| A | B |
|---|
| Frame/skelton | wood and consists of inner rim (in vertical -- liner) and outer rim |
| Soundboard | large wooden diaphragm |
| Ribs | wooded ribs glued to soundboard to add strength |
| Bridges | Bass, treble -- wooden connecting souindboard to strings |
| Pinblock | where tuning pins enter; cast-iron plate fits over pinblock and soundboar |
| Hitch pin | embedded in plate; drilled at angle to hold strings againts the plate |
| How long are strings? | Ifi stringsd same thinkness and same tension -- high C 2 in.; low C over 20 feet |
| bass strings | wrappings or winding of copper to slow vibration of wire |
| Strung back | frame, soundboard, bridges, pinblock (in grand -- the rim contains these parts) |
| Keybed | prodes firm support for kebyaord and action (screwed or glued to cabinet) |
| Escapemanet mechanism | allows hammer to be relased just before it hits the string |
| Damper | felst rests agains strings to prevent from vibrating |
| High treblel no damper | adds syjpathetic bibrations |
| Sustaining pedal | right pedal -- raises dampers all at once |
| Soft Pedal | vertical -- moves hammers closer to strings |
| Una corda Pedal | soft pedal -- shifts hammers causing only 2 strings to be struck |
| Sostenuto | sustains only those notes whose keys you hold down |
| Bass sustaining pedal | only lifts bass dampers |
| Practice pedal | middle pedal - muffles tone |
| Soundboard wood | sitka spruce -- 3/8 in. |
| Soundboard shape | crown |
| Diapharagmatic soundboard | Steinway's name for soundboard |
| Tension resonator | Mason & Hamilin -- rods and turnbuckles to prevent rim from spreading and helps maintain crown. |
| Harmonic trap | wooden bar or strip attached to back of servarl ribs -- suppress undesirable harmonics |
| Bridges -- material | hardwood usually hard maple or beech |
| Bridge screws | pss through a wooden washer called soundboard button |
| Downbearing | strings press on bridge with clight downward pressure |
| Importance of downbearing | for tone and volume -- too little bearing = long-sustained but weak tone; too much = tone that fades quickly; the more crown the more downbearing it should have |
| Overstrung pattern | bass cross diagonally over treble |
| Bridge pins | top of bridge -- rows of coper-platted steel at different angles givine side bearing -- for solid string contact |
| Cap | horizontal top lalyer of bridge |
| Bridge mount on shelf or apron | because soundboard doesn't vibrate well near the edge |
| Struts | plate braces pass over the bridges |
| Pinblock | laminiated hardwood; uprights - 3 1/4 in. layers of hard maple backed by one thick layer; grands and modern verticals -- 5 or more layers ea. layer 3/16 in to 1/4 in. Baldwin - Falconwood; glued |
| Older uprights - plate | 1/2 plate or 3/4 plate |
| Number of strings | 230; ea. under 160 pounds of tension; totally 18 tons. in concert grand = 30 tons |
| Plate and soundboard | plate touches soundboard only at perimeter where screws fasten it to the inner rim |
| modern grand plate | dowels or large screws in the inner rim support the plate; hold it up off the soundboard allowing for some adjustment of downbearing |
| Plate vertical | plate rests on entire face of pinblock and perimeter of soundboard. |
| Nose bolts | and nuts - support the midsection of the plate; some grands = have additional nose bolad attached to a hollow iron casting called a bell or plate-rim support under the high treble part. |
| Purpose of Nose bolts | support the plate, not to give the tunner a means of bending the plate down to increase downbearing on bridges |
| V-bar or bearing bar | to hold strings in place - determines speaking length of treble strings at top end. |
| Pressure bar | holds strings agains the v-bar to prevent bussing ro undesirable noises; keeps strings from slipoing sideways; tautn steel wire sometimes deforms the cast-iron of v-bar = to avoid this some pianos have a nicke-plated steel rod called bearing wire |
| Acu-just hitch pins | baldwin - alow the heights of each string to be adjusted separately for optimum downbearing |
| Bass top bridge or nut | supports top ends of the bass strings under the tuning pins. |
| Agraffes | screwed into threaded holes int he plate; each holds the strings for one note -- takes place of the pressure bar; good quality pianos have this |
| Capo bar | in highest section of grands to hold string down like a huge pressure bar |
| Downbearing | too much = tone is louid but short; to little = sustained but thing and weak |
| Eye | Tuning pin part to hold wire |
| Tuning pin material | best is comgination of nickel-plated/blued |
| tuning pin wire | wound 3 times; end of the wire bent over and inserted into the eye -- called becket |
| Tunign pin bushings | wood -- fit snugly around the pins |
| Screw stringers | each string tied to a threaded hook instead of tuning pin |
| Stirng flatten or swage core wire of bass | flatten at ends of the winding |
| Double wound strings | lowest bass -- two layers of winding |
| Single wound strings | higher bass notes having 2 or three strings per note just have one layer of winding |
| Wound material | copper |
| single, double , and 3 string bass | monochord, bichord, and trichord unisons |
| Tenor range | lowest note on the treble bridge to about F below middle C |
| trichord unisons in tenor | quality piano have small diamerter wound trichord unisons |
| highest string tension | single string bass notes - over 300 pounds per string; plain steel trichord unisons - 160 |
| treble strings | one wire starts at one tuing pin goes around hitch pin and returns to the next tuing in -- one string - 2 strings; some 2 outer srrings = 1 wire with center its own |
| duplex stringing scale | leaves non-speaking segments unmuted to vibrate sympathetically |
| front duplex | near tuing pins |
| back duplex or aliquot | neat hich pins -- |
| aliquot bars | adjustable bars or plates |
| aliquot stringing | extra strings that are tunable but mounted above the line of regular strings for simpathetic vibrations |
| Understring cloth or understing fels | on plae acts as cushion for non-speaing protions of strings to prevent vibrating on plate |
| Stringing braid | woven in and out of non-speaking string segments prevent vibrations |
| hitch pin punchings | on hitch pins under the strings - cloth washers |
| Keybed | vertical -- 3 or 4 large screws at each end that fasten to cabinet arm; grand = several screws and glue |
| key frame | sits on the keybed; back rail; balance rail; front rail |
| Grand key frame | not attached; bottom of dey fram has adjustable glides |
| Vertical key frame | fastened to keybed with flat head screws; height of balance rail is adjustablel with paper or veneer shims; some have leveling screws |
| balance rail pins and front frail pins | to hold keys in position |
| Balance rail punching | cloth; under are paper or cardboard punchings for regulating height |
| Front rail punching | cushions key when you play; cloth and ppaer or cardboard punchings to regulate how far the keys move or travel from respt to fully deparessed |
| Back rail cloth | thinkly woven felt glued -- provides a cushion for back ends of keys at rest |
| Balance rail bearings | Steinway -- half-round pieces of wood covered with thin action cloth -- called accelerated action |
| Balance rail hole | same diameter as the pin only at the very bottom of the key -- rest of hole is larger |
| Key button | top of each key glued over the balance point -- enhancing stability and movement |
| Sides of front rail pin | Flat |
| Capstan screw | at back end of each key -- contact point between key and the action -- best are brass |
| Piano hammer | hard wood molding; 1 or 2 layers of very hard dense woll felt: underfelt and outerfelt; decrease in diameter from bass to gtreble; twist-tied stabples oro T-wires help to hold the felt to the molding; can have manufacturer apply reinforcing liquid to the felt |
