Music Trade Review

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THE MUSIC TRADE:
THE REVIEW'S TECHNICAL DEPARTMENT.
Conducted and Edited by Win. B. White.
tave reckoned from any basis, and requires
. . . . three major or four minor thirds to
equal the same; but they do not really equal the
octave . . . for three major thirds fall far
short of an octave, and four minor thirds will
not enter the octave unless they be quite percep-
tibly trimmed."
We take exception to the statement that the
case of the thirds is radically different. On the
contrary, we perceive a difference in degree, but
Our readers will remember that H. H. Rich, clearness would be glad to present my views in surely not in kind. It is true that in the rela-
of Washington, N. J., favored us some weeks ago the form of diagrams. Yours sincerely,
tion of the thirds to the octave forms is
with a pamphlet entitled "Thirds and the Tem-
found the difficulty which combinations of
"H. H. RICH."
pered Scale." It will likewise be recalled that
these intervals involve; it is equally true
we subjected that pamphlet to a somewhat com-
It is unfortunate that our space will not permit that as regards the other intervals the thirds are
plete examination, and published the results in of a full reprint of the very interesting views comparatively harmless. But all this does not
these columns. Mr. Rich, however, does not ap- submitted twice to us by Mr. Rich. We feel, alter the fact that temperament requires to be
pear to be satisfied that we have fully under- however, that a precis of the pamphlet may be applied to all the intervals, and not to the thirds
stood his theories as submitted to us in this allowed, and we have therefore reduced it to alone. In other words, we contend that the
form, and he has therefore communicated again limits somewhat more in harmony with the space equal temperament would be necessary, even
without regard to the thirds, and that while Mr.
with the department, enclosing what he calls a allotted to this department.
"Digest, or Re-statement" ol the pamphlet re-
The author first reminds us performers upon Rich, of course, is not asking us to tune the
free tone instruments such as the violin, trom- other intervals purely, he is wrong in supposing
ferred to.
As will doubtless be remembered, Mr. Rich is bone or human voice, are able to produce, singly that the root of the falsity is to be found in the
of the opinion that the necessity for temperament or together, musical intervals or chords entirely thirds alone, and that other intervals are blame-
of the scale in fixed-sound instruments is to be free from the disagreeable harshness or "wolf" less.
found in the relations which the major and minor that always accompany the same intervals or
thirds bear to the other degrees, and that the so- chords when produced upon the pianoforte or
The other point of difference between Mr. Rich
called enharmonic sounds are not really of dual organ. This happy state of affairs is made pos- and ourselves concerns the question of enhar-
identity, but actually the same, and therefore sible by the fact that the performer on free tone monic sounds. It is well known that sounds
freely interchangeable. Such theories run coun- instruments is able to adjust the pitch of each which do duty for different scale degrees ac-
ter to commonly accepted notions, and in our musical sound at the instant of producing it. On cording to the tonality, are termed enharmonic.
previous criticism we took a stand somewhat in the other hand, of course, the pianoforte and Thus we find that the sound which is denoted
opposition to Mr. Rich's views. His reply is organ are tuned at fixed pitch and the performer "E" is used also for the flat of "F," while the
latter is used as the sharp of "B." Again, the
therefore of no little interest, and the develop- has no control over the intonation.
Now, says Mr. Rich, the sole need for tempera- usual black notes upon the pianoforte or organ
ment of his ideas should he regarded with great
ment in the fixed tone instruments lies in the all represent sounds that in temperament are
attention by all students of tuning.
thirds. According to this idea, we should need either the sharps or flats of other sounds, ac-
We print the following letter, as showing the no tempering if all chord progressions and in- cording to the particular tonality in which they
frame of mind in which our correspondent ap- terval building were confined to the fifths and are produced.
proaches our former criticisms. We may say fourths. He points to the facts (undoubtedly
By taking in pure intonation the frequencies
that we consider his attitude in every way dig- true as far as they go), that "a perfect fourth,
of
the degrees of the various scales, beginning
free
from
any
wave
or
jar,
plus
a
perfect
fifth,
nified and praiseworthy, and greatly to be pre-
ferred to the bad temper sometimes exhibited by equals a perfect octave. Also a major third and from a standard pitch sound of any given fre-
correspondents with whom we have at one time minor sixth, a minor third and major sixth, a quency, it will be found that the enharmonic
major second and a minor seventh, a major notes are represented by different sounds accord-
or another had the misfortune to disagree:
fourth (the tritone) and minor (diminished) ing as they are flats or sharps. Thus we find
"Editor of the Technical Department:
"Respected Sir:—Your notice of my little treat- fifth, with each of their transpositions. Every that the note or key on the tempered pianoforte
ise in your issue of April 1, including your es- chord sweet and free from waves, needing no ad- which when struck gives the sound denominated
either "C" sharp or "D" flat, according to the
teemed commendation, carae to my grateful no- justing.
tice through an interested and intelligent friend.
"Further, among compound intervals less than scale in use at the time, produces a sound of a
"I had some fear that the enharmonic identity an octave, we have the fifth as an equal of a frequency different to either the pure "C" sharp
feature might be not quite clear to all; consider- major and minor third, the major sixth as the or the pure "D" flat. And it will further be
ing its radical departure from popular and scien- aggregate of the fourth and major third, and the found that the pure flat in question has a higher
tific standards, though indeed it was only a con- minor sixth as the sum of the fourth and minor frequency than the pure sharp. Now this does
sequent of the 'third misfit' findings, to which third. Their transpositions yield the same not seem to fit in very well with Mr. Rich's
early yet somewhat indirect place was given in result, e. g., the major sixth equals the major ideas. Let us see what he has to say on the
third plus the fourth. Thus were all the de- matter. "One theory rates 'C sharp and 'D'
the argument.
flat and such equivalents of the tempered scale
"Now, in view of your comments and suggested sirable or necessary intervals like these, no nec- as different sounds in the scale of nature or of
revision, won't you kindly permit in your de- essity would exist for a tempered scale."
science; another . . . regards an extra tone
partment a clear and concise restatement or
to be distributed throughout the octave. The lat-
digest of the subject over my signature?
Indeed, all this is true as far as it goes, but ter theory being partly true, though quite mis-
"Would that your space permitted a full re- the trouble is that it does not go far enough. leading. . . .
print of the pamphlet for your readers' consid- Surely it will be admitted that the sound
eration. How I should like to meet you and talk obtained from the building up of twelve
"The condition is one needing the application
over at leisure these perplexing but interesting fifths is sharper than the sound produced of pure mechanics to tone space in fitting thirds
points. Not indeed for controversy; but there by the building up of seven octaves from to their octave relations, and here we note that
are in these matters so few intelligent and appre- the same tonic, and that the sound produced thirds need no fitting to fifths and sixths, un-
ciative tuners and musicians, that one longs for from the building up of twelve fourths is flatter less used consecutively. . . In forcing thirds
some fellowship, though agreement may not al- than the sound produced by the building up of to their unnatural octave relations in the tem-
ways exist. It would be enough that the sole five octaves from the same tonic, although in pered scale we escape the hiatus—openings, gaps
purpose be to seek out the facts of nature and of each case the sounds are identical as to name or interregna—possible at several points in the
art, waiving for the time being all preconceived and position. But the inequality is not as great tempered scale and thereby avoid adjustable
ideas.
in each case. So that while a perfect fourth tones of the same name, which depend upon the
"I neither expect nor ask that all shall agree added to a perfect fifth may produce one perfect point of reckoning entirely. With a clear un-
with me; nor do I blame them, but merely urge octave, the result cannot be carried on. We may derstanding of the misfitting thirds . . one
therefore be assured that there would still be a soon finds these gaps due solely to the mechan-
consideration of proved conditions.
"Up to within a few years I had very hazy ideas necessity for temperament, even if third inter- ical situation—having no reference to 'G' sharp
of it all; though as intelligent maybe as the vals and chord progressions were entirely un- or 'A' flat, as such.
average tuner or musician, I was content to take used.
"Relation, involving a point of reckoning, is
for granted what the authorities say. But I have
We are less inclined adversely to criticise that paramount. Names are secondary, or irrelevant.
been forced by the findings of file-scraper and portion of Mr. Rich's article in which he speaks Consider the numberless tones from A to B.
tuning-hammer,, together with the revelations of of the thirds and their relations to the rest of Every scratch of a file on a reed, every turn of a
harmonics in the monochords of violin, viola the scale. To use his own words again: "But the peg, or movement of a finger on an open string
and 'cello, to change my views as explained in major and minor thirds in their relation to the creates a new tone. How name these?"
my pamphlet.
octave yield radically different results, and the
And here we find that our page draws to an
"Should you later on go into an exhaustive and octave . . . demands pre-eminent considera- end. We therefore ask our readers to study,
interesting treatment of the whole subject from tion. The desirability, nay, necessity, of free with such attention as they can command, these
the popular and practical side, it may be that transposition in all fixed tone instruments re- very interesting views put forth by the ingenious
I could render some service, and for greater quires the above named equivalents to the oc- Mr. Rich. We shall resume the consideration
[Contributions are Invited for this department from members of the industry bearing strictly on the practical side
of the craft
Communications must be signed with the name and address of the sender
The editor ac-
cepts no responsibility for the opinions of correspondents.]