This is the best I've seen so far that shows the square piano hammers in action. I especially like the slow-motion, it really helps show how these actions work. Thank you for posting!
I'm currently restoring an ~1813 English square (w/escapement (except for the highest notes, which are single)). As it's set up right now, it's not terribly comfortable to play...mainly in that one must play fairly hard to get a note to sound. I'm assuming this needs fixing, and that a pianissimo should be possible with soft playing. Am I correct in this, or does this type of piano simply not have a good response to soft playing? thx!!
Square pianos always have to be touched with a certain determination. With single action the dynamic possibilities are undoubtedly limited and if you touch too lightly you risk that the note will not sound. If the escapement actin is properly regulated (good balance of the key lever, correct height of the sticker, adjusting screw, all links move freely and slide over the leathers... ) the playing should be easy, allow dynamics and good repetition. But all instruments are different ...
The double action is a very light one and makes repetition and tremolo/tremendo easy. The geometry of the single action makes the hammer accelerate. With the double action the intermediate lever counteract the acceleration and makes finger control easier ... The danger of bounce is reduced.
Honestly, I have 2 squares (pleyel & Zumpe) and the second one is extremely precise and fast ! Well, not powerfull, but my gosh it is so easy to perform those crazy pieces !
Erard's system while eradicating some of the direct connection between the player and the strings/hammer, which is obviously a big boo, allows for the string to be played repeatedly while a pleyel piano (single escapement) needs some time before a note can be re-pressed
This is the best I've seen so far that shows the square piano hammers in action. I especially like the slow-motion, it really helps show how these actions work. Thank you for posting!
Very useful, many thanks for this!
Bravo! Super video
Very interesting and helpful, thank you.
I'm currently restoring an ~1813 English square (w/escapement (except for the highest notes, which are single)). As it's set up right now, it's not terribly comfortable to play...mainly in that one must play fairly hard to get a note to sound. I'm assuming this needs fixing, and that a pianissimo should be possible with soft playing. Am I correct in this, or does this type of piano simply not have a good response to soft playing? thx!!
Square pianos always have to be touched with a certain determination. With single action the dynamic possibilities are undoubtedly limited and if you touch too lightly you risk that the note will not sound. If the escapement actin is properly regulated (good balance of the key lever, correct height of the sticker, adjusting screw, all links move freely and slide over the leathers... ) the playing should be easy, allow dynamics and good repetition. But all instruments are different ...
¡BEAUTIFUL¡ THANKS FROM COLOMBIA¡
MOLTO SEMPLICE MA EFFICACE!!! 😯😯
no sound?
What would be the point unless you want to hear the wooden components clacking together
That clacking (or lack thereof with felt) still provides additional information to the brain on the mechanism and the forces etc. involved :-)
Is there an advantage of the double over the single?
The double action is a very light one and makes repetition and tremolo/tremendo easy. The geometry of the single action makes the hammer accelerate. With the double action the intermediate lever counteract the acceleration and makes finger control easier ... The danger of bounce is reduced.
@@jankappes Thanks... Surprising, considering how little the intermediate lever seems to do...
I don't understand the advantage of Erard's system...! :-}
Honestly, I have 2 squares (pleyel & Zumpe) and the second one is extremely precise and fast !
Well, not powerfull, but my gosh it is so easy to perform those crazy pieces !
Erard's system while eradicating some of the direct connection between the player and the strings/hammer, which is obviously a big boo, allows for the string to be played repeatedly while a pleyel piano (single escapement) needs some time before a note can be re-pressed