Pianotech

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

With respect to pinblock life, it's probably less about tuning left or right handed and more about getting to the target pitch with the smallest amount of movement in the block. So whatever method you use, the best one is the one that allows you to get there as fast and efficiently as possible. For me as someone who is definitely right hand dominant, that means tuning RT handed where I have better control and feel for pin movement. YMMV

Sometimes I do tune left handed on grands in the top octave if the treble side is against a wall or if I can't lift the lid for some reason. Uprights, always rt handed, same exception on wall proximity. 

Does tuning such that you are pulling (or pushing) the pin away from the side of the tuning pin hole on which it bears actually prolong the life of the block or does it create more wear?  I don't think that's clear but likely it's a marginal difference. In terms of offsetting forces between pin flex and pin twist (which is what I call a "force neutral" position), it makes more sense to tune uprights from 12:00-2:00 and grands from 10:00-12:00 for the following reason:

Imagine you are tuning an upright from 2:00. If moving the pin sharp, the torque, or twist, will drive the pitch sharp before the pin moves in the block. The vector force, which is downward, will drive the pitch flat before the pin moves as the pin is flexed toward the speaking length. Those two forces tend to offset each other such that you can tune more directly to the target pitch rather than utilize a calculated overshoot and settle back method as you would have to do if tuning left handed from the 10:00 position where the twist and the pin flex both drive the pitch sharp. It's just more to correct in settling the pin.  For me that's undesirable. 

With a grand, those offsetting forces will occur when tuning from the 10:00 position. But that's not the most ergonomic position from which to tune.  Ironically, that is where you would tend to tune from if tuning a grand left handed. 

So for me, I tune from a position that allows me the most direct-to-pitch movement without having to go past the target pitch and settle back which creates unwanted movement and affects speed, accuracy and stability. On an upright, 12-2:00. On a grand as close to 12:00 as possible. 

I don't see any issue with impact hammers. The goal there is the same, to get to the target more directly without as much twisting or flexing of the pin. I would consider that a plus. 

The constant back and forth flexing of the pin associated with some positions probably opens the hole slightly at the top of the block but probably has little, if any, effect once you go deeper in the block. Not clear that actually shortens the life of the block even if it might change the torque reading slightly over time. 

Tuning left or RT handed should be decided based on which method gives you the best control for  speed, accuracy and stability, nothing else other than a stable and non stressful posture.  Worrying about marginal differences in pinblock life as a result is just another classic case of PTOT. (piano technicians over thinking). 

Obviously, we learn and perfect our craft in different ways and with different methods. With respect to pinblock longevity, the bigger, if even significant, issue is probably speed, for which efficiency is a component. If it takes you 2 hours to tune a piano, you're probably moving the pin a lot more than is required for someone tuning it in 30-45 minutes (or man maybe you're checking your social media feed too often). That will have more significance than left or right handed or an impact hammer might have. If you're worried about the block, perfect your skills in terms of speed and efficiency whatever your method. 

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

I have not read through this entire thread (nor will I probably), however the idea of tuning (in and of itself) being a source of pinblock deterioration goes back farther than I've been in the business (50 years). 

With the exception of truly bad technique (e.g., yanking the pins back and forth over many cents repeatedly "trying desperately" to get it right), my conclusion is that tuning has nothing to do with PB death. It is primarily the fact that we're asking WOOD to do an impossible job for a ridiculous amount of time. Add to that poor fitting and securing practices even from the manufacturing level, add to that extreme humidity fluctuations that these things are subjected to (not to mention owner neglect and ignorance), etc, etc...

Its not tuning, smooth or impact...its just life...and then EOL. It happens. That's the way it is. Tuning righty or lefty makes no difference in the end other than personal preference. 

My .02

Peter Grey Piano Doctor 

With respect to pinblock life, it's probably less about tuning left or right handed and more about getting to the target pitch with the smallest amount of movement in the block. So whatever method you use, the best one is the one that allows you to get there as fast and efficiently as possible. For me as someone who is definitely right hand dominant, that means tuning RT handed where I have better control and feel for pin movement. YMMV

Sometimes I do tune left handed on grands in the top octave if the treble side is against a wall or if I can't lift the lid for some reason. Uprights, always rt handed, same exception on wall proximity. 

Does tuning such that you are pulling (or pushing) the pin away from the side of the tuning pin hole on which it bears actually prolong the life of the block or does it create more wear?  I don't think that's clear but likely it's a marginal difference. In terms of offsetting forces between pin flex and pin twist (which is what I call a "force neutral" position), it makes more sense to tune uprights from 12:00-2:00 and grands from 10:00-12:00 for the following reason:

Imagine you are tuning an upright from 2:00. If moving the pin sharp, the torque, or twist, will drive the pitch sharp before the pin moves in the block. The vector force, which is downward, will drive the pitch flat before the pin moves as the pin is flexed toward the speaking length. Those two forces tend to offset each other such that you can tune more directly to the target pitch rather than utilize a calculated overshoot and settle back method as you would have to do if tuning left handed from the 10:00 position where the twist and the pin flex both drive the pitch sharp. It's just more to correct in settling the pin.  For me that's undesirable. 

With a grand, those offsetting forces will occur when tuning from the 10:00 position. But that's not the most ergonomic position from which to tune.  Ironically, that is where you would tend to tune from if tuning a grand left handed. 

So for me, I tune from a position that allows me the most direct-to-pitch movement without having to go past the target pitch and settle back which creates unwanted movement and affects speed, accuracy and stability. On an upright, 12-2:00. On a grand as close to 12:00 as possible. 

I don't see any issue with impact hammers. The goal there is the same, to get to the target more directly without as much twisting or flexing of the pin. I would consider that a plus. 

The constant back and forth flexing of the pin associated with some positions probably opens the hole slightly at the top of the block but probably has little, if any, effect once you go deeper in the block. Not clear that actually shortens the life of the block even if it might change the torque reading slightly over time. 

Tuning left or RT handed should be decided based on which method gives you the best control for  speed, accuracy and stability, nothing else other than a stable and non stressful posture.  Worrying about marginal differences in pinblock life as a result is just another classic case of PTOT. (piano technicians over thinking). 

Obviously, we learn and perfect our craft in different ways and with different methods. With respect to pinblock longevity, the bigger, if even significant, issue is probably speed, for which efficiency is a component. If it takes you 2 hours to tune a piano, you're probably moving the pin a lot more than is required for someone tuning it in 30-45 minutes (or man maybe you're checking your social media feed too often). That will have more significance than left or right handed or an impact hammer might have. If you're worried about the block, perfect your skills in terms of speed and efficiency whatever your method. 

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Thank you all for sharing your insights. When I started this thread, I was hoping for a range of perspectives-and I'm grateful to see exactly that. I've learned something valuable from each response. 

I have not read through this entire thread (nor will I probably), however the idea of tuning (in and of itself) being a source of pinblock deterioration goes back farther than I've been in the business (50 years). 

With the exception of truly bad technique (e.g., yanking the pins back and forth over many cents repeatedly "trying desperately" to get it right), my conclusion is that tuning has nothing to do with PB death. It is primarily the fact that we're asking WOOD to do an impossible job for a ridiculous amount of time. Add to that poor fitting and securing practices even from the manufacturing level, add to that extreme humidity fluctuations that these things are subjected to (not to mention owner neglect and ignorance), etc, etc...

Its not tuning, smooth or impact...its just life...and then EOL. It happens. That's the way it is. Tuning righty or lefty makes no difference in the end other than personal preference. 

My .02

Peter Grey Piano Doctor 

With respect to pinblock life, it's probably less about tuning left or right handed and more about getting to the target pitch with the smallest amount of movement in the block. So whatever method you use, the best one is the one that allows you to get there as fast and efficiently as possible. For me as someone who is definitely right hand dominant, that means tuning RT handed where I have better control and feel for pin movement. YMMV

Sometimes I do tune left handed on grands in the top octave if the treble side is against a wall or if I can't lift the lid for some reason. Uprights, always rt handed, same exception on wall proximity. 

Does tuning such that you are pulling (or pushing) the pin away from the side of the tuning pin hole on which it bears actually prolong the life of the block or does it create more wear?  I don't think that's clear but likely it's a marginal difference. In terms of offsetting forces between pin flex and pin twist (which is what I call a "force neutral" position), it makes more sense to tune uprights from 12:00-2:00 and grands from 10:00-12:00 for the following reason:

Imagine you are tuning an upright from 2:00. If moving the pin sharp, the torque, or twist, will drive the pitch sharp before the pin moves in the block. The vector force, which is downward, will drive the pitch flat before the pin moves as the pin is flexed toward the speaking length. Those two forces tend to offset each other such that you can tune more directly to the target pitch rather than utilize a calculated overshoot and settle back method as you would have to do if tuning left handed from the 10:00 position where the twist and the pin flex both drive the pitch sharp. It's just more to correct in settling the pin.  For me that's undesirable. 

With a grand, those offsetting forces will occur when tuning from the 10:00 position. But that's not the most ergonomic position from which to tune.  Ironically, that is where you would tend to tune from if tuning a grand left handed. 

So for me, I tune from a position that allows me the most direct-to-pitch movement without having to go past the target pitch and settle back which creates unwanted movement and affects speed, accuracy and stability. On an upright, 12-2:00. On a grand as close to 12:00 as possible. 

I don't see any issue with impact hammers. The goal there is the same, to get to the target more directly without as much twisting or flexing of the pin. I would consider that a plus. 

The constant back and forth flexing of the pin associated with some positions probably opens the hole slightly at the top of the block but probably has little, if any, effect once you go deeper in the block. Not clear that actually shortens the life of the block even if it might change the torque reading slightly over time. 

Tuning left or RT handed should be decided based on which method gives you the best control for  speed, accuracy and stability, nothing else other than a stable and non stressful posture.  Worrying about marginal differences in pinblock life as a result is just another classic case of PTOT. (piano technicians over thinking). 

Obviously, we learn and perfect our craft in different ways and with different methods. With respect to pinblock longevity, the bigger, if even significant, issue is probably speed, for which efficiency is a component. If it takes you 2 hours to tune a piano, you're probably moving the pin a lot more than is required for someone tuning it in 30-45 minutes (or man maybe you're checking your social media feed too often). That will have more significance than left or right handed or an impact hammer might have. If you're worried about the block, perfect your skills in terms of speed and efficiency whatever your method. 

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

David,

You raise some interesting points and good food for thought. Peter as well. Actually everybody. Got a laugh over PTOT. Analogous to Spulock's "Tunnel Vision" comments: Obsessing over technical details beyond what is rational. Something like that.

Other than a break in period on new or freshly rebuilt piano, I have have never really noticed pins getting looser over time and I have tuned some pianos weekly over periods of 3 years.

Everybody, I still stand by my belief that tuning both lefty and righty splits the load on shoulder, arms and fingers.

Thank you all for sharing your insights. When I started this thread, I was hoping for a range of perspectives-and I'm grateful to see exactly that. I've learned something valuable from each response. 

I have not read through this entire thread (nor will I probably), however the idea of tuning (in and of itself) being a source of pinblock deterioration goes back farther than I've been in the business (50 years). 

With the exception of truly bad technique (e.g., yanking the pins back and forth over many cents repeatedly "trying desperately" to get it right), my conclusion is that tuning has nothing to do with PB death. It is primarily the fact that we're asking WOOD to do an impossible job for a ridiculous amount of time. Add to that poor fitting and securing practices even from the manufacturing level, add to that extreme humidity fluctuations that these things are subjected to (not to mention owner neglect and ignorance), etc, etc...

Its not tuning, smooth or impact...its just life...and then EOL. It happens. That's the way it is. Tuning righty or lefty makes no difference in the end other than personal preference. 

My .02

Peter Grey Piano Doctor 

With respect to pinblock life, it's probably less about tuning left or right handed and more about getting to the target pitch with the smallest amount of movement in the block. So whatever method you use, the best one is the one that allows you to get there as fast and efficiently as possible. For me as someone who is definitely right hand dominant, that means tuning RT handed where I have better control and feel for pin movement. YMMV

Sometimes I do tune left handed on grands in the top octave if the treble side is against a wall or if I can't lift the lid for some reason. Uprights, always rt handed, same exception on wall proximity. 

Does tuning such that you are pulling (or pushing) the pin away from the side of the tuning pin hole on which it bears actually prolong the life of the block or does it create more wear?  I don't think that's clear but likely it's a marginal difference. In terms of offsetting forces between pin flex and pin twist (which is what I call a "force neutral" position), it makes more sense to tune uprights from 12:00-2:00 and grands from 10:00-12:00 for the following reason:

Imagine you are tuning an upright from 2:00. If moving the pin sharp, the torque, or twist, will drive the pitch sharp before the pin moves in the block. The vector force, which is downward, will drive the pitch flat before the pin moves as the pin is flexed toward the speaking length. Those two forces tend to offset each other such that you can tune more directly to the target pitch rather than utilize a calculated overshoot and settle back method as you would have to do if tuning left handed from the 10:00 position where the twist and the pin flex both drive the pitch sharp. It's just more to correct in settling the pin.  For me that's undesirable. 

With a grand, those offsetting forces will occur when tuning from the 10:00 position. But that's not the most ergonomic position from which to tune.  Ironically, that is where you would tend to tune from if tuning a grand left handed. 

So for me, I tune from a position that allows me the most direct-to-pitch movement without having to go past the target pitch and settle back which creates unwanted movement and affects speed, accuracy and stability. On an upright, 12-2:00. On a grand as close to 12:00 as possible. 

I don't see any issue with impact hammers. The goal there is the same, to get to the target more directly without as much twisting or flexing of the pin. I would consider that a plus. 

The constant back and forth flexing of the pin associated with some positions probably opens the hole slightly at the top of the block but probably has little, if any, effect once you go deeper in the block. Not clear that actually shortens the life of the block even if it might change the torque reading slightly over time. 

Tuning left or RT handed should be decided based on which method gives you the best control for  speed, accuracy and stability, nothing else other than a stable and non stressful posture.  Worrying about marginal differences in pinblock life as a result is just another classic case of PTOT. (piano technicians over thinking). 

Obviously, we learn and perfect our craft in different ways and with different methods. With respect to pinblock longevity, the bigger, if even significant, issue is probably speed, for which efficiency is a component. If it takes you 2 hours to tune a piano, you're probably moving the pin a lot more than is required for someone tuning it in 30-45 minutes (or man maybe you're checking your social media feed too often). That will have more significance than left or right handed or an impact hammer might have. If you're worried about the block, perfect your skills in terms of speed and efficiency whatever your method. 

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,

Tremaine, I agree that the best reason to consider left and rt handed tuning is probably the ergonomics and distributing the wear and tear on your body.  

David,

You raise some interesting points and good food for thought. Peter as well. Actually everybody. Got a laugh over PTOT. Analogous to Spulock's "Tunnel Vision" comments: Obsessing over technical details beyond what is rational. Something like that.

Other than a break in period on new or freshly rebuilt piano, I have have never really noticed pins getting looser over time and I have tuned some pianos weekly over periods of 3 years.

Everybody, I still stand by my belief that tuning both lefty and righty splits the load on shoulder, arms and fingers.

Thank you all for sharing your insights. When I started this thread, I was hoping for a range of perspectives-and I'm grateful to see exactly that. I've learned something valuable from each response. 

I have not read through this entire thread (nor will I probably), however the idea of tuning (in and of itself) being a source of pinblock deterioration goes back farther than I've been in the business (50 years). 

With the exception of truly bad technique (e.g., yanking the pins back and forth over many cents repeatedly "trying desperately" to get it right), my conclusion is that tuning has nothing to do with PB death. It is primarily the fact that we're asking WOOD to do an impossible job for a ridiculous amount of time. Add to that poor fitting and securing practices even from the manufacturing level, add to that extreme humidity fluctuations that these things are subjected to (not to mention owner neglect and ignorance), etc, etc...

Its not tuning, smooth or impact...its just life...and then EOL. It happens. That's the way it is. Tuning righty or lefty makes no difference in the end other than personal preference. 

My .02

Peter Grey Piano Doctor 

With respect to pinblock life, it's probably less about tuning left or right handed and more about getting to the target pitch with the smallest amount of movement in the block. So whatever method you use, the best one is the one that allows you to get there as fast and efficiently as possible. For me as someone who is definitely right hand dominant, that means tuning RT handed where I have better control and feel for pin movement. YMMV

Sometimes I do tune left handed on grands in the top octave if the treble side is against a wall or if I can't lift the lid for some reason. Uprights, always rt handed, same exception on wall proximity. 

Does tuning such that you are pulling (or pushing) the pin away from the side of the tuning pin hole on which it bears actually prolong the life of the block or does it create more wear?  I don't think that's clear but likely it's a marginal difference. In terms of offsetting forces between pin flex and pin twist (which is what I call a "force neutral" position), it makes more sense to tune uprights from 12:00-2:00 and grands from 10:00-12:00 for the following reason:

Imagine you are tuning an upright from 2:00. If moving the pin sharp, the torque, or twist, will drive the pitch sharp before the pin moves in the block. The vector force, which is downward, will drive the pitch flat before the pin moves as the pin is flexed toward the speaking length. Those two forces tend to offset each other such that you can tune more directly to the target pitch rather than utilize a calculated overshoot and settle back method as you would have to do if tuning left handed from the 10:00 position where the twist and the pin flex both drive the pitch sharp. It's just more to correct in settling the pin.  For me that's undesirable. 

With a grand, those offsetting forces will occur when tuning from the 10:00 position. But that's not the most ergonomic position from which to tune.  Ironically, that is where you would tend to tune from if tuning a grand left handed. 

So for me, I tune from a position that allows me the most direct-to-pitch movement without having to go past the target pitch and settle back which creates unwanted movement and affects speed, accuracy and stability. On an upright, 12-2:00. On a grand as close to 12:00 as possible. 

I don't see any issue with impact hammers. The goal there is the same, to get to the target more directly without as much twisting or flexing of the pin. I would consider that a plus. 

The constant back and forth flexing of the pin associated with some positions probably opens the hole slightly at the top of the block but probably has little, if any, effect once you go deeper in the block. Not clear that actually shortens the life of the block even if it might change the torque reading slightly over time. 

Tuning left or RT handed should be decided based on which method gives you the best control for  speed, accuracy and stability, nothing else other than a stable and non stressful posture.  Worrying about marginal differences in pinblock life as a result is just another classic case of PTOT. (piano technicians over thinking). 

Obviously, we learn and perfect our craft in different ways and with different methods. With respect to pinblock longevity, the bigger, if even significant, issue is probably speed, for which efficiency is a component. If it takes you 2 hours to tune a piano, you're probably moving the pin a lot more than is required for someone tuning it in 30-45 minutes (or man maybe you're checking your social media feed too often). That will have more significance than left or right handed or an impact hammer might have. If you're worried about the block, perfect your skills in terms of speed and efficiency whatever your method. 

Well, we've all got our empirical and theoretical viewpoints! Norman wrote in part:' "In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman". 

Norman, have you used impact hammers? In particular, have you used Reyburn's lever for verticals? (I don't doubt that Randy Cassotta's new-to-the-market impact hammers operate on the same principal). In my experience the Reyburn impact levers (including their grand impact tuning lever) are FAR GENTLER to the pin block than the typical standard lever that introduces vectors that have the potential to wear the pin block material (folks who tilt/bend the tuning pin either intentionally or not).

Now, if you have put in the time getting used to modern impact levers, and came to your conclusion, we're all entitled to our own opinions (barring extensive calculation and measurement of the vectors and actual damage to pinblocks).  

An important consideration wrt left- versus right-handed tuning should be extending the lifetime of the pinblock. With good climate control and proper service a quality pinblock should last more than 100 years.

By tuning uprights left-handed, and grands right-handed (except for the highest notes), as I do, when raising pitch you are always removing pressure from the pin against the pinblock – important whether or not the tuning pins include a bushing. Also, decreasing string tension puts less pressure on the wood of the pinblock than when increasing tension. 

In the same vein of enhancing the lifetime of the pinblock, IMHO that one should avoid use of an impact tuning hammer. Fibers, such as wood fibers, are delicate; tune smoothly. Regards, Norman.

Hi Allan,

You make a good point. I've actually tried several impact hammers-different sizes, weights, and shapes. For whatever reason, I just never quite got fully comfortable with them. Maybe I didn't stick with it long enough. 

Most of the strain I deal with comes from tuning grands rather than uprights. And yes, I've tried the "C" too.

I do appreciate the reminder. It's good that we have more tuning lever options than ever.

Personally, I like the Supply88 hammer-super light and rigid. 

Thanks again, 

Thanks for the tips on tuning uprights, Tremaine.

I've also found that using my forearm for support makes a big difference when tuning uprights left-handed.

You mentioned, "pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White." That's exactly why I still find myself mentally wrestling with switching hands. I've been focusing more on fine pin and string setting rather than simply shifting pitch, and while it requires more concentration, the results so far seem promising.

It's only been a little over a week since I began tuning left-handed, and I've tuned 28 pianos in a professional setting. I'm really enjoying it-and my body is, too. While good posture, stretching, strength training, and physical therapy all help, I have an old volleyball injury in my right shoulder, and the workload was becoming too much for that side alone.

I'm continuing to observe and learn with each piano.

Really appreciate your insights.

With regard to this discussion I don't think there is a right or wrong way regarding lefty or righty. However, pushing or pulling in the same direction of the string travel just seems logical to me as expressed by Braid White. Now, at the top section of grands, I stand to the treble side if possible, or switch to lefty. Also my comments are not focused on setting the pin but changing pitch in general.

During my career, I have done far more raising pitch than lowering so I will share a few things about tuning uprights lefty.

When raising pitch on spinets and consoles, while sitting on the bench, having your elbow on the fallboard as leverage can relieve some shoulder stress. I think this also likely holds true for Uprights righty with elbow on pinblock but this likely requires standing.

On full size uprights lefty raising pitch I often leverage my left forarm against the left inside of the upright case taking some stress off of my shoulders.

Finally I will go back to splitting the load. Combined lefty and righty does split the load on shoulders, arms and hands. Granted, probably 2-3 uprights for every grand.

Richard,

No worries. I took a look at the link Tremaine shared, and on page 122, it states:

And in Grand Pianos. In a grand piano, to tune with the right hand is best on account of the position of the tuner with relation to the strings; which is opposite to the position with reference to the upright. But the highest treble strings, on account of the peculiar construction of the grand piano, are most conveniently tuned with the hammer held in the left hand.

I understand the reasoning, but I've found that with a solid grasp of how the strings and pins behave-both in the speaking and non-speaking lengths, as well as at the termination points-it's possible to maintain good control and tuning stability, even when tuning left-handed on grands. That said, I'm still exploring this and would love to find more in-depth resources specifically on left-hand tuning for grands.

Thank you, Richard and Larry.

I agree. Taking care of our bodies is essential.

Larry, it's encouraging to hear from someone who's been doing this for long. I hope to have the chance to connect with you in person someday.

This is all well and good. I am a switch hitter when it comes to tuning. However, at 77 I wish I had also learned voicing on both sides now.

Hi Elisha,

When I got started in learning the trade (late 60's) my first bible was Piano Tuning and Allied Arts by William Braid White. He encouraged tuning uprights "lefty" with hammer positioned around 11 o'clock. and tuning grands "righty". In both cases one is pulling or pushing the tuning pin in the same direction as the string. I am forever grateful that I started this way as it split to load on my body these past 50 years.

You can download the 1st edition of my first bible here: (lefty righty explanation  found on page 121)
https://ia801305.us.archive.org/11/items/modernpianotunin00whit/modernpianotunin00whit.pdf 

I started with the 5th edition and the lefty righty explanation is found on page 102

Thank you all for your responses.

Nathan – you're right. My body has appreciated this transition, and I do plan to return to right-hand tuning as well, aiming for a balanced use of both hands.

Wim – I also had concerns about playing intervals with my right hand, but once I started practicing, it wasn't as difficult as I had imagined. Being right-handed, it only took a few days to adjust.

Colton – as a left-handed tuner yourself, maybe you can show me someday how you tune. I found handling the wedge mute with my left hand tricky at first (I use just one wedge and tune unisons as I go), but it's getting easier.

Im a new tech but I am left handed! So it's weird for me to manipulate the hammer right handed. But for playing your intervals with your right hand, it stops feeling funny after awhile. I do play piano some but new chord shapes and things I'm not used to feel funny for about a month or so for me. 

Dear Colleagues,

I've recently started practicing left-hand tuning on both uprights and grands and have found it surprisingly enjoyable. It feels noticeably less physically stressful. I've also become more aware of how string tension behaves differently on the non-speaking length, and how the shift from a right-hand pulling motion (to go sharp) to a left-hand pushing motion engages larger muscle groups in a way that feels more ergonomic.

As I continue exploring this approach, I'd be interested in hearing from others who tune left-handed or ambidextrous. The 1992 Piano Technicians Journal article by Ben McKlveen was a great starting point, but it's the only resource I've found so far.

If you know of any additional material-whether in the Journal, books, online, or based on your own experience-I'd really appreciate it if you'd share.

Sincerely,