Sounding the Piano

 Not all pianos are created equal, and they certainly vary in the sounds they produce. What are some of the physical properties of pianos that affect their sound?

Starting with steel strings, the same string twice as long as its original length vibrates one octave lower, but creating a piano with the same thickness of string would be unwieldly, but a wider and heavier string vibrates more slowly. That is why a piano’s bass strings are thicker than the higher notes.

The string’s tension also plays a role in the velocity of the string’s pulse as it is hit by the piano’s hammer. The highest strings need to have the highest tension/

Furthermore, the longer the string, the longer the wavelengths and the better tonality. With increased reverberation and power, the better the harmony, so the larger the piano, the better, all other variables held constant.

Even then, the property of the strings as they have to create 88 notes can result in uneven quality of tone. Therefore, most pianos use multiple stringing so that the vibrations travel more efficiently, making a louder sound, which can also be sustained longer, depending on how the strings are hit.

But strings by themselves don’t make much sound, so that is why a soundboard (make of lightweight wood) is needed to vibrate with the strings and amplify the sound through the surrounding air. The strings run across a wooden bar bridge, which is glued to the soundboard.

Moreover, the room in which the piano is placed, also impacts the piano’s acoustics. For instance, a rug under the piano and irregular shaped objects along the wall can absorb excess reflected sound. However, adsorptive objects such as upholstered furniture and heavy drapes can deaden the sound. In that respect, having exposed flooring at the room’s edges makes the resonance more “live.” Opening the doors of a room can clarify a piano’s bass tones.  Upright pianos work fine in small rooms, but grand pianos need lots of space to resonate properly. Acoustics professional can fine-tune the room for optimum sound quality.

Hearing the Music

 

A significant number of people experience hearing loss over the years, and that can affect how you hear and play the piano – and consider how Beethoven composed music when he became deaf!

Performing music can lead to hearing loss, depending on the piano size, brightness and whether it is opened or closed. Probably more important is the size of the room, the acoustics, and amplification equipment (and direction). Playing with several other instruments can also affect hearing over time.

Hearing aids then may be needed, but they can be problematic for the music performer – and music listener. Hearing aids are usually set to optimize vocal sounds, which have a smaller range of frequencies and volume. In contrast, the piano has about a forty percent bigger range than a female voice. It may seem logical to turn up the volume in order to hear music better, but that can actually make hearing loss worse. It’s actually better to turn down the music volume and turn up the hearing aid volume. In addition, some hearing aids can have different settings, depending on the type of sound and the environment. Noise-cancelling headphones are another good solution; they can be worn over hearing aids to make it easier to listen to music at home. Some public venues such as churches and theaters can provide a hearing loop, which emits a wireless signal that can be picked up on a T (Telecoil) setting of a mobile phone.

Hearing aids alter the sound of the piano for the pianist: an effect called occlusion. Sometimes using just one hearing aid helps. It is also possible to have a more open ear piece or a hollow earmold, both of which lower low frequency amplifications.  The audiologist can also make adjustments to the hearing aid to align with the instrument’s sound characteristics.

As for Beethoven, he could “hear” the music in his mind.

Sounds and Silence

Music is more than tonality; it is the essence of sound. Of phrasing. Of silence. The musician has to listen to all the qualities of sound, and not only reproduce them but also interpret them as imagined in the head of the composer. The composer is an author, and the notes are his alphabet. “When playing a piece, the performer has to look inside himself, and act as a vessel of the composer’s mind.”

Tomoko gives some advice in analyzing a piece. “Each composition is unique. Look for the tone quality, the rhythmic sense, the articulation, the phrasing, the flow, and feeling that the sound evokes.” This analysis is important because “the performer needs to adjust to the composer.”

“The proper quality of sound is like speech,” Tomoko says. “Listen to the voice; is it quiet or loud? How does experience and feeling impact the sound? What kind of character do you think is the musician playing?” Tomoko likens musical phrasing and rests to speaking. “I listen very carefully because I don’t want to miss any commas when people speak English.” The difference is that the pianist conveys sound by touch, not speaking.

Silence is just as important. Tomoko practices early in the morning. “The brain becomes clear in the quiet.” Tomoko also says, “I can practice without sound: practicing coordination and recalling musical memories.”

You can hear how Tomoko makes her fingers sing. A good album to experience the varieties of sound quality is her “Baroque to 20th Century.” You can find it at https://www.cdbaby.com/cd/tomokohagiwara5