HAMMER TUNING

Watch my video tutorial, even if it is not sufficient to learn all the secrets of this procedure. It is a delicate matter because most of the time an error makes the process irreversible and the hammer rail no longer sounds! It must be approached with great caution and, above all, one must not fundamentally change the basic characteristic of the hammers. For example, if we are faced with a very compressed and/or impregnated hammer rail, one must not insist on making it too soft by fundamentally changing its original "character." Likewise, one should refrain from softening the hammer tip, except in extreme cases. The suggestion I can give is that, at the beginning of this difficult experience, small corrections can be attempted. One must work with great caution, trying to understand, on some samples of the bass and middle registers, how the hammers react. The type of voicing tool is also important, as is properly seating the hammers so as not to damage the center pins of the capstans. Already a good job consists of verifying the simultaneous impact on the two or three strings by the hammer tip and checking that the hammers have not been flattened or reshaped by poorly executed shaving. Furthermore, it should be noted that very old hammers are hardened and can hardly react well to the restoration of expanded zones that must act as a "cushion" upon impact. Very old hammers, even if not worn, used, or flattened, should be replaced.

As you will see in the tutorial, every zone of the hammer has its own function, which is created and established during construction according to precise choices. More expanded parts on more compressed zones develop a physiognomy and a correct, yet robust elasticity that allows the string, at the moment of impact, to develop all the good harmonics. It is precisely that tiny fraction of a second that, once impact has occurred, compresses the hammer and consequently makes it move away from the string, that sets in motion within the vibrating string all those small "bellies" of good and consonant harmonics that reinforce the fundamental. Very important is the correct striking point relative to the tuning pins, especially in the treble, where the strings are shorter and where a small displacement determines a very different "portion" of the struck string, causing the birth of dissonant harmonics. There, the striking point must be very precise and "clean." Generally at one-seventh or one-ninth of the length, precisely to exclude (see Jung's law) dissonant odd harmonics. Every flattening or rounding is equivalent to transforming the striking point into a "striking segment," compromising the "cantabile." Last but not least, the piano must be well tuned and well regulated beforehand!

The acoustic condition of the listening area and the position of the instrument relative to the walls must also be taken well into consideration. For an upright piano, one should prioritize distance from the wall or even a corner position. For a grand piano, opening towards the longest part of the room, avoiding confinement in corners or placing the treble section near "rebound" walls.

In short... a final intervention that is also the result of many other precautions!!!

Good luck with your work

First of all, I thank you for the quick response... so given the complexity of the subject, it would be a truly welcome gift to have the possibility of watching a video dedicated exclusively to this topic, seeing everything during the operation... because personally I am very visual, I learn very quickly if I see... for example, I need to understand how one perceives through the ear the need to regulate the voicing of a hammer.. What should I notice.. Metallic sound, lack of brilliance... Which details, etc... Last but not least, THANK YOU for your videos and the time you have dedicated to this purpose.. I really appreciate it... I await news regarding this.. Thank you and have a good day... Tiziano

I seem to remember there is only one video by Pianoconcerto in which I speak specifically about voicing, but this intervention cannot be learned theoretically. Gradually, small corrections are made by listening to the result. Every hammer configuration and every situation is different. What must be noticed comes from a culture of sound and also from musical taste. That is to say, it is very subjective. I don't believe there are courses that teach this difficult intervention. Nowadays, hammer configurations are built quite ready-made and only require small corrections. Over time, the sound changes because the hammers wear into the strings. The overall sound becomes brighter and some timbral discontinuities also emerge. Therefore, small interventions can be made quite close to the apex, taking care to keep the striking point very compact. Especially the high notes must be re-compacted by striking them with a small hammer. I advise, however, never to intervene too deeply, so as not to damage the areas that must react in a certain way to the impact.

I understand... In renewing my heartfelt thanks to her for her important advice, I ask her, when she has time and if she deems it appropriate, to publish a video dedicated to this intervention anyway, because we could still learn many small but fundamental pieces of information, the gestures of the movements, and so much more regarding it... clearly, it will then be each of our experience that makes the difference, but having at least some solid foundations, at least to avoid major mistakes... I suggest a video because certain things can only be learned by watching... Thank you again for your availability and for the love you put into all of this. Tiziano Pacciana

Good evening friends. I would also be very happy to be able to learn from a video dedicated to the intonation of Maestro Paolo, whom I always follow in his tutorials.

Thank you very much. Ivan

Good morning... I wanted to share the fact that by putting together all the information received and carefully re-watching the video with great attention, I set out to tune my piano and I must say with great satisfaction that the result was unexpectedly wonderful... what I feel like sharing is that I did everything with great care, without exaggerations and above all in a ALWAYS GRADUAL manner... always checking the various changes with my ear. Then, as I felt more confident, I moved on to the entire hammer rail.

So, the right mixture is to have a good basic knowledge, an ear that works well, a bit of cunning, lots of patience and a delicate hand. In short, I am truly satisfied... now certainly continuous practice will be the best teacher.

I THANK my colleague Paolo Ferrarelli for his impeccable advice, without which I would absolutely not have been able to proceed. THANK YOU

How beautiful to see so much passion.

But I can't find the video that deals with intonation.

Could you point me to the link. Thanks

Thank you, Tiziano. It means you have sensitivity and intelligence. Ivan, I don't remember which of the videos you watched... there aren't many. Perhaps I treated intonation within other topics.

Most esteemed maestro, I have searched but have not been able to find them.

Are all your tutorials published here on the forum?

I had found and listened to them on YouTube; are they the same ones?

I have followed several of them very closely. I find that beyond your skills, you have a formidable gift for conveying emotion.

Perhaps Tiziano will indicate to me the specific one that helped him.

May I open a new thread and ask you more specific questions?

And whenever I come across them again, you have become my idol.

Please let me know; otherwise, I will ask the aforementioned questions here. Thank you

It is tutorial no. 4. I first speak about tuning... very briefly, where I say that the fifth has the same beats as the complementary fourth... in reality, it is not like that. The matter is much more complex than my simplistic definition of a "very first" orientation. Then I speak a little about intonation... but even this is not exhaustive enough to proceed without at least a minimum of experience.

Thanks for the compliments Ivan, but as you can see, it is all just briefly touched upon, like an "appetizer." The purpose of our tutorials is not to train technicians or pianists, but to make one understand how much piano technique and good musical results also depend heavily on the correct preparation of the instrument. Knowing whether the problem to overcome depends on us or on our instrument.

In parallel, I also try to provide, as a musician, if requested, some of my own opinions on piano technique and musical realization.

Shortly, I will make a somewhat special video on GESTALT theory. The "WHOLE" also concerns the piano, with the intention of looking at the final objective: Performance.

Ivan, I have also sent you a message

I don't believe it is possible to learn an art with a tutorial; no video can replace decades spent in intimacy with countless pianos. The Maestro can give advice to limit irreversible damage, but the experience, the practice, the sweat, the mistakes, and the risks are things I must provide myself. And I will take care to treasure the results, whether positive or not. Gratitude nonetheless to those who teach us how to put heart between the brain and the hands

Thank you from the bottom of my heart.