Music Trade Review

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THE MUSIC TRADE REVIEW
THE REVIEW'S TECHNICAL DEPARTMENT.
Conducted and Edited by Win. B. White.
We are always glad to have the opportunity of
reading communications from really earnest and
enthusiastic correspondents. It is not difficult to
gauge the degree of sincerity that actuates a
man in writing to this department for informa-
tion on practical subjects, and we are always
pleased to note such letters as display the au-
thorship of the seeker after truth. It is with
gratification, therefore, that we call the readers'
attention to the following from W. R. Harper, of
Ontario, Cal.
"I cannot find any information relating to the
harmonic or sympathetic tones that are frequent
in the lower or bass strings of pianos. How and
what are the best ways to overcome them, in tun-
ing? Also can you tell me how fast the sound
vibrations should be in tuning the fourths and
fifths in setting the temperament?"
* "
hear an alternate rising and falling of the in-
tensity of sound. This phenomenon is known as
a "beat." The number of beats, of course, de-
pends entirely upon the difference of frequency
of the two wave systems. Thus, if the difference
of frequency is three vibrations per second, three
beats will be induced.
tressing falseness. The remedy suggested may
always be tried and the chances are in favor of
its being successful in a majority of cases. On
the other hand, there will always be found spe-
cially obstinate strings that refuse all palliatives,
and seem to glory in their diseased condition.
It is hardly worth while to waste one's time over
them. Let them either be removed bodily, or else
left severely alone.
In reference to the second question put by our
correspondent, regarding the rates of beats to be
estimated in arranging the temperament scheme,
we are again bound to note an inexactness of
terminology that might be very confusing. Cer-
tainly, there is no question here of rates of vibra-
Now, we know that the sound produced by a tion, for the human ear is no longer capable of
string is compound in nature, being composed of distinguishing these when they become suffi-
the various sounds produced by the vibration of ciently rapid to coalesce into a continuous sound.
the whole length of the string and the simultane- As was pointed out above, the estimation of beats
ous vibration of segments thereof. It is obvious induced by a greater or less degree of dissonance
that if, through a fault of construction, the fre- between the strings sounding an interval, is the
quency of a certain segment of a string be greater chief guide and reliance of the tuner. Indeed,
or less than the proper frequency of the partial he cannot pretend to accuracy without a careful
tone corresponding to it, there will be a.produc- study and practice of the beat method. It is
tion of beats. This defect is especially notice- understood that the number of beats varies di-
able in the case of the bass strings. By reason rectly as the difference of the frequencies of the
The questions propounded here are by no of their compound construction, these strings are two sounds that are being treated. Thus the
means new, and indeed have more than once the more susceptible to the influence of faulty actual number of audible beats will anywhere
been answered more or less completely in these vibration of segments. Thus we often find that and at all times depend upon the pitch of the
columns. Nevertheless, the matters treated are bass strings are incapable of producing a tone sounds involved. If, however, we take the stand-
ard pitch, C 517.3, we may say with reasonable
of such importance that we never neglect an op- unaccompanied by beats.
This, then, is the physical explanation of accuracy what should be the rates of beats in the
portunity for laying down the laws that govern
beats in general, and particularly of the beats fifths and fourths for the octave around middle
them.
In the first place, however, we must ask the found in single strings. It is, of course, well C, which is generally used by the tuner in ar-
reader to note that the term "harmonic or sym- known that the phenomena of beats are taken ad- ranging the temperament scheme.
pathetic tone" is not exact, as applied to the false vantage of by the tuner in estimating the cor-
Of course, it is understood that the equal tem-
tones that are frequently produced by the wound rectness of his tempering. They have their uses, perament requires the contraction of the fifths
strings of pianofortes. A "sympathetic tone," in fact, and very important uses, too. But when and the expansion of fourths. The practical
if anything, is a tone induced by resonance, and we ask ourselves what is the best method of over- tuner will find that the best results are gained
is the direct effect of another tone. Thus, when coming these "inherent beats," as we may term when two audible beats are heard between the
a note on the pianoforte is struck, while the dam- them, the problem seems difficult. The following sounds composing the interval of a fifth, and
per of the note one octave above is lifted, we extract from one of our previous writings on three audible beats in the case of the interval
find that if we then damp the first, the second tuning may be of interest in this regard.
of a fourth. These are, of course, merely approxi-
will continue to sound. This is an example of
mations, but they will be found to hold good
sympathetic induction of sound. A "harmonic
"In further reference, then, to what we have within very close limits, and may be taken as a
tone," although the term itself is inexact, means termed 'inherent beats.' The best method that model and guide by all tuners. It need hardly
one of the partial tones that result from the has occurred to us during long practical experi- be said that the beats will be more rapid as the
vibration of a string in segments, simultaneously ence lies in the application of the homoeopathic pitch rises, and conversely, less so as the pitch
with the vibration of the whole length. The principle of "Like cures like." Thus, when we falls. In the same way, as the frequencies of
sounds that are produced by the vibration of seg- have two strings, of which one suffers from the sounds double at each octave ascending, the beat
ments of a string when it is excited into sonority, malady described, it will often be found that a rates double, and vice-versa. Thus it is very
bear certain definite relations to the sound pro- remedy may be procured by tuning the pure necessary that the tuner exercise the greatest
duced by the vibration of the whole length, which strings somewhat out of unison, in an endeavor care in tempering the intervals of the middle
latter determines the recognized pitch of the to neutralize the permanent .beats of the one by octave, lest the upper sounds be rendered harsh
string. But only some of these sounds bear to the interjection of beats from the other. While and inharmonious by a superfluity of beats be-
the prime tone relations that can be called har- this is often a valuable method, it is by no means tween the intervals. This is a point that is
monic; others are entirely dissonant, and the a panacea, and when it is found that the inherent sometimes neglected, but it cannot be too strong-
term "partial tone" is the only one that can be beats are too strong to be covered up in this ly insisted upon.
properly applied to them.
manner, there is nothing to be done but to make
the best of it, and let them alone." This short
Many tuners who glory in a conspicuously-dis-
We see, therefore, that the terminology em- extract shows how little definite information can played label with "practical man" graven upon
ployed by our correspondent is inexact, even be given on the subject of neutralizing the falsity it, will smile at the foregoing, and talk derisively
taken at its most obvious interpretation. We of single strings. Of course, when we are dealing of theories and theorists. Nevertheless, the re-
conceive, however, that he is referring to the with the lowest bass strings, the defects are not sults that are obtained by these persons, through
peculiar phenomena audible in badly constructed so easily noticeable, for obvious reasons, but the the medium of guesswork, are always tending
or falsely scaled bass strings. It will often be usual troubles are to be found in the middle of towards the same realities as the theorist has
noticed that certain bass strings do not produce the bass register. Here, where the double strings discovered. Moreover, the methods that are ac-
a clear tone, but, on the contrary, their sound are found, inherent beats often cause most dis- quired through careful study and application of
is accompanied by the same kind of "beats" as
occur when two strings not quite in unison are
sounded simultaneously. These "beats," proper-
ly so-called (the terms "wave" or "vibration"
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comes when the crest of one wave system crosses
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other. In the one case we have a maximum of
resonance, and in the other a complete extinction
of sound. The latter phenomenon only lasts a
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