WO2017085959A1

WO2017085959A1 - Piano and piano action

Info

Publication number: WO2017085959A1
Application number: PCT/JP2016/068655
Authority: WO
Inventors: 幸光藤井
Original assignee: 有限会社藤井ピアノサービス
Priority date: 2015-11-17
Filing date: 2016-06-23
Publication date: 2017-05-26
Also published as: JP2017090845A; JP6646904B2

Abstract

In order to improve the touch of an upright piano that uses cross strings, this upright piano is provided with multiple bass strings 90L which are drawn diagonally, and multiple tenor and treble strings 90R are which are drawn diagonally in the direction opposite that of the bass strings 90L. Bass hammerheads 35L, which strike the bass strings 90L, and tenor and treble hammerheads 35R, which strike the tenor and treble strings 90R, have exactly the same configuration, and the former are disposed slightly back from the latter.

Description

Piano, piano action

The present invention relates to a piano action.

The piano has a large number of strings, and has a structure for sounding by striking each string. As it is widely known, it is called action.
In the piano action, when the performer presses a piano key, the movement of the key is transmitted to the hammerhead. When the performer presses a piano key, the movement is transmitted to the hammerhead, which moves toward the string and eventually strikes the string. As a result, the piano pronounces. The piano action has been improved for various purposes in the long history, but the principle of the pronunciation of the piano that the hammerhead pronounces when hitting the strings has not changed in the long history of the piano.
The piano is arranged side by side by the number of scales that a number of strings can be played on the piano. A key, a hammer head, and an action connecting them are associated with each string in order to strike each string, and as many as the strings are provided side by side on the piano. Basically, the hammerheads are arranged side by side with the same spacing as the adjacent ones.

Pianos can be broadly divided into grand pianos and upright pianos. Although these characteristics have their merits and demerits, upright pianos are superior in that they require a small installation space, light weight, and low price. Upright pianos outperform grand pianos in terms of the number of popular models. ing.
Nonetheless, upright pianos are generally inferior to grand pianos in terms of key striking, touch and sound, and upright pianos still have room for improvement. A general understanding in the industry.

By the way, the inventor of the present application has noticed that there is a sense of incongruity that cannot be removed regardless of how they are tuned in both the grand piano and the upright piano.

The inventor of the present application considers that one of the causes is the existence of a cross string that is often used in grand pianos and upright pianos.
Crossed strings are as follows.
First, an upright piano will be described as an example. An upright piano has a large number of strings. The strings are stretched in parallel in the vertical direction on the front side (player side) of the back plate, more precisely, on the front side of the soundboard arranged on the front side of the back plate. When crossed strings are employed, the strings are stretched diagonally to earn their length. Generally, when viewed from the performer, a predetermined number of strings in the low-frequency part on the left side are stretched down to the right, and the remaining strings in the middle and high-pitched part on the right side are stretched down to the left. Lower right string (in this application, this is called "bass part string", and the hammer head and key associated with the bass part string are sometimes called "bass part hammer head", "bass part key", etc.) And a left-lowering string (in the present application, this is called a “middle treble clef”, and a hammer head and a key associated with the middle treble clef are sometimes referred to as “middle treble hammer head”, “ “The middle and high-pitched part keys” etc.) are crossed when viewed from the front at those lower parts that are not struck with a hammer, and the lower right string is located on the player side. Is a common cross string arrangement.
Similarly, crossed strings are used in grand pianos. In the case of a grand piano, many strings are arranged side by side and stretched horizontally. In the grand piano, the bass string is closer to the right as it goes deeper (in this application, this is also called “bass part string”, and the hammer head, key, etc. associated with the bass part string, In some cases, it will be referred to as “bass hammer head”, “bass key”, etc.), so that the middle and high pitched strings approach the left side slightly toward the back (in this application, this is referred to as “middle treble part”). A hammer head, a key and the like associated with the middle and high tone part string are sometimes referred to as a “middle and high tone part hammer head” and a “middle and high tone part key”.
In a grand piano, the bass and middle treble strings intersect when the former is located on the upper side and the latter is located on the lower side, and those parts that are not struck by a hammer are viewed in plan. It is supposed to be.

Crossed strings adopted in upright pianos and grand pianos are the most common technology in the piano world, and it has had a bad influence on the feeling of touch. Of course, no solution has been proposed.

This invention makes it the subject to improve so that the touch feeling of the piano which employ | adopted the cross string may be improved.

The inventor of the present application has sought one of the causes of poor touch on pianos that employ crossed strings (including both grand pianos and upright pianos) as follows.
The reason for this will be described below. First, we will start with a more detailed description of the structure of an upright piano that employs a cross string.

As described above, the upright piano has a large number of strings arranged side by side so as to intersect with each other below. A large number of hammer heads are arranged in parallel on the front side of the large number of strings. As shown in FIG. 10, the hammer head 35 includes a hammer wood 34 and an end portion on the front side thereof (in the present invention, when referring to the upright piano simply as front and rear, the front and rear are oriented in the front and rear direction of the player's head. And hammer felt 36 that covers the upper and lower sides. In the present application, it is defined that a combination of hammerwood and hammer felt is a hammer head (the definition of a hammer head for a grand piano is also the same).
Incidentally, as described above, of the upright piano strings 90, the bass part string 90L is located on the near side when viewed from the performer, and the middle / high part string 90R is located on the far side when viewed from the performer. The distance from the tip of the hammer head 35 to the string 90 in the initial state needs to be constant until the hammer head reaches the string when the key is operated in the same manner. Therefore, the tip of the hammer head 35 in the initial state is in front of the bass part string 90L and the middle / high part string 90R, and the tip of the bass part hammer head 35L hitting the bass part string 90L is the middle / high part hammer head. It is positioned on the near side as viewed from the performer from the tip of 35R.

By the way, as shown in FIG. 10, the front and rear positions of the bass head hammer head 35L and the middle / high tone hammer head 35R are different as described above. The rear ends of the treble hammer heads 35R are aligned in a row parallel to the keys when viewed in plan. That is, the bass portion hammer head 35L is shorter in the front-rear direction than the middle / high tone portion hammer head 35R. The rear ends of the numerous hammer heads 35 are arranged in a line when viewed in plan.
The reason is not clear, but it has been a long time since crossing strings were adopted in upright pianos, but such a structure has been followed in history. If the reason why such a configuration has been adopted for a long time is presumed, the emphasis was placed on the good appearance that the rear end of the hammer head 35 is not uneven, and the bass part 90L that is greatly inclined is struck. In the bass hammer head 35L that is tilted by about 15 °, when the rear side portion is made as long as the middle and treble hammer head 35R, when a certain bass hammer head 35L tries to advance to strike the bass string 90L Moreover, it seems that the reason is that there is a possibility of interference with the bass hammer head 35L on both sides.

The inventor of the present application has questioned the configuration of the hammer head 35 as described above.
In order to align the rear ends of the low sound portion hammer head 35L and the middle / high sound portion hammer head 35R, as described above, the low sound portion hammer head 35L has a shorter length in the front-rear direction than the middle / high sound portion hammer head 35R. The difference in length in the front-rear direction coincides with the distance that the front end of the bass head hammer head 35L is lower than the front end of the middle / high tone section hammer head 35R, or the distance between the front and rear of the bass section string 90L and the middle / high section chord 90R. Due to the difference in length between the low sound portion hammer head 35L and the middle / high sound portion hammer head 35R, a difference in weight occurs between them.
The inventor of the present application thought that this difference in weight may have an adverse effect on the sound and touch of an upright piano employing crossed strings.
Generally, the amount of the hammer felt 36 attached to the hammer wood 34 included in the hammer head 35 is attached to the hammer wood 34 on the left side as viewed from the performer through the bass head hammer head 35L and the middle / high tone hammer head 35R. The more you can, the more you can do. This is because the weight of the hammer head 35 that strikes a string that generates a bass sound is required to produce a bass sound. In general, not only stringed instruments but also percussion instruments, a hitting instrument (for example, a stick for a drum) used for producing a bass sound is heavy when it is intended to emit a bass sound.
In spite of such a principle regarding the weight of the hammer head 35, the hammer head 35 of the upright piano is devised to make the hammer head 35 heavier on the lower side by the hammer felt 36, while the bass head hammer head 35L. Since the length in the front-rear direction is shorter than that of the middle / high pitched hammer head 35R, at least a part of the low pitched hammer head 35L is lighter than a part of the middle / high pitched hammer head 35R. ing. In other words, the order of the hammer heads 35 that should gradually become lighter from the bass part side toward the treble part side is out of order.
In this case, it is natural that the performer cannot obtain a good touch feeling from the upright piano. Within each category of the bass head hammer head 35L and the middle / high tone hammer head 35R, the hammer head 35 becomes heavier toward the bass side due to the amount of the hammer felt 36, but the bass head hammer head 35L and the middle / high tone hammer head 35R are increased. There is no way to adjust the madness at the border.
The present inventor has observed that the above is one of the reasons that the touch feeling obtained from the upright piano is deteriorated.

A similar phenomenon occurs in grand pianos. As described above, the bass part string in the grand piano is located above the middle / high part string. On a grand piano, the hammer strikes the strings from below. Therefore, contrary to the case of the upright piano, the bass part string is inherently farther from the stationary hammer than the middle and higher part strings.
However, even in a grand piano, in order to make the distance from the tip of the hammer to the string constant, the bass head hammer head that strikes the bass part string protrudes forward from the middle and treble part hammer head that strikes the middle / high tone part string. Yes.
And, in the grand piano, contrary to the upright piano, the length of the bass hammer head is made longer than that of the middle / high tone hammer head, so that the bass and middle treble hammer heads The rear end is aligned in a line.
The reason for making the hammer head heavier in the bass side is the same in the grand piano, and the idea to achieve it by changing the amount of hammer felt is also done in the grand piano. The current situation of grand pianos is that their weight changes dramatically at the border with the treble hammer head. And this inventor thinks that this becomes at least one of the causes which worsen the touch feeling of a grand piano.
The invention described below is based on this knowledge obtained by the present inventor.

Based on the above knowledge, the inventor proposes a bass part string that is a large number of strings stretched in parallel, a part of the bass part string that is not hit by a hammer head, and A piano comprising a plurality of middle and high pitched chords which are superposed so as to intersect with a portion not hit by the hammerhead, and are stretched in parallel with the bass chord with a difference in front and back. Is the action. The pianos mentioned here include both grand pianos and upright pianos. In addition, the difference between the front and rear strings of the bass and treble strings means the front and back of the hammer trajectory in both the upright piano and the grand piano. Difference, in grand piano, it means the difference in the vertical position of the strings.
The action is a hammer head that strikes each of the bass strings, and includes a bass head that includes hammerwood and hammer felt, and a hammer head that strikes each of the middle and high strings, and hammerwood and hammer felt. The hammer head included in the bass head hammer head and the hammer head included in the middle / high tone hammer head have a length in the longitudinal direction thereof. It is the same.
That is, the number of hammer heads included in this action is the same in length in the longitudinal direction whether it is included in the bass head hammer head or the middle / high pitch hammer head. As a result, the change in the weight of the hammer head from the bass side to the treble side caused by the difference in length between the hammer wood contained in the conventional bass head and the hammer wood contained in the middle / high tone hammer head Since the unnaturalness is eliminated, the poor touch feeling of the piano can be eliminated without adding extra time and cost such as adding a weight to the hammer head to adjust the weight of the hammer head.
Also, by matching the weights of the bass head and the mid-high hammer head, it is possible to match the speed of both hammer heads when the player presses the corresponding keys in the same way. Therefore, the variation of the sound can be suppressed, and it can be expected that the sound will be improved with the piano equipped with this action.
When the present invention is an upright piano, also in the action of the present invention, the front end of the bass hammer head is lowered rearward from the front end of the treble hammer head, as in the prior art. Therefore, the position at which the hammerwood of the bass hammer head is connected to the hammer shank is in front of the position at which the hammerwood of the mid-high hammer head is connected to the hammer shank. As a result, the rear end of the hammerwood of the bass head hammerhead is aligned at a position behind the rear end of the hammerwood of the middle / high tone hammerhead. Since the rear ends of the heads are not aligned, their appearance will be slightly reduced. However, even if there is such an inconvenience in appearance, the upright piano equipped with the action according to the present invention is overwhelming in the function of being able to sound a good sound originally required for an upright piano with a good touch feeling.
Further, when the present invention is a grand piano, also in the action of the present invention, the upper end of the bass hammer head is positioned above the upper end of the middle / high hammer head as in the prior art. Therefore, the position where the hammerwood of the bass head hammerhead is connected to the hammer shank is lower than the position where the hammerwood of the middle / high pitch hammerhead is connected to the hammer shank. Thereby, the rear end of the hammerwood of the bass head hammerhead is aligned at a position higher than the lower end of the hammerwood of the middle / high tone hammerhead. The grand piano is also excellent in terms of the function of being able to produce the good sound originally required for a grand piano with a good touch feeling.

In the action of the present invention, as described above, the bass portion hammer head and the middle / high tone portion hammer head have the same length in the longitudinal direction.
In both the bass and hammer heads, the amount of hammer felt contained in the bass side may be increased as in the conventional case. Of course, the amount of hammer felt contained in the bass portion may be increased through the bass portion hammer head and the middle / high tone portion hammer head.
Even if the amount of hammer felt is different, the length of the hammerwood can be changed to make the length of the hammerhead made of hammerwood and hammer felt the same. Also in the conventional piano, in each of the bass head hammer head and the middle / high tone hammer head, the length of the bass head on the bass side becomes shorter. The present invention can follow this.

When the piano according to the present invention is an upright piano, the hammer wood included in the bass hammer head has a hammer felt width in a plan view of the rear end portion of the portion connected to the hammer shank. It may be made thinner than the width of the part covered with.
As a result, in the upright piano, even if the length of the hammerwood included in the bass hammer head is longer than before, the traveling bass hammer head can be prevented from interfering with the adjacent bass hammer heads on both sides. It becomes like this.
Here, the “plan view” means that the hammerwood is viewed from the opposite side (surface) to which the hammer shank is attached. The direction of the line of sight in this case does not necessarily coincide with the length direction of the hammer shank.
Both the hammerwood included in the bass head hammerhead and the hammerwood included in the middle / high tone hammer head have a width in a plan view of a portion on the rear end side with respect to a portion connected to the hammer shank. The portion covered with the hammer felt may be made thinner.
For example, in any case, the hammer wood included in the bass head hammer head or the middle / high tone hammer head may be configured to taper toward the rear when viewed in plan. Further, the shape of the hammerwood can be symmetrical with respect to the traveling direction of the hammerwood when viewed in plan.
However, in order to prevent the low-frequency hammer head and the mid-high-frequency hammer head in the upright piano from being formed as described above, by preventing the turbulent flow from occurring on the rear side of the low-frequency hammer head moving toward the string. There is also an effect that the trajectory of the bass hammer head is stabilized, thereby stabilizing the sound generated by the bass hammer head hitting the bass string. If such an effect is aimed, not only the bass and middle / high pitched hammer heads of upright pianos, but also at least one of the middle / high and hammered heads of the grand piano will have such a shape. It is possible to employ a hammerhead.

The inventor of the present application proposes an upright piano or a grand piano including any of the actions described above as one aspect of the present invention, as the same effect as the above action.

The perspective view of the upright piano in 1st Embodiment of this invention. The side view which shows the action contained in the upright piano shown in FIG. The side view which shows the action contained in the upright piano shown in FIG. The perspective view which expands and shows the part of the hammer head of the action contained in the upright piano shown in FIG. The perspective view from the angle different from FIG. 4 (A) which expands and shows the part of the hammerhead of the action contained in the upright piano shown in FIG. The perspective view from the angle different from FIG. 4 (A) and (B) which expands and shows the part of the hammer head of the action contained in the upright piano shown in FIG. The (A) top view, (B) side view, and (C) back view which show the structure of the hammer containing the bass part hammer head contained in the action of the upright piano shown in FIG. FIG. 2A is a plan view, FIG. 3B is a side view, and FIG. The top view which shows roughly the whole structure of the grand piano of 2nd Embodiment. The side view which shows the action contained in the grand piano shown in FIG. The side view which shows the action contained in the grand piano shown in FIG. The perspective view of the part containing the string and hammer of the conventional upright piano.

Hereinafter, preferred first and second embodiments of the present invention will be described in detail with reference to the drawings.
In addition, the description which overlaps in each embodiment shall be abbreviate | omitted as needed.

<< First Embodiment >>
This embodiment demonstrates the structure in case a piano is an upright piano.
However, the upright piano in this embodiment has a feature only in its hammer head described later, and the configuration is the same as that of the conventional upright piano except for its configuration.
Therefore, it is not necessary to explain the configuration of the upright piano except for the configuration regarding the difference from the conventional upright piano described above, but for the entire configuration of the upright piano. Also explain.

Hereinafter, the structure of the upright piano which is one Embodiment of this invention is demonstrated. In the following description, “clockwise” or “counterclockwise” refers to clockwise or counterclockwise in FIGS. 2 to 3.
Further, in the description of this embodiment, the concept before and after is assumed to follow the front and back of the performer's head facing the upright piano.

FIG. 1 is a perspective view showing an overview of an upright piano. In this figure, a so-called front panel which is a decorative board for concealing the action of the upright piano is removed.
As is well known, an upright piano has a number of keys 1 arranged side by side.
The upright piano has a large number of strings 90. The number of keys 1 and strings 90 is the same. Many strings 90 are stretched diagonally in order to earn the length. A predetermined number of strings 90 on the left side are stretched downward to the right in FIG. 1, and the remaining strings 90 on the right side are stretched to the left in FIG. The lower right string 90 and the lower left string 90 intersect with each other below, and the lower right string 90 is located on the near side in FIG. Such a method of stretching the strings 90 is called a crossed string and is extremely ordinary.
In the figure, reference numeral 35 denotes a hammer head. The number of hammer heads 35 is the same as the number of keys 1 and strings 90, and they are arranged side by side.
The hammer head 35, the key 1, and the string 90 that are arranged in order from the left are associated with each other in the same order from the left. For example, when the leftmost key 1 is pressed, the leftmost hammer head 35 strikes the leftmost string 90, and when the second key 1 is pressed from the left, the second hammerhead 35 from the left is doubled from the left. Like hitting the second string 90.

A housing plate 101 forming a part of the housing of the upright piano is present at the innermost side of the upright piano in FIG. A soundboard is arranged on the player side, that is, the front side of the housing plate 101, and a string 90 is attached to the rear surface of the soundboard.
On the rear side of the casing plate 101, a pillar 102 that supports the casing plate 101 is erected. As shown in FIG. 1, a gap is formed between the hammerheads 35 arranged in series at a portion where the left and right strings 90 intersect. Further, as shown in FIG. 1, a gap is formed between the hammer heads 35 even in the portion where the pillar 102 exists. These two are the boundaries of the section S of the upright piano (sections S1 to S3 are collectively referred to as section S). This upright piano eventually comprises three sections S1 to S3.
Section S occurs due to circumstances such as the crossing of the pillars 102 and the strings 90, and the number is 3 to 5 in many upright pianos. In this embodiment, there are three sections S, but this is not the case. In this embodiment, the string 90 belonging to the section S1 is a bass part string 90L, and the string 90 belonging to the sections S2 and S3 is a middle / high part string 90R. Further, the hammer head 35 that strikes the bass part string 90L is the bass part hammer head 35L, and the hammer head 35 that strikes the middle and treble part string 90R is the middle and treble part hammer head 35R.
The inner side surface and the outer side surface of the adjacent hammer heads 35 belonging to each section S are all parallel to each other.
Of the three sections S, only the low-pitched portion hammer head 35L, which is the hammer head 35 belonging to the section S1, has its center plane in the width direction inclined to the left in FIG. This is a device for taking the space for arranging the hammer head 35, and most of the recent upright pianos adopt such a configuration.

Figures 2 to 3 show upright piano action 7. In each of these drawings, only a set of key 1 and string 90 and action 7 (hammer head 35 is included in the action) for connecting them are shown.

The center portion of the key 1 is rotatably supported by a balance pin (not shown) erected on the collar 3. The description of the key 1 is omitted in FIG. 2 etc. When the performer pushes the omitted rear end located outside the right side in FIG. 2 etc., the front end located on the left side in FIG. However, the entire key 1 is lifted by a seesaw motion with the balance pin as an axis.
Brackets (not shown) are formed on the left and right ends of the flange 3, respectively. A center rail 4 is bridged and fixed between the left and right brackets.
An action 7 is formed above the front end of the key 1. Action 7 has whippen 8, jack 18, bat 25, and hammer 32 as central members for striking string 90.

The whippen 8 is a member extending in the front-rear direction of the upright piano, and when the front end of the key 1 is lifted, the whole is lifted. The jack 18 is a substantially L-shaped member in a side view, and moves upward together with the whippen 8 when it is lifted. A push-up portion, which will be described later, at the upper end of the wippen 8 pushes a push-up portion, which will be described later, of the bat 25 from below, so that the bat 25 is rotated. The fact that the hammer 32 whose end is fixed rotates is the essential point of the rotation of the hammer 32.
Details will be described below.

On the lower side of the center rail 4 described above, a whippen frenzy 10 is provided. The wippen 8 is pivotally supported by the wippen frenzy 10 at a predetermined portion near the front end thereof. A spoon 9 is erected on the front end of the wippen 8.
The whippen 8 has a heel 11 on the lower side of the rear side of the whippen frenzy 10 and a jack frenzy 12 on the upper side thereof. The jack frenzy 12 is configured to be rotatable with respect to the wippen 8 and to connect the wippen 8 and the jack 18. The heel 11 of the whippen 8 is placed on the front end portion of the key 1 via a capstan button 2 fixed to the front end of the key 1. Thereby, when the key 1 is lifted, the whippen 8 is lifted via the capstan button 2.
A back check wire 14 is erected at the rear end portion of the wippen 8, and a back check 15 is attached to the tip thereof.
Further, a bridle wire 71 is erected on the rear end portion of the wippen 8. Between the bridle wire 71 and a catcher, which will be described later, for example, a bridle tape 72 that is a string or a belt is stretched in a slightly slack state in the initial state.

The jack 18 has a jack tail 19 projecting rearward and a push-up portion 20 extending upward from the front end of the jack tail 19, so that the jack tail 19 and the push-up portion 20 form a substantially L shape in a side view. Has been. The jack 18 is pivotally fixed to the jack flange 12 at a corner portion formed by the jack tail 19 and the push-up portion 20. A jack spring 13 is provided between the rear end portion of the jack tail 19 and the rear portion of the whippen 8 with respect to the jack flange 12 with the upper end and the lower end thereof connected thereto.
The jack spring 13 is a spring that applies a force that rotates counterclockwise to the jack 18 by urging the jack tail 19 upward, and is usually a coil spring.

A regulating button 47 is provided above the jack tail 19 of the jack 18. The regulating button 47 is supported at the tip of a regulating screw 49 that is screwed into the regulating rail 48. The regulating rail 48 is a long member extending over the entire length in the width direction of the upright piano. The regulating rail 48 is fixedly attached to the center rail 4 by a fork screw 50.

There is a jack stop rail 53 that is a long member extending over the entire length in the width direction of the upright piano behind the push-up portion 20 of the jack 18. The jack stop rail 53 is fixedly attached to the center rail 4 by a jack stop rail screw 54. The jack stop rail 53 stops the rotation of the jack 18 by receiving the push-up portion 20 of the jack 18 that rotates clockwise when the wippen 8 moves up.

The hammer 32 is for hitting the string 90. The basic configuration of the hammer 32 may be the same as that of a conventional hammer, and in this embodiment, this is the case. In this embodiment, the hammer 32 is made of wood except for the hammer felt 36. The configuration of the hammer 32 will be briefly described below.
The hammer 32 has a hammer shank 33, a hammer wood 34, and a hammer felt 36. The hammer wood 34 is a member that extends forward from the upper end of the hammer shank 33. The hammer felt 36 is a member that directly strikes the string 90 and is attached to the hammer wood 34 so as to straddle the top and bottom of the front end of the hammer wood 34. A combination of the hammer wood 34 and the hammer felt 36 is a hammer head 35.

In this embodiment, the base end of the hammer shank 33 that is a rod-shaped body having a circular cross section is connected to the bat 25. The bat 25 is rotatably supported by a butt flange 26 provided at the upper rear side of the center rail 4 at a lower portion of the front side surface. As a result, the bat 25 can rotate, and the hammer 32 including the hammer shank 33 connected to the bat 25 can also rotate. The bat 25 has a pushed-up portion 27 on its lower surface. The pushed-up portion 27 is a portion that is pushed up from the lower side by the upper end of the raised portion 20 of the jack 18 when the jack 18 moves upward. The butt 25 is rotated counterclockwise by being pushed up by the raised portion 20 of the jack 18 so that the hammer head 35 of the rotating hammer 32 strikes the string 90. ing.
A leather skin 75 is affixed to the raised portion 27 of the bat 25. A catcher 29 is attached to the upper part of the rear side surface of the bat 25 via a catcher shank 28. The catcher 29 stops rotation of the bat 25 in combination with the back check 15 described above. When the bat 25 is in the initial position, the catcher 29 is away from the back check 15 and the bat 25 is pushed up by the jack 18 and rotates counterclockwise. At the same time, the rear end of the wippen 8 rotates counterclockwise. The catcher 29 is caught by the back check 15. Thereafter, when the whole of the wippen 8 descends while rotating clockwise, the catcher 29 caught by the back check 15 quickly rotates away from the back check 15 and rotates again when the rear end of the wippen 8 is lowered while rotating clockwise. It has become possible. A leather skin 76, for example, is also attached to a portion of the rear side surface of the bat 25 below the base of the catcher shank 28. That is, in the bat 25, the skin 76 is pasted on the surface on the rear side and the upper side of the pushed-up portion 27. The rear end of the skin 75 and the lower end of the skin 76 are continuous. As a result, the skin 75 and the skin 76 are integrated.
A butt spring 25 </ b> A is provided on the front surface of the butt 25. The butt spring 25A is a spring for constantly applying a clockwise force to the bat 25. When the hammer 32 rotates toward the string 90 by the force from the butt spring 25A, the bat 25 rotated counterclockwise together with the hammer 32 quickly returns to the original position.

Action 7 also includes a damper 39. The damper 39 is a mechanism for stopping the vibration of the string 90.
The damper 39 includes a damper lever 40, a damper wire 43, and a damper head 44.
The damper lever 40 is pivotally fixed to a damper flange 41 fixed to the front upper portion of the center rail 4 at the center thereof. As for the damper lever 40, the side surface lower end part is facing the front-end | tip of the spoon 9 after that. The damper head 44 is attached to the upper end of the damper lever 40 via the damper wire 43. The damper head 44 receives a force from a damper spring 42 attached to the damper lever 40 and presses against the string 90.

There is a hammer stop rail 55 behind the hammer shank 33 and a damper stop rail 56 behind the damper wire 43. The hammer stop rail 55 and the damper stop rail 56 are respectively bridged and fixed between the brackets present on the left and right sides of the upright piano.

Next, the usage method and operation | movement of this upright piano are demonstrated.
First, a case where the key 1 is in a dormant state will be described (see FIG. 2). When the key 1 is in a resting state, the rear end of the key 1 is at the highest position, and the front end of the key 1 is at the lowest position. The wippen 8 is also at the lowest position.
The protruding end of the pushing-up portion 20 of the jack 18 enters and engages under the pushed-up portion 27 of the bat 25. The jack tail 19 is separated from the regulating button 47. The push-up portion 20 and the jack stop rail 53 are separated.
At this time, the catcher 29 connected to the bat 25 is at the lowest position, and the catcher 29 is away from the back check 15. The hammer shank 33 is in contact with the hammer stop rail 55, and the hammer head 35 and the hammer wood 34 are located farthest from the string 90. The damper head 44 is in pressure contact with the string 90 by the force of the damper spring 42.

Next, a case where the performer presses the key 1 and the rear end portion of the key 1 descends from the resting position to the most depressed position (see FIG. 3) will be described.
When the performer pushes down the key 1, the key 1 rotates in the clockwise direction, and the front end of the key 1 rises. Then, the front end of the key 1 pushes up the heel 11 of the wippen 8 via the capstan button 2, and the wippen 8 is raised while rotating counterclockwise around the wippen frenzy 10.
As soon as the wippen 8 starts rotating, the spoon 9 provided at the rear end of the wippen 8 pushes the lower end of the damper lever 40 forward, and the damper lever 40 rotates in the clockwise direction around the damper flange 41. As a result, the damper head 44 moves away from the string 90. Thereby, the string 90 becomes a state which can vibrate.
As the whippen 8 rotates and rises, the jack 18 rises with the whippen 8. When the jack 18 rises, the upper end of the pushing-up portion 20 of the jack 18 pushes up the pushed-up portion 27 of the bat 25.

Even after the tip of the pushing-up portion 20 pushes up the pushed-up portion 27, the wippen 8 continues to rise and rotate counterclockwise. After the protruding end of the pushing-up portion 20 pushes up the pushed-up portion 27, the jack tail 19 hits the regulating button 47. After that, the Wippen 8 continues to rotate and rise. Then, since the regulating button 47 presses the jack tail 19 from above, the jack 18 rotates in the clockwise direction around the jack flange 12, and the protruding end of the raised portion 20 separates from the lower side of the raised portion 27 rearward. The engagement between the push-up portion 20 and the push-up portion 27 is released. This is called letoff. The push-up portion 20 which has been let off contacts the jack stop rail 53 and stops its rotation.

The bat 25 starts to rotate in the counterclockwise direction around the butt flange 26 due to the reaction of the pushed-up portion 27 being pushed up by the raised portion 20 of the jack 18. Accordingly, the hammer 32 connected to the bat 25 rotates in the counterclockwise direction. As the hammer 32 rotates, the hammer head 35 advances toward the string 90. The hammer head 35 hits the string 90. The string 90 emits sound when the hammer felt 36 of the hammer head 35 collides and vibrates.

After hammerwood 34 hits string 90, hammer 32 reverses and rotates in the clockwise direction. Then, the catcher 29 is caught by the back check 15 and the hammer 32 stops. At this time, the rear end of the key 1 is most lowered from the resting position, and the front end of the key 1 is most raised from the resting position. Further, the protruding end of the push-up portion 20 is located above the push-up portion 27 and is located on the rear side of the skin 76.

Next, a case where the performer releases the key 1 and the rear end of the key 1 rises from the most depressed position will be described.
When the performer releases the key 1, the key 1 rotates counterclockwise, and the front end of the key 1 starts to descend. When the front end portion of the key 1 is lowered, the whippen 8 is lowered while rotating in the clockwise direction. As soon as the wippen 8 starts to descend, the catcher 29 is separated from the back check 15 and the hammer 32 can be rotated.

When the rear end of the key 1 returns from the most depressed position toward the resting state to some extent, the jack tail 19 only comes into contact with the regulating button 47 and the regulating button 47 presses the jack tail 19 from above. Disappears. Then, in addition to the fact that the counterclockwise force is always applied to the jack 18 from the beginning, the jack spring 13 whose flexure has been increased gives the jack 18 a greater force to rotate counterclockwise. . As a result, the jack 18 returns again below the raised portion 27 of the bat 25.
On the other hand, the hammer 32 and the bat 25 connected thereto rotate clockwise and return to the original position by the force applied to the bat 25 by the bat spring 25A and the force by which the catcher 29 is pulled back by the tension entered in the bridle tape 72. . Before and after the hammer 32 and the bat 25 return to their original positions, the push-up portion 20 of the jack 18 returns under the pushed-up portion 27 of the bat 25 and re-engages them.

When the protruding end of the push-up portion 20 enters under the pushed-up portion 27 and the jack 18 and the bat 25 are engaged, the player presses the key 1 that has been released again, and the push-up portion 20 via the wippen 8 The pushed-up portion 27 can be pushed up.
That is, a sound can be output again by pressing the rear end of the same key 1.

What has been described above is the configuration of an ordinary upright piano, and its usage and operation.
Hereinafter, the hammer head 35 which is a portion having a configuration different from the conventional upright piano of the upright piano of this embodiment will be described in detail.
FIGS. 4A, 4B, and 4C are enlarged perspective views of a portion corresponding to the hammer head 35 of the hammer 32 attached to the action included in the upright piano of this embodiment. FIG. 5 is a plan view, a side view, and a rear view of the bass head hammer head 35L of the hammer head 35. FIG. 5 is a plan view, a side view, and a rear view of the middle / high tone hammer head 35R of the hammer head 35. Are shown in FIG.
The hammer head 35 in this embodiment is composed of the hammer wood 34 and the hammer felt 36 as described above.

First, the configuration of the hammer wood 34 and the hammer felt 36 is common to the bass head hammer head 35L and the middle / high tone hammer head 35R. First, these will be described. In this embodiment, all the hammer heads 35 have the same length in the longitudinal direction.
The bass hammer head 35L includes the hammerwood 34 as described above. Like the conventional hammerwood 34, the hammerwood 34 has a constant width from its front end to the rear end, and its front portion becomes thinner as it approaches the front end. In addition, the rear portion thereof may have a prismatic shape.
However, although not necessarily limited thereto, the hammerwood 34 in this embodiment has a slightly different shape from the conventional hammerwood 34. The hammer wood 34 of this embodiment has a constant width when viewed from the front to the relevant portion except for a portion where the width gradually decreases when viewed from the rear end side described later. Further, although not limited to this, the hammerwood 34 and the hammerhead 35 in this embodiment are configured to be symmetric with respect to a virtual center line that runs in the length direction thereof, that is, symmetrically.
At the front portion of the hammerwood 34, the thickness in the vertical direction becomes thinner as it approaches the front end. With regard to the shape of such a portion, the hammerwood 34 of this embodiment may be similar to the conventional hammerwood 34, and in this embodiment it is. A certain range on the front side of the portion where the thickness in the vertical direction becomes thinner as it approaches the front end is covered with a hammer felt 36 that straddles the top and bottom. The hammer felt 36 may be the same as the hammer felt 36 in a conventional hammer. The hammer felt 36 may cover all parts of the above-mentioned part or may cover up to the back of the part, but generally covers a predetermined range on the front side of the part.
Although not limited to this, the hammer felt 36 in this embodiment has a two-layer structure of an inner inner hammer felt 36A and an outer outer hammer felt 36B. Both the inner hammer felt 36A and the outer hammer felt 36B are made of felt, but the inner hammer felt 36A has a higher density. The hammer felt 36 may be made of other materials such as leather, and may have a multilayer structure including other materials as in the conventional case. The width of the hammer felt 36 in plan view is equal to the width of the hammer wood 34 in the portion covered by the hammer felt 36.

A flat bottom surface is formed in the lower portion of the hammerwood 34 from immediately after the portion where the vertical thickness of the hammerwood 34 becomes thinner as it approaches the front end. Further, in the portion from immediately after the portion where the vertical thickness of the hammerwood 34 becomes thinner as it approaches the front end to the vicinity of the rear end, the upper portion of the hammerwood 34 has a planar shape. An upper surface parallel to the above-described bottom surface is formed. The above-described bottom surface is provided for the convenience of fixing the hammer shank 33 to the hammerwood 34. This is because if there is a flat surface, the angle of the hammer wood 34 with respect to the hammer shank 33 can be determined simply by adjusting the mounting angle of the hammer shank 33 with respect to the flat surface.
The upper surface of the hammerwood 34 may be a plane parallel to the bottom surface up to the rear end of the hammerwood 34. In this embodiment, the upper surface is not limited to this, but a predetermined range on the rear end side. In addition, a slight inclination is given to the rear end. The portion provided with such an inclination may be a flat surface, but is a smooth curved surface in this embodiment.

Although not limited to this, in this embodiment, both sides of the hammerwood 34 are flat for a while after the portion in which the vertical thickness of the hammerwood 34 becomes thinner as it approaches the front end. . In a predetermined range behind the hammerwood 34 after a certain amount of progress from there (for example, a predetermined range behind the portion connected to the hammer shank 33), the hammerwood 34 is rearward when viewed in plan. It is configured to taper towards the end. Both side surfaces in a predetermined range behind the taper in a plan view may be a flat surface or a curved surface. In this embodiment, both sides are curved surfaces, and in this embodiment, the both sides are smooth and bulge slightly outward. It is a simple curved surface. The side surfaces that are curved surfaces are not limited to this, but are perpendicular to the aforementioned bottom surface of the hammerwood 34 in all portions. Both side surfaces which are curved surfaces meet as a single vertical side at the rear end of the hammerwood 34. As a result, in this embodiment, the shape of the portion of the hammerwood 34 that tapers toward the rear in plan view behind the hammerwood 34 is shaped like the cross-sectional shape of the airplane wing when viewed in plan. Yes.
It should be noted that the front limit of the portion of the hammerwood 34 that tapers toward the rear in a plan view extends to the front, for example, immediately after the portion covered with the hammer felt 36. It does not matter.

A hammer shank 33 is connected to the hammer head 35 composed of the hammerwood 34 and the hammer felt 36 described above.
The hammer wood 34 included in the bass hammer head 35L and the hammer wood 34 included in the middle / high tone hammer head 35R are included in either the bass hammer head 35L or the middle / high tone hammer head 35R. Regardless of the above, the length in the front-rear direction is shorter on the bass side. Such a difference in length is obtained by changing the length of the portion on the front side of the portion to which the hammer shank 33 is connected, for example, the portion whose thickness in the vertical direction becomes thinner as it approaches the front end. Achieved. Further, the hammer felt 36 included in the bass hammer head 35L and the hammer felt 36 included in the middle / high tone hammer head 35R are included in either the bass hammer head 35L or the middle / high tone hammer head 35R. Regardless of whether or not it is, the amount on the bass side is greater. As a result, the bass portion hammer head 35L and the middle / high tone portion hammer head 35R in this embodiment are all equal in length in the longitudinal direction.
In the low sound portion hammer head 35L, the hammer shank 33 is connected to the rear side of the bottom portion of the hammer wood 34 covered with the hammer felt 36. In the low sound portion hammerhead 35L, the hammer shank 33 is perpendicular to the bottom surface of the hammerwood 34 when viewed from the side, and is inclined and attached to the bottom surface of the hammerwood 34 when viewed from the back. This is because the bass hammer head 35L is usually tilted according to the tilt of the bass string 90L. This is a known technique.
On the other hand, the hammer shank 33 is connected to the middle / high pitched hammer head 35R at a position closer to the rear than the bass hammer head 35L on the bottom surface. In the middle / high sound portion hammerhead 35R, the hammer shank 33 is attached to the bottom surface of the hammerwood 34 so as to be perpendicular to the bottom surface of the hammerwood 34 when viewed from the side or the backside.
The hammer shank 33 is a wooden rod having a circular cross section, although not limited thereto, whether it is attached to the bass hammer head 35L or to the middle / high hammer head 35R. The hammer shank 33 and the hammer wood 34 are generally fixed by making a hole (not shown) in the hammer wood 34 and bonding the hammer shank 33 with the upper end inserted into the hole. Although not limited thereto, the hammer shank 33 and the hammerwood 34 are fixed in this way in this embodiment.

Since the mounting position of the hammer shank 33 with respect to the hammerwood 34 is different between the low sound portion hammer head 35L and the middle / high sound portion hammer head 35R, the tip of the low sound portion hammer head 35L is parallel to the low sound portion chord 90L. The front ends of the mid-high range hammer head 35R are aligned in parallel with the mid-high range chord 90R, but the front end of the low-range hammer head 35L is, for example, as shown in FIG. It will be in a state where it is lowered somewhat behind the treble hammer head 35R. The size of the front / rear difference between the bass portion hammer head 35L and the middle / high tone portion hammer head 35R is equal to the size of the front / rear difference between the bass portion string 90L and the middle / high tone portion string 90R forming the cross string. The straight line connecting the rear ends of all the bass head hammer heads 35L is parallel to the straight line formed by the rear ends of the side-by-side keys 1, and the straight lines connecting the rear ends of all the middle and high tone hammer heads 35R are the same. It is.
Since the hammer wood 34 is as described above, when the player presses the key 1 to rotate the bass hammer head 35L by seeking the pronunciation by the bass string 90L, and when the player plays the middle treble string 90R. There is no discontinuous change in touch feeling when the performer presses the key 1 to rotate the middle / high pitched hammer head 35R.
Further, if the hammer felt 36 is made heavier by increasing the amount on the bass side, the hammer head 35 is heaviest on the lowest side and gradually becomes lighter toward the high side. As a result, the sound obtained by the upright piano is improved overall, and the player does not feel uncomfortable.
Further, in particular, the bass portion hammer head 35L of this embodiment has a narrower portion on the rear side than the hammer shank 33, so that the front and back length of the hammer wood 34 is slightly longer than the normal hammer wood 34. , It hardly interferes with the adjacent bass head 35L when it travels.
In addition, the hammer 32 thru | or the hammer head 35 demonstrated in this embodiment can be replaced with the same parts of the upright piano which has already been sold, for example, or in the store. By doing so, the sound of the existing upright piano can be improved. This situation is the same in the grand piano in the second embodiment.

<< Second Embodiment >>
This embodiment demonstrates the structure in case a piano is a grand piano.
However, the grand piano in this embodiment has a feature only in the hammer head described later, and the configuration is the same as that of the conventional grand piano except for the configuration.
Therefore, it is not necessary to explain the configuration of the grand piano except for the configuration regarding the difference from the above-described conventional grand piano, but the overall configuration of the grand piano is also described. Do.

FIG. 7 shows a schematic plan view of the grand piano in this embodiment (however, description of roofs, beams, etc. is omitted). As is well known, the grand piano of this embodiment includes a large number of keys 910 arranged side by side. Each key 910 is included in an action associated with each key 910, and a string 990 associated with each key 910 is hit by a hammer described later included in the action to which the key 910 belongs.
The grand piano includes a string 990 stretched in the casing 900. As is well known, the grand piano string 990 employs a crossed string configuration.
Of the strings 990, a bass line string 990L is indicated by a solid line. The bass part string 990 </ b> L is slanted toward the right side as it goes to the back as viewed from the performer. Of the strings 990, the middle and high pitched string 990R is indicated by a dotted line. The middle and high pitched strings 990R are slanted so as to go to the left as they go to the back as viewed from the performer. Both the low tone string 990L and the middle and high pitch strings 990R are stretched horizontally, and the former is positioned above the latter. The bass part string 990L and the middle / high part string 990R intersect at an upper part in FIG. 7 that is not hit with a hammer.

8 and 9 show a set of keys 910 and actions 901 out of a number of keys 910 and actions 901 combined therewith. Note that the concept before and after in the following description follows the first embodiment.
In addition to the key 910, the action 901 includes a known whippen 920, a repetition lever 923, and a hammer 932.
A large number of keys 910 are arranged in the left-right direction on the flange 911. A hole 913 is formed in the center of the key 910, and a balance pin 912 is inserted therein. The key 910 is supported by the balance pin 912 in a state where the seesaw motion is possible in the front-rear direction with the balance pin 912 as a fulcrum. A capstan screw 914 is provided in front of the portion of the key 910 supported by the balance pin 912. The capstan screw 914 pushes up a whippen 920 (to be described later) upward when the front of the key 910 is raised by the player pushing the back of the key 910. A back check 915 is provided in front of the key 910. The back check 915 receives the hammer head 935 of the hammer 932 returned after the key is pressed.

The whippen 920 includes a heel 921 at the lower end thereof. The heel 921 is in contact with the capstan screw 914 described above. The whippen 920 is pivotally supported by the whippen frenzy 963 by a pin 972 so that the whippen 920 can be rotated about the pin 972 as an axis. The wippen frenzy 963 is fixed to the wippen rail 964. The Wippen rail 964 is a long member, spanned between left and right brackets 962 (only one is shown in FIGS. 8 and 9), and fixed so as to cross the grand piano.
A strut-shaped repetition lever flange 922 is provided on the upper side of the middle of the whippen 920 in the front-rear direction. The repetition lever flange 922 is for connection with the repetition lever 923, and an upper end thereof is connected to an intermediate portion in the front-rear direction of the repetition lever 923 by a pin 973. The repetition lever 923 is rotatable with respect to the repetition lever flange 922 about the pin 973 as an axis.

A jack 924 is connected to the rear end of the wippen 920. The jack 924 is a substantially L-shaped member in side view, and a corner portion of the jack 924 is connected to the rear end of the wippen 920 by a pin 974. The jack 924 is rotatable with respect to the wippen 920 around the pin 974. The jack 924 has a long push-up portion 925 also called a large jack and a short jack tail 926 also called a small jack. The upper end portion of the push-up portion 925 is formed in the rear end side of the repetition lever 923, and penetrates the repetition lever 923 in the vertical direction. The elongated hole has a certain length in the length direction of the repetition lever 923 (shown in the figure). Is omitted). In the stationary state, the upper end of the push-up portion 925 of the jack 924 is in a state of abutting a hammer shank roller 939 described later after passing through the above-described elongated hole provided in the repetition lever 923.
The wippen 920, the repetition lever flange 922, the repetition lever 923, and the jack 924 constitute a group of components that rotate together around the wippen flange 963.

The hammer 932 is for hitting the string 990. The configuration of the grand piano hammer 932 in this embodiment may be the same as a conventional hammer, and in this embodiment it is. The configuration of the hammer 932 of the grand piano is the same as that of the hammer of the upright piano except that it has a hammer roller described later.
The hammer 932 includes a hammer shank 933, a hammer wood 934, and a hammer felt 936 that are the same as those of the upright piano in the first embodiment. Also in the second embodiment, the hammer head 935 is a combination of the hammer wood 934 and the hammer felt 936 as in the first embodiment.
The aforementioned hammer shank roller 939 is attached to the lower side of the portion from the base end of the hammer shank 933. 8 and 9, the hammer shank roller 939 is a roller that is rotatable in both the clockwise and counterclockwise directions. The push-up portion 925 of the jack 924 moves the hammer shank 933 upward as described later. When lifting, the force applied from the push-up portion 925 to the hammer shank 933 is quickly released. The width of the hammer shank roller 939 is wider than the width of the above-described elongated hole provided in the repetition lever 923. When the action 901 is in a stationary state, the lower surface of the hammer shank roller 939 is on both sides of the hole. It is in contact with the upper surface of 923.
The hammer shank 933 is attached to the hammer shank flange 965 at the rear end thereof. Such attachment is performed using pins 975. The hammer shank 933 is rotatable with respect to the hammer shank flange 965 with the pin 975 as an axis. The hammer shank flange 965 is fixed to the hammer shank rail 966. The hammer shank rail 966 is a long member that is bridged and fixed between the left and right brackets 962.

The hammer 932 including the hammer shank 933, the hammer head 935, and the hammer shank roller 939 is configured to rotate integrally with the hammer shank flange 965 around the pin 975.

The repetition lever 923 is located below the hammer shank 933. When the key 910 is in the stationary position, the hammer shank roller 939 is in contact with the upper side of the repetition lever 923.

A hammer stop rail 967 is formed below the front end side of the hammer shank 933 and above the front end portion of the wippen 920. The hammer stop rail 967 is a long member that is fixed to the bracket 962 by being bridged between the left and right brackets 962.
A string 990 is stretched over the hammer head 935.

Next, the usage method and operation | movement of this grand piano are demonstrated.
First, a case where the key 910 is at the stationary position will be described (see FIG. 8).
In a state before the rear end of the key 910 is pressed, the front end of the key 910 is at the lowest position. At this time, the front ends of the wippen 920 and the repetition lever 923 are at their lowest positions.
At this time, the heel 921 of the wippen 920 contacts the capstan screw 914 and presses the capstan screw 914 downward.
Further, the lower surface of the hammer shank roller 939 is in contact with the upper end of the raised portion 925 of the jack 924 and the upper surface of the repetition lever 923.

Next, a case where the performer presses the rear end of the key 910 at the stationary position will be described with reference to FIG.
When the performer presses the rear end of the key 910 at the rest position, the front end side of the key 910 rises. Then, the capstan screw 914 provided at the front portion of the key 910 pushes up the heel 921 that is in contact with the capstan screw 914 from below. As a result, the whole of the wippen 920 rises while rotating with respect to the wippen frenzy 963 about the pin 972. When the whippen 920 rotates while rotating counterclockwise, the repetition lever flange 922 provided on the whippen 920 moves upward while rotating, and the repetition lever 923 connected to the repetition lever flange 922 also rotates. To rise.
Then, the repetition lever 923 pushes up the hammer shank roller 939, and the push-up portion 925 of the jack 924 pushes up the hammer shank roller 939. By pushing up the hammer shank roller 939 by the push-up portion 925 of the jack 924, the hammer 932 rotates with respect to the hammer shank flange 965 around the pin 975 provided on the hammer shank flange 965. When the performer continues to press the key 910, the jack 924 pivots clockwise with respect to the whippen 920 about the pin 974, so that the push-up portion 925 of the jack 924 moves backward as shown in FIG. Slips off the bottom of the hammer shank roller 939. The hammer shank roller 939 helps the jack 924 push-up 925 to quickly disengage from under the hammer shank roller 939.

After that, the hammer 932 is inertia and rotates clockwise toward the upper string 990. In the process of turning the hammer 932, the hammer shank roller 939 is separated from the repetition lever 923, and the movement of the hammer 932 is separated from the movement of the key 910. Then, the hammer head 935 strikes the string 990 (see FIG. 9).
After the hammer head 935 hits the string 990, the hammer 932 immediately reverses and descends while rotating according to gravity. The hammer shank roller 939 hits the repetition lever 923, and the hammer shank roller 939 pushes down the repetition lever 923. Thereafter, the hammer head 935 is held by the back check 915 and stopped.

When the performer removes his / her finger from the key 910, loads of the whippen 920, the repetition lever 923, the hammer 932, and the like act on the capstan screw 914 from the heel 921, and the front end of the key 910 is lowered. The back check 915 is lowered together with the front end of the key 910, the hammer head 935 is separated from the back check 915, and the hammer 932 is further lowered. Then, after the hammer shank 933 momentarily hits the hammer stop rail 967, the hammer 932 rises several mm and stops, and the key 910 returns to the rest position. When the hammer shank 933 momentarily hits the hammer stop rail 967, the hammer 932 is in the lowest position.
As a result, the action 901 returns to the stationary state shown in FIG. 8, and the same key 910 can be pressed again.

What has been described above is the configuration of an extraordinary grand piano, and its usage and operation.
Hereinafter, the hammer head 935 which is a part which has a structure different from the conventional grand piano of the grand piano of this embodiment will be described in detail.
The hammer head 935 of the grand piano is generally configured similarly to the hammer head 35 of the upright piano. The hammer head 935 of the grand piano is the same as the hammer wood 34 in the first embodiment in both the bass hammer head that strikes the above-described bass part string 990L and the middle and treble part hammer head that strikes the above-described middle and treble part string 990R. A hammer wood 934 configured and a hammer felt 936 configured in the same manner as the hammer felt 36 in the first embodiment are provided.
Although not shown, the grand piano hammer head 935 has the same length in the longitudinal direction in both the low-pitched sound hammer head and the mid-high sound hammer head. The hammer wood 934 in the hammer head 935 of the grand piano gradually increases from the low sound side to the high sound side, while the hammer felt 936 in the hammer head 935 gradually increases from the low sound side to the high sound side. The amount is becoming less. These points are the same as in the first embodiment.
The shape of the hammerwood 934 in the grand piano can be the same as that of the conventional hammerwood as in the case of the hammerwood 34 of the first embodiment, or can be slightly different from the shape of the conventional hammerwood. .

A hammer shank 933 is connected to the hammer head 935 including the hammer wood 934 and the hammer felt 936 described above.
In the bass head hammer head 35L of the upright piano of the first embodiment, the hammer shank 33 is connected to the rear side of the bottom portion of the hammerwood 34 covered with the hammer felt 36. On the other hand, in the grand piano of the second embodiment, the hammer shank 933 is located immediately behind the portion of the hammer head 935 covered with the hammer felt 936 of the hammerwood 934 in the middle / high pitched sound portion of the hammer head 935. Is connected.
Further, the hammer shank 33 is connected to the middle / high pitched hammer head 35R of the upright piano of the first embodiment at a position closer to the rear than the bass hammer head 35L on the bottom surface. On the other hand, in the grand piano of the second embodiment, the hammer shank 933 is connected to the bass head of the hammer head 935 at a position closer to the rear than the case of the treble hammer head on the bottom surface. The
That is, in the first embodiment and the second embodiment, the positions where the

hammer shanks

33, 933 are connected are reversed between the bass head hammer head and the middle / high tone hammer head.
This is because, in the upright piano and the grand piano, the positional relationship between the bass strings 90L and 990L and the middle and treble strings 90R and 990R is reversed. That is, when viewed in the trajectory direction of the

hammers

32 and 932, in the upright piano, the bass part string 90L is closer to the hammer 32 than the middle and high tone part string 90R, and in the grand piano, the bass part string 990L is the middle and high tone. This is because it is on the side farther than the part string 990R.
In the second embodiment, the position where the hammer shank 933 is connected is reversed between the bass hammer head and the middle / high tone hammer head from the case of the first embodiment, so that the tip of the bass hammer head is The middle and high pitched hammer heads are aligned in a row in parallel with the part string 990L, and the distance from the leading end of the bass part hammer head to the bass part string 990L and the treble part The same state as in the first embodiment that the distance from the tip of the hammer head to the tip of the treble clef 990R is the same as that in the first embodiment is also created in the second embodiment.
On the other hand, the front end of the bass head hammer head is slightly raised above the middle / high tone hammer head, which is the opposite of the first embodiment in terms of the positional relationship with the strings (distance from the strings). Become a relationship.
In the case of a grand piano, it is normal that both the bass and middle treble hammer heads are vertically attached to the bottom surface of the hammerwood 934.

32 Hammer 33 Hammer Shank 34 Hammerwood 35 Hammer Head 35L Low Sound Hammer Head 35R Middle / High Sound Hammer Head 36 Hammer Felt 90 String 90L Low Sound String 90R Middle / High Sound String 932 Hammer 933 Hammer Shank 934 Hammerwood 935 Hammer Head 936 Hammer Felt 990 string 990L bass part string 990R middle and high part string

Claims

The low-pitched strings, which are a number of strings stretched in parallel, overlap so that the portions of the low-pitched strings that are not hit by the hammerhead and the portions that are not hit by the hammerhead intersect. In addition, an action of a piano comprising a plurality of middle and high pitched chords, which are a number of strings stretched in parallel with the low pitched chords,
A hammer head that strikes each of the bass strings and includes a hammer wood and hammer felt, and a middle and treble section that includes a hammer wood and hammer felt that strikes each of the middle and high strings. With a hammer head,
The hammer head included in the bass head hammer head and the hammer head contained in the middle / high pitch hammer head have the same length in the longitudinal direction.
action.
Both the bass part hammer head and the middle / high tone part hammer head have a higher amount of hammer felt contained in the bass side.
The action of claim 1.
The piano is an upright piano;
The hammer wood included in the bass head hammer head has a width in a plan view of a portion on the rear end side with respect to a portion connected to the hammer shank, which is narrower than a width of a portion covered with the hammer felt. Being
The action of claim 1.
Both the hammerwood included in the bass head hammerhead and the hammerwood included in the middle / high tone hammer head have a width in a plan view of a portion on the rear end side with respect to a portion connected to the hammer shank. It is made to be thinner than the part covered with hammer felt,
The action of claim 3.
Including the action according to claim 1,
Upright piano.
Including the action according to claim 1 or 2,
Grand piano.