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Preliminary Data:
Identification: Document (photograph if possible) piano serial number Serial number usually stamped on stretcher vertical plane in bass area under music desk.) Also found on pinblock to right of bass tuning pins, or (in full plate pianos) between bass and treble tuning pins. If no serial number is located, look at cabinet parts and other locations (cheek blocks, base of lid prop, action frame, etc). Notate where serial number was found (even if also photographed).
measure case length in standard and metric (cm)
identify keyboard compass
Photograph complete case from front (keyboard), music desk in place
front from spline side
front from treble corner, lid up, music desk removed.
from tail towards tuning pins, music desk removed.
Fallboard nameplate (decal, brass inlay)
Name casting on plate and/or soundboard (take sufficient photographs to accurately capture all decals, writing and identification)
If a modified English action (Steinway Patent or CFT), photograph action label.
Action from front, side, rear; notate if original keys, wippens, shanks/butts and flanges, hammers, capstans or stickers.
Photograph action component details. Remove stack if non-invasive and remove hammer and wippen assemblies, photograph individually from side
Make tracings of all action parts with fine pencil on graph paper. Photograph each.
Measure sample action parts according to Stanwood sampling protocol (C16/`7, C40/41, C64/65), Follow the manual instructions for, and use the Stanwood PTD weighing table sold by Pianotek Supply Co in Michigan, obtaining:
Photograph this documentation with each scale reading.
Notate any action or key modifications, including key lead additions or removals, jack position screw additions, capstan retrofittings.
On Henry Jr. and CFT actions make distance measurements to aid in action analysis. (More detailed instructions will be made available later, but currently action part tracings are invaluable, as is the collection of discarded action parts in order to build true scale action models for analysis and teaching.)
Make drawing of action, with detailed explanation of the mechanism as well as you can understand it.
Take individual photos of each string section, from tuning pins to backscale.
Notate replacement strings. Original bass strings should be iron wound or combination iron wound up to part of bichords, then copper wound up to plain wire.
Record top and bottom notes of each break.
Measure string speaking lengths and diameters for all C’s, plus the beginning and ending of each scale break (struts, changes in wire type).
If any front or rear duplex scale exists, take close-up photographs.
Take paper pattern - rubbing - of each string section (including over dampers). Include rubbings of duplex sections. If capo bar (all Centennial and other 1878 and later models), make individual rubbing from below capo. Notate each rubbing for use with string measurement references.
Note if original soundboard, bridges and caps, original tuning pins and strings, or if replacement of any of these components is suspected.
Measure soundboard thickness at belly and accessible nose bolt holes. Note any variation
Notate and photograph soundboard grain angle to spline, belly, and ribs.
Notate rib angle to spline and belly
Notate rib count, average scallop cut distance, and overall average height and width. Be sure to include smallest rib in high treble, difficult to see on many early Steinways.
Observe if early, traditional soundboard design with long “cutoff” bars dividing ribs, etc., or if more modern in design.
Obtain as much of a complete photo or photos of soundboard as possible. Ideal is to tip piano on nose or place on side and photograph entire soundboard. At least attempt to obtain photo when piano is to be moved next.
Photograph all pedal mechanisms and their respective functions: trap levers (or missing components, holes for such, etc.)
Photograph back action. Notate damper wire type (threaded or not).
If sostenuto is mounted on belly, obtain detailed photos of all sostenuto hardware, including monkey and hangers, as well as lever “tabs” - pin catches. Many pianos have had a combination of revisions to the trapwork and pedals: Many sostenutos mounted on the belly have been removed and middle pedals removed (reproduction lyres made to look original two pedal type). There is always some evidence of sostenuto dowel holes in keybed, mount holes on belly, etc. Early 1870s pianos with original CFT actions may have retrofitted shift pedals (originally these actions had a hammer lift rail for the soft pedal).
String scale data:
String measurements may be taken in a number of ways, but reliable measuring devices should be used. Accurately estimate the distance between the tilted agraffe edge and the actual termination of the string in the agraffe. Be sure this distance is included in your measurements. Various metric measuring tapes are available for the longer strings which cannot easily be measured with a steel rule, but the most convenient are the tapes supplied by bass string makers, which fit over the hitch pin, permitting data to be taken all at one time, without having to reposition the tape for each segment.
A. Preferred: Original bridge position, strings, soundboard. 2/0 tuning pins, bass strings may be partly iron wrapped.
1. Take complete metric measurements of all string speaking lengths, from center of forward bridge pin to agraffe termination (typically 1.5 mm inside agraffe (do not use rear point of tilted agraffe). Note all scale “break” locations.
2. Take string diameter measurements in inch decimals (standard caliper/micromenter measurements), provide along with their string size equivalents.
3. Make any string size notations found on the long bridge or pinblock. Do not substitute this for 2, above. Always note the source of this data.
4. Make rear duplex measurements, along with back scale measurements (back scale is from front bridge termination to rear duplex rest; duplex measurement is from bridge pin to rear string rest You may do this with the rubbings made below; just be sure to include duplex detail in the rubbings, even if enhancement must be made with markings and notations.
4. Make mylar or paper rubbings of strings, complete with terminations, backlengths, hitch pins, agraffes. Where dampers interfere, make seperate rubbings of front and back scales, and record accurate measurements for string speaking lengths of sample end strings. If pressure bar, capo bar or agraffes in capo exist, make rubbings where possible (underside of capo), and provide sample measurements as described above.
5. Photograph all front duplex from top and treble side, noting what material the front duplex termination consists of (cloth on plate, or just plate or brass insert) and if all appears original.
6. Take string diameter measurements for all notes using caliper or micrometer. If this is not possible take sample measurements for all C’s and F’s as wells as section beginning and ending measurements.
7. Make extensive notations about string originality; size of tuning pins, appearance of coils, beckets, type of bass string winding material. Pluck G5 and C6, listen for color, power and sustain and note.observations (keep in mind downbearing and crown data gathered elsewhere).
Less Preferred (but still helpful):
1. Measure sample speaking lengths: ALL C’s (c1-8), plus highest note (if A85) and notes above and below “breaks.”.
2. Mylar or paper rubbing of top treble string section (can be quickly performed on many early Steinways, and data taken later).
3. Any string size notations found on bridge.
Plate Design Data:
1. Photograph entire plate from treble curve and keyboard side with the best lighting possible. Digital flash photography is good, but good lighting with digital camera flash turned off is frequently best.
2. Detail photography of all key plate areas is helpful. Tail area with date of plate casting; tenor/bass bridge area (including third bridge, if it exists); odd features which might indicate post-manufacturing modifications, including shortening; etc.
3. All structural elements: Strut reinforcements, cupola design or lack of; etc.
Belly Design Data:
1. Soundboard structure: Photograph all visible soundboard components from below: Ribbing, cut-off bars, any other structural members; notate soundboard grain orientation, photograph if possible. Note number of ribs, and if time, make drawing of rib and cutoff bar layout, make measurements of the height and width of each rib, and the length of scalloping on each end.
2. Soundboard compression devices: Photograph in as much detail as possible all soundboard compression devices (hardware consisting of bolts, threaded rods, flanges, etc., which : Cutoff bar hardware (bass corner of soundboard), all hardware connecting plate at pinblock flange to belly rail. Any other tensioning or connecting devices between soundboard and perimeter structure.
3. If no compression hardware, or if hardware appears to have been removed or cut off, notate.
4. Document existence of any pulsator, especially on 8’9” Centennials from 1875 to 1883. This device paralles the long bridge closer to the bass cutoff bar. Some have iron bar on top of soundboard, others only have wood strip below soundboard.
5. Using best available tools measure downbearing in sample locations in each section. Also document relative humidity and temperature (note an recent major fluctuations also). Preferably use the Lowell downbearing gauge and note degrees of bearing measured.
6. Using a string attached to the angled end of a stick, place under soundboard at belly near rib under the lower 6th octave region and pull tight parallel to ribs until contacting soundboard at rear rim; note the distance between string and soundboard for determining any crown; or note if board is flat or concave. Make measurements at other points for comparison also.
7. Make subjective observations of piano tone, and note acoustic environment: size of space, sound-reflective or deadening materials in room, etc.
Action Data
A complete original action is very desirable to document. An unusual action is also of importance. At least two unusual types exist, the “Steinway Patent Action” - late 1850’s and early 1860’s - and the “CFT Steinway Action” - early 1870s) Original parts, especially if mostly unworn, are especially important. If hammers, shanks and flanges, wippens, rails and keys are all original, good data can be obtained about Steinway action design. If you are experienced with the use of the Stanwood Innovations measuring table available through Pianotek Supply Company, you may take accurate measurements of data such as key ratio, hammer strike weight, key front weight. A digital camera will help document parts originality.
1. Identify action type (Erard/Herz, CFT Steinway, or Steinway Patent and date listed).
2. Notate which parts are original. Hammers may have dark yellow underfelt with open grain molding; shanks may have radial cut at flange, instead of square cut; wippens will have no jack adjustment and will rest on a felt square in the repetition window; keys may have rocker capstan (through early 1870’s) or screw capstan (middle 1870’s and later).
3. If screw capstan, notate position and angle; with stack screwed down normally, photograph from action end, squarely, in order to determine capstan angle, wippen foot angle, and location of contact point with wippen foot.
4. Using Stanwood table and protocol (all can be obtained from Pianotek Supply Co), measure hammer strikeweight, key ratio, key front weight. Carefully observe, photograph and notate whether all key lead is original, or if key lead has been added (this is usually easy to identify by observing differences in installation, lead type, exit hole drilling (Steinway may not have any exit hole or brad point exit), etc.
Trapwork:
1. Photograph pedals, lyre, lyre top block, and trapwork levers.
2. Document whether two or three pedal.system. Look carefully; many three pedal systems were converted to two pedal systems, and the footprint of removed parts will be evident to the keen observer..
Cabinet:
1. Does piano have original serpentine legs and matching lyre?
2. If cabinet appears to have been “modernized” is the original half-round molding lining the bottom of the cabinet still intact? Note leg and lyre style, photograph.
3. Determine whether jointed rim or continuous rim.
Sound Documentation:
Using the best recording equipment available (this might only be a good quality hi-fi or hi-fi stereo camcorder), record a pianist playing literature from the romantic era on this piano. I have used the B Major Chopin Nocturne to demonstrate treble sustain and color. If possible, turn the sound compression feature OFF.
Document the front duplex behavior by playing each note four times with a mezzo-forte blow, alternatively with front duplex damped and undamped by a square eraser placed firmly in the middle of the front duplex. Proceed systematically from lowest duplex (tenor on Centennials) to the highest note.
Ring time: Play Sample treble notes F#5, C6 with firm blow and count seconds until inaudible to human ear and say “now.”
If this is a particularly fine instrument, a professionally recorded performance of a fine pianist would be especially significant.
Document history: All information and documents pertaining to piano are important: Ownership history (if client permits), venues piano has been in; photograph or photocopy any sales or purchase documents, as well as letters from authorities (Steinway company representatives, dealers, rebuilders, etc.) about the piano. Notate anything said by knowledgable owners or others about the piano, and identify individuals speaking. Not all may be accurate, of course, but documentation is important. Although unusual, family lore might turn out to be very significant.
Sound Recording Protocol: We are developing an Early Steinway Grand sound recording protocol which would permit more objective sound comparison. Designed for portability, reproducibility and consistency, it would include a self-contained mobile acoustic space (portable surrounding sound walls), high quality reasonably priced condensor microphones, and good quality but reasonably priced digital recording equipment. This will be posted when complete and recording project has begun.
If you are on site, or will be on site soon, and wish to contact Bill Shull you may call his cell phone at (951) 544-0121.
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Shull Piano Inc
