In the practice of piano tuning, the first thing is to ascertain if the action is in first-class condition.  The tuner must be able to detect, locate and correct the slightest defect in any portion of the instrument.  Any regulating or repairing of the action should be attended to before tuning the instrument; the latter should be the final operation.  As a thorough knowledge of regulating and repairing is practically indispensable to the professional tuner, the author has spared neither means, labor nor research to make this part of the lessons very complete, and feels sure that it will meet with the hearty approval of most, if not all, students.  The piano tuner who knows nothing of regulating and repairing will miss many an opportunity to earn extra money.

The illustration accompanying this lesson is from a Wessell, Nickel and Gross Upright action.  This firm, whose product is considered the acme of perfection, makes nothing but actions.  Most manufacturers of pianos, of the present day, build the wooden frame, the sound-board and the case only; the action, metal plate, strings, tuning-pins, etc., being purchased from different firms who make a specialty of the manufacture of these parts.  A few concerns, however, make every piece that enters into the composition of the instruments bearing their names.

[Illustration]

Ky, is the Key in its resting position.

c, wherever found, represents a cushion of felt or soft leather upon which the different parts of the action rest or come in contact with each other.  Their purpose, as is readily seen, is that of rendering the action noiseless and easy of operation.

Bnc R, shows the end of the balance rail, extending the entire length of the keyboard.

B P, is the balance pin.  This is a perfectly round pin driven firmly in the balance rail.  The bottom of the hole in the key fits closely around the balance pin; at the top, it is the shape of a mortise, parallel with the key, which allows the key to move only in the direction intended.  The mortise in the wooden cap on top of the key at this point is lined with bushing cloth which holds the key in position laterally, and prevents looseness and rattling, yet allows the key to move easily.

L, is the lead put in this portion of the key to balance it, and to insure uniformity of “touch,” and quick and certain return of key to its rest position.  As there is more or less difference in the length of keys, and also in the weight of the hammers operated by them, some keys are leaded much more heavily than others.  In some cases the lead is inserted in the extreme back end of the key; in others it is put near the balance rail according to the requirement.  In some actions the lead is omitted entirely; but in the best actions it is almost invariably present.  In the action of the grand piano the keys are leaded in front of the balance rail instead of back of it.  This is due to the fact that in the grand piano the hammer rests in a horizontal position and its whole weight must be actually lifted and the force of gravity overcome, while in the upright, the hammer rests in a vertical position, only requiring to be thrown forward.