An upright piano weighs about as much as a full bathtub, and a small grand carries more than that on three points instead of a footprint. People who spend their evenings around a piano bar tend to want one at home eventually, and the wanting usually arrives before the arithmetic does. The instrument shows up on a Tuesday, four movers get it through the door, and then it sits wherever it fit rather than wherever it belongs.
A room does specific things to a piano. Bare tile and glass throw sound back at the player and make an honest instrument sound harsh. Wall-to-wall carpet in a small room does the opposite and swallows the low end. Setting the back of an upright against an exterior wall puts it against the part of the house with the widest temperature swing. Parking a grand under a west-facing window in Las Vegas will cook the finish and move the tuning every few weeks.
Those are construction decisions more than furniture decisions, which is why they are cheaper to make during a remodel than after one. Flooring is the obvious lever, and firms that treat flooring replacement as its own scope tend to think about it that way. Kingdom & Co, a design-build firm in Las Vegas that keeps carpentry and plumbing on staff, runs a design phase before construction begins and lists flooring in hardwood, tile and natural stone among the single-room projects it takes on. Built-in shelving sits on the same list, which is where the sheet music ends up.
Sing-along rooms have a second requirement that has nothing to do with the instrument. People need to be close enough to hear each other over it. That means seating on more than one axis, a path to the kitchen that does not cross the bench, and no doorway aimed straight at the open lid. A cabaret room solves this with sightlines and a low ceiling. A house solves it with layout, settled while the layout is still a drawing.
None of this argues for a renovation. It argues for sequencing one, if a renovation is already coming. Anyone with a piano in storage and a remodel on the calendar should raise the instrument in the first design conversation rather than the last, and should walk in with its exact width, depth and weight written down. The movers will ask for the same three numbers later.