The new technology of control of a piano of T - bars and - a figurative key (9 - 12)
“A horse so does not go, companion grand master.
And how on yours the horse goes?“
“- And, a key - that, you hold Maxim not correctly
- Why it is not correct?“.
Once I came to order and, as usual began to correct the parted notes in choruses. It is necessary to tell that usual practice of my daily routine control differs in any special delicacy a little. I am forced not to use, the sent gratuitously professional - a figurative key as in the main mass of a piano which need to be adjusted settled the resource for a long time and it is very difficult to work, rather ineffectively, with such key. Therefore to have to dodge and try to obtain a certain steady fixing of kolok by means of T - bar. In usual and everyday life of the adjuster - a remontirovshchik, T - the bar is used, only for twisting of kolok at their wear and not ability to hold a certain tension of strings. However it is very frequent to me to have to use this key for a temperation of sounds. Why? Yes, because if to consider work of the adjuster, to be exact as he works - a figurative key, this always standard procedure, namely, application of force clockwise (of 12 h to 5 h) the right hand on the key handle. At the same time some variations of position of his hand in relation to the lever differ. The right hand the adjuster up to an elbow lays down on the key handle, a brush squeezing the lever to be closer to the basis. In such situation he applies some force to shift splittings on rotary clockwise down. It can sometimes displace a brush, even to clasp the handle with a brush from below, that is as it is demanded by process. Options of application of force, it is necessary to tell so much, but, each master uses, special, convenient, only to it a technique. At the same time not always the master, only gives power load of the key handle on rotary. Sometimes, if splittings the adjuster oppression of splittings does not want “to sit down on the place“, wedges it in a seat, beats with a palm the handle. That is power loading works towards a pig-iron frame, or antithetically from it.
But we will return to the beginning of my narration the matter is that I never especially reflected why adjusters, so hold a key. It seemed for me an axiom. Most of adjusters of the right-handed person, means from the point of view of ergonomics, the handle of a key is located on the right. The right hand we apply force and we rotate on the set our tone of splittings. But it is necessary to notice very essential detail that the design of the kolkovy mechanism of a piano has to the pravostoroyena a string tension. It, partly is also explained by that, as splittings has the same right-hand carving - a notch. Therefore the string (the jammed beam with the rotary basis above) is fixed on a pig-iron frame so that power loading works on splittings in such a way that razuprochnyat a wooden seat in a stopper from below. The stopper is a wooden insert in pig-iron frames in which is fixed in an opening splittings. Further, behind a pig-iron frame, the kolkovy board settles down. In an opening of this kolkovy board of splittings razuprochnyat a seat, but already in its top part. From this a conclusion follows that any string in a piano, initially by the force of a tension brings wear, still even without being recorded on the necessary tone. This its natural situation to press on splittings down. So to what I all this, in detail describe? The matter is that the client watching me, very much even well understanding device of fixing of a string (the process engineer of one of defensive plants of Uralsk) also suggested to me an idea of misoperation by a key. I very much am grateful to it for it! When he in detail explained what he means, the handle, and I at that moment worked just - a figurative key, has to work differently, I had a shock!
As it was already told earlier, usual practice - it is the provision of a rukotyatka of - a figurative key on the right, from top to down. What occurs when we so work? It is caustic at rest when we did not shift it yet, already under the influence of force of a string pressed through the landing (wooden) place, having created, thus from a circle an ellipse. Now we give additional power loading the key handle on the right, to already available pressure force on splittings. That is without evil intention of the adjuster, there is a following, is caustic even in the new tool only moves on the rotating moment, but also the bending moment works. Thus, at a classical method of control, the adjuster considerably reduces resource base of the tool. At the time of a tension of strings it razuprochnyat wooden part of a seat a splitting and, as a result wear and impossibility of ensuring stability of a system even on new pianos. It does not mean that all adjusters need suddenly to cease to adjust a similar technique, however, if there is an old tool and it is necessary to adjust it, it is necessary to change habitual procedure on opposite. And, exactly, the handle of a key has to settle down at the left, it is necessary to work the left hand. I will always work with left now. At the same time position of the handle at rotation, has to be (of 9 h to 12 h), the handle of a key works from below up. Thus, we completely exclude the bending moment, splittings moves more smoothly, the effort is unconditional smaller that in turn disposes to concentration on sound feelings at rotation operation performance. All inconveniences connected with this procedure of control will be compensated as it seems to me, by stabler and long-term system of a piano.
A similar technique of control of a piano the left hand it is possible to apply also T - to a figurative key (T - to bar). At the same time to work not for two hands, and to arrange a key vorotok in a wrist of the right or left hand as it will be convenient to the adjuster. The movement of a hand with (9 h to 12 h). In fact, it any more not the movement vorotka of a key, and actually movement for the account of force of fingers. Certainly, it is inconvenient and difficult, but nevertheless it is correct from the point of view of preservation of a working resource of a piano. Having come to understanding of similar operation, I assumed that the one who for the first time established strings most likely on a clavichord or a harpsichord, was a lefthander. Because modern - the figurative key is made contrary to all laws of physics, in its basis is put, only ergonomics, convenience of work to the adjuster. I dare to assume that if there was an opportunity to realize the project on creation of “the correct installation of strings on a piano“, it would be necessary to establish splittings with a left-side carving and to establish strings with an opportunity to twist them counterclockwise. Then “both wolves would be full, and sheep are whole“.