698 THE POPULAR SCIENCE MONTHLY. 



Cheaply-made piano-fortes are mostly sold to ignorant persons, living 

 far from the great centres of civilization. 



It will be found interesting to notice some of the facts learned by 

 those who have conducted experiments in the hope of improving the 

 piano-forte, for many of these are somewhat peculiar, and contrary to ' 

 general anticipation. Thus : Chladni's figures are not formed by sand 

 strewed on the sounding-board ; nor does the sand travel fi-om the 

 point where the shocks or impulses are imparted to this vibrating 

 body, but collects at this very point, namely, close to the bridge. 

 Again, no difficulty is experienced by " interference," when two or 

 three strings tuned in perfect unison vibrate side by side ; nor from 

 ovei'stringiug the bass wires. The fitting together of trough and crest 

 of sound-waves the coincidence of the "swing" and the "swang," 

 which cancels both, and forms the hyperbolic curve of silence on the 

 outer broad side of each prong of a tuning-fork, is a phenomenon that 

 does not appear in any portion of the scale. Nor does that which is 

 termed " sympathy," that occurs when two organ-pipes stand too near 

 each other, require consideration from the designer of a piano-forte. 

 The addition of a second string, far from destroying the vibrations of 

 the first, or even interfering witli them, more than doubles the power 

 of the tone. A single string gives forth a comparatively insignificant 

 and feeble note. When three strings are used, the third does not add 

 Iialf as much again, a fourth string adds still less in proportion, and, 

 judging from the quality of tlie tone produced, seems to require an 

 entirely new design. 



In the final adjustments of the piano-forte by men of extremely 

 keen sensibilities, certain defects, limitations, and peculiarities of the 

 Imman ear, have been discovered that are noteworthy. The Greek 

 architects well knew tliat long horizontal lines, if straight, would not 

 appear to be straight Avhen viewed from below, and therefore in the 

 Parthenon they executed exceedingly delicate curves. Their columns 

 were not exactly cylindrical, and many similar and most subtile devia- 

 tions from geometrical truth were employed that remain as evidences 

 of their consummate skill. In music, also, certain nuances devia- 

 tions from rigid accuracy or mathematical truth are constantly made 

 by which the powers of true artists are manifested. These minute 

 shades of difierence these slight variations or modifications of quality 

 of tone, power of tone, pitch, speed, etc. when not exaggerated, but 

 determined with an art-concealing art, are found to be true to Nature, 

 and find their justification, not as exceptions to general rules, but as 

 exemplifications of the highest principles. The refined perceptions 

 of piano-forte finishers have led them to the fact that the highest 

 notes of the instrument should be tuned slightly sharper than perfect, 

 or each note will a})pear to be flat, when compared with the octave 

 below. If these notes are tuned perfectly, and proved to be so by 

 various tests, there still remain a secret dissatisfaction and conscious- 



