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Qualified Local Piano Tuner-Technicians Directory

The Association of Blind Piano Tuners exists to serve the professional and particular needs of its members and other blind and partially sighted piano tuners throughout the world. All new members of the ABPT resident in the UK are vetted by the Criminal Records Bureau (CRB) and approved to work in situations with vulnerable adults or children. There are three categories of membership: A list of some of the Countys our members cover

This is a list of Professional Qualified Piano Tuner-Technicians who are members of the Blind Piano Tuners Association, Tuning and Repairing Pianos. for Concerts, Schools and Homes. Find a Local Piano Tuner in the United Kingdom:

FAQ Why maintain a piano?

The piano is a highly developed, complicated piece of equipment. It contains about 240 different lengths of highly tensioned wire. (Approx. 160lbs per note and a 15% increase in the bass giving you an overall strain on the frame of 21 tons approx.) These lengths of wire go to make up 85 to 88 notes spread across the musical range. Plus, for each note, there exists a mechanism, which in the case of an upright piano contains up to 14 different moving parts. In the case of a grand up to 22 per note.

Since the piano must be maintained at a specific tension to achieve a good musical sound, the matter of maintenance becomes an on-going process. Since a piano consists mainly of wood and iron, all of this is subject to movement. The movement of the wooden sound board, framework, cause the wires to change tension without prompting by the user. Thus, it becomes necessary to set up a minimal schedule of tuning of the instrument to ensure reliable and pleasant results. Of course, this schedule can't be, nor is it a hard and fast one. But, we can make recommendations and set out guidelines. You should evaluate your piano usage in terms of your own experience.

What is piano tuning?

Piano Tuning is the process by which the piano is brought into sonic regulation with itself. The process of tuning is a multi-stage process. The tuner begins by setting the instrument to the pitch to which it is to be tuned. He then performs the setting of he "temperament." This is the 12-note pattern that governs the entire tuning of the piano. It is based on a mathematical formula that dictates that all the notes in this 12 note pattern be spaced equally apart in distance from each other. This "scale" has been worked out by musicians down the years, and become to be known as "Equal temperament." This is the formula by which instrumentation in the west has been tuned for the last 150 years. The tuner accomplishes this task of setting the temperament by applying a series of tests that are part of his training. Thus, a good aural tuner can set up a piano from but one reference point. A good aural tuner needs no additional instrumentation, but some have resorted to electronic tuning aids. This isn't to infer that these are inferior, but it is suggested that a tuner have a strong degree of training in aural tuning before attempting to rely on such.

Blind Piano Tuners

In 19th century France and England, piano tuners were frequently blind. The first blind piano tuner is thought to be Claude Montal, who taught himself how to tune a piano while studying at L'Institut National des Jeunes Aveugles in 1830. At first Montal's teachers were skeptical, doubting that a blind man could actually perform the necessary mechanical tasks. Montal's skill was undeniable, however, and he was soon asked to teach classes in tuning to his fellow students. Eventually, he also overcame public prejudice, and landed several prestigious jobs as a tuner for professors and professional musicians. Montal's success paved the way for other blind tuners, both in France and in England, where Montal's example and teaching methods were adopted by Thomas Rhodes Armitage. Today the image of the blind piano tuner is so ingrained that people in England sometimes express surprise when they encounter a piano tuner who can see. .

1. What is a "Temperament?"

When an octave is divided into 12 notes, the intervals they form cannot all be perfectly "in tune" at once, so compromises must be made.A emperament is the result of this process.

2. Why must we have a Temperament?

When an interval is tuned for maximum consonance, or "in-tuneness," it is said to be "Just." When an interval is "de-tuned" to be either wider or narrower than Just, its sound begins to quiver or "beat." This beating is called dissonance. The process of e-tuning perfectly consonant intervals is called tempering and the resulting organization of the octave is called a temperament. Different compromises yield different musical results.

3. How many temperaments are there?

There are countless variations, but most fall within three major categories;

1. Meantone, which generally concentrated the dissonance into a few unusable intervals (often called "wolf" intervals), so that the others could be Just. These are often called "restrictive" tunings, since there are certain intervals that are not usable. Good intervals are really good, bad ones are really bad. The Meantone era was approx. 1400-1700

2. Well-Temperament, which gives more onsonance to the most often used keys, and more dissonance to the lesser used ones. Though not equal, these tunings are "non-restrictive" because all intervals can be used. The intervals range from Just to barely acceptable. Well-temperament refers to a genre, not a specific tuning. The Well-Tempered era is approx. 1700-1880.

3. Equal Temperament, which spreads the dissonance equally among all intervals. There is no difference in consonance or dissonance between any keys, thus, there are no good ones or bad ones. Equal temperament represents a complete average. Dates of its acceptance are debated, but there is ample evidence that it was widely available by 1900 and is the predominate tuning on keyboards, today.

4. What are "Historical Temperaments?"

They are temperaments that were in favor prior to the adoption of today's Equal Temperament. The keyboard music of a given "temperament era" often reflects the influence of the tuning, i.e., most keyboard music of the meantone era modulated very little, staying within the bounds of pure consonance to avoid the "wolf" intervals of the most remote keys. Music of the well-tempered era exhibits a tonal organization that may make use of the rising and falling consonance found in the various keys. 20th century music, firmly in the equal-tempered era, has no restrictions or favorites in regard to keys.

5. What are the good keys in a Historical Temperament?

That depends on the particular temperament. In meantone tuning, there are usually four keys that are unusable. These are often B, C#, F# and Ab. All the rest are very consonant. In a well-temperament, the usual form is to increase dissonance with the number of accidentals in the key signature. As a legacy of meantone, in well-temperaments the most often used keys contained the most perfectly tuned thirds. It is the thirds that determine the tonal "color" of a triad, so the closer thirds are to "Just", the more harmonious the sound of the triad. The lesser used keys absorbed more of the unavoidable dissonance, but not so much that they become unusable. Where tonic thirds are highly tempered, the keys exhibit more musical energy; there is more activity in the vertones, and generally there is an increased level of musical tension available. The closer a key signature was to the extremes, the more consensus there was to its "emotional nature", i.e., the key of C, with it's beautiful, harmonious thirds, was regarded as calming and restful, while keys such as B maj or F#major were known for their "tension" or "brilliance". The middle keys, such as Eb or A, were less agreed upon. If a composer wanted to create a particular musical character, he could choose from a variety of keys offering differing tonal effects. From the purity and resonance of the simpler keys like C, F or G, to grinding dissonance of Abmin, there was a tonal character to suit any occasion. By the time Thomas Young published his temperament of 1799, which is the idealized form of Well Temperament, the various levels of dissonance had become associated with different emotional states. Composers used these differences, producing artistic tonal effects by their modulations. The "Harmonic Toolbox" describes what a well temperament offered to composers. The actual emotional impact of the music is a combination of the key, the audience's expectations, and the composers use of them both.

6. Why use a particular temperament?

If the composers of the past were guided by the qualities of temperament, (and there is evidence that they were), then performing the composition in its original intonation will provide a more authentic recreation of the composer's intention. For example, a keyboard piece composed in Meantone may very well use the consonance of the Just thirds in that tuning to make a particular musical result. Playing that same piece in equal temperament would erase the pure harmony that was originally intended. If a modern composer had modulated freely among the keys in their work, peforming that piece on a meantone tuning would create totally unacceptable dissonance when the modulations moved into the wolf keys. If a classical composer had composed a sonata that depended on modulation to move into increasingly expressive keys before returning to a more consonant resolution, the use of equal temperament would negate the effects of contrasting levels of dissonance and consonance.

7. What temperament did Bach have in mind when he composed the "Well-Tempered Clavier?"

This topic has been hotly debated. Many people have simply taken the use of 24 preludes and fugues to indicate that Bach was demonstrating equal temperament, but that belief is now generally considered to be naive. There is no evidence that equal temperament was favored by Bach, and little evidence that it was even possible to attain at that time. There are more plausible temperaments to consider for Bach's music and their musical contributions are becoming more widely recognized, today.

8. Can modern music be played on a Well-Temperament?

Yes, but there may be passages that suffer from the excessive brilliance or consonance, if the composer did not take the different tonal effects of varying keys into account. There are a growing number of jazz performers that have found useful tonal values in the unequal tunings of the past.

9. Is there anything "wrong" with playing Classical music on modern equal temperament?

No, equal temperament is usable for anything, in spite of its lack of key color. However, once the listener has become acquainted with more age-appropriate tunings for the Baroque and Classical repertoires, listening to them performed on equal temperament often becomes tedious and boring. Equal temperament doesn't offer any change in the level of consonance, thus, any intentions of the composer to use the well-tempered resources are lost.

10. What are these "resources" of well-temperaments?

The various levels of dissonance create a palette of emotional involvement. Keys with few accidentals are calmer than the more remote keys with many sharps or flats. Modulation between them has a subliminal emotional effect on the listener, and it was a mark of genius to make the changes in such a way that the attention to the music was not interrupted by too great a leap from one to the other. It has been demonstrated, scientifically, that dissonance creates a stimulative effect in the listener, while consonance creates a sedative effect. Harsh, brilliant intervals demand our attention, while soft, consonant harmony puts us to sleep. Composers of the era between 1700 and 1900 seemed to have understood this in their use of keys. The sonatas demonstrate the use of rising and falling consonance to keep the listener engaged without fatiguing the ear.

11. Why have historical temperaments become more popular, today?

Tuners are now able to provide them. The tuning community has, in the last decade, been able to combine the research of Owen Jorgensen with the modern programmable tuning machine. This combination makes the recreation of a wide range of historical temperaments easily available to the working technician. As a result, pianists are being given an opportunity to hear the piano music in more than one tuning. Once a pianist plays music on temperaments that were in use when the piece was written, they often find a greater depth and expression in the sound.

Some of the countys we cover

Some of the towns we cover


Aberdare (South West) Aberdeen (Scotland) Aberystwyth (Wales) Abingdon (South East) Accrington (North West) Piano Tuner in Aldershot (South East) Alloa (Scotland) Altrincham (North West) Amersham (South East) For Piano Tuners in Andover Hampshire (South East) Arbroath (Scotland) Ardrossan (Scotland) Ashford (South East) Ashington (North East) Ashton in Makerfield (North West) Ashton under Lyne (North West) Atherton (North West) Athlone (Ireland) Aylesbury (South East) Aylesford-East Malling (South East) Ayr (Scotland)


Ballymena (Ireland) Banbury (South East) Bangor (Wales) Banstead-Tadworth (South East) Barking & Dagenham (London) Barnet (London) Barnsley (Yorkshire-Humberside) Barnstaple (South West) Barrow in Furness (North West) Barry (Wales) Basildon (East Anglia) Basingstoke (South East) Bath (South West) Bebington (North West) Bedford (East Anglia) Bedworth (West Midlands) Belfast (Ireland) Benfleet (East Anglia) Berwick upon Tweed (North East) Betws y coed (Wales) Beverley (Yorkshire-Humberside) Bexhill (South East) Bexley (London) Bicester (South East) Bideford (South West) Billericay (East Anglia) Billingham (North East) Birkenhead (North West) Birmingham (West Midlands) Bishop Auckland (North East) Bishops Stortford (East Anglia) Blackburn (North West) Piano Tuners in Blackpool (North West) Blantyre (Scotland) Bletchley (South East) Blyth (North East) Bodmin (South West) Bognor Regis (South East) Bolton (North West) Bootle (North West) Borehamwood (East Anglia) Boston (East Midlands) Bournemouth (South West) Bracknell (South East) Bradford (Yorkshire-Humberside) Braintree (East Anglia) Bray (Ireland) Brent (London) Brentwood (East Anglia) Bridgend (Wales) Bridgwater (South West) Bridlington (Yorkshire-Humberside) Brighouse (Yorkshire-Humberside) Brighton-Hove (South East) Bristol (South West) Broadstairs (South East) Piano Tuner in Bovingdon (Hertfordshire) Bromley (London) Bromsgrove (West Midlands) Buckhaven (Scotland) Burgess Hill (South East) Burnley (North West) Burton upon Trent (West Midlands) Bury (North West) Bury St Edmunds (East Anglia) Buxton (North West)


Caerphily (Wales) Camberley-Frimley (South East) Camborne-Redruth (South West) Cambridge (East Anglia) Camden (London) Cannock (West Midlands) Canterbury (South East) Canvey Island (East Anglia) Cardiff (Wales) Carlisle (North West) Carrickfergus (Ireland) Castleford (Yorkshire-Humberside) Caterham (South East) For Piano Tuners in Chalfont St Giles (Buckinghamshire) Chatham (South East) Cheadle (North West) Chelmsford (East Anglia) For Piano Tuners in Cheltenham (South West) Chesham (South East) Cheshunt (East Anglia) Chester (North West) Chesterfield (East Midlands) Chester le Street (North East) Chichester (South East) Chippenham (South West) Chipping Sodbury (South West) Chorley (North West) Clacton on Sea (East Anglia) Cleethorpes (East Midlands) Clevedon (South West) Coalville (East Midlands) Cockermouth (North West) Colchester (East Anglia) Coleraine (Ireland) Colwyn Bay (Wales) Congleton (North West) Consett (North East) Corby (East Midlands) Cork (Ireland) Coventry (West Midlands) Cramlington (North East) Crawley (South East) Crewe (North West) Piano Tuner in Cromer (Norfolk) Crosby (North West) Croydon (London) Cumbernauld (Scotland) Cwmbran (Wales)


Dalkeith (Scotland) Darlington (North East) Dartford (South East) Darwen (North West) Deal (South East) Denton & Hyde (North West) Derby (East Midlands) Dewsbury (Yorkshire-Humberside) Doncaster (Yorkshire-Humberside) Dorchester (South West) Dorking (South East) Dover (South East) Drogheda (Ireland) Droitwich (West Midlands) Dronfield (East Midlands) Dublin (Ireland) Dudley (West Midlands) Dumbarton (Scotland) Dumfries (Scotland) Dundalk (Ireland) Dundee (Scotland) Dunfermline (Scotland) Dunstable (East Anglia) Durham (North East)

Ealing (London) For Piano Tuners in Eastbourne. (South East) East Grinstead (South East) East Kilbride (Scotland) Eastleigh (South East) For Piano Tuners in Edinburgh (Scotland) Elgin (Scotland) Ellesmere Port (North West) Enfield (London) Ennis (Ireland) Epsom-Ewell (South East) Esher (South East) Exeter (South West) Exmouth (South West)

Falkirk (Scotland) Falmouth (South West) Fareham (South East) Piano Tuner in Farnborough (South East) Farnham (South East) Felixstowe (East Anglia) Fleet (South East) Fleetwood (North West) Folkestone (South East) Formby (North West) Frome (South West)

Gainsborough (East Midlands) Galway (Ireland) Gateshead (North East) Gillingham (South East) Glasgow (Scotland) Glenrothes (Scotland) Glossop (North West) Gloucester (South West) Godalming (South East) Gosforth (North East) Gosport (South East) Grantham (East Midlands) Gravesend (South East) Grays (East Anglia) Great Malvern (West Midlands) Great Yarmouth (East Anglia) Greenock (Scotland) Greenwich (London) Grimsby (East Midlands) Guildford (South East)

Hackney (London) Halesowen (West Midlands) Halifax (Yorkshire-Humberside) Piano Tuner Hammersmith (London) Haringey (London) Harlow (East Anglia) Harpenden (East Anglia) Harrogate (Yorkshire-Humberside) Harrow (London) Hartlepool (North East) Hastings (South East) Hatfield (East Anglia) Havant (South East) Havering (London) Haywards Heath (South East) Hemel Hempstead (East Anglia) Piano Tuners in Hereford (West Midlands) Herne Bay (South East) Hertford (East Anglia) Heswall (North West) Heywood (North West) High Wycombe (South East) Hillingdon (London) Hinckley (East Midlands) Hitchin (East Anglia) Piano Tuner in Highbury (London) Hoddesdon (East Anglia) Holyhead (Wales) Horsham (South East) Houghton le Spring (North East) Hounslow (London) Hucknall (East Midlands) Huddersfield (Yorkshire-Humberside) Piano Tuners in Hull (Yorkshire-Humberside)


Ilfracombe (South West) Ilkeston (East Midlands) Inverness (Scotland) Ipswich (East Anglia) Irvine (Scotland) Isle of Wight (South East) Islington (London)

J Jarrow (North East)

K Keighley (Yorkshire-Humberside) Kendal (North West) Kenilworth (West Midlands) Kensington & Chelsea (London) Keswick (North West) Kettering (East Midlands) Piano Tuner in Kidderminster (West Midlands) Kilkenny (Ireland) Kilmarnock (Scotland) Kings Lynn (East Anglia) Piano Tuner in Kingston (London) Kirkby (North West) Kirkby in Ashfield (East Midlands) Kirkcaldy (Scotland) Kirkintilloch (Scotland)

L Lambeth (London) Lancaster (North West) Leamington Spa (West Midlands) Leatherhead (South East) Leeds (Yorkshire-Humberside) Leicester (East Midlands) Leigh (North West) Leighton Buzzard (East Anglia) Letchworth (East Anglia) Lewes (South East) Lewisham (London) Leyland (North West) For Piano Tuners in Lichfield (West Midlands) Limerick (Ireland) Lincoln (East Midlands) Lisburn (Ireland) Littlehampton (South East) Liverpool (North West) Livingston (Scotland) Llanelli (Wales) Londonderry (Ireland) Long Eaton (East Midlands) Loughborough (East Midlands) Louth (East Midlands) Lowestoft (East Anglia) Lurgan (Ireland) Luton (East Anglia) Lytham St Annes (North West)


Mablethorpe (East Midlands) Macclesfield (North West) Maidenhead (South East) Maidstone (South East) Manchester (North West) Mansfield (East Midlands) Margate (South East) Market Harborough (East Midlands) Matlock (East Midlands) Melton Mowbray (East Midlands) Merthyr Tydfil (Wales) Merton (London) Middlesbrough (North East) Milton Keynes (South East) Morecambe (North West) Motherwell (Scotland)


Nantwich (North West) Neath (Wales) Newark on Trent (East Midlands) Newbury (South East) Newcastle under Lyme (West Midlands) Newcastle upon Tyne (North East) Newham (London) Piano Tuners in Newport (Wales) Newry (Ireland) Newtonabbey (Ireland) Newton Abbot (South West) Newton Aycliffe (North East) Newtownards (Ireland) Northallerton (Yorkshire-Humberside) Northampton (East Midlands) North Shields (North East) Northwich (North West) Norwich (East Anglia) Nottingham (East Midlands) Nuneaton (West Midlands) O Oldham (North West) Ormskirk (North West) Oxford (South East) P Paignton (South West) Penarth (Wales) Penrith (North West) Penzance (South West) Perth (Scotland) Peterborough (East Anglia) Peterlee (North East) Plymouth (South West) Pontefract (Yorkshire-Humberside) Pontypool (Wales) Pontypridd (Wales) Poole (South West) Portadown (Ireland) Porthmadog (Wales) Piano Tuner in Portishead (Somerset) Portsmouth (South East) Port Talbot (Wales) Potters Bar (East Anglia) Prescot (North West) Preston (North West) R Ramsgate (South East) Rawtenstall (North West) Rayleigh (East Anglia) Reading (South East) Redbridge (London) Redcar (North East) Redditch (West Midlands) Retford (East Midlands) Reigate-Redhill (South East) Rhyl (Wales) Richmond (London) Rochdale (North West) Rochester (South East) Rotherham (Yorkshire-Humberside) Rugby (West Midlands) Rugeley (West Midlands) Runcorn (North West) Rushden (East Midlands) S Sale (North West) Salisbury (South West) Scarborough (Yorkshire-Humberside) Scunthorpe (East Midlands) Seaham (North East) Sevenoaks (South East) Sheffield (Yorkshire-Humberside) Shipley (Yorkshire-Humberside) Shrewsbury (West Midlands) Sidmouth (South West) Sittingbourne (South East) Skegness (East Midlands) Skelmersdale (North West) Sleaford (East Midlands) Slough (South East) Solihull (West Midlands) Southampton (South East) Southend on Sea (East Anglia) Southport (North West) South Shields (North East) Southwark (London) Spalding (East Midlands) St Albans (East Anglia) St Austell (South West) St Helens (North West) Stafford (West Midlands) Staines (South East) Stamford (East Midlands) Stanford le Hope (East Anglia) Stanley & Anfield Plain (North East) Stevenage (East Anglia) Stirling (Scotland) Stockport (North West) Stockton on Tees (North East) Stoke on Trent (West Midlands) Stourbridge (West Midlands) Stratford upon Avon (West Midlands) Stroud (South West) Sunderland (North East) Sutton (London) Piano Tuners in Sutton Coldfield. (West Midlands) Sutton in Ashfield (East Midlands) Swadlincote (East Midlands) Swansea (Wales) Swindon (South West) Swinton (North West) T Tamworth (West Midlands) Taunton (South West) Tavistock (South West) Teignmouth (South West) Telford (West Midlands) Thetford (East Anglia) Tiverton (South West) Tonbridge (South East) Torquay (South West) Tower Hamlets (London) Tralee (Ireland) Trowbridge (South West) Truro (South West) Tunbridge Wells (South East) Tyldesley (North West) U Urmston (North West)


Wakefield (Yorkshire-Humberside) Wallasey (North West) Wallsend (North East) Walsall (West Midlands) Waltham Forest (London) Walton-Weybridge (South East) Wandsworth (London) Warrington (North West) Warwick (West Midlands) Washington (North East) Waterford (Ireland) Waterlooville (South East) Watford (East Anglia) Wellingborough (East Midlands) Welwyn Garden City (East Anglia) West Bridgford (East Midlands) West Bromwich (West Midlands) Westminster (London) Weston Super Mare (South West) Wexford (Ireland) Weymouth (South West) Whitehaven (North West) Whitley Bay (North East) Wickford (East Anglia) Widnes (North West) Piano Tuner in Wigan (North West) Wilmslow (North West) Winchester (South East) Windsor-Eton (South East) Winsford (North West) Wisbech (East Anglia) Witham (East Anglia) Witney (South East) Woking-Byfleet (South East) Wokingham (South East) Wolverhampton (West Midlands) Worcester (West Midlands) Workington (North West) Worksop (East Midlands) Worthing (South East) Wrexham (Wales) Y Yeovil (South West) York (Yorkshire-Humberside)