Music Trade Review
Issue: 1917 Vol. 65 N. 11 - Page 16
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THE
16
MUSIC
TRADE
REVIEW
fers me a comprehensive statement of reasons
for his faith in his method, J. C. Miller has been
(Continued from page 15)
good enough to make some valuable and weighty
I tune all my Fourths above and Fifths from observations from his point of view, and George
below. I choose the octave between middle C L. Maitland makes some equally interesting re-
and the C below where the beats are relatively marks. These I shall publish, and then 1 think
slow and distinct. I have Thirds or Sixths to the feast of reason and flow of soul may be fitly
prove every note by except three. I have never brought to an end with some general remarks
met a tuner who used this system, although it by the toastmaster, in the course of which he
seems to me that it is the easiest one possible hopes to sift the chaff from the wheat, and show,
to devise and learn. Briefly it is as follows:
with some approach to truth, where the gold
"Middle C to F a Fifth below. F to B flat a for which we are all hunting may most prob-
Fourth above. B flat to E flat a Fifth below, ably be found.
test with middle C a major Sixth. E flat to A
While on the subject, however, I might say
flat a Fourth above, test with middle C a major two things. One is that there is still time for
Third. A flat to D flat a Fifth below, test more contributions; and if any reader has any-
with F a major Third and B flat a major Sixth. thing to tell, let him speak; and speak before
D flat to G flat ( F # ) a Fourth above, test with the first of October, after which day I shall,
E flat a major Third. F # to B a Fourth above. for a season, pigeon-hole temperament argu-
B to E a Fifth below, test with G # a major ments. The other is that 1 hope nobody else
Third. E to A a Fourth above, test with F a made the absurd mistake of which one eminent
major Third or C a minor Third. A to D a critic was guilty with regard to myself and the
Fifth below, test with F # a major Third and method 1 _ have proposed for practical tuning
a major Sixth. D to G a Fourth above, test of temperament; namely, of omitting to read my
with E flat and B major Thirds and C a Fourth. preliminary explanation and then supposing that
G to C a Fifth below. I have said nothing I did not know the mathematical basis of equal
about the speed of the beats per second of the temperament well enough to multiply by the
various intervals, as this has been fully ex- right factor. Seeing, however, that both in the
plained by the editor.
My final test of the Technical Department and in foreign journals
temperament is the comparison of the major I have repeatedly set forth the facts and fig-
Thirds and Sixths through the octave beginning ures accurately to several places of decimals,
with lower C.
perhaps readers generally will believe me when
"I do not use chord tests very much, but con- I assure them that I am not wholly destitute
fine myself mostly to open intervals such as of mathematical knowledge.
C—E flat—C, C—E—C, C—F—C, C—G—C,
I felt I had to get that wail off my chest;
C—A flat—C, C—A—C. As I approach the ex- with due apologies to the eminent Jerseyman
tremes of the scale I use more extended inter- aforesaid, I may now gracefully subside.
vals, as the Tenth, double octave, double octave
and Third. These intervals have simple ratios
A NOTE ON DISTINCTIONS
and errors are more easily detected.
Before
Apropos of this same topic, which has ex-
leaving the piano I give the whole scale some
tests that I consider pretty severe. My motto cited us all during the past weeks, may I make
is: Make the last job the best one. I wish a simple suggestion regarding the best manner
to express my personal appreciation of the arti- of approaching any technical discussion? It is
cles by Mr. Payson, Mr. Manning, Mr. Ingalls that the distinction between Science and Art
and others. I wish we might hear from O. C. be always kept in mind. In our special line of
Faust.
Respectfully, A. F. Atkin, Bowling work we have, of course, the Science of tun-
ing; which means the whole body of physical
Green, O."
facts, systematized until general conclusions
can be accurately drawn from them. We also
NEARING THE HOME STRETCH
have the Art of tuning; which means the prac-
The great symposium nears its end, and it is tical application of the scientific rules to the
already possible to take a general view of it practical end of tuning a piano. The distinc-
and of the facts which have been disclosed. tion is manifest; but many highly intelligent
There remain, however, several valuable con- men habitually confuse the two.
tributions still unpublished. Mr. Manning of-
Such confusion is not only unfortunate; it
OUR TECHNICAL DEPARTMENT
We Depend Upon Quality
We rely on the quality of our pianos and players
to bring us more business. Consequently, every
instrument that goes out of this factory is carefully
inspected so that we can be certain it will give full
satisfaction.
Under this policy, our progress has been steady.
Every dealer who handles our line has become a warm
friend of this house. Artistic pianos at fair prices,
combined with square treatment, always win.
Kindler & Collins
^Newjfork
destroys all possibility of agreement with others
who have rightly seen the distinction involved.
When I am discussing the Science of tuning, I
am bound to set forth the physical facts in their
true mathematical relations, no matter how rec-
ondite these become. If I state a mathematical
fact to less than the required number of deci-
mal places, I must explain my inaccuracy; and
justify it. But I must not allow it to be sup-
posed that it is not an inaccuracy, however al-
lowable.
Per contra, when I am discussing the Art of
tuning, my data are not alone the scientific
facts, but also the human ability to make use
of them. I have to deal with the human tuner
as well as with scientific material that tuner has
to use. Therefore,, from the beginning, I am
compelled to allow for a variable factor; and
an independent variable at that. Accuracy, in
the scientifice sense, is then possible, or even
legitimate, only in proportion to the observed
ability of the tuner to express it.
If the tuner were dealing with instruments of
precision the case would be different. But he
is dealing with an instrument of extreme crude-
ness—the piano. It is in failing to remember
this that the academic critic sometimes goes
wrong. If the tuner, for instance, could tune
by the optical method of Lissajous, or by the
clock-tuning-fork method of Koenig, the result
would be scientifically more accurate; but only
in so far as the mechanical construction of the
piano permitted the tensioning of the string ac-
curately. Yet, even so, the tuner would be no
better off, but worse off. He is compelled to
tune commercially; to do a piano in such and
such a time. Hence, once more, all his condi-
tions are rough and inaccurate. He cannot alter
them, no matter how earnestly he may desire
to do so.
Therefore, when I am writing about the Art
of tuning, I must write from the standpoint of
the Art, not from the Standpoint of the Sci-
ence. Suppose, for example, that I make the
mistake of telling a tuner, in an attempt to in-
struct him as to the best way of setting tem-
perament, that he must tune a certain Fifth nar-
row by .58 of one beat per second, the E. T.
beat rate of the Fifth F2—C s at international
pitch.
Now, what exactly does this imply?
First it implies that he is tuning precisely to
the pitch Cs=258.65, which in turn implies both
that his tuning fork is accurate, and also that
he can tune accurately a string to it; all assump-
tions of considerable doubtfulness. Second, that
rate can only be counted as a whole number,
to be accurate, which implies the counting of
58 beats in 100 seconds; which is absurd (a)
because the tone of the piano does not last long
enough, and (b) because to count accurately
over such long intervals of time requires special
training, and a repetition of the experiment for
every error noted, together with careful com-
parison between at least two observers, to allow
for personal equation of error, and a final strik-
ing of the mean between all the observed re-
sults.
In a word, the thing is ridiculous. Science is
the basis of Art; but Science is not Art. Art
is the application of Science; but Art does not
reach the level of Science. Science is abstract,
Art is concrete. Science deals with Universals;
Art with Particulars.
Therefore, if instead of telling a man to try
the obviously impossible task of estimating ac-
curately a rate of 58 beats in 100 seconds, I
give him a metronome, set it to beat 69 times
per minute, and then set the bell to ring every
second strike, telling him to tune till his beat-
rate is equivalent to the bell-rate of the metron-
ome; I am talking good practical talk, based on
Science, but accommodated to the possibilities
of Art. In short, I am talking sense; not non-
sense. The metronome idea, by the way, which
I have used successfully, was suggested by
August Reisig, of New Orleans.
Communications for this department should
be addressed to William Braid White, care The
Music Trade Review, 373 Fourth avenue, New
York City, N. Y.
THE
16
MUSIC
TRADE
REVIEW
fers me a comprehensive statement of reasons
for his faith in his method, J. C. Miller has been
(Continued from page 15)
good enough to make some valuable and weighty
I tune all my Fourths above and Fifths from observations from his point of view, and George
below. I choose the octave between middle C L. Maitland makes some equally interesting re-
and the C below where the beats are relatively marks. These I shall publish, and then 1 think
slow and distinct. I have Thirds or Sixths to the feast of reason and flow of soul may be fitly
prove every note by except three. I have never brought to an end with some general remarks
met a tuner who used this system, although it by the toastmaster, in the course of which he
seems to me that it is the easiest one possible hopes to sift the chaff from the wheat, and show,
to devise and learn. Briefly it is as follows:
with some approach to truth, where the gold
"Middle C to F a Fifth below. F to B flat a for which we are all hunting may most prob-
Fourth above. B flat to E flat a Fifth below, ably be found.
test with middle C a major Sixth. E flat to A
While on the subject, however, I might say
flat a Fourth above, test with middle C a major two things. One is that there is still time for
Third. A flat to D flat a Fifth below, test more contributions; and if any reader has any-
with F a major Third and B flat a major Sixth. thing to tell, let him speak; and speak before
D flat to G flat ( F # ) a Fourth above, test with the first of October, after which day I shall,
E flat a major Third. F # to B a Fourth above. for a season, pigeon-hole temperament argu-
B to E a Fifth below, test with G # a major ments. The other is that 1 hope nobody else
Third. E to A a Fourth above, test with F a made the absurd mistake of which one eminent
major Third or C a minor Third. A to D a critic was guilty with regard to myself and the
Fifth below, test with F # a major Third and method 1 _ have proposed for practical tuning
a major Sixth. D to G a Fourth above, test of temperament; namely, of omitting to read my
with E flat and B major Thirds and C a Fourth. preliminary explanation and then supposing that
G to C a Fifth below. I have said nothing I did not know the mathematical basis of equal
about the speed of the beats per second of the temperament well enough to multiply by the
various intervals, as this has been fully ex- right factor. Seeing, however, that both in the
plained by the editor.
My final test of the Technical Department and in foreign journals
temperament is the comparison of the major I have repeatedly set forth the facts and fig-
Thirds and Sixths through the octave beginning ures accurately to several places of decimals,
with lower C.
perhaps readers generally will believe me when
"I do not use chord tests very much, but con- I assure them that I am not wholly destitute
fine myself mostly to open intervals such as of mathematical knowledge.
C—E flat—C, C—E—C, C—F—C, C—G—C,
I felt I had to get that wail off my chest;
C—A flat—C, C—A—C. As I approach the ex- with due apologies to the eminent Jerseyman
tremes of the scale I use more extended inter- aforesaid, I may now gracefully subside.
vals, as the Tenth, double octave, double octave
and Third. These intervals have simple ratios
A NOTE ON DISTINCTIONS
and errors are more easily detected.
Before
Apropos of this same topic, which has ex-
leaving the piano I give the whole scale some
tests that I consider pretty severe. My motto cited us all during the past weeks, may I make
is: Make the last job the best one. I wish a simple suggestion regarding the best manner
to express my personal appreciation of the arti- of approaching any technical discussion? It is
cles by Mr. Payson, Mr. Manning, Mr. Ingalls that the distinction between Science and Art
and others. I wish we might hear from O. C. be always kept in mind. In our special line of
Faust.
Respectfully, A. F. Atkin, Bowling work we have, of course, the Science of tun-
ing; which means the whole body of physical
Green, O."
facts, systematized until general conclusions
can be accurately drawn from them. We also
NEARING THE HOME STRETCH
have the Art of tuning; which means the prac-
The great symposium nears its end, and it is tical application of the scientific rules to the
already possible to take a general view of it practical end of tuning a piano. The distinc-
and of the facts which have been disclosed. tion is manifest; but many highly intelligent
There remain, however, several valuable con- men habitually confuse the two.
tributions still unpublished. Mr. Manning of-
Such confusion is not only unfortunate; it
OUR TECHNICAL DEPARTMENT
We Depend Upon Quality
We rely on the quality of our pianos and players
to bring us more business. Consequently, every
instrument that goes out of this factory is carefully
inspected so that we can be certain it will give full
satisfaction.
Under this policy, our progress has been steady.
Every dealer who handles our line has become a warm
friend of this house. Artistic pianos at fair prices,
combined with square treatment, always win.
Kindler & Collins
^Newjfork
destroys all possibility of agreement with others
who have rightly seen the distinction involved.
When I am discussing the Science of tuning, I
am bound to set forth the physical facts in their
true mathematical relations, no matter how rec-
ondite these become. If I state a mathematical
fact to less than the required number of deci-
mal places, I must explain my inaccuracy; and
justify it. But I must not allow it to be sup-
posed that it is not an inaccuracy, however al-
lowable.
Per contra, when I am discussing the Art of
tuning, my data are not alone the scientific
facts, but also the human ability to make use
of them. I have to deal with the human tuner
as well as with scientific material that tuner has
to use. Therefore,, from the beginning, I am
compelled to allow for a variable factor; and
an independent variable at that. Accuracy, in
the scientifice sense, is then possible, or even
legitimate, only in proportion to the observed
ability of the tuner to express it.
If the tuner were dealing with instruments of
precision the case would be different. But he
is dealing with an instrument of extreme crude-
ness—the piano. It is in failing to remember
this that the academic critic sometimes goes
wrong. If the tuner, for instance, could tune
by the optical method of Lissajous, or by the
clock-tuning-fork method of Koenig, the result
would be scientifically more accurate; but only
in so far as the mechanical construction of the
piano permitted the tensioning of the string ac-
curately. Yet, even so, the tuner would be no
better off, but worse off. He is compelled to
tune commercially; to do a piano in such and
such a time. Hence, once more, all his condi-
tions are rough and inaccurate. He cannot alter
them, no matter how earnestly he may desire
to do so.
Therefore, when I am writing about the Art
of tuning, I must write from the standpoint of
the Art, not from the Standpoint of the Sci-
ence. Suppose, for example, that I make the
mistake of telling a tuner, in an attempt to in-
struct him as to the best way of setting tem-
perament, that he must tune a certain Fifth nar-
row by .58 of one beat per second, the E. T.
beat rate of the Fifth F2—C s at international
pitch.
Now, what exactly does this imply?
First it implies that he is tuning precisely to
the pitch Cs=258.65, which in turn implies both
that his tuning fork is accurate, and also that
he can tune accurately a string to it; all assump-
tions of considerable doubtfulness. Second, that
rate can only be counted as a whole number,
to be accurate, which implies the counting of
58 beats in 100 seconds; which is absurd (a)
because the tone of the piano does not last long
enough, and (b) because to count accurately
over such long intervals of time requires special
training, and a repetition of the experiment for
every error noted, together with careful com-
parison between at least two observers, to allow
for personal equation of error, and a final strik-
ing of the mean between all the observed re-
sults.
In a word, the thing is ridiculous. Science is
the basis of Art; but Science is not Art. Art
is the application of Science; but Art does not
reach the level of Science. Science is abstract,
Art is concrete. Science deals with Universals;
Art with Particulars.
Therefore, if instead of telling a man to try
the obviously impossible task of estimating ac-
curately a rate of 58 beats in 100 seconds, I
give him a metronome, set it to beat 69 times
per minute, and then set the bell to ring every
second strike, telling him to tune till his beat-
rate is equivalent to the bell-rate of the metron-
ome; I am talking good practical talk, based on
Science, but accommodated to the possibilities
of Art. In short, I am talking sense; not non-
sense. The metronome idea, by the way, which
I have used successfully, was suggested by
August Reisig, of New Orleans.
Communications for this department should
be addressed to William Braid White, care The
Music Trade Review, 373 Fourth avenue, New
York City, N. Y.
Future scanning projects are planned by the International Arcade Museum Library (IAML).