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THE
MUSIC TRADE
REVIEW
Conducted and Edited by Wm. B. White.
It will be recollected that in describing the
Cahill "telharmonium" last week I drew atten-
tion to the fact that the success of the inventor
furnished an absolute demonstration of the cor-
rectness of the accepted "wave theory" of sound.
Perhaps it may be well to enlarge a little on this.
As my readers all know, we have lately been
asked to discover in the accepted theorems of
acoustics dangerous and, indeed, fatal flaws. We
have had our attention called to the alleged fact
that the wave theory is totally unable to give a
satisfactory account of the many phenomena con-
nected with the production of musical sounds. In
the matter of resonance, for example, it has been
announced that it is inconceivable that a piano
soundboard should be able to give forth the com-
plex series of involved molecular motions im-
pressed upon its surface by the simultaneous
vibration of a number of musical strings, each
with its own fundamental, and its concomitant
partials.
Now, if Dr. Cahill has shown one thing more
than another, he has shown that it is not rela-
tively difficult to produce the most extraordinar-
ily complex series and congeries of electrical vi-
brations, and to impress these vibrations upon a
sensitive receiver that can transform them into
similar and equally complex sinusoidal waves,
whereby the ear of the listener may be charmed
through the audition of musical sounds of every
conceivable character. And this is not all. There
seems to be absolutely no limit to the number and
complexity of, the congeries of vibrations. Con-
sider for a moment what is included within the
statement that the telharmonium has success-
fully and faithfully reproduced the characteristic
tone-tints hitherto only to be found by a com-
bination of, say, piano, violin and 'cello. Con-
sider the remarkable complexity of the waves
engendered by the simultaneous sounding of these
three instruments.
After this, who shall say that it is not possible
to conceive the soundboard of a piano as under-
going similar molecular agitations? I must con-
fess that if the latter idea is unthinkable, then
the former must be very much more so, if that
were possible. Crude in places, as it is, imperfect
as it cannot but be, the wave theory remains the
most rational explanation of the phenomena of
acoustics that man has yet put forth. Who shall
say that its day has yet come?
* * *
Although it is not exactly a matter within the
scope of this department, I intend to break rules
for once and ask my readers to join with me in
conveying to the family of the late Horace Moodie
of the Everett Piano Co., the most profound ex-
pression of regret and sorrow. And I make this
request with all confidence, although the ma-
jority of my readers have probably never been
privileged to number the deceased gentleman in
the circle of their acquaintances. Yet I want to
TUNERS!
D O N ' T purchase any
new tools until you have
consulted our catalogue!
We make a specialty of
TUNERS' TOOLS, OUTFITS
and SUPPLIES at very
reasonable prices.
THE TUNERS' SUPPLY CO.
FRANKLIN SQUARE,
BOSTON, MASS.
impress upon all that the loss of Mr. Moodie is
not merely personal to his immediate family; it
is a distinct and grievous loss to the whole piano
trade. Courteous, sunny tempered, sincerely and
consistently truthful, his great business ability
had never been able to cloud over his more lovely
human qualities. I hold myself greatly to have
gained by the privilege of his friendship; to have
lost even by its unhappy termination.
No trade, no line of endeavor can afford well
to lose so worthy a member, and so good a man.
In all sincerity I say that Horace Moodie was Lo
me as good a man as I have ever known. May
his example never be forgotten.
•
* •
I think that all piano makers and tuners ought
to look with close attention for further news re-
garding the Galloway piano. So revolutionary a
manner and method of construction cannot be
allowed to languish in that "innocuous desuetude"
so aptly described by Mr. Cleveland. When it is
recollected that this iconoclastic Galloway actu-
ally affirms that he can not only do without the
time-honored iron plate, but can even do better
without it, then, indeed, it is time to sit up and
take notice. Unfortunately, we have not yet
been favored with any detailed analysis of the
actual work performed by the instrument under
use. With the exception of a short communica-
tion recently printed here from Mr. John Fiedler,
there have been absolutely no data whereupon we
may base any authoritative calculations for effi-
ciency. This seems to me to be a pity, and I very
much wish that Mr. Galloway would undertake
some definitive tests for the purpose of showing
just what is the resisting power of his instru-
ment against torsional and linear strains. If he
would do this it would be possible to obtain some-
thing like an authentic notion of the real prac-
tical value of the instrument, and this latter is
a consummation greatly to be desired.
Mr. Galloway has made strong claims, and his
protagonist, lately heard through these columns,
has affirmed their validity. But it is proper that
something more definite should be laid before the
piano trade. The experiment is exceedingly in-
teresting and instructive, and nothing remains
to complete it but the compilation of definite
data, whereon may be based an authentic criti-
cism.
Such data should contemplate an exact calcu-
lation of the resisting features of the different
portions of the structure, according to the man-
ner in which strains are imposed upon them.
This should be accompanied with a description
of the scale employed, giving the lengths, grada-
tions and tensions of each string. To this would
have to be added a table showing the total strain
upon the structure at international pitch, and at
a pitch one semi-tone higher. Lastly should be
shown the exact falling from pitch of every
string within a period of sixty days after tuning,
under ordinary conditions, as well as under others
especially selected for their extreme and un-
usual nature.
The reason why I insist so strongly upon all
this is that I believe that Mr. Galloway has hit
upon a remarkably good idea. I cannot pretend
to be particularly impressed with certain of the
details of construction, nor with the manner in
which he has met some of' the structural prob-
lems presented to him for solution. But the
underlying idea is very good indeed, and it is
right that a systematic attempt should be made
to obtain such data as would enable an impartial
person to make an authoritative comparison be-
tween this novel instrument and one of the ordi-
nary kind.
Apart from the revolutionary notions of sound-
boards and frame construction, the Galloway
piano presents many features that command my
respect. I am convinced that the inventor is
right in providing a continuous bridge in cycloid
form, and I am even more certain that the idea
13
of having each string of a group uniform as to
length with the other members thereof, and en-
tirely self-sustaining and separate from the
others, is an excellent idea and ought to be
copied by every piano maker. I have long cried
aloud in the wilderness in defense of this par-
ticular notion, but it must regretfully be ob-
served that hitherto there has been a painful
lack of appreciation on the part of the trade at
large. Nevertheless, practical experiment long
ago demonstrated to me that I was right in this,
and the fact that Mr. Galloway agrees with me
is some comfort, anyway.
It might be well here to note the fact that I
am this week in receipt of a letter from Mr.
Fiedler, wherein he states that he will shortly
favor this department with more detailed in-
formation regarding the behavior of the Gallo-
way piano under the strain of actual use. This is
welcome news, and my remarks, printed above,
show what I conceive to be the most rational
manner wherein such data may be obtained.
* * *
A reader has asked whether there is any reason
to prefer the exhaust method for operating reed
organs over the original "force bellows" style
still seen in the European "harmonium," and if
so, why?
It is not very often that this department is
favored with letters from gentlemen who wish for
information as to organs. Nevertheless, I have
a somewhat strong opinion on this subject, and
right or wrong I intend to inflict it upon my
readers.
It has always seemed to me that nothing can
be more absurd than to prefer a method that
depends upon sucking in air to displace a
vacuum, and thus to set reeds in vibration. The
tone is, as it were, drawn in instead of being
thrust out; the slightest leakage is fatal to the
necessary vacuum, and the damage from dust is
much more frequent and annoying when the air
is drawn into the reed from outside instead of
being expelled from the inside to the outside.
One of the best facts that can be adduced in
support of my contention is that the large "or-
chestrelles" manufactured so largely now, are all
provided with a force bellows system, although
operated by reeds. Likewise, all large reed or-
gans for use in churches are so constructed. Of
course, the voicing of the reed is better accom-
plished and with less labor for an instrument
that is to be operated by exhaust bellows, but
this does not help matters. I have seen several
little Alexandre harmoniums at various times
during the past fifteen years, and they all appear-
ed to be able to do much better than reed organs
of the same size and age. I do not make any
more claim to infallibility in this opinion than
in any other, but it has always seemed to me
that the force bellows system is the better and
more logical. Of course, there are many other
points that could be taken up in discussing such
a matter as this, but I think that I have already
stated the most important of these.
I should like to see a revival of the old har-
monium. It was never treated in America with
distinguished courtesy, so that we need not be
surprised that it did not stay with us long. Of
course, the still older melodeon was constructed
on the same principle, but was never brought to
the same degree of finish.
And while we are about it, why not induce some
enterprising organ maker to begin the manufac-
ture of replicas of the ancient "portative" and "pos-
itive" organs, those charmingly quaint little con-
trivances with tiny pipes and tinier keyboards.
Now that Messrs. Chickering have showed the
way of revival in the clavier family, who will be
the first to apply the same resuscitatory processes
to the family of Tubal Cain? Please do not all
speak at once!
* * *
Communications for the department should be
addressed to the Editor Technical Department
The Music Trade Review.
The $35,000 pipe organ which was the gift of
Andrew Carnegie to the Mount Zion Evangelical
Lutheran Church, 44th St. and Sherman Ave., was
damaged by fire last week.