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UNIQUE PROBLEMS WITH STEINWAY PIANOS

This is LivingPianos.com and I am Robert Estrin with a great subject today, Unique Problems with Steinway Pianos.

Steinway pianos are the de facto standard in the concert world.

In fact, it’s the only company left that still supports the concert market with concert grands in virtually all major cities in the world. This is an arduous task when you consider the cost of each one is in the six figures! Steinway in different periods of time had problems and I’m going to bring up two of them today.

Fortunately, Steinway pianos being manufactured today do not suffer from either of these problems.

I want to let you know that right out of the gate. But early in the 20th century, Steinway had an idea of a way that they could make actions last longer and be less susceptible to corrosion. They used a solution containing paraffin on their actions. If you ever looked at old Steinway pianos or sat down at an old Steinway that’s been neglected, it may have played like a truck. You can look inside and the hammers go up and down very gradually. There’s no speed. Everything’s gummed up. You can actually see green in all the little felt bushings of all the hundreds of action parts on each key. That is an example of vertebrae.

Verdigris is a condition in which a piano action becomes corroded.

This paraffin solution had exactly the opposite effect of the intention that Steinway had in avoiding corrosion. Unfortunately, in certain environments, the actions would gum up like crazy! Sometimes it’s possible to get things moving by treating the action parts with different chemicals. However, with really severe verdigris, all you can do is rebuild the action with all new parts.
Sometimes you can replace center pins if it’s not a really bad problem. You can also try lubricating. But oftentimes problems will recur. With humidity, the air gets inside the piano. You might think you’ve got the problem solved and everything’s moving nicely. Then, a month later, it starts gumming up again. So that’s one problem of early 20th-century Steinways.

Fortunately, you don’t have to worry about vertigris on newer Steinway pianos.

The second problem was in Steinway’s CBS era when they experimented with something else that sounded like a great idea. The thousands of felt parts in actions wear out and are susceptible to humidity. So, Steinway engineers thought about utilizing Teflon.

From around 1968 to 1982 Steinway used Teflon in their piano actions.

What’s wrong with this? I’m a believer that oftentimes there’s absolutely nothing wrong with it. However, the problems that plagued them is that some pianos that went to extreme environments the wood would swell and contract with the weather. Of course, Teflon is hard. This created space between the Teflon and the wood creating noise in the actions. Sometimes, rebuilding the actions are necessary for these circumstances. However, I will say this:

The vast majority of the time, the biggest problem with Teflon actions, is finding technicians who know how to service them properly.

Oftentimes Teflon itself isn’t the problem. Using slightly larger center pins can sometimes solve the problem if the Teflon is worn. However, Teflon is very robust and can last many, many years. Teflon is not necessarily a problem. In fact, if I was buying a Steinway piano from that era and it had Teflon and there were no problems, I wouldn’t be concerned. Now, it doesn’t mean there would never be problems. But you know what? It doesn’t matter what piano you have, things will require servicing eventually and parts will wear out if you play a good deal.

That’s the long and short of Teflon. It was something they tried and they eventually gave up the practice. The idea of piano actions that don’t wear out so quickly is a very appealing idea and I applaud them for trying something. If you have a piano with Teflon, if it isn’t giving you problems, you should be fine. There’s nothing inherently wrong with it. As long as it’s functioning well, you’re in good shape.

Again, I’m Robert Estrin here at LivingPianos.com Your Online Piano Store. Keep the questions coming in! info@LivingPianos.com 949-244-3729

Unique Problems With Steinway Pianos

UNIQUE PROBLEMS WITH STEINWAY PIANOS This is LivingPianos.com and I am Robert Estrin with a great subject today, Unique Problems with Steinway Pianos. Steinway pianos are the de facto standard in the concert world. In fact, it’s the only compan

THE POWER OF INTERLOCKING PHRASES

This is Robert Estrin at LivingPianos.com, Your Online Piano Store with a fantastic tip for your memorization, which is the power of interlocking phrases.

Now, what am I talking about here? Well, if you’ve spent time memorizing music, you know that the most efficient way to do it is to take a small section at a time, because after all, there’s a limit to how much you can learn at once. What can really help you is by watching this video and reading the article on how to memorize:

HOW TO PRACTICE THE PIANO PART 1 – MEMORIZING MUSIC

You take each hand separately a small section at a time, mastering each hand and then putting them together and getting that memorized.

But How Do You Get the Phrases Together?

You learn this section, that section, and you’re going to have a whole bunch of random phrases. That’s where the interlocking phrases come in. For example, in the above video, if you are learning a Mozart sonata like the K545, the famous C-major sonata of Mozart, you start with the first phrase to learn. But instead of doing that, go one note further as demonstrated in the accompanying video. That extra note is where you start learning your next phrase. That way, after you learn the first phrase and get that solid, you have a common note between the two phrases. When you finally get the second phrase learned, you go back to the beginning, and you’ll be able to be on the first note of the second phrase.

Interlocking Phrases Is So Helpful!

Beyond that, when you get into more advanced stages of learning your music, you might find that you have all the phrases learned but you can’t get through everything in a fluid manner. Then you can try interlocking at different points. For example, you do the first four measures, and then you try the second measure to the sixth measure. Then you practice off-setting the points at which the phrases connect because one of the biggest challenges with memorizing music is getting everything smoothly put together.

So, that is the power of interlocking phrases in learning music. I hope this tip if helpful for you. Again, I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. If you haven’t already subscribed to my YouTube channel, go for it, because you’ll get all the fresh videos. Thanks for joining me. Robert@LivingPianos.com 949-244-3729

The Power of Interlocking Phrases

THE POWER OF INTERLOCKING PHRASES This is Robert Estrin at LivingPianos.com, Your Online Piano Store with a fantastic tip for your memorization, which is the power of interlocking phrases. Now, what am I talking about here? Well, if you’ve spen

The Last Living Student of Sergei Rachmaninoff

Here is a performance of the spectacular Liszt Hungarian Rhapsodie #6. I just performed this at the 90th birthday celebration for the great pianist, Madam Ruth Slenczynska, the last living student of Sergei Rachmaninoff. Read more about Madam Slenczy

This is an interesting topic; particularly for me due to my recent trip to the NAMM Show (National Association of Music Merchants) here in Orange County California. This is a huge annual gathering of music industry professionals attracting around 100,000 people!

The question of whether or not the piano will continue to evolve as an instrument is a difficult one. Many people believe that the piano was done evolving at the end of the 19th century – since many instruments produced at that time are considered modern pianos in every respect.

Note: I will discuss at length in a future article and video the technologies of digital and hybrid pianos which I consider to be a new category of instruments.

However, while some companies have made enhancements to piano design over the years – accelerated actions, tension resonator systems, etc. – there hasn’t really been any fundamental changes to the instrument in over 100 years other than manufacturing technologies.

This perception changed for me somewhat over the weekend. While I was attending the NAMM show since I had the opportunity to try many different pianos from all over the world. I kept coming back to the Mason & Hamlin piano booth and trying their new composite actions.

I spoke at length with Bruce Clark – the designer of Mason & Hamlin pianos about these new actions which are made almost entirely from carbon fiber, not wood. And to be perfectly honest, I have been skeptical of the benefits of the use of synthetic materials being utilized in actions.

My original feeling was, “If it ain’t broke, why fix it?” The type of piano actions we see in most pianos made from wood, leather and felt have been around for over a century; they have worked well for a long time; why change now? But this weekend I had a chance to really put them through their paces and I was pleasantly surprised!

The very interesting thing about this new design from Mason & Hamlin (and there are new technologies by other companies, notably Kawaii) is that they are so lightweight in the action that the keys do not need to be weighted with lead. This basically means that there is less mass in the key and it takes less inertia to overcome. There is a quickness, a lightness, and a response that really has to be experienced to understand; they feel different from traditional piano actions!

But the question is; are these better actions? Will this be the future of pianos one day?

Let’s just jump to the conclusion that they are better actions for the sake of discussion. If this is the case, how is it possible to transition? In that I mean there are a lot of different obstacles these pianos and actions must overcome in order to become mainstream.

First of all, Mason & Hamlin produces around 150 pianos a year; so these actions are not very prevalent at the moment. While Kawai produces far more pianos, their actions are a hybrid utilizing wooden shanks and composite materials together, so they aren’t radically different in feel from traditional actions.

The problem is this: what would happen if you bought one of these pianos with the newest synthetic actions that are easier to play. Would you have difficulty transitioning in performance to a traditional piano? This is a serious question for concert pianists and pianists of all skill levels since typically you can’t take your piano with you to performances.

Another problem is unless these types of actions become somewhat commonplace, technicians may not have the skills needed to keep them regulated properly. They are very different actions that require new techniques for adjusting. Each new action design requires piano technicians to learn new skill sets.

Perhaps these pianos really are the future and the next great innovation in the instrument is underway. Or is it just another one of the advancements to the piano that has fallen by the wayside over the years? Only time will tell.

I’m very interested to hear your thoughts on this matter. Please contact me Robert Estrin: Robert@LivingPianos.com 949-244-3729

The Evolution of the Piano

This is an interesting topic; particularly for me due to my recent trip to the NAMM Show (National Association of Music Merchants) here in Orange County California. This is a huge annual gathering of music industry professionals attracting around 100