Who has not stood in front of the window of a piano showroom wondering which beautiful and shiny instrument to choose, especially if money were not a problem? Let me tell you, the decision is not easy, even if money is plentiful. The purpose of this writing is to provide a basic orientation in the piano market for those of you who have little or no experience in this field. It gives only very general advice; if you are interested in a more detailed analysis you should consider reading some of the books I will recommend later on. There are several basic points you have to think over before beginning your search for the perfect instrument.

The first thing to decide is, of course, why you need a piano at all. If you only want a piece of furniture, you are better off with something much less expensive. The level of your playing and your expectations as to the quality of the instrument are of paramount importance. You must also carefully consider the available space in your dwelling. Grand pianos can take up quite a lot of room, so it is very important that you think over this matter carefully. The placement of the piano deserves close attention; let us only say here that you should avoid the proximity of heating vents or radiators, extreme temperatures, significant variations of humidity (like a basement) and direct sunlight. Ignoring this advice can considerably shorten the life of your instrument.

Speaking about the quality of the piano, there are three major factors to consider:

• The scale design
• The materials used during the construction process
• Workmanship

Let us examine all of these factors one by one.

• The scale design simply means how a piano is built. It refers to the dimensions of the strings (length, thickness, tension) and their arrangements across the plate. It also includes such factors as the point where the hammers and dampers touch the strings, the placement of the bridge and the construction of the soundboard and case. All of these factors contribute to the quality of the tone and sound.
• The design of the piano has been developed over nearly 200 years, since the Italian Bartolomeo Cristofori invented his first hammer action instrument in 1707 (previously people used mainly harpsichords). We can not go into the details about scale design, because for the average buyer it would be too complex. The best thing to do is go for the most well known makes, those which the designers have had at least several decades to perfect (I will list a few later on).
• The materials used in the construction of the piano also have a significant effect. Mainly we are concerned here with the quality of wood used in building the soundboard, the case and the action parts. The best soundboard material is the Alaskan sitka spruce, while the action traditionally has been built using hardwood maple. The case of a grand piano should be constructed of heavily braced hardwood to withstand the enormous pressure that the strings bear upon the soundboard and bridge. It is a known fact that the strings of the piano create about 16-17 metric tons of tension that must be borne by the cast iron plate and hardwood casing. Although the plate is not often considered a critical factor, it is known that poor quality creates problems with tuning. The tension of the strings can cut grooves in the plate, which will lead to eventual string breaking and disturbing buzzes.
• Perhaps nothing will make such a big difference in the quality of sound as the felt used in constructing the hammers. Unfortunately, even when the right materials are used, there still could be problems. The first pianos that came from Asia (particularly from Japan and Korea) were unable to withstand the North American climate due to inappropriate preparation of the wood. The worst enemy of the piano is a variation in humidity levels. Humid summers and dry winters will loosen the joints in the soundboard and eventually will lead to cracks; in extreme cases serious disintegration of the wooden structure may occur.
• In the never-ending race of trying to cut costs, some manufacturers use plastic parts in the action and plywood or even particleboard (especially upright piano manufacturers) in the construction of the case. While the use of good quality plastics in the action may not be a disadvantage, it is often viewed as a sign of poor quality. Particleboard is a very dense material and definitely makes the sound of the piano much less lively and should be avoided in quality instruments. Also, the screw-holding power of particleboard is limited and it eventually will lead to loose joints. There are many tricks that manufacturers employ to disguise the use of particleboard, although it is quite acceptable for certain parts of upright pianos.
• The workmanship also has a very important role. A piano contains thousands of delicate moving parts where accuracy down to the millimeter is crucial. All the parts have to fit precisely otherwise there will be many problems (rattles, buzzes and uneven touch etc). You can have some idea of the quality of workmanship by inspecting a few points such as string and hammer spacing, the notching of the bridge and checking out the joints behind the soundboard - to mention only a few easily noticeable problem areas.

It would be easy to buy a piano if you had an unlimited budget. The price is usually a good indication of the quality of the piano. It all comes down to the well-known axiom: you get what you pay for. Unfortunately, the best instruments, the kinds you see in concert halls, may cost well over a hundred thousand dollars, and some custom made pianos command astronomical prices. On the other end of the scale, you can pick up a used one for just a few hundred dollars. You have to decide for yourself how much you can afford to spend. Don't forget, though, that false economy usually makes unhappy customers. You have to keep in mind not only your present needs but allow for future growth. Presumably, you will improve your playing, and a piano that will make you unhappy in just a few months or years is not a good investment. A quality instrument will also motivate you to develop your musicianship.

The life span of a good piano can be over a hundred years when properly maintained, so it can be considered a lifetime investment. If you buy a new piano you are relatively safe when choosing the best known brands and you are covered by a fairly long warranty (usually around ten years).

The piano industry has gone through a significant change over the last 10-15 years and many brands have disappeared, while others have changed ownership and maintained the product line and name only. This does not necessarily mean that you can not trust the old names any more. However, you will definitely have to be more careful. The Pierce Piano Atlas lists hundreds of brand.s. Most of them are not manufactured any more but it can be handy when shopping for a used instrument. I will give you here a list of the best known makes. I do not dare to try to organize them in the order of quality – such a thing is nearly impossible but the best ones still tend to be in the top rows. Everybody has a hir preferences why can I not be a little subjective, too.

Buying a used piano is a more difficult and risky undertaking. For sure, you can get a great bargain, but you can also end up with a huge headache and it can cost you thousands of dollars to fix the piano. Replacement parts and labour costs are quite significant, so if you plan to buy a used one, you will need the help of someone who knows what to look for in a used instrument.

It is a good idea to familiarize yourself with the way the piano works in order to listen intelligently to the sales pitch you can expect when shopping for an instrument. The piano is a marriage between the stringed and percussion instruments. The strings produce the sound but the hammers set them into motion, in contrast to the bow of the violin (and similar instruments) which performs this task. This requires quite an elaborate mechanical action that has been developed for over two hundred years.

There are basically two different designs: the grand action and the upright action. The original design of the piano is what we call the grand piano. In this arrangement the strings are stretched horizontally above the soundboard. This allows more room for the keys and the action parts and makes it is more efficient in directing the sound towards the audience. In the upright piano the strings are pitched vertically and that requires a certain modification of the action, as well.

The grand piano action has more parts and allows for faster repetition and more precise touch control, but also feels heavier to play. Here is a schematic drawing of the grand action:

The upright piano action is slower, less predictable, and usually feels quite a bit lighter to the touch. You may think that this is better but actually you are wrong. Good pianists invariably prefer the heavier action because it gives greater control over the full dynamic range. Observe the upright action below and note the difference in orientation of the major parts:

• While the major difference between the grand and the upright piano is in the action, there are other contrasts, as well, for example in the pedal mechanism. Grand pianos almost always have three, namely the sustain, sostenuto, and the una corda pedals. Uprights on the other hand have only two pedals, or if they have a third, it works completely differently from its grand cousin.. It is usually the so-called practice pedal, which makes the sound very soft so other people in the house will not be disturbed by your practice.
• The sostenuto pedal, used in many pieces of the impressionist period, is quite an elaborate mechanism, so many companies building vertical pianos have dropped it.
• The una corda pedal works differently, as well, and unfortunately, in upright pianos, it changes the feeling of the action. The sustain pedal works similarly but in larger uprights it is often inadequate to stop the vibration of the bass strings. The reason for this is that in the upright piano the dampers are spring-loaded, while in the grand they work through gravity and, therefore, it is possible to make them heavier and thus more effective. A good inspection of the pedal mechanism is also very important for visible defects, breaks.
• Grand pianos are larger and, because of their size, they also have a more powerful and resonant tone. There is a relationship between the size of the soundboard and the quality and volume of the sound. The lid of the grand piano can be lifted thereby allowing the sound to "come out," while the upright piano, being a closed box, tends to muffle the sound. Besides, the back of the soundboard is usually placed against a wall and that adds to this effect; while the opened lid of the grand also acts as a reflector directing the sound towards the audience. Consequently, we could say that the grand piano is the real thing, while the upright has been mainly created to save space and cut costs. This does not necessarily mean that an upright piano cannot be very satisfying to play, but when it comes to professional use, the first choice is always a grand piano.
• I would also like to mention the digital pianos, since in the last few years they have gained some ground. The advantages can be summarized as space saving, decreased price, absence of tuning, maintenance costs, and portability, while the disadvantages are the poor, artificial sound, and relatively short life. A well made piano can be restored to almost new condition several decades after its manufacture. I personally restored a 90 year old Steinway piano and I would prefer it to many brand-new instruments. This is not the case with digital pianos. Ten years after their manufacture they will be hopelessly outdated and irreparable. One must note, however, that pianos do not necessarily appreciate in value as a Stradivarius violin does. The many mechanical aspects and the huge difference in size make it impractical to draw a comparison here.

A great deal of experience is required to judge the tone properly. The only way to do this is to listen and compare the sounds of many instruments. Listen to pianos made by a single manufacturer, compare different models and sizes, and then try a different make. It is difficult to compare two pianos, unless they are placed side-by-side. Try to find a dealership that sells several different makes (not always easy). And, of course, a competent pianist has to play them. The same piano can sound completely different when played by different people. Nevertheless, try to listen for a rounded, even sound in all registers. Avoid instruments that sound too sharp or metallic because this condition only worsens with age. A rich, round, mellow sound is always preferable.

The touch of a piano can only be appreciated by someone who has plenty of playing experience; beginners are not really good judges. It takes many years to develop a good technique and until then it is safer to rely on the opinion of a real expert. Beginners often prefer the light touch and this is not good for the technically challenging pieces. I have had many of my students complaining about their own, too light action after a few years of study and improvement. If you buy a grand piano, this is usually not a problem because grand pianos are made heavier.

If you are on a tight budget, you should be able to find a good used piano, provided you are careful and obtain the help of somebody who is knowledgeable in evaluating the condition of the piano.

First of all, carefully inspect the structural integrity of the instrument. The soundboard especially needs a careful examination. Watch for loose ribs and cracks. A good indication of former problems in this area is the presence of screws inserted into the soundboard.

The next step should be a careful examination of the action itself. Since the action contains many felt parts, their condition is a good indication of the future life expectancy of the instrument. This includes not only the hammers themselves but also the dampers and many other felt parts. It is very time consuming and expensive to repair or replace them if they are too badly worn out.

The tuning pins and pin block have the most important effect on the tuning stability of the piano. Several of the pins must be inspected to get an indication of their condition. A tuning hammer is required to do this. Since there are more than 200 pins in a piano, it would be hard to inspect all of them. Try to insist on a complete tuning before you make a final decision. The condition of the strings is also very important and has a direct effect upon the sound quality. Any sign of rust, especially on the bass strings, is an indicator of future trouble and you can also expect a lot of broken strings, not to mention the dull tone they produce.

It is a good idea to ask for the service records of the instrument. These will tell you if the piano was regularly tuned and regulated. Instruments that go for years without tuning are often difficult to bring up to concert pitch. Regulations are also needed from time to time to avoid excessive wear of various action parts.

After you have made your preparations, you are ready to visit the dealership. If you have any choice at all, try to select an established dealership that has a good record of service and reliability. Ask piano teachers, students, independent tuners, and musicians about the service. Do not trust a dealer who does not keep his pianos on the floor well tuned and regulated. It is impossible to judge the tone of a piano that is out of tune.

You have to have a fairly good idea of what you are looking for before you enter the showroom. If you are not prepared, chances are a pushy salesman will sell you anything he wants. There are many tricks and gimmicks that an unconscientious salesman can use to his advantage. Here are just a few:

All these above statements are misleading but if you are not prepared you will not be able to judge for yourself.

Buying a new piano can be a very pleasing and exciting task, however, if you want long-term satisfaction, you had better be prepared and do your homework. Decide on your needs and how much you can afford. If at all possible, obtain the help of a professional or at least a very experienced musician. Since it was impossible to cover all aspects of piano design here, you should expand your knowledge by further reading. I will provide a few titles that can be very useful to develop a deeper understanding of the subject. There is also considerable information available on the Internet.

Bibliography

Fine, Larry. The Piano Book. Boston: Brookside Press, 1987.

Pierce, Bob. Pierce Piano Atlas, 9^th ed. California: Bob Pierce, 1990.

Reblitz, Arthur A. Piano Servicing, Tuning & Rebuilding. Vestal, New York: The

Vestal Press, 1989.

White, William B. Theory and Practice of Piano Construction. New York: Dover

Publications, 1975.

Internet Resources:

The Piano Lab – http://www.pianolabs.com/

The Piano Page – http://www.ptg.org/