Theory and Practice of Piano Construction / With a Detailed, Practical Method for Tuning

by William Braid White

Unfortunately, however, examination of any considerable number of pianofortes of various makes will soon convince the reader that these details of construction are seldom given enough attention. Many instruments will be found to have the back posts joined at top and bottom by short pieces of wood which do not extend further than the two posts which each unites. Such a method of construction, especially when combined with careless gluing and an absence of other fastenings, provides a frame that possesses none of the desiderata of homogeneity, compactness and strength.

BACK VIEW OF UPRIGHT PIANOFORTE, KNABE PATENTS, SHOWING RIBBING OF SOUND-BOARD AND CONSTRUCTION OF BACK FRAMING.

The upright wrest-plank differs somewhat from the synonymous structure used in the grand. It does not suffer under the disadvantage of an involuntary and inevitable separation from the sound-board and the lower portion of the back, but, when constructed with a due regard for correct principles, forms one homogeneous and uniform structure. The upright wrest-plank should, therefore, possess rigidity and resisting power of the highest order, and should form an unyielding support for the tuning-pins. The general construction of such a wrest-plank will not differ materially from that which has already been discussed in reference to the grand pianoforte. That is to say, the building up of the body of the structure from crossed layers of hard maple and the bolting of it into the iron frame (when the latter is made so as to extend over the whole surface of the back frame) will be done in the same way. But the upright wrest-plank derives from the peculiar form of construction that is proper to the upright pianoforte a further element of strength that is lacking in the grand. For it is in direct and solid connection with the sound-board and the other parts of the back-framing, and thus obtains a considerable addition of strength. Indeed, the wrest-plank should be so constructed as to form an integral part of the top rail of the back, and should be, in fact, the front portion of this rail. Further, its connection with the rest of the back-frame should be as close and binding as possible, and it is most essential that a sufficient number of lag screws should be driven into the wrest-plank and through the latter into the further and remote parts of the back-frame top-rail.

Having thus analyzed the construction of the back in all its parts and divisions, we may return to the discussion of the sides of the case and the best methods of uniting them with the back. The reader has now a good working knowledge of the construction, prior to the putting on of the sides, and he cannot have failed to come to the conclusion that gluing is a poor method for joining heavy sides to the elaborate structure known as the back. Nor does there seem to be any good practical reason why some other method should not be substituted for the antiquated gluing. There is no good mechanical reason why a system of screws should not be devised that would not only not mar the outer appearance of the case, but also afford a more certain and secure manner of uniting the sides to the rest of the instrument. Moreover, such a method would largely increase portability by making possible the removal of the sides when conditions of transport required this. Manufacturers might profitably spend a little time in estimating the saving that a detachable side would enable them and the dealers to effect in their annual shipping and trucking bills.

The various sizes of upright pianofortes that are customarily found range from nearly five feet in height down to about ten inches less. Some very small models are made no more than four feet high. But the public appears to prefer the larger styles, and in this they are entirely right. For the very small pianofortes, no matter how cunningly they be scaled, cannot be equipped with strings of the proper lengths, nor with sound-boards of sufficient area. Hence their tonal possibilities are very limited. The full sized upright, on the other hand, approaches closely to the tonal excellence of the grand.

The styles of case decoration that are and have been applied to the upright are even more striking and varied than those of the grand. For the upright lends itself more readily to that kind of decorative treatment that considers the whole case as one single entity, and thus harmoniousness of design and unity of treatment are more easily obtained. At the same time, we are bound to confess that the outline of the upright is essentially box-like, and that this defect operates continually to nullify the efforts of the designer to conceal it. It is a fact that over-elaboration of decorative treatment is usually accompanied by most unfortunate effects; while the larger styles at least are little adapted to sustain the burden of meretricious exterior adornment. In fact, we may well say that the upright is decoratively at its best in the small sizes. Since, however, there is a public demand for large models, which are indeed mechanically and acoustically superior, we must be content to observe the progress of decorative ideas as applied to the beautifying of these.

One of the most striking features of the modern decorative movement, as applied to furniture, is seen in the great popularity of rare and beautiful woods. These are much prized, and it has come to be popular to finish them in such a manner as plainly to exhibit the natural figurings and markings. We have even seen a craze for plain rubbing with wax, which leaves the wood in absolutely its natural appearance. Red and White Mahogany, Burled and Circassian Walnut, Satin Wood, Bird’s-Eye Maple, Golden and Flemish Oak, and many other beautiful and costly varieties are constantly made up into rich and elaborate pieces of furniture. In this development the upright has had a large part. While the large size and great first cost of the grand has made the purchasing of specially decorated cases a matter to be avoided by all except the wealthy, the same obstacle has not so largely existed to frighten away the artistic would-be-purchaser of an upright. In fact, the decorative movement has shown its best manifestations through the medium of the upright pianoforte, and this in spite of the unfortunate outline of the instrument that resists all efforts to conceal its excessive crudity.

Models of the English schools have been produced with great success, and the inlaying of rich woods, after the manner of Chippendale, has resulted in some very beautiful specimens of this particular art. Again, we find the so-called Renaissance, the Colonial, the Empire (more elaborate than the other two), the Doric (severely simple), and last but not least, the Mission. The latter, extraordinary perversion of the handicraft of the Spanish fathers as it usually is found to be, has nevertheless been the cause of one great good. It has begun to popularize the dull finish, and to teach the public that the high, glassy, fragile, and unreliable varnish finish is not the only possible way of putting a surface upon wood. The Mission craze has taught many people to admire the natural figure and markings of a fine veneer or piece of lumber, without regard to the fact that it is or is not covered with a mirror-like finish that cracks as soon as the room becomes cold.

In fact we may discern the encouraging signs of a growing sanity and refinement in the demand for, and production of, suitable designs for the decorative treatment of pianoforte cases. It has come to be recognized that a truly chaste and beautiful exterior is the fitting complement to richness and nobility of tone. The growth of this feeling deserves the highest encouragement from all. American makers may well congratulate themselves upon being the foremost exponents of this movement.