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THE MUSIC TRADE REVIEW
OuTTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE.
WHAT IS GOOD TONE?
I suppose that everybody who makes a living out
of the piano business devotes more or less atten-
tion to what we call "tone;" but I rather doubt
whether many of us are quite clear in our own
minds as to just what we mean when we talk
about "good" or "bad" tone. For in this respect
opinions are as numerous, and as generally wrong,
as the sands of the sea. On the one hand, we have
the large army of laymen (and lay-women, too),
whose ideas of "tone"' have been founded on the
sensations they have for many years been getting
through the piano they have happened to have at
home. And I suppose it need hardly be remarked
that such opinions are usually not less absurd
than the "tones" are bad. On the other hand we
have the almost equally large army of pianists,
musicians and so on, who think they know all
about it; and whose opinions are as positive as
they are ill-founded. Standing off at one side.
we have the few tuners, and other practical acous-
ticians who have some ideas on the subject, but
who have never clarified them. To the latter I
propose now a short discussion of the subject.
It is obviously proper to remark that the term
"good tone" implies a tone-quality that is beauti-
ful. But it is equally plausible to object that no-
body knows what is meant by "beautiful." That
is to say, there is no exact method of measurement,
no foot-rule, as it were, which we can take in hand
and therewith lay off the exact position in the scale
of beauty of any given idea we may entertain. In
fact, we have no such scale. But we have some-
thing almost as good. We have the received opinion
of all people.
Indeed, we need ask no more than this, for while
the general opinion of mankind as to what consti-
tutes good tone, or rather as to whether any as-
signed quality is good or bad, is indefinite enough,
it is also quite positive. Scarcely anyone knows
how to measure tone-quality in the scale of beauty,
but almost anyone can make a fairly good guess
as to whether a given quality is good or bad. Thus
we are provided with a rough method of measure-
ment, with which we can at least begin.
Generally speaking, I think it may be held true
that what we describe as a "round, full tone" is the
ideal toward which all sincere piano makers strive.
It is true that many piano makers have no definite
ideas on the subject, and that some of them even
care nothing about it, but people of the latter sort
are not within the pale of our discussion. Such
piano makers should be boycotted, and if the tuners
had enough sincerity themselves, they would do
this very thing. But the average piano maker
tries to make as good a piano for the money as
he can, and the general idea among all of them is
toward the production of a "full, round tone."
Now, what is this "full, round tone'' toward
which so much taik is directed, and of which so
little scientific understanding seems to be had? It
may be described, I think, as a tone which is com-
posed of the fundamental of the string involved,
together with such intermixture of the second,
third, fourth, fifth and sixth partials thereof as
will produce a sensation of "singing quality,"
smoothness and power, without the acidity of
"clanginess," which we instinctively set down as
accompanying what we call "poor tone." Rough
as this characterization undoubtedly is, and neces-
sarily imperfect as I confess it to be, nevertheless
it covers the ground.
Seeing, then, that we can put the matter even
so definitely as this, it is plain that there ought to
be less difficulty in understanding how the ideal
so set up can be expressed in practical shape. No
one who knows anything of practical acoustics
will deny that the requirements for full, round tone
are to be met by the physical admixture of funda-
mental and partials to which I have adverted
above. It is not necessary to argue about this, for
the facts are altogether certain and have been de-
termined again and again. The point is not whether
a given composition of tone is the composition
that will produce the best, but rather whether the
composition in question can be practically repro-
duced. If it can practically be reproduced, and if
the general formula for its reproduction can lie in-
dicated with something approaching accuracy, it
follows that there is no excuse for not attempting
its reproduction. In fact, if the plain statement
of facts will suffice to put piano makers on the
right track, then the words of those who do riot
take that track should be practically condemned.
And, indeed, the formula is simple. It consists
in the knowledge that all tonal results depend ulti-
mately upon four elements. These elements are
(1) the composition of the string and its tension
when in tune, (2) the composition of the hammer
and its shape, (3) the place of contact between
hammer and string, and (4) the nature of the sup-
porting structure of the siring scale. When these
elements are rightly combined, the secret is solved.
In order to obtain a right tone composition the
string itself must not be too hard. The harder
it is the Jess will the tone wave it sets up favor
the prolongation of the lower partials, and the
more will it tend to prolong the upper dissonant
partials. I have frequently explained the reason
for this, a reason which is intimately connected
with the further fact that the higher the tension
to which the strings are stretched the worse also
proportionately will be the partial tone admixture.
Hence scales now know to lie unsatisfactory should
be carefully examined, to the end that the design-
ers may find out whether it is not possible to
shorten lengths,- relax tensions and use a wire as
soft as is compatible with requisite strength.
The second element involves the art of tone
regulating, and is mainly dependent upon the pro-
duction of a hammer which when rightly toned is
found to have an unbroken fibrous structure, rigid
and hard on the outside, softly cushioned on the
inside and with a solid unsoftened crown at the
point of contact.
The third element involves recognition of the
scientific fact that to strike a string exactly on a
nodal .point is to destroy, virtually, all the partials
arising from and above the segment whereof the
nodal point is struck. Hence the more careful
calculation of the string contact with the hammer
is necessary with a view to placing the points near
the seventh node throughout the body of the scale,
allowing for modifications in the upper treble.
The fourth element involves the elimination of
vibration on the part of the iron frame, due to bad
construction of the back framing and the bearing
bridges. It also involves as far as possible free
vibration of the soundboard and elimination of
interference from metal at all points.
FAUST SCHOOL OF TUNING
Polk's Piano Trade School
Piano, Player-Piano, Pipe and Reed Organ Toning and Re-
pairing, alto Regulating, Voicing, Varnishing and Polishing
Piano,
This formerly was the tuning department of the New Eng-
land Conservatory of Music, and Oliver C. Faust was head
of that department for 20 years previous to its discontinu-
ance.
Courses in mathematical piano scale construction and
drafting of same have been added.
Pupils have daily practise in Chickering & Sons' factory.
Year Book sent free upon request.
27-29 GAINSBOROUGH ST., BOSTON, MASS.
14th YEAR
Player-Piano and Organ Tuning,
Repairing and Regulating.
Most thoroughly equipped Piano Trade School in
U. S. Private instruction; Factory experience if de-
sired. Students assisted. Diplomas awarded. School
entire year. Endorsed by leading piano manufacturers
and dealers. Free catalogue.
C. C. POLK
Box 293, Valparaiso, Ind.
Any piano that one wishes to rescale according
1o these suggestions can doubtless be improved.
The secret of good tone is the understanding of
such points as these, points which can easily be ap-
plied in practical shape. It should be the aim of
tuners to encourage such makers as attempt to
carry out their ideals according to scientific exact-
ness. In this way the general excellence of aver-
age piano making might lie immensely increased.
Easing the Editorial Mind.
I know not how far it may be my business to
talk about events now occurring on the continent
of Europe. But at this moment I feel it a duty to
say a word to all my readers, to the many men of
all nations and all conditions who do me the
honor to read my opinions every week. To such
I address myself, unashamed.
The impossible has happened. In the twentieth
century of the Christian era the Christian nations
of Europe, the cradle and nursery of Christianity,
have rushed at each other's throats. No possible
appeal of racial prejudice or of national pride
should prevent us one and all from looking the
disgraceful facts squarely in the face. A colossal
crime against civilization is being perpetrated. No
excuse that can be conceived—certainly none that
lias been uttered hitherto by the responsible gov-
ernments—is more than mere empty words. The
;ruth is that if people will insist upon keeping
armies and navies at bankrupting strength, upon
turning their lands into armed camps, and upon
encouraging imperialism and militarism in the
name of God, they will sooner or later have an
explosion. Matches and gunpowder laid together,
with children playing over them; that has been
the situation, and the natural result has followed.
A hideous outrage is being committed against
civilization, against humanity, against progress.
Whatever our nationalities, whatever our racial
pride, whatever our prejudices, we ought to realize
that in America at least we have naught to do
with these iniquities. They are not our affair,
they are not our concern. Let us avoid encourag-
ing even in thought the idea that there is anything
line or splendid in the present debacle. It is all
wrong, all criminally wrong. And there is not the
slightest shadow of a reason for any of us to be
elated or cast down by the results of any events
brought on by the greed of governments, the am-
bitions of chancellors and the complacency of a
public opinion that has too long surrendered its
functions to a selfish militarism.
Let us keep quiet, sit tight, stop rocking the
boat. Let us realize, as never 'before, that war
is a disgrace to humanity. And let us be very
sure that whatever happens we shall not directly
or indirectly do one single thing to encourage the
belief that there is anything fine or noble about it.
Communications for this department should be
addressed to the Editor, Technical Department,
The Music Trade Review.
"The Piano of the
Presidents," occupy-
ing the White House
for forty years.
SCHOMACKER PIANO CO.
1020 South 21st St.
PHILADELPHIA