Music Trade Review

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THE: MUSIC
TRADE.
THE REVIEW'S TECHNICAL DEPARTMENT.
Conducted and Edited by Wm. B. White.
We have often suggested that it would be to
the interest of all concerned if correspondents
would express their ideas, or frame their ques-
tions, with as much deflniteness as possible.
Nothing is harder than to make a categorical
reply to questions that are vaguely and obscure-
ly stated. The terminology of a proposition is
an important factor in judging its practicability;
no less is the form or a question largely respon-
sible for the manner in which it is likely to be
answered. As a sample of how not to write for
information, we append the following from a
correspondent in Appalachia, va.:
"August 29, '05. In your next issue I should
be glad if you would give the difference in length
of strings in upright and grand pianos. Also
why some wire gets out of tune quicker than
others. Respectfully, E. M. Hickman."
Now, here are two independent propositions,
each of which is so enunciated as to render im-
possible a concise answer. The first, relating to
string-lengths in different forms of pianos, is of
itself sufficient to occupy the editor's time for
several hours, and a complete answer would re-
quire the construction of tabular statements with
diagrams and explanations, to an extent entirely
beyond the compass of one page of this depart-
ment. Consequently, it becomes impossible to
do justice to Mr. Hickman's request. The second
question is nearly as difficult, and would require
almost as much space for a complete reply as the
first. If the gentleman meant that he desired
comparisons of string-lengths for the smallest
granus as against the largest uprights, the task
of answering him would be far less unsatisfac-
tory. Or if he had asked us to make a critical
comparison of any two given sizes of piano, the
result would have been better all round. As it
is, we are compelled to guess at his meaning, and,
as it were, to think for him—never a pleasant
or dignified thing. In order, however, not to
appear to dismiss the subject too precipitately,
we shall give herewith the outline of an answer.
RE:VIE:W
obtained by exhausting the air irom an enclosed
wind-chest, which is connected for this purpose
with bellows. This wind-chest is so arranged
that the vacuum created by it is extended to the
pneumatics, which connect with the actuating
portion of the piano action, whenever a hole is
uncovered in the tracker-board, the latter being
in direct connection with valves which are also
affected by the action of the air in the wind-
chest or air-chamber. The striking pneumatics
are exposed to atmospheric pressure, so that
when the vacuum is no longer operative, they
immediately refill with air, and are withdrawn
from their direct or indirect contact with the
operative portions of the piano action.
The control or selection of the striking pneu-
matics is effected by means of a "controlling
sheet" punched with holes in various positions,
corresponding to the smaller holes in the tracker-
board over which it passes.
The movement of the controlling sheet over
the tracker-board is governed by a motor, either
pneumatic or spring-actuated, according to the
taste of the maker.
with the above rule, until the approach of the
bass register renders impossible a strict adher-
ence to theory and forces us to fall back upon
the devices of covering and weighting the strings.
Now it will be easily seen that the highest
strings in all kinds of pianos may easily—in fact,
naturally—be alike in length, and that upon the
size of the instrument, and the length between
bearing and belly bridges, depends, there-
fore, the fidelity with which the theoreti-
cal rule may be observed.
The smaller
the sound-board area the less the number
of strings that can be scaled according
to theory; the larger the area, the closer the
theoretical exactitude. So that it can very easily
be calculated just where any upright piano will
begin to fall short of accurate scaling, and just
Now, it is obvious that the mechanism here
how far any grand can have the same accuracy.
This is the best answer that we can give to a roughly described may be varied very largely in
question distinguished for obscurity of expres- details. For example, we may first consider the
all-important striking pneumatics. Consideration
sion.
of the inside of an upright piano, even allowing
As for the other query, we confess that it comes for modifications of case design, shows us that
near to being a poser. As a general thing, the there are only certain positions wherein the
better the wire the greater its suitability for striking pneumatics may be placed. Even so,
piano purposes, and' hence for durability and sta- there are many and various arrangements already
bility. On the other hand, so much depends upon patented. One class of makers prefers to place
the manner in which the wire is scaled, and the the pneumatics under the key-bed, so that they
strength, or lack thereof, which characterizes strike upwards at the back of the keys. Others
its supporting framework, and again so much again have the pneumatics in front, but against
more depends upon the manner in which the the bottoms of the action-wippen. Others, again,
tuning is performed, that it is well-nigh impos- prefer a more direct methor and mount their
sible to give a categorical reply that will cover striking devices so as to cause them to operate
on the top of the keys behind the ivories, but
the generality of cases. "All generalizations are
approximately in the same position as that in
faulty, even this one." We must admit that
which the human hand is placed for manual
there are so many ways of looking at the ques-
playing.
tion, and so many answerB that can be given
It cannot be denied that the latter course has
from different viewpoints, that we are obliged
to ask our correspondent to be satisfied with many advantages. It overcomes the objection of
what we are quite aware may not be at all the inaccessibility that can so successfully be urged
against the back-striking devices, and further, it
kind of information that he is seeking.
is far more natural and produces a less "thumpy"
Last week we were engaged in a discussion of effect than can be obtained from the system of
the interior player, which is here to be continued actuating the bottom of the wippen. Clearly,
Considering the question of string-lengths as in the same vein. There is no denying the very the pneumatic should by all means be adapted
between prands and uprights, it may at once be great importance of the subject matter, and no to actuate the front of the piano key, and be
said that the largest uprights have frequently tuner who possesses any foresight can fail to be placed immediately over the same. This insures
an advantage over the smallest grands at the impressed with the signs of the times. As we accessibility and natural touch.
(To be continued.)
vital parts oi the scale. I t must be remembered remarked last week, there may be some doubt
that while the bass strings can be so arranged, whether the interior player will turn out to be
Communications for the department should be
as to thickness and weight, as to compensate for merely a fad, or whether the future chronicler
any shortening imposed upon them by the limita- will have to regard its advent as marking addressed to the Editor, Technical Department,
tions of the instrument, this course is neither a turning-point in the history of the piano. The Music Trade Review.
practicable nor satisfactory when carried beyond Whatever happens, however, the fact re-
CHAS. F. TRETBAR FOR EUROPE.
a certain point. So that the longest treble strings, mains that these instruments are being put on
nearest to the overstringing, cannot be weighted the market in large quantities, and it therefore
Chas. F. Tretbar, who recently retired after
to any great extent, nor can many of them be behooves the tuner to acquaint himself with their forty years' service as a member of the Steinway
treated in this manner under any circumstances. mysteries as soon and as completely as possible. institution, expects to leave for Europe on Sept.
Thus we see that it is vitally necessary to
One of the points that were taken up last 26. A host of friends will wish all manner of
arrange the string-lengths at these portions of
week and examined with some care had reference good things to this genial and cultured gentle-
the scale in such a manner as to give the fullest to the possible form of case that might be evolved man, who has contributed so much toward the
possible extent of vibrating surface in each case. out of the necessity for better conformity to the unique position which the Steinway piano occu-
Here it is that the small grand is likely to fail, needs of the interior player mechanism. A nat- pies in musical circles not only in the United
and here it is that the true "danger line" exists. ural progress from this consideration brings us States but all over the world.
Now, it will be understood as postulated that to the survey of the mechanism itself, and the
the very small grand frequently is at fault in various means which are utilized by makers to
JOHN SCHWAB'S SON ELL.
this regard, and is often surpassed by the large accomplish the artistic rendition of music by
Francis Connor, the well-known piano manu-
mechanical means.
upright in certain regions of the scale. Of
facturer of New York, was quite shocked to learn
course, this deficiency does not exist in the larger
One of the most important matters that can this week that the son of John Schwab, who for
styles of grand, trom six to nine feet in length, be discussed in an inquiry of this sort relates to
many years has represented the Connor piano in
but is entirely true when laid at the door of the the general plan upon which all mechanisms that
New Orleans, La., is very seriously ill with yel-
exceedingly small specimens that are now so may be included within the circle of observa-
low fever. The many friends of Mr. Schwab in
popular.
tion are understood to be constructed. We do the trade will extend him sympathy and best
A concert grand will probably take a length not propose here to have anything to do with any wishes for the recovery of his son.
of about 26 inches for its middle C strings. As but pneumatic systems that are under the con-
is well known, the rule for calculating lengths trol of the operator. Purely automatic devices,
The Ann Arbor Organ Co. will soon issue a new
states that the strings at each octave descending whether electric or pneumatic, are not included. catalogue devoted to Henderson pianos, in which
should be the double in length of the
Assuming, then, that the reader understands three styles of these instruments will be de-
octave string, above, less one-sixteenth of our inquiry to be confined to the latter class of scribed and illustrated. We have heard some
this amount. It is usual to give a length interior player, let us examine briefly the gen- very kindly words regarding the musical and
of rather less than two inches to the eral plan upon which all such mechanism must architectural attractiveness of these instruments,
vibrating portion of the highest C, and the necessarily be constructed.
which bear the name of Manager J. C. Hender-
string lengths are then worked out In accordance
The playing power is derived from the vacuum son.