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Tonecrafter Piano Tuning Langley, British Columbia
Contact Details
Name:   Keith Burchnall
Phone:   604-996-6191
Email:   tonecrafter@hotmail.com
Website:   Click here to go to my website
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Last Update:    2013-04-06 14:17:30
Area
  
North Vancouver-Chilliwack and points between; Prince George and area; points along hiways 5/16/97 to Burns lake in the west, Chetwynd to the east.

Description

Biography:

I work throughout the lower mainland and the interior and have developed a reputation for making pianos sound their best. My job is to set the musical standard for pianos. I am always seeking new clients because there's a high rate of attrition in this occupation. My main expertise lies in tuning, regulation, voicing and repairs. I am an attentive listener and excel at putting my finger on the client's needs. A partial resume follows: 1975- Acquired and began taking lessons on first piano. Got basic piano tuning tools and books, including “Piano Tuning & Allied Arts” by W.B. White, with occasional instruction from Mr. DeArmond, R.P.T., Edmonton, Alberta. 1978-Began full-time apprenticeship under Camille Morin, R.P.T. and head technician, Shaw Piano & Organ, Edmonton. 1980-81 Passed written and bench tests under auspices of Piano Technicians Guild. Became concert tuner for C.B.C., I.T.V., Citadel Theatre, Edmonton Symphony Orchestra, Alberta College, Concordia College, Kiwanis Music Festival, Canadian Music Festival, various recording studios, etc. 1982- Shaw Piano defunct due to recession. Became independent technician for Steinway dealer and Yamaha pianos and served private clients. 1983-Became technician for Baldwin Pianos & Organs, Edmonton, Alberta. Duties included prepping floor pianos, rebuilding/reconditioning trade-ins, appraisals, evaluations; continued with concert tunings as above. 1986-Took tuning examination under auspices of Piano Technicians Guild Inc.. Completed test with mark over 90%. Became full member. Joined Canadian Association Piano Technicians shortly after. 1989-Present-Relocated to rural B.C. Technician for B&B Music, Long&McQuade/Prince George,Prince George Symphony Orchestra (under Conductor Leslie Dala, also of Vancouver Opera, Director of Helikon Ensemble), Prince George & District Music Festival, Royal Conservatory of Music Examinations, etc. Now located Lower Mainland as well as Interior. Also have recorded and produced 4 full-length audio C.D.’s of original and traditional music, and play at least 1 of every type of instrument, except bowed strings.

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Testimonials
 
Name:  Keith Burchnall/Tonecrafter
Title:  Many happy clients
Testimonial:  Some Testimonials about Keith Burchnall of Tonecrafter Music “Thank you for making the piano seem to breathe.” Claudio Arrau, concert pianist “Great tuning!” George Blondheim, composer/arranger “.... I am really pleased with the voicing of the Yamaha. It is just great for teaching and not such a bright edge to the tone. Thank you very much!” Lori Elder, BCRMTA “I just wanted you to know that I am very pleased with my piano. It is better than when it was new! I don't feel like I have to fight with it any more to get it to project and to be able to play many dynamics with control. Thank you. I'm loving playing it.” Peggy O’Brennan BCRMTA “Thank you for the work you did on my piano. I'm very happy with the tone!” Nil Rommel


Blog
 
Date:  2013-02-19 12:36:36
Subject:  It's scary to break a string before a performance!
Blog:  The Broken “E” String Classical guitarists have a dread of breaking a string just before a concert; some artists carry a second guitar so they can switch if a string does break. New strings, whether for guitar, piano, violin or whatever, won’t stay in tune. This is disconcerting during a performance.* Piano technicians have a dread of the same thing, and rightly so. Piano strings are unruly and difficult to work with, and a single string is under more tension than an entire guitar. You’re not going to change a piano string with your bare hands. A concert pianist puts a piano under phenomenal stress when playing the demanding pieces in the repertoire. Even on a moderate blow, a piano hammer travels at 50 miles an hour. They deliver quite a wallop when the pianist practically jumps on the keyboard. Sometimes strings break, often while tuning but also during performances. Sometimes they’re just a thing that goes bang in the night. I’ve never been at a performance when a string broke, but once I did break one just before a recital. When tuning, strings can break with no warning. Woe betide the technician if it’s a bass string that breaks at the agraffe with no replacement, and the pianist is standing, waiting in the wings. Luckily, that hasn’t happened to me-yet. But a plain steel string did break just before a recital. These aren’t too bad, if you have the right gauge wire handy. The offender was at E above middle C, and was two of the three strings of the unison, making it a very prominent note. After installing the string, I tuned it sharp to get more “stretch”, then I was going to tune it properly at the end. The rest of the tuning was as usual. This time, I stayed for the performance, which began with a piece by the young J.S.Bach, ”on the departure of his brother to the wars”, very firmly in the key of E flat and closely related tonalities. It’s a fairly long work, actually it took up all the first part of the recital. As the piece approached the finish, there was a jarring E, just a passing note, lucky for me. I had failed to tune that E-string! I had been a bit flustered when the performers showed up on stage just as I was finishing, and forgot about tuning it. Lucky for me, that was the single time in the piece the E was used. When everyone left for the first intermission, I grabbed my tools, darted to the stage and tuned that note in record time. If she’d been playing the Chopin Etude in E op.10, I would have been dead in the water. *Incidentally, I played in a band where, at a festival right next to the Pacific Ocean with a dank wind blowing right into us (not good for an acoustic guitar at the best of times), the guitarist purposely put new strings on his classical guitar just before we went on stage, despite my heated objections. Sure enough, he probably spent a third of our 45 minute set tuning the wretched thing.