The Piano Man

Grading papers is a craft of sorts – you want to provide valuable feedback to help a student improve those skills, yet you can’t spend an hour on each essay. That would leave you with no life whatsoever. So you work efficiently, red or purple pen in hand. And you write those comments in a manner that is part-teacher, part-psychologist – you’re always aware of whose work you’re grading, and what tone you should use in order to leave that student feeling better about his or her potential, no matter what the final grade may be.

It’s a little like the work of a hitting coach. Instead of fine-tuning a batter’s swing or follow-through, you’re honing some reading and writing skills, via full-class sessions, conferences and written feedback. And instead of poring over video and scouting reports, you’re studying The Great Gatsby and A Raisin in the Sun. You don’t expect to become a household name through the work you do, but you know that if you do it well, there will be more than a few students who will come back and thank you someday.

As I was practicing my grading craft Monday, I did so with another craftsman working in the basement below me. His name is Lee Bulkley, and he’s been tuning pianos for four and a half decades. Some kind neighbors had given us their piano upon moving, and this early-‘80s Kimball upright needed a tuning in the worst way. So, thanks to our friend Peter’s recommendation, we invited Lee over to take a look. He walked in, greeted me, and sat down at the piano. He played a few notes, stopped and said, “Well, it sounds awful, but it’s something we can work with.”

There are craftsmen, and then there are craftsmen. In my book, Lee Bulkley more than earned his italics on Monday. The man spent four and a half hours in our basement, delving into the bowels of that piano in search of a sweet sound. He adjusted the tension of strings and oiled the metal pins that held these strings in place. Every hour or so, Lee played a full tune on the ivories to give the piano a test drive. As I worked through my seniors’ tests on A Streetcar Named Desire, I did so to the sounds of Lee playing “The Entertainer” and “Hello, Dolly!” If a few of my students earned higher test grades than normal, it’s because of the mood that Lee’s music left me in as I sat at my desk.

Occasionally, I walked downstairs to check on Lee. At one point, we digressed from talking about pitch, broken keys and the evolution of the Kimball, and instead started discussing careers. Lee shared with me the reality that his business is not faring so well these days. As with so many businessmen in 2010, Lee has had more profitable years than this one. He’s thinking of new ventures, he said. Right now, he’s looking into real estate.

There was a time, not so long ago, when learning a craft and perfecting that craft were seen as some of the highest accomplishments an adult could achieve in life. In this 21st century, though, it has become possible to computerize so many of the things we use and value. While this has its advantages, it also tends to leave the craftsman behind.

And when we do that, we lose something. The Lee Bulkleys of this world have provided an awful lot of soul to the music of life. Losing them would be a bit like assessing our students solely through standardized tests. Or teaching youngsters how to hit a baseball via YouTube videos.

Lee got halfway through the tuning process on Monday. He’s coming back soon, to finish the job. He estimates it will take another four hours. I look forward to seeing him walk up the driveway, toolbox in hand. And I can’t wait to hear him test out his handiwork with a song or two. I may even put the grading aside this time, and just sit and listen.