Music Trade Review

Issue: 1910 Vol. 51 N. 4

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
12
MUSIC TRADE
REVIEW
Conducted and Edited by Wm. B. White.
THE TONE-QUALITY OF PIANOS—ITS NA-
TURE, CREATION AND REFINEMENT.
Article 3.
It had for long been believed by acousticians
that the tone-quality of a sound-wave must be
determined by its form or shape, but no definite
understanding of the matter was possible until the
classic investigations of Helmholtz had rendered
everything clear. Ever since the time of Mersenne,
father of modern acoustics, there had been a pretty
clear and general understanding of that complex
sub-division of a string which I described in the
last article. And it had been guessed that this
train of secondary tones had something to do with
determining the shape or form of a wave, and per-
haps the quality of its tone. Helmholtz proceeded
with characteristic thoroughness to solve the
problem experimentally. He devised a number of
resonators; hollow metal spheres of different sizes
and each adapted to resonate some specific sound.
These resonators were each fitted with a small ear
piece, and with an aperture opposite to this for the
admission of sound-pulses from a sonorous body.
Helmholtz then selected various instruments and
tested their sounds by means of the resonators,
until he was able to detect the procession of
secondary or partial tones in each. When any
partial tone corresponding in pitch to one of the
resonators was present in a given instrumental
sound, it would be greatly magnified and em-
phasized in volume when that particular resonator
was held by the experimenter to his ear. And the
relative intensity of each detectible partial tone
could also be judged. Having thus analyzed the.
content of a complex sound, Helmholtz proceeded
to synthesize. He obtained tuning forks corre-
sponding in pitch to the ascertained fundamental
and partials of a given instrumental tone, and by
fitting them with special resonators adjusted to re-
inforce each according to the degree of intensity
observed during analysis, he was able to reproduce
the instrumental color which he had before sub-
jected to the inductive treatment. In this man-
ner he established, after a long and arduous series
of experiments, the truth that
THE TONE QUALITY BELONGING TO ANY GIVEN VOCAL
OR INSTRUMENTAL SOUND IS DETERMINED BY THE
NUMBER, PROMINENCE AND INTENSITY OF THE
SECONDARY OR PARTIAL TONES WHICH IN GREATER
OR LESS DEGREE FORM PART OF THE COMPLEX FORM
OF EVERY SOUND-WAVE.
Thus, by a series of logical inferences, we are
able to come to consideration of the third and so
far most important of the questions which I pro-
pounded at the beginning of these articles. We
may now ask:
WHAT ARE THE PHYSICAL DIFFERENCES
BETWEEN AGREEABLE AND DISA-
GREEABLE TONE-QUALITY?
The rule laid down above suggests at once an
obvious answer to this question. Since tone-
quality is determined by the manner in which
partial tones appear in connection with a funda-
mental, it is plain that if the procession of these
varies, tone-quality must vary also. And as we
know, there is continually such variation. All in-
struments have their individual tone-colors, even
those of the same kind. No two human voices are
alike. Plainly, then, there must be a multiplicity
of causes continually operating to prevent uni-
formity and create variety in sound-wave forms.
As a matter of strict faqt, every minute differ-
ence in the constitution of two sonorous bodies,
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every variation in the manner of their excitation,
every slight change in any condition of their re-
spective existences, will suffice to cause a cor-
responding variation in the resultant complex
wave which is the cause of their audible manifesta-
tions. Where the totality of existing conditions is
itself composed of such delicately adjusted and min-
utely related components, which themselves are so
readily susceptible to change on account of their
microscopic dimensions, it is clear that very slight
disturbances are sufficient to distort the resultants
arising from their interaction. And the mere fact
that our ears perceive very delicate varieties of
tone-color is enough to prove that uniformity of
sound-wave form is impossible of attainment,
strictly speaking, even among sonorous bodies of
the utmost practicable similarity. Certainly it is
not difficult to perceive that partial tones arising
from the valuation of very minute segments of
short steel strings, such as those used in the piano,
are of feeble strength and exceedingly delicate con-
sistency. Slight disturbances will blot out one and
strengthen another. A state of unstable equilib-
rium is not only probable but inevitable.
In the case of the piano, we have to consider the
causes which may intervene to produce one or
another kind of tone-color in strings. The specific
question which I propounded above has to do with
the physical causes for the existence of agreeable
and disagreeable tone-quality. Bearing in mind
what has just been said as to the inevitable varia-
tions in exciting causes, let us first ask ourselves
what we mean by agreeable or disagreeable in this
sense.
To a large extent, of course, such a question is
indeterminate. Tastes differ. "De gustibus non
est disputandum" is as true as ever. Still, there
are certain broad divisions which appeal to, and
are recognized by, everyone who has any right
whatever to discuss the subject-matter of these
articles. There are the widest differences in taste,
and yet everybody is agreed that certain things are
beautiful while others are the opposite. Yet it is
equally impossible to say where beauty in any class
of objects ends, and where ugliness begins. On
the other hand, we are all agreed that a Steinway
grand piano, style B for instance, has a beautiful
tone. And we are equally agreed that an old
square piano has not. What we have to examine,
then, is the basis of such broad differences as I
have suggested. What are the causes, and how
may they be controlled?
In examining the physical causes of tone-color
variations I have called attention to the many and
inevitable differences in conditions which neces-
sarily correspond to variations in tone-quality. In
the case of the piano we have to consider the
strings at first; their constitution, manner of appli-
cation to the instrument and method of excitation.
We may tabulate the various casual conditions,
although an absolutely complete and exhaustive
list is probably impossible of attainment. In col-
umn A of the table below I have enumerated the
physical factors and in column B the pertinent con-
ditions, variation in which causes corresponding
changes in tonal results:
A
B
1. Strings.
Material,
Length,
Diameter,
Weight,
Tension,
Point of contact with ham-
mers.
2. Hammers.
Material,
Softness or hardness.
Point of contact with strings,
Weight.
3. Sound-board.
Material,
Method of bridging,
Method of ribbing.
Method of crowning.
1 Plate.
Material,
Weight,
Distribution of iron on
bridges,
Distribution and weight of
braces.
(To be continued.)
PLAYER-MECHANISM AND PIANO TOUCH.
The subject matter which I am discussing with the
readers of this department in the above and suc-
ceeding articles will not have been treated with
any completeness until some attention has been
given to considering the influence which the
pianist himself has upon the tone-quality which he
evokes from his instrument. Without any desire
to plunge into the waters of musical pedagogy, so
tumbled and polluted with grotesque theories and
equally absurd "systems" of piano technic, we
must not neglect entirely the fact that after all
is said and done, after the piano has been con-
structed from end to end with every possible re-
finement of scientific knowledge and painstaking
skilled artisanship, there still remains the human
factor, that personal equation that, try as we may,
we can never disregard or abolish. In piano play-
ing, of course, we do not want to disregard it.
We require that after the piano maker has done
his work, the musician shall know how to extract
what the former has put into the instrument. If
the tone-quality is there it can be gotten out.
And, I take it, the question of touch, in its in-
fluence on tone-quality, is one of tremendous in-
terest to those who deal with player-pianos and
playing mechanisms generally. The existing piano
action has been built throughout, naturally enough,
with the idea of presenting a delicately re-
sponsive mechanism to the human fingers. Finger
touch has been the only possible method of piano
playing until within a decade or so, and naturally
all developments in piano building have been
directed towards making the evocation of its in-
herent tone from the piano as easy as possible
by the fingers of the performer. Not a great
deal of penetration, therefore, is required to dis-
cern that any radical change in the method of
exciting the action must naturally result in cor-
responding change in the kind of blow inflicted by
the hammer. And as we shall show in the articles
on Piano Tone-quality, this matter of hammer
attack is very important indeed in determining
the possibility or otherwise of extracting from any
instrument the tone which inherently is in it.
Now, the first thing that we note in the player
mechanism is that it by all means does introduce
a radically new and different manner of exciting
the piano action and through it the hammer. The
pneumatic actuates the piano action by the direct
and continuous push of a lever moving through an
arc of perhaps ten degrees. This push is usually
directed either at the wippen of the piano action
or at the bottom of the abstract through a short
rocking lever, sometimes called a secondary key.
But it is to be observed that, even when the pneu-
matic exercises its functions on the manual piano
key itself, its manner of attack is essentially dif-
ferent from that of the human finger. For, when
all is said and done, the one is a push and the
other is not. Plainly we have here an irreconcila-
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Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
ble difference, which can neither be laughed away
nor safely neglected.
There is absolutely no sense in bleating about
"human touch" when no such thing exists in player
mechanism. The phrase involves a contradiction
in terms. We should not call travel in an auto-
mobile "human locomotion," for it is nothing of
the sort. Walking, running and swimming are
methods of human locomotion; all artificial
methods are mechanical locomotion, and nothing
else. We should not speak of an angel as possess-
ing "human intelligence." It might be super-
human, or subhuman, but whatever it might be, it
would not be "human." When we speak of
"human touch," we mean finger touch, and no more
or less than that. The player mechanism has not
this, cannot have it, and for that matter need not
have it. Why should it be necessary to waste our
time in trying to produce something which by the
very constitution of things is quite impossible?
Indeed, why should we be so obsessed with the
idea of reproducing specifically "human touch"?
I take it that we are obsessed with this idea for
two reasons: because we have not yet had time
to evolve the conception of another kind of touch,
and also because all player-pianos have so far
been built as if intended at first for finger playing
exclusively. Plainly, we have to rid ourselves of
these interfering facts before we can expect to
approach the matter of player-piano-touch intelli-
gently.
For it is not to be denied that a solution of the
problems involved is very much needed. Player-
pianos do not, as a rule, have a good tone when
pneumatically actuated. There is a sort of glassi-
ness and brittleness which is very hardly overcome.
Something must be done. I have here tried to
indicate one direction in which experimenters may
profitably cast their eyes.
MUSIC
TRADE
REVIEW
13
Encouraging Review of Business Conditions—Pessimism Does Not Obtain Foothold Among the
Manufacturers of the Quaker City—Vacations Now the Order of the Day at the Leading
Houses—A. M. Wright of the Mason & Hamlin Co. a Recent Visitor.
(Special to The Review.)
Trade Gleanings at Heppes.
Philadelphia, Pa., July 19, 1910.
The Heppes have finally furnished their new
Retail piano business has picked up considerably talking machine room on the fourth floor of 1117
this week, due, no doubt, to the more temperate Chestnut street in a luxurious and comfortable
weather. While July business is not as good as way. They have gotten considerable rattan furni-
the dealers had hoped it would be, yet it is con- ture, and it is now the finest room of its kind in
siderably better than it was last year, and the the city, and made purposely for the business man
prospects that are being stored away this summer who wants to lounge and smoke while he is mak-
indicate that there is going to be a very good busi- ing a selection of records. D. C. Conlen, of the
ness in the fall. Work of all kinds is plentiful Heppe house, is away on vacation this week in
in Philadelphia this summer, and while business Virginia. The men around the Heppe offices re-
generally has not been correspondingly as good, it port that it took their D. D. O'Neill a week to re-
is no doubt due to the fact that the public are cover from the effects of his strenuous work as
more saving in money after the experience they third baseman in the ball game at Atlantic City,
underwent during the panic, and are again trying played during the recent convention of the talking
to get money ahead, and by fall they may be ex- machine people in that city.
pected to resume the enjoyment of luxuries.
Vacations in Order at Cunningham.
Wholesale Trade Very Active.
The Cunningham Piano Co. report that their
While the retailers of Philadelphia are not be- business in June was very good. It was the best
ing blessed bountifully, the drift of conditions is June they ever had by at least 15 to 18 per cent.,
shown in the manufacturing industry, which is and they are naturally well satisfied. John H.
forging ahead as it has never forged before, and Heaton, of that house, is on his vacation at Ocean
with very little opportunity of getting stock to City at present; William H. Murdock is on vaca-
any great extent ahead for the busy season that tion at Atlantic City; William Stewart is in At-
comes with the cool weather. The Lester Piano lantic City and Howard C. Good in Ocean City.
Co.'s plant at Lester, Pa., is being operated full P. J. Cunningham never takes a vacation during
time and full handed, and they are turning out the summer, which he spends at his pretty subur-
more pianos to-day than they have ever done be- ban home at Elkins Park, but waits for his holidays
fore, yet these pianos seem to be going to imme- until the fall, when he goes on an extended hunt-
diate customers instead of being set aside for fall ing trip.
stock. On certain of their popular makes, par-
To Occupy Larger Quarters in Scranton.
ticularly player-pianos, they are always sold up,
The Cunningham Co. expect to enter consider-
and are unable to get them out fast enough.
ably more actively into the wholesale trade this
Nor is this condition true alone of the Lester. fall. They are at present moving their Scranton
Communications for this department should be
addressed to the Editor, Technical Department, The Cunningham Co., following their rebuilding branch to considerably more commodious quar-
last summer, felt that they were in position to ters, and have found this necessary owing to the
The Music Trade Review.
care for everything that would come their way. growing popularity of the Cunningham piano in
and while they have not enlarged their plant any that big mining city.
this summer, yet they have found it necessary to
Gustave Herzberg Enjoying European Trip.
WAGE EARNERS BETTER OFF.
get in considerable new machinery in order to help
Gustave Herzberg is enjoying life on his annual
Only 16.1 Per Cent, of Idleness, as Against 35.7
them in getting out their player-pianos fast trip to Europe. He slipped away several weeks
in 1908 in the State of New York Pleasing
enough. The Cunningham Co. also note a largely ago almost unnoticed, and is at present at Brus-
News for Piano Men.
increased demand this summer for their grand sels at the exposition. From there he will go to
pianos, and they have had to rearrange their fac
Zurich, and then to Kissingen, where he will take
Piano manufacturers and dealers are keenly in- tory recently in order to give them facilities for the waters for several weeks, and will then move
on to France, and expects to return to this coun-
terested in the general conditions that prevail the making of more grands.
A. M. Wright, of the Mason & Hamlin Co. was try early in the fall. He is enjoying excellent
among the wage earners, because, after all, the
general employment of skilled labor means the a Philadelphia visitor this week. He was looking health. In the meantime the business is being
diffusion of a large amount of money for musical over the field in order to find here a larger output conducted by Harry Herzberg, who reports that it
instruments, as well as for the necessaries of life. for that instrument.
has picked up materially since the cool weather
Hence the dealers and manufacturers of the State
Where Are the Broken Down Piano Men?
set in.
are much pleased over the report made this week
There is some talk in Philadelphia, but not to
by the State Labor Department in its quarterly any serious extent as yet, of devising some means
WALTHAM CO/SNEW PLANT.
bulletin, covering the first three months of this for the procuring of a home for broken down
year, that "out of approximately 390,000 organized piano men. That sounds like a rather queer Contracts Awarded for Erection of Manufac-
wage earners 62,851 were reported idle on the last proposition, but to the person who stops to look
turing Home That Will Cost $60,000.
working day in March, which was equal to 16.1 at it seriously it is not as ridiculous as might ap-
per cent.
(Special to The Review.)
pear at first thought. If such a project was
Milwaukee, Wis., July 19, 1910.
"This is a substantial reduction from the figure started it would find a hearty support among
for the same date of 1909, which was 21.1, and is Philadelphia men. A person is able to fig'ire out Contracts have been awarded by H. C. Hensel,
less than half that for 1908, when, at the height of with little trouble that at the rate piano men are architect, for the erection of a new $60,000 plant
the depression following the panic of 1907, the per- paid there is little chance for them to lay enough for the Waltham Piano Co., on Island avenue near
centage was 35.7.
aside for the "stormy day," so why would it not Keefe avenue. Building operations have already
"The reduction in idleness in the last year is be possible to get the salesmen throughout the been commenced, and will be pushed to an early
completion, as it is desired to have the structure
directly traceable to improving trade conditions. country to enter into a project for the securing of
That this improvement has been general is evi- a home for their brothers after they have reached! ready for occupancy before the middle of October.
denced by the fact that nearly all of the thirteen the age, through debility or illness, where they are Mill construction will be used throughout in the
groups of the organized trades show a decrease in no longer fit for employment, and where they can main building, which will be 76 x 315 feet in di-
the percentage of idleness from 1909 to 1910.
spend their declining years without want. A mension and three stories high, with a basement.
"The Bureau of Mediation and Arbitration re- little assessment on each man could accomplish A separate boiler house and power plant will be
corded forty-two new strikes and lockouts during much toward the establishing of such a home, and connected with the main plant by means of a large
the three months, in which 18,565 employes were then by occasional benefits, etc., funds sufficient underground tunnel. Sprinkler equipment will be
directly concerned. This is a greater number of could be raised to support a rather elaborate estab- installed throughout the entire plant, and the heat-
ing will be by vacuum system.
disputes than was recorded for any other year lishment.
since 1904, except 1907, when there were fifty re- H. Shearer, of the Krell Piano Co., was a Phila-
Trade pessimists are gradually being routed.
ported."
delphia visitor this week.
POOLE
Appeal to cultivated tastes. They are
marvels of beauty and form at once a
valuable accessory to any piano store
5 and 7 APPLETON STREET, BOSTON. MASS.

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