It is a curious fact, but none the less characteristic of that most curious of industries—the pianoforte craft—that in it the development hypothesis, so familiar to all other branches of human endeavor here, appears not to be fully applicable. While the aim of the present treatise has been to systematize and codify, as it were, the laws that underly all right constructional methods, we have been forced to recognize that there is no appearance of any accurate and uniform generalization which may be applicable to the future guidance of pianoforte builders in their efforts to attain to the greatest perfection in later types. Although we have succeeded in laying down the broad and universal principles that govern intelligent practice of the art, yet we cannot fail to note that a progressive evolution is not yet possible. That is to say, there is no progressive synthesis in the art which shall carry us continually further from the original types, so that the ancient models shall become in time quite unrecognizable in the light of modern improvement. Rather would it seem that the course of improvement is leading us back to reversions towards the original types, and of this tendency the rise of the small grand pianoforte is one of the most striking illustrations.

It is not to be supposed that this reversionary movement is to be taken as implying a dissatisfaction with the methods that have grown up in the course of the last hundred years, and the systematization of which has been our task in the present work; it is rather that the tendency today is in the direction of utilizing the most modern methods in the resuscitation and further development of the type of pianoforte that was earliest in the field.

In other words, as the reader well knows, the last few years have seen a general tendency towards a revival of the grand, in forms suitable for modern ways of life, and with the advantages carried by the wealth of experience and practice on which the modern pianomaker can make unlimited drafts. This resuscitation has not taken the form of any attempt to bring the large-sized concert instrument into more popular use, but it has rather been a matter of evolving a new type out of the old, and of developing this latter along comparatively original lines. With the commercial success of such an experiment we are not here immediately concerned, but we have great and lively interest in the question of its constructional value and in the possibilities that are implied in its future development.

Without entering into wearisome detail, it may be stated that the last five years have seen a most systematic attempt on the part of leading manufacturers to construct and popularize a very small style of grand pianoforte, and to endow this new instrument, as far as possible, with the musical advantages possessed by the larger and older horizontal forms. The dimensions of the “small grand,” as it has come to be known, range from a length of five feet to one of six, with width in proportion, and the smallest sizes are continually attracting greater attention on the part of experts. The idea is to reduce the dimensions to the very lowest point compatible with something approaching to grand pianoforte tone, and to make the general outline as beautiful to the eye as possible. The latter of these desires is easier of consummation than the former, and it has therefore appeared that some of the makers of these instruments have been somewhat apt to overlook truly musical results in deference to a public sentiment in favor of something that is graceful, if nothing else. In fact, when considering the small grand we are obliged to note that it has been developed, and is now being produced rather to appeal to that portion of the pianoforte-buying public that demands something for its homes more beautiful than the upright and less bulky than the large parlor or concert grand than in answer to any general cry for the better musical development of the instrument itself.

If we bear this fact in mind, and its truth is obvious to the student of pianoforte history, we can the more easily understand and appreciate the essential features of this latest development.

The small grand has been produced, we repeat, to please the public, and the public at large is not exclusively composed of musicians.

But even while acknowledging the probability of this statement, we need not conceal from ourselves that the small grand can thus fulfill a very useful function. Reduced to its lowest terms, it remains a grand pianoforte, with the action and touch so essentially associated with the horizontal form, and so immeasurably superior to anything that is found in even the best uprights. And here the small grand has an enormous advantage, nor does it appear that its truly musical and tonal development need be permanently stationary, if only the limitations of the instrument be appreciated, and work on it be directed with especial reference to its own size, and without dependence upon the traditions that have supported the building of larger forms.

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.

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.]