No, this wasn't set up for a transposing keyboard. The idea was, since the the notes at the ends of the bridges often caused tonal problems, make them unplayed notes. That way the adjacent notes, the actual notes being played, would sound better. These were Bush & Gerts versions of impedance matching devices. The ends of the bridges can often cause problems if the designer is not careful. The end of the bridge does not present the same load to the string as it does further in. Something must be done to prevent the energy from being bled off too quickly. This was one way. The various wood bridge extensions you see on some pianos is another. As is the brass weight used on the Baldwin 6000 and others. Del ------------------------------- Ed Carwithen wrote: > Worked on a Bush and Gerts, 1896 year, according to the Piano Atlas. > Beautiful cabinet, but what was inside was pretty much beyond useful life. > HOWEVER, there were several extra sets of strings. 1 Bass String below A0, > a tri-chord above the treble break, and another tri chord further up. > There were no hammers, no keys, no action of any kind for these strings, > and no room to add any. The strings had been muted off with rubber wedges. > > Why? > > Ed Carwithen > John Day, OR
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