Music Trade Review
Issue: 1926 Vol. 82 N. 17 - Page 42
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
TECHNICAL»SUPPIY DEPARTMENT
William YSrax&WtiteJechnical Editor
Weber, to mention only a few, have all at one
time or another stood for some quite marked
and individual tonal scheme; and yet there has
always been enough of a family resemblance
among them all to mark each as possessing the
Study of Leading American Makes of Pianos F r o m Tonal Standpoint Can Be Used as Basis to peculiar "American" quality. I am not express-
ing an opinion as to the beauty or relative merit
Arrive Definitely at a Tonal Standard Which Can Be Expressed in Scientific and
of
this tone-species. It just happens to be the
Tangible Terms—Such a Definition of American Tone Demonstrated
particular kind of thing which we have to give
the American public. The question that really
On the other hand there is another side to matters to us is "Are we maintaining this tone-
E in the piano industry are quite accus-
tomed to telling each other solemnly the question. Even if it be possible exactly to species? Are we preserving it in our contem-
that this or that question represents a describe in mathematical and physical terms, porary pianos? Is the tone we are producing
"vital problem," upon the solution of which de- universally understood and bearing always the to-day as good as, better than or worse than
pends all our future. There are a good many of same meanings, some given complex of physical the tone which the greatest makers had suc-
these problems, it seems, and one is sometimes conditions out of which comes a certain audible ceeded in obtaining forty years ago during what
tempted to wonder whether each of them can be result, who is to say whether this particular re- I have called the 'Golden A g e ? ' "
so very "vital" as all that, so to speak. There sult be desirable, satisfactory, salable, or
Difficulties of Definition
is, however, one problem which really one is whatever it is? Who is to tell?
I must evidently define what I mean by the
Common Consent
safe in calling vital; and that is the problem of
adjectives "better" and "worse" in this case.
deciding what is meant by good tone in the
Here we simply have to fall back upon com- And I define by saying that the measure of
piano.
mon consent; and although the guide furnished goodness should be the closeness of approach to
I am led to say this by reason of a discus- us in this way is by no means completely trust- the qualities which distinguished the tonal
sion which came up during the April meeting of worthy or even constant, it does provide us with achievements of the great age of American piano
the Western members of the National Piano certain broad facts upon which a judgment may making. The closer we keep to these the more
Technicians' Association. We were talking be based.
we may say that we are preserving the tradi-
about a program for the ensuing year and some
Common consent in this sense is not an inter- tion. The farther we depart from these the
one said that we ought to begin by finding out, national term. At best it is national, and the more likely we are to go wrong, for if one
if we could, what we meant by the term "good difference between what is the common consent thing be more certain than another it is that the
piano tone," as considered from the standpoint of one nation and what is accepted for the same tendency during the last four decades has not
of .practical factory work. The suggestion was in another is in some cases very great. In the been upward. There have been no real im-
very much to the point, it seems to me.
case of piano tone there are marked differences. provements in piano tone during all this time,
The greatest difficulty one has in attempting French ideas differ from German, German from and consequently there is at least good reason
to put the piano industry upon a scientific foun- British, British from American. In the United to suspect that any proposed innovation is likely
dation is the lack of verbal standards. There is States there have grown up out of the experi- to be no better than its many forebears.
no agreement, that is to say, as to the meanings ments and the achievements of the great manu-
So far then we are safe in insisting that the
of the words we use to explain our intentions or factures who flourished during the golden age typical "American" tone species has been real-
our ideas. We speak of "tone," but we do not of American piano making certain tonal customs, ized and is by common consent accepted in the
agree as to what each of us means by the word. as they may be called, to which the taste of the United States. Some months ago (Review,
We speak of "good tone," and we agree still nation has gradually grown and which are now January 2, 1926) I made a rather full analysis of
less. The truth is that there is no understand- unconsciously, but not the less firmly, fixed in this typical tone and reduced its description to
ing common to us all of what tone really is; the communal taste as the right thing. The terms of string motion, showing the partial
which is, of course, why we use such vague and American ear has become thoroughly accus- tone makeup and roughly the relative intensi-
scientifically meaningless adjectives as "good," tomed to a certain well-defined tonal complex, ties of the partial tones which
enter
"full," "round," "mellow," etc.
and an American piano is to be recognized any- into the complex. After speaking of the tonal
Each of these adjectives has a meaning of its where among instruments made in other coun- species characteristic of all the other modern
own, undoubtedly, but the trouble is that this tries, just as these in turn stand out at once musical instruments, I remarked that a resultant
varies with each user of it. No two men have when placed among American pianos. Yet there of the sound-curves of all these would show
ever agreed upon what they mean by, say, a are very considerable varieties within the Amer- something very closely approaching the sound-
"mellow" tone, and for the very simple reason ican tone species. Steinway, Chickering, Knabe, curve which belongs to the typical American
that there is only one system upon which con- Mason & Hamlin, Hardman, Baldwin, Mehlin, piano tone. This I described, not mathemati-
stant meaning can be built, and that system is
cally but in acoustical terms, as follows:
not verbal. In other words, if a description of
Definition of American Tone
a tonal quality, or tonal effect or result, can
"We may say that it is developed out of a
be put into some shape which will be exactly
strong fundamental, a noticeable but far less
the same to every technically educated person,
Asiociatt, American Society of Mechanical Engi-
powerful
second partial, a third partial still
neers; Chairman, Wood Industries Division, A. S.
then that shape cannot be verbal. It must of
perceptible but notably feebler, a feeble but still
M. E.; Member, American Physical Society; Mem-
course, then, be mathematical, for the only uni-
ber, National Piano Technicians' Association.
perceptible fourth partial, fifth and sixth par-
versal symbols are the symbols of mathematics.
tials just traceable by the naked ear, a seventh
rather more powerful than either the fifth or
the sixth, and a distinct trace of the eighth.
Above these are traces of the ninth, tenth,
Tonally and Mechanically Correct Scales
eleventh, twelfth, thirteenth and fourteenth par-
Tonal and Technical 8urreys of Product
A new booklet, "How To Repair Damage To
tials.
Tonal Betterment Work in Factories
Criterion of American Piano Tone Can
Be Definitely and Scientifically Had
W
William Braid White
Don't Lose Money
on Scratched Pieces
Consulting Engineer to
the Piano Industry
Varnished Surfaces" tells how anyone can quickly
turn scratched, marred and damaged pieces into
extra profit makers. It tells how to fill holes and
scratches, how to remove packing marks, how to
match stains, etc. It is no longer necessary to sell
instruments at "marked down" prices.
Get the
profit of the full price. A copy of this valuable
booklet sent FREE upon request. Pin this ad to
your card or letterhead today.
References to manufacturers of unquestioned posi-
tion In Industry
The M. L. Campbell Company
209 South State Street, CHICAGO
2336 Pennway
Established 1901
For particular*,
POLK COLLEGE
The Largest and Finest Piano
Trade College in the World
Personal instruction by lead-
ers in the profession. Sound-
proof individual studios, fin-
est equipment.
Complete
Courses.
Write for catalog
address
POLK COLLEGE OF PIANO TUNING
Kansas City, Mo.
Polk Building. Laportc. Ind.
A PIANO TUNING COURSE
ON A CO-OPERATIVE PLAN
Whereby each two weeks' technical training
in the school is alternated with two week*'
paid work in a shop.
Write for Catalog R
CO-OPBRATIVE PIANO TFNINO SCHOOL
The T.M.O.A., 1421 Areh St., Pbila., Pa.
We Specialize in Piano Key Work Recovering,
Rebuilding, Repairing, 40 Years' Experience
Correct spacing and alignment.
All work done by
experts with most modern machinery. If you have
any broken key» or tops, tend parts to us parcel
post or express.
Prices Low—ALL WORK GUARANTEED.
FRIELD MILLER & CO.,
3767 N. Illinois Street
Indianapolis, Indiana
42
OTTO R. TREFZ, Jr.
Piano Bass Strings
Piano Repair Supplies
2110 Fairmount AT*.
Philadelphia, Pa.
TECHNICAL»SUPPIY DEPARTMENT
William YSrax&WtiteJechnical Editor
Weber, to mention only a few, have all at one
time or another stood for some quite marked
and individual tonal scheme; and yet there has
always been enough of a family resemblance
among them all to mark each as possessing the
Study of Leading American Makes of Pianos F r o m Tonal Standpoint Can Be Used as Basis to peculiar "American" quality. I am not express-
ing an opinion as to the beauty or relative merit
Arrive Definitely at a Tonal Standard Which Can Be Expressed in Scientific and
of
this tone-species. It just happens to be the
Tangible Terms—Such a Definition of American Tone Demonstrated
particular kind of thing which we have to give
the American public. The question that really
On the other hand there is another side to matters to us is "Are we maintaining this tone-
E in the piano industry are quite accus-
tomed to telling each other solemnly the question. Even if it be possible exactly to species? Are we preserving it in our contem-
that this or that question represents a describe in mathematical and physical terms, porary pianos? Is the tone we are producing
"vital problem," upon the solution of which de- universally understood and bearing always the to-day as good as, better than or worse than
pends all our future. There are a good many of same meanings, some given complex of physical the tone which the greatest makers had suc-
these problems, it seems, and one is sometimes conditions out of which comes a certain audible ceeded in obtaining forty years ago during what
tempted to wonder whether each of them can be result, who is to say whether this particular re- I have called the 'Golden A g e ? ' "
so very "vital" as all that, so to speak. There sult be desirable, satisfactory, salable, or
Difficulties of Definition
is, however, one problem which really one is whatever it is? Who is to tell?
I must evidently define what I mean by the
Common Consent
safe in calling vital; and that is the problem of
adjectives "better" and "worse" in this case.
deciding what is meant by good tone in the
Here we simply have to fall back upon com- And I define by saying that the measure of
piano.
mon consent; and although the guide furnished goodness should be the closeness of approach to
I am led to say this by reason of a discus- us in this way is by no means completely trust- the qualities which distinguished the tonal
sion which came up during the April meeting of worthy or even constant, it does provide us with achievements of the great age of American piano
the Western members of the National Piano certain broad facts upon which a judgment may making. The closer we keep to these the more
Technicians' Association. We were talking be based.
we may say that we are preserving the tradi-
about a program for the ensuing year and some
Common consent in this sense is not an inter- tion. The farther we depart from these the
one said that we ought to begin by finding out, national term. At best it is national, and the more likely we are to go wrong, for if one
if we could, what we meant by the term "good difference between what is the common consent thing be more certain than another it is that the
piano tone," as considered from the standpoint of one nation and what is accepted for the same tendency during the last four decades has not
of .practical factory work. The suggestion was in another is in some cases very great. In the been upward. There have been no real im-
very much to the point, it seems to me.
case of piano tone there are marked differences. provements in piano tone during all this time,
The greatest difficulty one has in attempting French ideas differ from German, German from and consequently there is at least good reason
to put the piano industry upon a scientific foun- British, British from American. In the United to suspect that any proposed innovation is likely
dation is the lack of verbal standards. There is States there have grown up out of the experi- to be no better than its many forebears.
no agreement, that is to say, as to the meanings ments and the achievements of the great manu-
So far then we are safe in insisting that the
of the words we use to explain our intentions or factures who flourished during the golden age typical "American" tone species has been real-
our ideas. We speak of "tone," but we do not of American piano making certain tonal customs, ized and is by common consent accepted in the
agree as to what each of us means by the word. as they may be called, to which the taste of the United States. Some months ago (Review,
We speak of "good tone," and we agree still nation has gradually grown and which are now January 2, 1926) I made a rather full analysis of
less. The truth is that there is no understand- unconsciously, but not the less firmly, fixed in this typical tone and reduced its description to
ing common to us all of what tone really is; the communal taste as the right thing. The terms of string motion, showing the partial
which is, of course, why we use such vague and American ear has become thoroughly accus- tone makeup and roughly the relative intensi-
scientifically meaningless adjectives as "good," tomed to a certain well-defined tonal complex, ties of the partial tones which
enter
"full," "round," "mellow," etc.
and an American piano is to be recognized any- into the complex. After speaking of the tonal
Each of these adjectives has a meaning of its where among instruments made in other coun- species characteristic of all the other modern
own, undoubtedly, but the trouble is that this tries, just as these in turn stand out at once musical instruments, I remarked that a resultant
varies with each user of it. No two men have when placed among American pianos. Yet there of the sound-curves of all these would show
ever agreed upon what they mean by, say, a are very considerable varieties within the Amer- something very closely approaching the sound-
"mellow" tone, and for the very simple reason ican tone species. Steinway, Chickering, Knabe, curve which belongs to the typical American
that there is only one system upon which con- Mason & Hamlin, Hardman, Baldwin, Mehlin, piano tone. This I described, not mathemati-
stant meaning can be built, and that system is
cally but in acoustical terms, as follows:
not verbal. In other words, if a description of
Definition of American Tone
a tonal quality, or tonal effect or result, can
"We may say that it is developed out of a
be put into some shape which will be exactly
strong fundamental, a noticeable but far less
the same to every technically educated person,
Asiociatt, American Society of Mechanical Engi-
powerful
second partial, a third partial still
neers; Chairman, Wood Industries Division, A. S.
then that shape cannot be verbal. It must of
perceptible but notably feebler, a feeble but still
M. E.; Member, American Physical Society; Mem-
course, then, be mathematical, for the only uni-
ber, National Piano Technicians' Association.
perceptible fourth partial, fifth and sixth par-
versal symbols are the symbols of mathematics.
tials just traceable by the naked ear, a seventh
rather more powerful than either the fifth or
the sixth, and a distinct trace of the eighth.
Above these are traces of the ninth, tenth,
Tonally and Mechanically Correct Scales
eleventh, twelfth, thirteenth and fourteenth par-
Tonal and Technical 8urreys of Product
A new booklet, "How To Repair Damage To
tials.
Tonal Betterment Work in Factories
Criterion of American Piano Tone Can
Be Definitely and Scientifically Had
W
William Braid White
Don't Lose Money
on Scratched Pieces
Consulting Engineer to
the Piano Industry
Varnished Surfaces" tells how anyone can quickly
turn scratched, marred and damaged pieces into
extra profit makers. It tells how to fill holes and
scratches, how to remove packing marks, how to
match stains, etc. It is no longer necessary to sell
instruments at "marked down" prices.
Get the
profit of the full price. A copy of this valuable
booklet sent FREE upon request. Pin this ad to
your card or letterhead today.
References to manufacturers of unquestioned posi-
tion In Industry
The M. L. Campbell Company
209 South State Street, CHICAGO
2336 Pennway
Established 1901
For particular*,
POLK COLLEGE
The Largest and Finest Piano
Trade College in the World
Personal instruction by lead-
ers in the profession. Sound-
proof individual studios, fin-
est equipment.
Complete
Courses.
Write for catalog
address
POLK COLLEGE OF PIANO TUNING
Kansas City, Mo.
Polk Building. Laportc. Ind.
A PIANO TUNING COURSE
ON A CO-OPERATIVE PLAN
Whereby each two weeks' technical training
in the school is alternated with two week*'
paid work in a shop.
Write for Catalog R
CO-OPBRATIVE PIANO TFNINO SCHOOL
The T.M.O.A., 1421 Areh St., Pbila., Pa.
We Specialize in Piano Key Work Recovering,
Rebuilding, Repairing, 40 Years' Experience
Correct spacing and alignment.
All work done by
experts with most modern machinery. If you have
any broken key» or tops, tend parts to us parcel
post or express.
Prices Low—ALL WORK GUARANTEED.
FRIELD MILLER & CO.,
3767 N. Illinois Street
Indianapolis, Indiana
42
OTTO R. TREFZ, Jr.
Piano Bass Strings
Piano Repair Supplies
2110 Fairmount AT*.
Philadelphia, Pa.
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