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Welcome to the Piano Technicians Guild ("PTG") College and University Technicians (CAUT) Professional Online Community! Thank you for joining us. We value your active participation.

Over 400 PTG members identify themselves as working for colleges and universities.

We are pleased to be able to provide valuable resources for administrators and faculty as well as piano technicians.  It is our hope that this information will prove useful as we pursue our common goals of guiding our institutions toward the acquisition of appropriate instruments, and helping to maintain that inventory at the highest possible standards by implementing current best practices in piano technology.

Enjoy your stay, and please return often to check for new events and library offerings, and to keep up with the latest discussions underway.

New! Updated CAUT Guidelines

Extended Piano Use Protocol

PROTOCOL FOR EXTENDED TECHNIQUES PIANO PERFORMANCE

Prepared by members of the College and University Technicians Committee of the Piano Technicians Guild, in consultation with various pianists and composers.

Extended techniques piano use requires the performer to produce sound by means other than, or in addition to, playing the keys. Techniques employed include strumming, bowing, and/or striking the strings, and sometimes striking wooden parts of the case. This can be done either using fingers and hands or hand held objects. Prepared piano use generally requires adding objects to the string system and other parts of the piano. Extended techniques and prepared use often requires marking parts and strings.

The use of extended techniques has been a source of conflict between pianists, composers, and piano technicians. The purpose of this document is to lay the groundwork for better communication and understanding, recognizing that extended techniques are a legitimate part of musical performance, but that they have the potential to cause damage to the instrument.

We take it for granted that we always strive to provide a composer and/or pianist with a piano of high quality when a piano is used conventionally. It is no less important that a composer and pianist have a suitable instrument to make music using extended techniques. It is not in the best interest of the art to provide inferior pianos for any performance. When at all possible, a piano in very good working order should always be provided for extended techniques use. Most often, that can be a piano routinely used for most concert use, but sometimes it will make sense to substitute a different piano.

We all need to bear in mind that a concert piano is a shared resource. It represents an expensive investment of both money and continual maintenance on the part of the piano technician, and both its appearance and high-level function have considerable importance to the institution and to all who use it. Even a very minor mechanical defect, like a slightly displaced damper, can make the piano unusable for performance until the defect has been remedied. Methods of marking that seem innocuous, like the use of pencil, blackboard chalk, or masking tape, can leave permanent damage to the finish, or can be difficult to impossible to remove completely. There are also risks of considerably more serious damage associated with carelessly executed extended techniques. Bass strings are particularly vulnerable to damage.

With these things in mind, the following procedures and limitations are suggested to help guide extended uses of pianos.

Extended techniques should only be performed on a designated piano after consultation with a piano technician and must follow these guidelines:
o The piano technician must approve all structural changes to any piano.
This includes removing the lid or other case parts and attaching anything to strings or soundboard to modify the sound.
o Touching the strings
If the strings will be touched by fingers or hands (harmonics, plucking, rubbing), hands should
be washed first. For moderate use of these techniques, a reasonable amount (not too much) of
powdered talc may be applied to the hands to help prevent the transfer of oil from skin to the
strings. Thin gloves should be worn for extensive contact with the strings.
o Marking
Sticky notepaper, Post-It strips/flags or small dot labels are preferred material to use for marking dampers, agraffes or strings. To mark a string node, a thin (1/8”) strip of the adhesive part of a sticky note or a mailing label can be worked around the string and stuck to itself. Chalk may be used on the plain wire but never on the wound bass strings. Never use masking tape or any other adhesive that may leave a residue. Other than small stickies and chalk, nothing should be applied directly to the strings. This includes whiteout, tape, crayon, stickers, nail polish, etc. The performer is responsible for removing any stickers immediately after any performance.
o Dampers
Care must always be used when touching dampers as they are easily damaged or displaced. Sticky notepaper, Post-It strips/flags or small dot labels are preferred material to use for marking dampers. Never use chalk. The performer is responsible for removing any stickers immediately after any performance.
o Malleable substances on strings
Bostik Blu-Tack, Scotch Removable Mounting Putty, or like products are the only malleable substances acceptable for direct application to the strings. The piano technician must approve all other substances.
o Screws and bolts
In some cases, literature calls for the insertion of screws or other items between piano strings. Proper protocol must be followed when inserting screws. Only use new screws and bolts, or those in like new condition, in the piano. Screws and bolts showing signs of rust or corrosion should never be inserted between the strings. Screws should be carefully selected to fit into the gap between the strings with minimum spreading. Depress the damper pedal while inserting anything between the strings. Go slowly, taking great care not to let the screw come in contact with the soundboard. Only plastic screws/bolts or similar materials softer than metal may be used when inserting between wound strings.
o Striking and plucking strings
Strings may be struck or plucked with fingers or guitar pick. Other devices must always be a material that will not mar or scratch strings. On steel strings only materials that are softer than the steel string, such as brass or aluminum, may be used. Copper wound bass strings must be struck or plucked with a material softer than copper (copper is much softer than steel). Acceptable materials might include wood, plastic, rubber and felt mallets. The general rule is that the material should not be harder than the strings. Never use a steel chisel or screwdriver on piano strings (a substitute may be made from brass stock). The piano technician will help any performer in selecting materials that will not damage the piano.
o Clean up
The pianist should clean up after performance and leave the piano in the same condition it was found. Nothing should be left in the piano. Do not, however, risk damaging the piano for the sake of clean up. If you need assistance removing something please contact the piano technician.
o Damage avoidance using sound and prudent judgment
Most damage to pianos can easily be avoided by using good judgment and knowledge of the piano. Please consult with the piano technician before using extended techniques. If you are composing a piece using extended techniques, consult with the piano technician to ascertain what is safe. Usually alternatives to potentially destructive methods can be found to satisfy both the performer and this policy.




What's New

2025-2026 CAUT Committee

Kate Redding, RPT, Chair
Jonathan Patterson, RPT
Matthew Smith
Alan Eder, RPT
Jessica Masse, RPT
Corbin Sturch, RPT, Board Liaison
Kathy Maxwell, Home Office

CAUT - Latest Discussion

  • Profile Picture

    RE: Longevity of full-time CAUTs at the same insti ...

    By: Stephen Kabat , 4 days ago

    Alan et al, I worked at Cleveland State University for 30 years. Covid forced my hand and I retired from that institution when I was 68. I had planned to work 2 more years. I still do 2-4 tunings a month. No large scale work, just ...

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    RE: Longevity of full-time CAUTs at the same insti ...

    By: Wim Blees , 4 days ago

    Alan I "retired" almost 6 years ago when I sold my business in Hawaii and moved to Florida. I no sooner got there when I was asked to take over a university for a tuner who had Covid. It was supposed to be temporary, but unfortunately, ...

  • Profile Picture

    RE: Longevity of full-time CAUTs at the same insti ...

    By: Richard West , 4 days ago

    Alan, You wrote: I love training aspiring technicians! You have, I'm sure some sort of guiding curriculum or procedures that you have settled on with years of working with aspiring technicians. As such, it's ...

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    RE: Longevity of full-time CAUTs at the same insti ...

    By: Kenneth Walkup , 5 days ago

    I'm with Alan on retirement. I'll go when I have to, but especially with the historical pianos, there is no end to the interesting things to learn and do. I'm not working full time, so I am usually working on my terms; I'd much rather ...

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    RE: Longevity of full-time CAUTs at the same insti ...

    By: Alan Eder , 5 days ago

    I salute you, Ken (and have your record in my sights! ;-). ------------------------------ Alan Eder, RPT Herb Alpert School of Music California Institute of the Arts Valencia, CA 661.904.6483 ------------------------------

  • Profile Picture

    RE: Longevity of full-time CAUTs at the same insti ...

    By: Alan Eder , 5 days ago

    Wim wrote: "You are now ready to retire, if you want to." That's just the thing, Wim: Do I want to retire (now)? No. I thoroughly enjoy working on pianos and love training aspiring technicians! As some of you may already know, ...

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