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

by William Braid White

In a word, the builders of small grands have the opportunity, if they care to avail themselves of it, to produce a form of miniature horizontal pianoforte that shall possess all the advantages of the large concert instruments, with the exception of the great tonal volume peculiar to the latter, and none of the disadvantages of bulkiness and ungracefulness. They can never hope to obtain the same tonal results from a 5-foot as from a 9-foot instrument; but they have the opportunity to popularize a touch and technique that is impossible of achievement for players of the upright, and a quality of tone that is equally unattainable on vertical instruments. Under all circumstances, it must be borne in mind that the results of small grand building, even when most carefully and skilfully executed, are essentially different from anything that has yet been produced in the tonal development of the pianoforte, and that no attempt to imitate the tonal properties of the large grand can be successful. The action and the touch are fit subjects for this kind of imitation, but such tonal quality as is susceptible of development is entirely original and indigenous to the miniature grand. The only legitimate field of inquiry along these lines, then, is that which has reference to the development and constructional principles of the small grand considered as a distinct type, and needing particular and definitely differentiated principles and methods.

Assuming the correctness of these premises (and their truth would appear to be obvious), we have to ask ourselves what is the exact nature of the problem which is set for solution, and wherein it differs from any that we have had to consider as yet. Bearing in mind that we are dealing with what is known as the “small grand,” although it is marketed under various other names selected by different manufacturers, we can state the constructional problem in fairly definite and exact terms.

It is required to build a pianoforte in horizontal form, of which the extreme length shall preferably not exceed five feet and six inches, and which shall be compensated for shortening by means of extra widening; which shall have the lines of a larger grand, refined to the highest degree, and within which the greatest possible tonal value shall be contained.

Viewed thus, it appears that the principal factors to be considered are string-length and sound-board area. It is obvious that the diminution of the former and restriction of the latter are inevitable; and the net result must be seen in a radical alteration, if not deterioration, of the tonal property of the instrument. It remains to be seen how we shall set about to transform this disadvantageous condition into one that shall work for us, and in accordance with our desires. In other words, as we cannot get a sound-board containing, say “n” square feet of superficial area into a case that only contains ³⁄₄ “n” square feet of space, we must resign ourselves to the inevitable, and search for ways and means whereby the difficulty of putting into a quart bottle more than it will hold may be evaded, if not explained away.

And first, then, let it be remembered that the only line where-from we can safely base any calculation is that which leads in the direction of a continual refinement of the means of applying sound-board construction to the instrument. We must utilize every inch of the superficies; we must discover and apply methods for opening up the vibratory area to the impressions received from the strings in a manner superior to that which has been deemed sufficient when space has been at a discount. We must arrange bridges and bearing-bars so that the string-lengths may be stretched to the utmost, and, lastly, we must use such minute care in the treatment of the hammer-striking line that the inevitable “breaks” in the tone shall be minimized.

The intelligent reader will not fail to observe that we have put forth here a tolerably difficult set of requirements. But he will likewise be equally quick to note that ultimate success in small grand designing depends entirely upon the manner in which these conditions are met. If they are slighted or slurred, if the designer attempts to ignore them, he will find that failure will surely follow. On the other hand, it would be too much to say that even the most faithful and conscientious effort applied to the elucidation of the problem will under all circumstances have the desired effect. The conditions are unusual; in some cases they do not admit of any direct and positive settlement. But in so far as these conditions can be met, in so far as they are susceptible of solution, the designing of the small grand can properly be made successful.

It must be recollected that the “striking-point” of the hammers is a vitally important element in the success of pianoforte building. It is the one factor that cannot be trifled with, and in treating which there must be rigid adherence to rule. Now it is well known that the correct striking distance has been ascertained (as shown in the body of this work) to be at a point between one-seventh and one-ninth of the speaking length of the string, the exact place for each string being calculated with reference to the actual speaking length. As worked out in the best practice, the shortest and highest pitched strings have their striking points at about one-tenth of the speaking lengths, while the longer and lower pitched elements further down the scale are made to conform more closely to rule. Now it is obvious that the application of this law to the very much shortened strings of a small grand will result in distinctly unsatisfactory quantity and quality of tone. But it will not do for us arbitrarily to change the actual striking point, for that would change the position of the hammer line, and experience has amply demonstrated that no such idea will work. Inasmuch, therefore, as we are estopped from interfering with the striking point, as far as concerns the actual hammer line, it becomes necessary to discover some means for obtaining a somewhat greater length of string in proportion to the dimensions of case. Careful measurement will show that the higher strings do not fall under the classification of “dangerous.” It is only when we approach the point where the overstringing begins that the disadvantage of decreased case length becomes apparent. The treble string-lengths at or near this place will be too great, if carried out according to the well-known and practiced laws of scale designing; while, if they are unduly shortened, the tensions and thicknesses will require to be submitted to such radical alteration as to make most unpleasant changes in the tonal quality and volume.

But while an absolute solution is out of the question, there is no doubt that we are able to find a fairly satisfactory substitute. There are two courses open to us. We are not permitted to make any great change in the tension, but, within certain limits, we may weight the string, and we may even stretch out its length, if we be very careful and watch out for every inch. The first method must always be used with caution. It is susceptible, and very easily, too, of improper application, and when abused becomes an enemy rather than a friend. In fact, the weighting of treble strings with iron or copper wire should be undertaken with the greatest caution, and only indulged in when the designer is absolutely unable in any other manner to obtain a proper vibrating length. The last two or three strings above the overstrung portion of the pianoforte may usually be wrapped without troublesome complications, but under no circumstances should the highest of these have a frequency greater than 128. On the other side, where the bass strings begin, this condition does not apply, for it is possible by means of suspension belly bridges, to increase the actual speaking lengths several inches. These suspension or extension bridges, as they are called, may also be used, though with caution, for the lowest treble strings. We have never advocated the splitting up of bridges, but there are cases, such as these, where unusual methods are quite unavoidable.

In the several ways thus sketched out, the designer of small grands may do something to overcome the manifest difficulties of his task. He may likewise take heart of grace when he approaches the matter of sound-board area, for in treating the string-lengths there appears a partial solution of the latter problem. In speaking of the use of suspension bridges we omitted to note that the position of these may be modified so as to give greater length to the speaking portions of the strings, by increasing the obliquity of the angle of the overstringing. Of course, this would be obvious, but it is perhaps not quite so clear that such adaptation will result in an opening out of spaces on the sound-board that are usually left severely alone. Moreover, if the necessary splitting up of the bridges be avoided by means of connecting strips of the same material, it is clear that the opening up of the sound-board may thus be carried up to the highest possible value.

Along such lines as these, it would seem, must the course of small grand designing be laid, at least as far as concerns the vital elements of string-length and sound-board area. There remains the question of the metal plate, and this deserves separate treatment.