THE CASE AND FRAMING OF THE PIANOFORTE.
The grand pianoforte is distinguished conspicuously from the upright,
as far as concerns the principles of its construction, by the different
function which its exterior casing exercises. As was stated in Chapter
III, the exterior walls of the upright have no part in the bearing or
resisting work that the iron and wooden framing performs. They exist
chiefly for the purpose of giving support to the key-board and action,
and of affording a foundation whereon may be constructed the elaborate
architectural and decorative structure that, in its entirety, is
denominated the pianoforte case.
The synonymous portions of the grand pianoforte, on the contrary,
have a far more important duty to fulfill. While they are equally
charged with the support of the key-frame and action, they are also an
essential part of the wooden framing, are one and homogeneous with it,
and, in fact, occupy much the same position as what is known as the
“back” of the upright, as well as being the external and decorative
coverings of the instrument.
The case of the grand is constructed of a series of continuous
veneers, glued one upon another, and each extending completely around
the periphery of the case. These veneers are glued at cross grain to
prevent splitting and are applied to the pianoforte and bent into
shape when in a heated state. The complete outline thus obtained is
denominated the “continuous bent rim” and is a distinguishing feature
of the modern grand pianoforte as made in America. Several eminent
German makers, as Bechstein, also employ similar means of constructing
the external walls. In England, on the contrary, the case is usually
made out of one thickness of wood bent into the required shape by
steam and joined in several places. This system provides for separate
moldings for the bent and straight sides and for the rear portion.
The advantage claimed for the continuous bent rim is that the whole
case, by this means, becomes so closely bound up with the rest of
the structure as to become part of one homogeneous resonant whole,
thus improving the general resonance and imparting a _sostenuto_ and
_cantabile_ that can in no other manner be attained.
While data are lacking for the precise investigation of this claim, it
is significant that the bent rim method has not only become universal
among American makers--by one of them it was first devised--but has
even made its way into European favor.
The case, after it has been bent in this manner into the proper shape,
has to be decoratively veneered according to the style of ornamentation
that is intended for it. The work of veneering these cases, whether
for uprights or grands, need not be gone into here in detail. There
are so many specialists in this department who confine themselves to
the turning out of such veneered cases, and the whole matter is so far
away from the principles of pianoforte construction, that it is not
considered necessary to go into it here.
It is, of course, required to provide the case of the grand pianoforte
with a system of wooden struts which bind it together and give it
strength and resisting power. These struts are set into the case in the
general form of the letter A, having the apex at the forward end of the
case. At this apex they are crossed by another wooden strut running
parallel to the key-board, which serves to bind them together and to
mark the limit of the space to be occupied by the sound-board. These
struts are not, as we may thus see, carried into the very front of the
case, but are confined to that portion which is directly underneath
the sound-board. In front of this space is left the gap through which
the action is later to strike, and underneath is provided a key-bed to
carry the action and keys. The key-bed joins the front portions of the
bent rim and closes the casing in the front, thus providing a definite
and uniform structure. Above the key-bed and in front of the gap is one
of the most important parts of the entire instrument. It is called the
“wrest-plank,” and is situated at the foremost portion of the case.
This wrest-plank is built of a series of hard wooden layers, glued
together at cross grain and adapted to be bored with holes in which are
placed the “wrest-pins,” or tuning-pins, that control the tension of
the strings. This block or plank must necessarily be of great solidity
and be capable of holding the pins frictionally, so that they will not
pull round under the immense strains that are imposed upon them.
[Illustration: MODERN METHOD OF GRAND PIANOFORTE CASE CONSTRUCTION.
A. Continuous bent rim.
B. Wooden struts.
C. Iron shoe holding struts and connecting with iron plate.
D. Main beam.
]
The gap which is necessary in the grand pianoforte between the
sound-board and the tuning-pins makes it impossible to join the former
to the wrest-plank. This state of affairs undoubtedly constitutes a
weakness inherent in the grand and, besides, exceedingly unfortunate.
For an interruption of the continuity of communication between
the various sound-conducting materials of which the instrument is
constructed entails a corresponding loss of resonance. The tone of the
pianoforte is inevitably fleeting and evanescent; lack of continuity
in the construction only increases this fault. It has somewhere been
stated that the construction of the grand pianoforte implies greater
resisting strength of the wrest-plank on account of its being entirely
supported by the iron frame and not dependent upon a wooden back as
in the upright. This view seems to be incorrect. A properly supported
back on an upright affords a very strong support to the wrest-plank and
in combination with the iron frame supplies all necessary rigidity,
and in a manner more direct and efficient. But the wrest-plank of the
grand pianoforte may and should possess a sufficient strength. Various
makers have adopted several different methods to secure this strength.
One very good device supplies a rear truss to the lower surface of the
wrest-plank by means of a downward projecting shoulder cast in the iron
frame. There are other methods more or less similar. The arrangement
of the tuning-pins within the body of the wrest-plank also requires
considerable care. Of course, their disposition depends ultimately
upon the string arrangement, but there are problems to be considered
in connection with the manner in which they are arranged with relation
to their mutual positions as considered apart from the strings. For
example, it is most important that they should be so placed that the
strings do no rub against each other in their passage between the pins
and the agraffes. The frequent neglect of this matter is a cause for
regret. Much loss of tonal purity would be avoided and the tuner’s work
greatly simplified if all designers took the proper amount of care
in this important matter. Further, it may be remarked that the best
practice accords with this suggestion in every respect. It will also
be found that a slight tilting back of the pins in a direction that is
remote from the strings tends to lighten the pull of the latter and to
assist the resisting power of the wrest-plank.
When the iron plate is fastened over the entire structure, it is fixed
on to the wrest-plank by means of heavy iron bolts that should be
sufficiently long to go entirely through it and be closed with a nut on
the other side. By this means the wrest-plank is secured against lack
of rigidity, and its durability immensely increased.
The hardest kind of maple should be used in the construction of the
wrest-plank. No other wood appears to have so many of the required
qualities, and its use for this purpose has become, in America at
least, universal.
The general details of the external case of the grand pianoforte are
not unfamiliar. The standard full size of nine feet and the miniature
of six feet or less, as well as intermediate parlor sizes, are familiar
to all. The shape of the fall-board that covers the keys is well known,
and the design of the lid and supporting legs sufficiently common to
make further description superfluous. It is proper, however, to note
briefly the general change that has come about in the conception of the
decorative function of the grand pianoforte case.
Formerly, the aim of pianoforte manufacturers was entirely different
from that of the early harpsichord and spinet makers. Instead of
doing their utmost to improve the external æsthetic value of their
instruments, they seemed too much occupied in providing means for
internal improvement to pay proper attention to appearance. Thus we see
that the sombre and hideous decorative ideas which prevailed in the
furniture of the last generation were long faithfully imitated in the
external design of the grand pianoforte. The ugly and cumbersome carved
legs, the inartistic curving of the lid and arms, and the general look
of ponderosity and hugeness all combined to give to the instrument of
that era the general appearance of a hypertrophied coffin on legs.
Modern makers, however, animated by a truer appreciation of decorative
values, and recognizing the refining influence of beautiful things,
in themselves, and apart from their other properties, have gone far
towards consigning the more crude and hideous designs to the limbo of
obscurity. It has become generally recognized that the coffin-like look
of the concert grand may be largely modified, if not wholly removed. By
altering the design of the legs and by regarding them rather as a part
of the case than as mere supports, it has been possible to combine the
proportions of legs and case so as to make them appear one harmonious
entity. Of course, the actual method of attaining to this end has
varied largely among different makers, and, likewise, the greater
number of successful efforts in the direction suggested have been
made upon grand pianofortes designed to order to fit the furnishings
and decorative schemes of music rooms in the homes of the wealthy.
Nevertheless it is a healthy sign of the general æsthetic development
of the American people that the number of these specially ordered and
designed cases increases yearly. In this way we are going back to the
ideals that possessed the ancient makers of the virginals, clavichords
and other instruments, who were wont to call in the services of the
most famous artists in color and the most cunning carvers in wood to
compass their beautiful and costly designs.
It is true that the stock styles of grand pianoforte cases are usually
plain as to contour and decoration, but no one now can deny to them
grace and purity of outline or beauty and richness of material. On the
other hand, the practice increases yearly of keeping in stock cases
made in such styles as the Chippendale, the Sheraton and the Empire, to
say nothing of the perennial and truly American Colonial designs. The
fact that these numerous varieties all find purchasers is a striking
commentary on the growing taste and refinement of the general public.
In considering the case construction of the upright pianoforte, we
are led to observe that this type exhibits, in these matters, certain
important advantages over the grand. It is true that the case is not
so homogeneously fitted into the resonant structure, and it is equally
true that the grand has hitherto had much the better of it in the fight
for tonal quality and volume. Nevertheless, considering the upright in
the light of its own peculiar fitness for popular use, we are bound to
observe, in considering the construction of its case and back-framing,
the special advantages over the grand that we mentioned as existing.
The chief and most obvious of the inherent advantages of the upright
pianoforte lies in the position which the instrument takes up. The
hammers strike in front of the strings and tend to force them down
upon the bridges, so that the full energy of the blow is impressed
upon them. Further, there is none of that tendency of the strings to
fly off from the belly bridge which is always present in the square
and to a certain extent in the grand. Again the vertical position of
the sound-board would seem to be more favorable to the free vibration
of the wooden fibres of which it is composed; while the simplicity of
the general outline of the upright permits the employment of a larger
sound-board area than is possible with either the square or the small
grand. Lastly, the wrest-plank is greatly strengthened by the omission
of the gap between it and the sound-board, which permits the use of
lighter framing and a consequent gain in portability.
While recognizing these facts, however, we are bound to recognize many
other features that go far to destroy the great initial advantage here
described. It cannot be doubted that today the upright is pre-eminently
the popular type. Whether this fact is entirely a matter for
congratulation is doubtful, for the upright form lends itself readily
to cheap and trashy production. The conditions of modern domestic life
are such, on the other hand, that the portability and convenience of
the popular type, no less than the possibility of producing it cheaply,
have given it a hold upon the public fancy which its own inherent and
undoubted advantages might never have secured for it.
The upright form is capable of the highest artistic and mechanical
development, and there is no good reason why it should not be so
improved as to produce tones equal in volume, purity and richness to
those of the grand.
In considering the details of back and case construction in the
upright, we are compelled to observe instances of faulty method. For
example, it is usual to fasten the sides of the case to the back
by gluing after the latter has been fitted with the sound-board,
iron frame and strings. This method is obviously faulty. It is not
difficult to understand that, although the back partially sustains the
tensions imposed by the strings, the sides when glued to the former are
constantly subjected to a modification of these tensions. Now, gluing,
while convenient, is not the best possible process to give to the sides
the necessary strength to bear such strains, for it is a familiar
fact that pianofortes that are not of the highest class invariably
develop in the course of a few years, more or less serious cracks and
breaks in the continuity of the joins between the glued surfaces. When
this happens, the equilibrium of the instrument is disturbed and its
strength diminished. In addition, the breaks in continuity have, of
course, a serious effect upon the power of resonance. Furthermore, the
glue method is subject to various mechanical defects. It is absolutely
necessary that the surfaces that are to be united should be maintained,
during the process of gluing, at an absolutely uniform temperature.
And this temperature must be high. Consequently it is not hard to see
that in the haste and confusion of construction in the factory, the
large sides and backs may not be so carefully handled as to insure
the continual maintenance of the ideal temperature conditions. If,
in short, the surfaces to be glued together are permitted to become
cold, it is obvious that the adhesion will be imperfect, that the wear
and tear of constant usage will complete what carelessness in the
factory began, and that the value of the instrument will be permanently
impaired.
Before suggesting a remedy for these regrettable conditions, or a
substitute for the faulty methods described, it will be well to examine
carefully the principles that underlie the construction of the upright
pianoforte back. It will thus become less difficult to find some better
method of uniting the sides and back, so as better to conserve the
strength and durability of the instrument.
The back of the upright pianoforte might almost be considered as the
foundation of the instrument. Indeed, before the general introduction
of iron framing, this part of the construction deserved such a
description. Its position, however, is now somewhat subordinate, since
the wooden framing of which it is composed is quite inadequate to the
task of supporting the tension of the strings. As generally built, this
back consists of a number (usually six) of wooden posts arranged in an
upright position and joined at the top and bottom by braces, also of
wood and of similar dimensions. Thus is provided a compact frame that
may be made to possess great strength and resisting power. But, in
order to accomplish properly the duties for which it is designed, the
construction of this frame must be very carefully planned and carried
out. At its upper end it must give proper support to the wrest-plank
and the sound-board must rest easily and securely within its embrace.
The iron frame must then be fastened upon and over the structure.
It would be absurd to suppose that the back is not subjected to
modifications of the strains imposed upon the sound-board, wrest-plank,
and iron frame, and it is equally certain that carelessness in working
out the details of construction will tend materially to reduce the
coefficient of resistance.
An important detail is the joining of the upright posts to the top and
bottom rails. If these rails are made continuous and the posts are
tenoned into them, the frame will possess the maximum of strength that
is possible to such a structure, and if, in addition, the joints are at
all places made more secure by the use of screws and other devices as
supplements to the gluing, then we may consider that we have a properly
made back.
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.
[Illustration: 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.