There are over two hundred strings in most pianos. Each string is under a tension of up to
100 kg. This means that the combined tension can be up to 20 tonnes in a concert grand
piano. This enormous force is kept in check by a very strong cast iron frame. Some old
pianos have a wooden frame which tends to move under the tension of the strings causing
tuning instability.
String tuning is held up, and can be adjusted by, the tuning pins. The bottom end of the
string goes over a hitch pin and the top end of the string goes through a hole in the tuning
pin and is wound round three or four times. The piano is tuned by adjusting the tension
on each string which is done by winding the tuning pin tighter or looser.
SWELL
A crescendo followed by a diminuendo, also known as a swell effect, ‘messa di voce’ or
a double hairpin, is often used in a cantabile phrase. Chopin specifically marks it in the
opening of his Nocturne in B flat minor opus 9 no. 1 but there are countless places in
piano music where it can be used, as a nuance, whether or not marked by the composer.
The opening notes of the phrase may start very sofly to enhance the effect and the closing
notes of the phrase may, similarly, become very soft.
SYNCOPATION
Cross accents
The first beat of a bar is normally accented. In the case of a four beat bar the third beat
has a supplementary accent. Placement of accents where they do not normally exist is
called syncopation and Beethoven and Brahms are two composers noted for their
effective use of syncopation. The beat normally accented may be softened so that the
syncopation can be brought out into relief.
The syncopations in the final movement of Beethoven’s ‘Moonlight’ Sonata opus 27 no.
2 contribute to the drive and dramatic effect of this movement.
Syncopated pedalling
Syncopated pedalling refers to the usual method of legato pedalling where the sustaining
pedal is changed slightly after a note or chord to achieve a true legato effect.
TAUSIG
Carl Tausig was born in Warsaw on 4 November 1841 and died in Leipzig on 17 July
- He was brought to Liszt in the summer of 1855 as a thirteen year old wunderkind
by his father Aloys Tausig who was also his first teacher. Liszt disliked young prodigies;
‘artists who are to be’, he called them disdainfully. At first he refused to hear the boy
play but took him as a pupil when he started to play Chopin’s ‘Heroic’ Polonaise, so
brilliant was his playing. After only a year under Liszt’s supervision the fourteen year