As far as overpull when going up just don't overdo it.  I like your concept of several passes but on the larger instruments it can turn into an all afternoon affair with nearly as many strings as on a modern piano.  This coupled with little to no metal support and often minimal gap spacers.  Trying to corral the pitch level can be quite problematic and frustrating.  Consistent work is the key.  

Another thing you might try is to tune the temperament on the center strings (assuming three string unisons) as normal and then tune the unisons in whole step intervals.  Start by going down from the top (a to g to f etc) with the RH string and up from the bottom on the F#, G# A# etc and back through the second time on he other whole tone scale.  I have found this really helps lock in the stability.  I have done it on modern pianos as well when there is an issue.  I think it work in helping to stabilize the bridge in position.  

Are you using a T-lever or a standard gooseneck lever?  I find the T-lever beneficial as it reduces the lean of the pin  when turning or at least increases the control you have.  

One of the advantages with most early pianos is the lack of friction at the first bearing point.  There is usually very little to overcome, unlike our modern pianos.  I generally am approaching the pitch from below especially at the last move before leaving the string in question.  Test blows are almost pointless and the from below scenario usually sets the string/pin matrix quite securely.  You can test with a stronger blow if you wish but careful to not overdo it.  

I can't give you exact numbers for overpull as each instrument is so, so different.  If you are tuning below 440 you are entirely safe (normally) to overpull by quite a margin but sometimes you encounter one that just keeps on a goin'!!  Now you have a battle on your hands.  As with all instruments the more you tune and the smaller the changes are to your advantage.  

Best of luck and with your skill level you will not doubt come out the winner.

Mike Reiter

U of Oregon

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.

Do you know of any sources for "historical" tuning levers T or gooseneck?

Alan

Wonderful instrument this.  Have experienced a number of the Graf copies both from Pauls shop, Rod Regier and others.  

One of the challenges we have with the early pianos and harpsichords is the various pitch levels and temperaments the musicians request.  With enough time we can easily accommodate their requests.  

Not only do we experience tuning issues with raising the pitch but also lowering it.  Done improperly one can have broken strings in the high treble when lowering the pitch on non-transposing instruments due to the case expanding.  

As far as overpull when going up just don't overdo it.  I like your concept of several passes but on the larger instruments it can turn into an all afternoon affair with nearly as many strings as on a modern piano.  This coupled with little to no metal support and often minimal gap spacers.  Trying to corral the pitch level can be quite problematic and frustrating.  Consistent work is the key.  

Another thing you might try is to tune the temperament on the center strings (assuming three string unisons) as normal and then tune the unisons in whole step intervals.  Start by going down from the top (a to g to f etc) with the RH string and up from the bottom on the F#, G# A# etc and back through the second time on he other whole tone scale.  I have found this really helps lock in the stability.  I have done it on modern pianos as well when there is an issue.  I think it work in helping to stabilize the bridge in position.  

Are you using a T-lever or a standard gooseneck lever?  I find the T-lever beneficial as it reduces the lean of the pin  when turning or at least increases the control you have.  

One of the advantages with most early pianos is the lack of friction at the first bearing point.  There is usually very little to overcome, unlike our modern pianos.  I generally am approaching the pitch from below especially at the last move before leaving the string in question.  Test blows are almost pointless and the from below scenario usually sets the string/pin matrix quite securely.  You can test with a stronger blow if you wish but careful to not overdo it.  

I can't give you exact numbers for overpull as each instrument is so, so different.  If you are tuning below 440 you are entirely safe (normally) to overpull by quite a margin but sometimes you encounter one that just keeps on a goin'!!  Now you have a battle on your hands.  As with all instruments the more you tune and the smaller the changes are to your advantage.  

Best of luck and with your skill level you will not doubt come out the winner.

Mike Reiter

U of Oregon

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.

Do you know of any sources for "historical" tuning levers T or gooseneck?

Alan

Wonderful instrument this.  Have experienced a number of the Graf copies both from Pauls shop, Rod Regier and others.  

One of the challenges we have with the early pianos and harpsichords is the various pitch levels and temperaments the musicians request.  With enough time we can easily accommodate their requests.  

Not only do we experience tuning issues with raising the pitch but also lowering it.  Done improperly one can have broken strings in the high treble when lowering the pitch on non-transposing instruments due to the case expanding.  

As far as overpull when going up just don't overdo it.  I like your concept of several passes but on the larger instruments it can turn into an all afternoon affair with nearly as many strings as on a modern piano.  This coupled with little to no metal support and often minimal gap spacers.  Trying to corral the pitch level can be quite problematic and frustrating.  Consistent work is the key.  

Another thing you might try is to tune the temperament on the center strings (assuming three string unisons) as normal and then tune the unisons in whole step intervals.  Start by going down from the top (a to g to f etc) with the RH string and up from the bottom on the F#, G# A# etc and back through the second time on he other whole tone scale.  I have found this really helps lock in the stability.  I have done it on modern pianos as well when there is an issue.  I think it work in helping to stabilize the bridge in position.  

Are you using a T-lever or a standard gooseneck lever?  I find the T-lever beneficial as it reduces the lean of the pin  when turning or at least increases the control you have.  

One of the advantages with most early pianos is the lack of friction at the first bearing point.  There is usually very little to overcome, unlike our modern pianos.  I generally am approaching the pitch from below especially at the last move before leaving the string in question.  Test blows are almost pointless and the from below scenario usually sets the string/pin matrix quite securely.  You can test with a stronger blow if you wish but careful to not overdo it.  

I can't give you exact numbers for overpull as each instrument is so, so different.  If you are tuning below 440 you are entirely safe (normally) to overpull by quite a margin but sometimes you encounter one that just keeps on a goin'!!  Now you have a battle on your hands.  As with all instruments the more you tune and the smaller the changes are to your advantage.  

Best of luck and with your skill level you will not doubt come out the winner.

Mike Reiter

U of Oregon

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.

Ken Eschete's article on epoxy consolidation of pinblocks in the April 2009 Journal includes instructions on making a tuning hammer to fit historic tuning pins.

Do you know of any sources for "historical" tuning levers T or gooseneck?

Alan

Wonderful instrument this.  Have experienced a number of the Graf copies both from Pauls shop, Rod Regier and others.  

One of the challenges we have with the early pianos and harpsichords is the various pitch levels and temperaments the musicians request.  With enough time we can easily accommodate their requests.  

Not only do we experience tuning issues with raising the pitch but also lowering it.  Done improperly one can have broken strings in the high treble when lowering the pitch on non-transposing instruments due to the case expanding.  

As far as overpull when going up just don't overdo it.  I like your concept of several passes but on the larger instruments it can turn into an all afternoon affair with nearly as many strings as on a modern piano.  This coupled with little to no metal support and often minimal gap spacers.  Trying to corral the pitch level can be quite problematic and frustrating.  Consistent work is the key.  

Another thing you might try is to tune the temperament on the center strings (assuming three string unisons) as normal and then tune the unisons in whole step intervals.  Start by going down from the top (a to g to f etc) with the RH string and up from the bottom on the F#, G# A# etc and back through the second time on he other whole tone scale.  I have found this really helps lock in the stability.  I have done it on modern pianos as well when there is an issue.  I think it work in helping to stabilize the bridge in position.  

Are you using a T-lever or a standard gooseneck lever?  I find the T-lever beneficial as it reduces the lean of the pin  when turning or at least increases the control you have.  

One of the advantages with most early pianos is the lack of friction at the first bearing point.  There is usually very little to overcome, unlike our modern pianos.  I generally am approaching the pitch from below especially at the last move before leaving the string in question.  Test blows are almost pointless and the from below scenario usually sets the string/pin matrix quite securely.  You can test with a stronger blow if you wish but careful to not overdo it.  

I can't give you exact numbers for overpull as each instrument is so, so different.  If you are tuning below 440 you are entirely safe (normally) to overpull by quite a margin but sometimes you encounter one that just keeps on a goin'!!  Now you have a battle on your hands.  As with all instruments the more you tune and the smaller the changes are to your advantage.  

Best of luck and with your skill level you will not doubt come out the winner.

Mike Reiter

U of Oregon

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.

Alan

Wonderful instrument this.  Have experienced a number of the Graf copies both from Pauls shop, Rod Regier and others.  

One of the challenges we have with the early pianos and harpsichords is the various pitch levels and temperaments the musicians request.  With enough time we can easily accommodate their requests.  

Not only do we experience tuning issues with raising the pitch but also lowering it.  Done improperly one can have broken strings in the high treble when lowering the pitch on non-transposing instruments due to the case expanding.  

As far as overpull when going up just don't overdo it.  I like your concept of several passes but on the larger instruments it can turn into an all afternoon affair with nearly as many strings as on a modern piano.  This coupled with little to no metal support and often minimal gap spacers.  Trying to corral the pitch level can be quite problematic and frustrating.  Consistent work is the key.  

Another thing you might try is to tune the temperament on the center strings (assuming three string unisons) as normal and then tune the unisons in whole step intervals.  Start by going down from the top (a to g to f etc) with the RH string and up from the bottom on the F#, G# A# etc and back through the second time on he other whole tone scale.  I have found this really helps lock in the stability.  I have done it on modern pianos as well when there is an issue.  I think it work in helping to stabilize the bridge in position.  

Are you using a T-lever or a standard gooseneck lever?  I find the T-lever beneficial as it reduces the lean of the pin  when turning or at least increases the control you have.  

One of the advantages with most early pianos is the lack of friction at the first bearing point.  There is usually very little to overcome, unlike our modern pianos.  I generally am approaching the pitch from below especially at the last move before leaving the string in question.  Test blows are almost pointless and the from below scenario usually sets the string/pin matrix quite securely.  You can test with a stronger blow if you wish but careful to not overdo it.  

I can't give you exact numbers for overpull as each instrument is so, so different.  If you are tuning below 440 you are entirely safe (normally) to overpull by quite a margin but sometimes you encounter one that just keeps on a goin'!!  Now you have a battle on your hands.  As with all instruments the more you tune and the smaller the changes are to your advantage.  

Best of luck and with your skill level you will not doubt come out the winner.

Mike Reiter

U of Oregon

Greetings,

I recently spent several days servicing a McNulty copy of a Conrad Graff piano in concert. for the first tuning that I put on this Instrument on each occasion, I did what I normally do with harps accords, which is to simply repeatedly tune it to pitch, with no overshoot.

Since fortepianos seem to fall somewhere between harpsichords and modern Pianos, I wonder if anyone had any advice born of experience about whether or not it is safe to overshoot a ianoforte as one would do with a modern piano, whether it should be done to a lesser degree, or not at all.