The client tried out the piano and seemed pleased with its smoother tone. His name was Mr Kamijo and he was the pianist in a bar. ‘You tuned it exactly as I requested. No, actually, you’ve made it even better. I’d love it if you could come over every day.’ He stroked his goatee rather theatrically.

Mr Yanagi gave a modest bow and thanked him.

‘You know, I’ve been having off-days recently,’ Mr Kamijo continued. ‘Times like that, I can never decide whether it’d be better to go for a lighter, more mellow tone to cheer me up, or a darker one to match the gloom of my mood.’

It was some weeks ago that I’d taken on this client – or rather since Mr Yanagi had handed him over to me. I didn’t know the details except that he was a professional pianist. And yet his piano didn’t seem to be played much and wasn’t looked after. He didn’t hang around while I tuned it and requested no particular sound before leaving me to it.

The previous week he had called the shop to complain that the piano’s lack of resonance must be the result of the different tuner’s work. As it had been over a month since the original tuning, however, the guarantee period for a free retune had officially passed.

‘Fine,’ he’d said, ‘but I just want the original tuner to do the job.’

So there I was, watching as Mr Yanagi worked on the piano. He’d told me I didn’t need to come, but I wanted to see what he did with my own eyes. He was, as ever, wonderfully skilful. As I watched him briskly tuning, I understood why people felt in safe hands when they left things with him. And conversely, I could well understand why they were uneasy leaving their piano in my hands. Even if I produced identical results, I just lacked the same easy confidence.

‘You know what improvisation is?’ Mr Kamijo said, using the English word. He was addressing Mr Yanagi.

‘Ad libbing.’

‘I knew you would know, Mr Yanagi.’ Mr Kamijo gave a fake smile. ‘At the bar I often get requests to improvise. The pieces they want me to ad lib are all pretty tough but I find this type of challenge a real thrill.’

‘I see,’ Mr Yanagi murmured, without looking up from his work.

‘You know what I’m trying to say, don’t you? What’s important is the improvisation. The audience want you to read their intentions and play in tune with their own wishes and desires at the time.’

‘We also do our best to respond to a client’s requirements.’

Mr Kamijo must have been put out by Mr Yanagi’s rather blunt response as the smile had vanished from his face.