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The Music Trade Review
JANUARY 29, 1927
41
The Technical and Supply Department—(Continued from page 40)
author of the article in the Dictionary of Ap-
plied Physics, whose treatment of his subject
is, throughout, extremely interesting and valu-
able.
What Piano Tone Is
Of course, the whole matter really hangs upon
our interpretation of the term "best results." The
quality of the sounds emitted by the modern
pianoforte is a function of the vibration forms
taken up by the struck strings, in connection
with the sound board. But if we ask why one
certain vibration form, or, in other words, one
certain idea of tone quality, has become uni-
versal, why the public has come to associate
with the name pianoforte a certain various, but
generic, character of musical sound, we can
only say that the efforts of all the best piano
makers have, in due course, led them towards
virtually the same point; and that the public ear
has, in time, become accustomed to what has
been given to it. Having become accustomed,
the public ear has come to demand, and refuses
to listen to anything else.
This may not be a very scientific way of
putting the facts, indeed, but I think it is
accurate.
Pianoforte Tone is Synthetic
There is still another point, however, to be
kept in mind. The combination which is char-
acteristic of the sounds emitted by the piano-
forte throughout its most powerful and rich
region comprises a strong fundamental, a sec-
ond partial only less strong, a noticeable
third, fourth, fifth and sixth partials, with strong
traces of seventh, eighth, and even of ninth and
tenth. Now such a tone quality is, in reality, a
sort of synthesis of the qualities of all the most
valuable musical instruments. Few of these are
of very complex partial tone composition, most
of them showing upon analysis a fundamental
with two other partials and no more. Thus the
partial tone succession of the oboe is 1 2 3,
of the clarinet 1, 3, 5, of the French horn 1, 4,
of the violin 1, 2, 3, 4, 5, 6, 7, and so on. It is
evident that the tonal make-up of the character-
istic sound emanating from the pianoforte is a
sort of synthesis. As such it has a justification
far stronger than could be found in any hypoth-
esis of public taste led into gradual ac-
ceptance. The pianoforte is the basic musical
instrument, and although there would not be
the slightest difficulty in altering its quality very
markedly indeed, the question whether this
would be desirable in any way at all may safely
be answered in the negative.
The line of investigation which is now being
pursued by Satyendra Ray bids fair to lead to a
great deal of very interesting information. In
all matters connected with the production of
sound within the pianoforte, we are in need of
fundamental information, of facts on which we
can rely. It has been my desire, for years, to
do all in my power to obtain such information
for the guidance of other piano makers as well
as for my own purposes. During the last few
years it has gradually become possible for me
to do more than ever before to obtain accu-
rately determined data, and much of this has
been discussed already in the pages of The Re-
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view. A summing of all the facts which so far
have thus been made available will be found
in the book of which I have spoken.
Physicists and the Pianoforte
Meanwhile it is good to know that physicists
are turning to the pianoforte as a field of in-
vestigation.
Our great instrument has been
neglected for a long time, in fact ever since the
days of Helmholtz, and we have been in a welter
of half-baked theories, half understood facts and
badly managed experiments. For if anything is
true it is that experimental data are absolutely
no good unless and until they have been checked
up on all sides, and completely ascertained. Not
until every element in the complex has been
covered is the result of an experiment to be
accepted. Moreover, as I have often said be-
fore, this industry of ours has had no engi-
neers. The executives have been inclined to
think so much about selling as to forget what it
was they were trying to sell.
Here in this very matter of the make-up of
the hammer, all that can be found in all the
world of real genuine experimental data on the
subject, can be put into a few paragraphs. The
recent papers in the Physical Review from the
physicist of Allahabad University are the first
in a long time. If we take D. G. Miller, Ort-
mann, Bryan, Raman, Ray, we have all the liv-
ing physicists who have done anything in this
line. And of those who might better he called
acoustic engineers than acousticians, I think I
am the only one who is working by the method
of controlled experiment, without which no re-
sults are worth the paper needed to note them
down.
For in truth, good as is the tone of the best
instruments, it is not half good enough. To sell
more pianos during years to come we must
have improvements in tone. To get those im-
provements we must have investigation, experi-
ment and research. That is why I thought it
so opportune to speak of the recent experiments
by the Indian physicist in respect to the con-
tact of hammer with wire. It is likely that I
shall have more to say of his work along these
lines.
Correspondence
is solicited and should be addressed to William
Braid White, 5149 Agatite avenue, Chicago.
Wood Products Courses
MADISON, WIS., January 24.—The forty-fifth
short course in the kiln drying of lumber con-
ducted here by the United States Forest
Products Laboratory and ending January 21
was a highly interesting session, according to
an official announcement just released by the
Laboratory. Among the representatives of the
wood-working industries in attendance was O.
M. Maddocks, of Julius Breckwoldt & Son, Inc.,
Dolgeville, N. Y., manufacturer of piano sound-
ing boards. Although the exact dates of the
Spring kiln drying, gluing and boxing and
crating courses have not been decided, several
enrollments for the next kiln drying course arc
already on file.
Lutkins in Middle West
Ted L. Lutkins, Jr., of T. L. Lutkins, Inc.,
New York, importer of pneumatic leathers for
the player action and organ industries, is at
present calling on the trade through the Middle
West. He will extend his trip to the South
after covering points in the vicinity of Chicago
and Cincinnati and is expected to return to New
York about February 15. T. L. Lutkins, Sr.,
stated that business in most sections has picked
up since the period of inventory taking and is
confident of having a good season this Spring.
Consult the Universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions.
Tuners Carrying Case
LIGHT—COMPACT—SERVICEABLE
Weighs Only 6 Pounds
Outside measurements 15J4 inches long, 7
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No. 150—Covered with seal grain imitation
leather. Each $13.00
No. 200—Covered with genuine black cow-
hide leather. Each $20.00 F.O.B. New York.
When closed the aluminum
trays nest together over the large
compartment, which measures
137/g" x 6" x 4". The two left hand
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and the two right hand trays 13^s"
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We have a separate Department to take care of special requirements
of tuners and repairers. Mail orders for action parts, repair materials,
also tuning and regulating tools are given special attention.
Hammacher, Schlemmer & Co.
Piano and Player Hardware, Felts and Tools
New York Since 1848
4th Ave. at 13th St.