Music Trade Review

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THE MUSIC TRADE
REVIEW
11
We have been asked to make some remarks on
the above fearsome subject. Our readers will
understand why we call this fearsome, when we
get a little deeper into it. The harrowing ex-
periences of any tuner whose unfortunate fate it
has been to take charge of the concert instru-
ment of some eminent pianist, and who has been
obliged in addition to accompany the same emi-
nent gentlemen on a long transcontinental tour,
might at any time furnish material for a first-
class heavy tragedy or problem novel. Such
things as these, however, are almost too terrible
to be printed. It is unfortunate that the visible
supply of thoroughly competent concert tuners is
below the demand for them, but this is not so
much a matter for wonderment when one con-
siders the extraordinary versatility that is re-
quired of one who would successfully undertake
these onerous duties. For, as we have indicated,
it is not enough that one should be a tuner of
the highest rank; it is also, unfortunately, neces-
sary to be a man of the world, a good mixer in
all senses and a man of the greatest tact: in
short, a thorough diplomat. No one who is fa-
miliar with the conditions that surround the
modern piano factory can fail to understand the
peculiar difficulty which must be experienced in
turning out from such a place the proper kind
of material. Of course, it is perfectly true that
in emergencies the right man usually comes
forth, but on the other hand, if we ask ourselves
how a young timer should be advised to fit him-
self for concert work, we are obliged to confess
that to tell him to rely on his good fortune or
his lucky star would, indeed, be poor advice.
freely through t.ie agraffe. This method is of
equal service in sharping or flatting. It will also
be found to be readily acquired by dint of a little
practice, and when once acquired, to be abso-
lutely positive in its results. Among tuners there
by Wm. B. White.
is a school of thought, if one might use the
term, large in numbers though not distinguished
otherwise, which will probably regard the above
is to say, he must be able to tune so firmly that recommendation with no little contempt. Its
a two-hour onslaught from the most frenzied of methods for the attainment of true pin setting
the pounding brotherhood will leave his work are a great deal less complicated than the sys-
unhurt. To do this requires a complete mastery tem which we have just described. They are, in
of the art of "setting the pins." It is an unfortu- fact, simplicity itself, but we can find no other
nate fact that this all-important matter is greatly thing good to say about them. They may be
neglected by some tuners. Oi" what shall it avail summed up in one phrase—"bending the pin."
a man that his tuning be lovely if he have not
We do not deny the graat convenience of this
solidity? For his works shall not stand and men method, nor do we fail to admit that it possesses
shall hold him up to derision.
the advantages of rapidity and simplicity. But
when we have said this we have summed up the,
Seriously speaking, the art of tuning firmly whole case for the defense. On the other hand;
is much neglected. A few hints on the subject it is no difficult matter to demonstrate, in view
can therefore not fail to possess immediate value. with what we have already said, that forcibly
From a long experience and from such knowl- to pull over a pin to a roughly approximated
edge as has been gained by a careful study of position, and then to put the finishing touches
the art in all its phases, we have come to the con- by bending or springing its outer portion,
clusion that the tuning pin cannot be set by is a self-destructive process. It does not
means of a straight direct push or pull on the require any great expertness to realize that this
tuning hammer. The latter method simply in- method can never assure a free rendering of
volves an almost certain twisting of the pin and the string throughout its entire length. And
consequent imperfect turning throughout its when we admit the possibility of failure in this
length. The friction engendered by the forcible regard, we are at the same time bound logically
driving of the pin into the wrest-plank always to confess the entire insufficiency of the whole
prevents a free movement of the whole length method.
of the pin. Consequently, it becomes necessary
to exercise much skill and care in insuring a
If we have insisted at some length upon the
true movement of the whole pin, in contradis- vital necessity for a complete mastery of the art
tinction to a mere bending of its outer portion. of setting the pin, this has been because we rec-
For the latter process involves the certainty ognize how much the whole success of concert
that the string will not be pulled properly tuning depends upon solidity of work. And we
through the belly-bridge and the agraffe, but feel sure that the intelligent reader cannot fail
will hang on one of these, ready to fall as soon to realize that we have pointed out the only
as a sufficiently smart blow is struck upon the practicable method for insuring that solidity.
key. In order to avoid this disagreeable possi-
We have no intention, however, of neglecting
bility, it becomes necessary to employ a different the importance of other phases of the art. It did
method. We have found that the most solid re- not seem so necessary to devote space to consid-
sults are insured by avoiding a steady sustained eration of the quality of the required tuning
pressure on the pin and substituting for this a from an artistic point of view. For it is obvious
series of slight intermittent shocks, whereby the that only the very finest, smoothest and most
pin is gradually and slowly urged in the desired scientific work can ever be expected to satisfy the
direction. Our own method of effecting this may demands of finished artists. We have not, there-
be easily described as follows: When the ham- fore, insisted upon the necessity of a thorough
mer has been firmly placed upon the pin at a understanding of the principles of Equal Tem-
proper angle, let the tuner introduce a slight perament, because this seemed to follow naturally
nervous motion of the arm muscles, so as to from a mere consideration of the meaning of
cause the end of the hammer, remote from the concert tuning. On the other hand, there did
head, to move back and forth through the arc of seem to be a decided necessity for some pointed
a circle; the periphery of the arc being not great- remarks concerning solidity; and this is the rea-
er than one-half of an inch. If this be done care- son for our manner of viewing the subject.
fully with, of course, a slight continual bearing
We do not pretend that the doctrine laid down
towards the desired direction, it will be found
that the pin will gradually proceed by very small here is easily lived up to, nor do we expect that
fractions of an inch towards its proper position. the most faithful following will turn an average
In addition to this, if the tuner be careful to tuner into a first-class concert man in any short
strike the key sufficiently forcible blows, not only time. But we are certain that the points made
will his ear indicate to him the precise moment above cover the most important part of all that
that the string has been brought to the proper is implied in the actual work of concert tuning.
tension, but the force of the blows themselves As to the other phases, the social end, for ex-
will assist in settling the string, so that it does ample, we prefer to leave these details to the
not hang on the belly-bridge or fail to render lively imagination of the reader. If he has a
strong head and can look upon the wine when it
It may be objected that no tuner who has read
and is inclined to believe what he have just said
about concert work will ever want to undertake
a tour with an artist. Supposing, however, that
there exists some reckless person who is am-
bitious to attain the dubious joys of touring, let
him attend and we will give him a few sugges-
tions based upon some personal experiences.
TUNERS' SUPPLY COMPANY
THE REVIEW'S TECHNICAL DEPARTMENT.
Conducted and Edited
The recent criticism of Mr. Rich's views, which
appeared in these columns, has brought forth
quite a number of communications from readers.
We regret that the controversy has already been
permitted to go to lengths which make impos-
sible the giving of any more space to it. We
shall, therefore, not print any of these letters,
especially as it does not appear that any of them
contain contributions of marked value, or any
better solutions of the problem stated by Mr.
Rich than have already appeared. We might
also mention that Mr. Rich has again favored us
with, a short note in which he admits that the
point raised by us in reference to the difference
between twelve-fifths and seven octaves came as
news td him. We had felt that Mr. Rich prob-
ably missed this little fact, which, while some-
what obscure, is nevertheless exceedingly impor-
tant. We merely point this out as showing that
the most painstaking of investigators occasion-
ally permits to escape from him some ugly little
truth which, small and insignificant as it ap-
pears, may possess the power of upsetting the
most beautiful theory.
Concert Tuning.
In the first place, of course, it is absolutely
essential that the would-be concert tuner be thor-
oughly familiar with all the intricacies of grand
piano mechanism. This naturally implies fac-
tory experience at the bench on grands. He must
be a practical action regulator and voicer. Above
all, he must be an accomplished tuner in the
highest sense.
And what do we mean by this last? We mean
that he must be able not merely to tune with
absolute or nearly absolute mathematical accu-
racy in the strictest form of equal temperament,
but his work must have absolute solidity. That
MANUFACTURERS OF
TUNERS' TOOLS, OUTFITS AND SUPPLIES
OF EVERY
DESCRIPTION.
Send for Illustrated Catalogue,
Franklin Square, Boston, Mass.