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THE MUSIC
TRADE
REVIEW, April, 1932
19
noticed and described by Lissajous and named
4. How do you "set" a temperament. What it was originally the humble servant. As
after him. This figure either stands still
is the best one?
things stand there can be no question what-
steadily or else goes through a cyclic change
Answer. Complete information upon every ever of making any change in the system of
of form, returning to its original shape at aspect of tuning, from the theory of the equal equal temperament. That system is fully de-
regular intervals. If this cycle of change temperament to its practical realization in scribed, both in its theoretical and its prac-
takes place in, say, two seconds, then the fork
practical tuning will be found set forth in full
tical aspect, between the covers of the book
under test is one-half a vibration either sharp but simple detail in my book, "Modern Piano I have mentioned.
or flat. The remaining tests required to bring Tuning and Allied Arts," which may be ob-
When therefore one speaks of one "tem-
the fork to absolute correctness can from this tained from the publisher of this paper, and perament" being better or worse than another,
easily be understood.
concerning which particulars will be found in he can only mean that one tuner succeeds
an advertisement in this issue.
better or worse than another in reducing the
2. What law underlies the fact that a
In this column now I shall merely say a requirements of the equal temperament to
reed, as used in a reed organ, sharps when
word on an aspect of the tuning question practical tuning. I am aware that many
it is scraped at the free end and flats when
it is scraped at its center or near its fixed which may not be thoroughly understood by tuners are not accurately informed as to the
my correspondent and which, in fact, many basis of the equal temperament, and do, in
end?
consequence, fail to translate its principles
Answer. Obviously if we scrape the reed, readers may be glad to have cleared up.
What I wish to make clear is that one must successfully into practice. Nevertheless, this
which is to say, file it down and reduce its
draw a definite distinction between "tempera- is a state of affairs which need not exist and
weight at any point, we alter the physical
conditions under which it vibrates. If it be ment" and the practical method of tuning which only does exist because there has never
made thinner at or near its fulcrum, then the according to it. It cannot too clearly be un- been any recognized authority to which to go
swinging part of its body is thereby made derstood, then, that only one system or prin- in search of the necessary technical training
relatively heavier, and so vibrates more ciple of tuning is allowable in the art and or to which to appeal for ultimate decision
slowly. If we file, that is to say, thin down practice of music. This is the Equal Tem- on disputed points. Each practitioner has
or lighten the reed at or near its free end, perament, which has become the basis of the therefore sought his own direction, with re-
we make the swinging part relatively lighter whole modern art of music and which exerts sults not always particularly happy from
an influence constant and decisive, albeit either a scientific or practical standpoint.
and so increase its speed of movement.
tacit, upon all that concerns the tone art, from
On the other hand, fine tuning appears to
3. How is the tremolo effect produced on the making of musical instruments to the com-
the double-reed harmonica? That is to say, position of symphonies. This system has be- be slowly dying out, at least in the piano-
how are the reeds tuned to obtain this effect? come so thoroughly taken for granted that forte field. The healthier condition of the
Answer. It is well known that when two very few persons, even among musicians, organ industry is helping to keep organ tun-
strings, reeds or other tone producers are seem to be aware that it is a mechanical ing in better technical condition, although
tuned very closely together but not exactly in compromise with the truth, adopted nearly organs are usually more roughly tuned than
unison, the sounding of both at once evokes two centuries ago simply because at the time would be tolerable in the case of pianofortes.
On the other hand, there is no good reason
what are called "beats," that is to say, risings of its adoption the arts of musical instrument
and fallings of the intensity of the combined construction and of musical instrument play- whatever for any failure of skill in piano-
sound, at intervals proportional to the differ- ing were relatively crude and imperfect. The forte tuning, save presumably the economic
ence between the frequencies of the two tones. equal temperament might long ere this have position to which all branches of musical art
This beating supplies the tremolo referred to. been superseded ; yet it has not only survived seem for the moment to have been reduced
and which has served to drive really com-
It is obvious that the speed of such a tremolo but has come to dominate the art of which
petent technicians out of the industry.
may be adjusted as required.
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How These Dealers Avoided the Sheriff
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