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THE
Iri.v 8, W22
MUSIC
TRADE
11
REVIEW
OumOINlCAL DEPARTMENT
CONDLCTEIl BY WILLIAM BRAID WIIITK
IMPROVING THE PIANO
The First of a Series of Articles Dealing With
Suggested Improvements in the Piano
It is doubtless true to say that if we could
precisely define the kind of thing we want when
we consider the possibility of a perfect piano
we should have far less difficulty in working out
a coherent theory which could be translated into
practice. When the Technicians' Conference be-
gan in Chicago on October 5, 1916, the first ques-
tion taken up was this: "What kind of a tone do
we want, and why?" I cannot say that the tech-
nicians actually managed to obtain a properly
precise answer to that admirably phrased ques-
tion. They had the adumbration of an answer,
without a doubt, but they never succeeded in get-
ting exactly the formulation they were looking
for, owing to a variety of reasons into which
I need not here enter.
Nevertheless, it is quite certain that if studies
in tonal science and art are to have any objective
value they must begin with a formulation of the
problem. What is the kind of tone we want,
and why do we want a tone of that kind?
It is perhaps to be deemed adventurous to pro-
pose an answer to the problem when a conference
has tried its hand at the same task and has de-
clined to complete it. But the task must some-
how be undertaken, and by someone. No other
place of discussion, no other organ of research
in the piano industry, no other medium available
to all, save that which is represented in this
department, now exists. To us, therefore—that
is to say, to my readers and myself—the task is
necessarily left.
Again, before an answer can be formulated it
is necessary for us to obtain a clear idea of the
material with which we have to work. It is to
this task that we must first address ourselves.
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cusly persuasive or inherently thrilling. That tone
can be brilliant, martial, striking, but the can-
tabile quality is the least conspicuous of its prop-
erties and it wholly fails in the sensuous ele-
ment of the continuous sostcnuto. Where, then,
is its power? Why is it more popular than the
violin?
Equal Temperament
Well, in the first place, the piano is tuned in
equal temperament and can therefore be used
for music in any key without changes in the
tuning during performance. The equal tempera-
ment would probably not have become universal
but for the development of tne piano, while the
piano would not have become the most important
of modern musical instruments but for the equal
temperament. Whether the partnership has been
in every way effective for the best interests of
ir.usic is a question which will scarcely be worth
while arguing, although something can be said
on both sides of it. The important point is that
without a doubt the piano has made the modern
ear accept the equal temperament and so has
made itself the leader in modern instrumental
development.
A Harmonic Instrument
In the second place—and directly following from
the first consideration—is the further considera-
tion that by reason of its convenient tuning and
universal keyboard the piano has been the easiest
of instruments for the composer. The piano is
a harmonic as well as—and really far more than
—a melodic instrument. Its harmonic possibili-
ties have afforded the most delightful field for
exploration to the most eminent of composers,
from Beethoven, through Schumann, Liszt and
Brahms, to men like MacDowell, Debussy,
Granados and Albeniz, of the modern age. The
player-piano—as is just now beginning faintly to
be seen by musicians, mainly through the pioneer
work of Schaaf and his school—is just as far be-
yond the piano in these possibilities and poten-
cies as the piano is beyond the violin.
Self-contained and Easy
In the third place, and as a consequence from
the two considerations above deduced, the piano
is a complete instrument. It can play the part
of any instrument and can even represent in out-
line the music of an entire orchestra. It is not
dependent upon another instrument for a har-
monic basis. It is self-contained and self-suffi-
cient.
Lastly, the piano is the easiest of keyboard in-
struments. Anyone who has the slightest musi-
(Conli)iucd
on page 12)
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same vein will follow it, I proceed upon the
assumption that the present state of the piano
justifies a very thorough survey of the question
of its tonal properties. If the research here pro-
posed should lead us to see that in certain details
generally regarded as essential there is need of
change the corresponding assertion will be made,
and duly supported, in spite of the natural ten-
dency to "leave well enough alone." It cannot,
therefore, be a question of assuming the wire, felt,
wood and hardware of the piano to be incapable
o 1 . improvement. It is not a question of assum-
ing that string, hammer and action must remain
immovable. It is, on the contrary, a question of
finding out whether these materials and elements
are really doing their duty as they ought to, ade-
quately and satisfactorily. It is a question of
discussing the whole present and future of the
piano. It is, lastly, a question of finding out what
improvements must be made, rather than what
improvements can be put aside indefinitely.
Supreme for a Century
For a century the piano has stood supreme
in the field of domestic music, without a serious
competitor. It has invaded and made a place
for itself on the concert stage. Its tonal powers
have engaged the attention of an army of emi-
nent musicians, while the crowd of amateur
players all over the world has each year at-
tained to more formidable proportions. Even
to-day, in the midst of the excitements and
clamors of an overwrought Western civilization,
the piano continues to bring solace and entertain-
ment par excellence. In America its supremacy
is believed by some to be threatened. But the
competitor which we are told is to dethrone it
is itself a piano. The player-piano, in fact, in
any of its forms is a further development of the
piano and shares in its parent's peculiar virtues
and vices, besides possessing a variety of its own.
The Piano's Powers
One need not be a very wise person to per-
ceive that the powers with which the piano is
endowed are evidently very highly organized and
very persuarsive. That instrument could not have
maintained its empire over the feelings and de-
sires of the millions if it had not always
possessed many positive virtues, far outweighing
any faults, weaknesses or defects. And this is
demonstrably the case.
What, then, are the peculiar virtues of the
piano which so distinguish it and-have given
it such power?
I do not think that the most enthusiastic klei-
c'ophil would venture to argue that the tone of
the piano is in itself sensuously lovely, languor-
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