We have taken pains already to insist upon the necessity for compromise in the building of small grands. Regarding the iron plate, we have to observe that great care must be taken to avoid undue massiveness, for this will entirely spoil the tone quality, as the other dimensions are not capable of supporting a large mass of metal without tonal deterioration. On the other hand, it is equally certain that we can afford to sacrifice nothing in the way of strength, as we purpose to have the highest tensions and the greatest lengths possible within the space limitations of our instrument. The ordinary form of plate, copied from the large grand, may very advantageously be modified by the adoption of a truss or arch construction, which will enable a large amount of metal to be cut away from the treble sides without sacrificing any strength.
Along such lines, as we have already said, the design of small grands must of necessity proceed. We feel that it would not be improper to repeat our formerly expressed opinion as to the nature and functions of the small grand. It has come into existence in answer to a public demand for something differentiated from the upright, possessing great beauty of outline, and yet adapted to the confined surroundings of contemporary domestic life. It is not and cannot be a rival of larger horizontal forms; it is physically estopped from the realization of such ambitions. But it has a place in the economy of the musical world, and such a place as nothing else would satisfactorily fill. Wielding the mighty influence of the name “grand pianoforte” and with the initial advantages over the upright that its form, touch and action imply, it would indeed be remarkable if the production of the small grand did not become more and more a part of the regular routine of all pianoforte manufacturing establishments. The design of its case will always, surely, be above criticism. It is out of our province to enlarge upon the details of case architecture, but it may be pointed out that such details as graceful trusses, well-designed lyre, and carefully molded curves do much to make or mar the future of a small grand, entirely apart from the excellence of its scale. The general effect should be that of lightness and grace; a touch of frivolity even will not be out of place. The little instrument is likely to find its way into homes where money is not always an object, and where the ability to enjoy the best that life contains is usually present. The designer will make no mistake if he keeps this in mind.
UNUSUAL METHODS OF CONSTRUCTION.
As the reader is well aware, the greater part of the present work has been devoted to an exposition of the broad principles underlying all right methods of pianoforte construction. We have devoted little space therefore to the elaboration of features without this classification, or to the consideration even of such ideas and methods as do not fall within the lines laid down in the theoretical portion of this treatise. Busily occupied, as we have been, with the development of acoustical and mechanical principles and their application along the most obvious and natural lines, we have been forced to neglect one of the most interesting studies that can be taken up by the investigator; to wit: the ideas, inventions and devices that have sprung from the brains of the numerous mechanical and acoustical geniuses who have illuminated the course of pianoforte history and development. Many of these ideas have proved impracticable under the stress of use; others, again, have been shown to be commercially unprofitable; a still larger number have flourished during a longer or shorter period or have been neglected by all others than their original inventors. The true place for a study of these neglected children of enthusiastic, if not always practical, brains is in a history of the pianoforte rather than in a technical treatise on construction.
[The End.]
The following corrections have been made to printer’s errors in this text:
| Page | Correction | Location in Text |
|---|---|---|
| 20 | Handel to Händel | time of Händel; |
| 20 | pianforte to pianoforte | which the grand pianoforte |
| 27 | begin to begun | now about to be begun. |
| 32 | closing parenthisis inserted | staff in the bass clef) |
| 32 | B-sharp to B-Natural | note 15 in harmonic series table |
| 41 | B double F-flat to B double flat | minor sixths table |
| 42 | clasisfied to classified | These sounds are thus classified: |
| 49 | of to or | imply a length or height of |
| 53 | asumption to assumption | made on the assumption |
| 68 | veenered to veneered | turning out of such veneered cases, |
| 77 | missing comma inserted | (more elaborate than the other two), |
| 86 | homogenous to homogeneous | plate as homogeneous with the sides |
| 87 | is to it | In fact it occupies |
| 99 | REPETITON to REPETITION | DOUBLE REPETITION ACTION |
| 109 | fough to fought | already been fought out |
| 113 | any one to anyone | through by anyone who hopes |
| 123 | synchromize to synchronize | will synchronize with each other, |
| 124 | mesontonic to mesotonic | that the mesotonic system, |
| 125 | period added | in the ratio 1296: 1250. |
| 131 | turned to tuned | conversely, if the tuned notes |
| 148 | closing quote added | vacuum in the “diaphragm chamber,” |
| 154 | Wtihout to Without | Without entering into wearisome detail, |
| 154 | possesed to possessed | musical advantages possessed |
| 155 | circustances to circumstances | Under all circumstances, |