In the preceding chapter we have endeavoured to solve the question what
are the qualities that constitute good tone. We now propose to inquire
how good tone is provided for in the construction of the violin. We are
not about to enter into the scientific question. We wish merely to give
to the general amateur a knowledge which is often only acquired after
years of patient study and trial of instruments, by certain general
principles which will seldom or never be found to be incorrect in fact,
and then only through instruments being built on false rules in other
respects. In good instruments these rules may be said to be infallible.
It is a curious fact that Gaspar di Salo and Magini, both early makers,
started with the principle which has since been brought to the greatest
perfection by the Cremona makers, and built on the flat model. Their
instruments are consequently found to possess much of the fine and
powerful tone which distinguishes Stradiuarius and Guarnerius. The
early Amatis, in the second place, built on a higher model, and their
instruments possess a sweet but not powerful tone. Steiner, thirdly,
built on a higher model still, and his instruments have a thin piercing
tone. We can only draw one conclusion from these facts--namely, that
the nearer we approach an entire flat in the model of a violin the
fuller, rounder, and more powerful the tone; other points of careful
work and good varnish being taken into consideration. This fact has
strongly impressed itself on the minds of scientific inquirers, and the
result has been, as tests of the principle, the production of flat
violins. These have been tried and reported satisfactory in the matter
of tone. But there are other points to provide for which a flat box
does not allow. To gain the requisite mass of air to produce good tone
a flat violin has to be made of a clumsy awkward shape. In the
beautiful modelled violin this is provided for in the rise of the back
and belly. The ribs may therefore be more or less shallow according to
the height of the model, and yet provide a sufficient space for the
necessary amount of air for the production of good tone. We arrive then
at this one certain fact, that the flatter the model of a violin the
greater the probability of a good fine tone. It is of such violins
therefore that we find the great performers possess themselves. This
may be said to be an infallible rule, and an examination of the
instruments of the most celebrated makers fully confirms it.
Why therefore did the elder Amati, contemporary and probably pupil of
Gaspar di Salo, change the model and size of the instrument? This
inquiry brings us to the second rule for the amateur. There cannot be a
doubt that he adopted this plan because the flat model produced a more
powerful tone than was then required. He therefore, no doubt acquainted
practically, if not theoretically, with the principles of acoustics,
raised his model and decreased his size to provide for the production
of that eminently sweet tone which characterises his instruments. The
amateur therefore who desires tone of this description, but does not
want power, will generally find it in the model of medium height,
providing as in all other cases, the work and the wood are good. Of
this model are some of the sweetest toned violins to be found, of which
the Amatis are the type.
Finally, many instruments are to be found constructed on Steiner's plan
with very elevated model flat on the centre, and falling off abruptly
towards the sides. These are all contrary to acoustic principles, and
their thin piercing tone is to be ascribed to the want of that
harmonious communication of vibration which their peculiar construction
inevitably indicates.
Let, therefore, the amateur who wishes to be his own purveyor, examine,
with these principles impressed on his mind, whatever instruments he
can gain access to and the result will be that he will seldom err in
this matter.
After this he must study the characteristics of good wood, careful
finish, and fine varnish. A knowledge of these is best acquired by
examining the instruments of the great masters. To go fully into these
also is not necessary here, having already commented on them under
their respective heads. One remark is, however, necessary here. Many
people foolishly imagine that _any_ violin may be made to produce
as sweet sounds in the hands of a skilful player as a high class
instrument. This is a great mistake, and a convincing proof of its
fallacy may be drawn from the fact that all the great soloists play
upon high class violins. They do this moreover at a time when they
would gladly save the expense were it possible. A few instances may
interest the reader.