By Larry Fine
In all likelihood, your purchase of a new piano will include a matching bench. Benches for consumer-grade pianos are usually made by the piano manufacturer and come with the piano. Benches for performance-grade pianos are often provided separately by the dealer.
Benches come in two basic types: fixed-height or adjustable. Consumer-grade pianos usually come with fixed-height benches that have either a solid top that matches the piano’s finish, or a padded top with sides and legs finished to match the piano. The legs on most benches will be miniatures of the piano’s legs, particularly for decorative models. Most piano benches have music storage compartments. School and institutional-type vertical pianos often come with so-called “stretcher” benches — the legs are connected with wooden reinforcing struts to better endure heavy use.
Both solid-top and padded benches work well. The padded benches tend to be a little more comfortable, especially for those who have little natural padding of their own. They tend to wear more quickly, however, and are subject to tearing. Solid-top benches wear longer but are more easily scratched.
Adjustable benches are preferred by serious players who spend hours at the piano, and by children and adults who are shorter or taller than average. The standard height of a piano bench is 19″ or 20″. Adjustable benches typically can be set at anywhere from about 18″ to 21″. By adjusting the bench height and moving it slightly forward or backward, one can maintain the proper posture and wrist angle to the keyboard.
High-quality adjustable benches have a very heavy steel mechanism — so strong you could almost use it as a car jack! The duet-size bench (seats two) weighs well over 60 pounds. These benches are made of hard rock maple and come in most leg styles and finishes. The deeply tufted tops come in a heavy-duty vinyl and look like leather; tops of actual leather are available at additional cost. Both look great and wear well. The best ones, such as those made by Jansen, are expensive ($500 to $750) but are built to last a lifetime. Over the past few years, lesser-quality adjustable benches have come on the market. While these benches are adjustable within a similar range, the mechanisms aren’t as hardy. They may be fine for light use, but most will not last nearly as long as the piano. A new style of adjustable bench, with steel legs, may be useful in high-use institutional settings.
A new type of adjustable bench on the market contains a hydraulic or pneumatic mechanism for raising or lowering the seat. There are different versions, but a typical one uses two nitrogen-gas cylinders, one on each side, and is good for 30,000 up-and-down cycles. The bench can be adjusted quickly and effortlessly by means of a handle on the side of the bench. This can be an advantage to players whose wrists are easily fatigued by turning the knob of the traditional or standard type of adjustable bench, or for musicians who need to make height adjustments quickly and silently during a performance. These benches can also usually be set higher than the traditional kind. Most hydraulic or pneumatic benches are very stable, with metal legs (see photo), avoiding the wobbliness that can sometimes afflict four-legged wooden benches. Standard models range in price from $500 to $900; fancier versions, on which the metal is covered by wood, cost from $1,300 to $2,200.
Legs for both fixed-height and traditional adjustable benches are attached by a single bolt at the top of each leg. These bolts should be tightened anytime there is wobble in the bench. Don’t over-tighten, however, as that might pull the bolt out of the leg.
Finally, if the piano you want doesn’t come with the bench you desire, talk to your dealer. It’s common for dealers to swap benches or bench tops to accommodate your preference, or to offer an upgrade to a better bench in lieu of a discount on the piano.
Having adequate lighting for the piano music is critical. It’s hard enough to learn how to read music without having to deal with a lack of illumination, or with shadows on the sheet music. The ideal solution is track lighting in the ceiling just above the player. In many homes and institutions, however, this is not feasible. In those instances, a piano lamp may well be the answer.
Piano lamps fall into two major groups: floor lamps and desk lamps. Floor lamps arch over the piano and hover over the music rack, while desk lamps sit directly on the piano or are attached to the music rack itself. Desk lamps are subdivided into three groups: a standard desk lamp that sits atop a vertical piano directly over the music rack; a “balance-arm” lamp that sits off to the side on a grand piano’s music desk and has a long arm that hovers over the music rack; and a clip-on lamp that attaches directly to the music rack itself (see illustrations).
Piano lamps come in a variety of qualities, sizes, styles, finishes, and bulb types. The better ones are usually made of high-quality brass, while the least expensive are often made of very thin brass or are simply brass-plated. As lightbulbs become more sophisticated, lighting options have expanded and now include dimmable LEDs and warmth options that can be customized to your preferences. For grand pianos, the Cocoweb clip-on lamp has become a recent favorite because of its sleek, lightweight appearance and powerful light. Benq makes a very sophisticated lamp for uprights with a wide range of brightness and warmth settings.
Accessories and Problem Solvers
Only a few accessories are used with pianos, and most are available at your local piano dealership. You might consider:
Caster Cups. Caster cups are small cups that go under the wheels of vertical and grand pianos to protect the floor or carpet. They come in plastic or a variety of woods, and in clear acrylic that allows the carpet or hardwood floor to show through. If the caster cups have felt on the bottom, however, be careful, as the dye from the felt can bleed into carpeting, especially if it gets damp.
Piano Covers. Used mostly in churches and schools (and homes with cats), piano covers are designed to protect the piano’s finish from accidental damage, and are available to fit any size of piano. They come in vinyl or mackintosh (a very tight-weave fabric that is very water-resistant), brown or black on the outside, and a fleece-like material on the side that touches the piano. A thicker, quilted, cotton cover is available for use in locations where the piano is moved frequently or may get bumped.
Bench Cushions. Bench cushions are made in a variety of sizes, thicknesses (1″ to 3″), fabrics, and colors. They are also available in tapestry designs, most with a musical motif, tufted or box-edged, and all have straps to secure them to the bench.
Pedal Extenders. These extension devices are available for those whose feet do not comfortably reach the pedals. Some are nothing more than a brass pedal that bolts on to the existing pedal, while others are a box, finished to match the piano, that sits over the existing pedals and has pedals with rods to operate the piano’s pedals.
Metronomes. Many music teachers recommend using a metronome to improve students’ timing. Any piano or musical-instrument dealership will generally have a wide selection, from the solid walnut, wind-up, oscillating metronome like the one your grandmother had on her piano, to a new, beeping digital model.
Grand Piano String Covers. Wool string covers are available in a variety of colors that complement the piano’s finish. When in place, they provide a reduction in sound volume, and protection against dust (and cats). Thicker sound-reduction covers and baffles are also available.
Lid and Fallboard Slow-Close Systems. Raising and lowering the lid of a grand piano is frequently difficult, and can be downright dangerous. This is due to the combination of its weight, which can exceed 50 pounds, and its position, which makes it hard to reach. Enter a new product that solves at least the weight problem: Safety-Ease Lid Assist. Safety-Ease (now known as Magic Lid) consists of pneumatic cylinders that effectively counter-balance the weight of the lid and dampen its movement so that it can be easily raised or lowered, even by a child. It mounts under the lid, between the lid hinges on the piano’s rim, is finished in polished ebony to match most pianos, and requires no drilling or permanent installation. This unique system is sold and installed only by piano dealers or technicians. The installed price for small and mid-size grands is $500 to $600. More information is available at www.magic-lid.com. The fallboard (keyboard cover) can also be a danger, not so much for its weight or position, but for the swiftness of its fall and because, when it falls, little fingers are likely to be in its path. Many new pianos today come with a pneumatically or hydraulically damped, slow-close fallboard. For those that don’t, aftermarket devices are available from piano dealers or technicians.
Touch-Weight Adjustment Systems. Touch or touch weight refers to the pressure required to press a piano key. Too little touch weight, or touch weight that is uneven from note to note, makes a piano action difficult to control; too much touch weight makes a piano tiring to play, and can cause physical problems for the player over time. Touch-weight problems can be caused by poor action design, worn parts in older pianos, or incorrectly dimensioned replacement parts in restored pianos.
Historically, discussions, measurements, and adjustments in this area of piano technology have been about static touch weight — the force needed to make a piano key just begin to move slowly downward. Less well understood, and usually ignored, has been dynamic touch weight — the force required to press a key in actual normal, rapid playing. Here, the rapid movement of the key creates inertia (i.e., the tendency of a moving mass to keep moving in the same direction and at the same speed, and the tendency of a stationary mass to remain stationary.) Unlike static touch weight, which depends on the relative amount and positioning of mass on either side of the key’s balance point, as well as on friction, dynamic touch weight depends on the total amount of mass in the system. Attempts to fix problems in static touch weight by adding mass to the front or rear of the key can cause problems with dynamic touch weight by creating excessive inertia.
Until fairly recently, technicians resorted to a patchwork quilt of homemade, trial-by-error remedies for problems with static touch weight; dynamic touch weight wasn’t even on their radar. More recently, a greater understanding of touch weight has emerged, and more sophisticated techniques for solving touch-weight problems are being developed. The gold standard among these techniques is that of David Stanwood, who developed the first system for mathematically describing, measuring, and solving problems related to dynamic touch weight. His system is applied by a network of specially trained technicians who, because of the comprehensive nature of the system and the remedies it suggests, tend to use it on higher-end instruments and those undergoing a complete restoration. More information can be found at www.stanwoodpiano.com.