New-York tribune., 1901-08-04

paclty IN some degree of moderating and incrcac-
ing the tone given out at the viii Of the player.
Ine tone of the harpschoIds spinets, virsinals
anu al the other instruments of their kind was
after all as somebccIy said lo2g ago, "A scratch
with a note at the end"
TIE first efforts not only to increase tho
quantity but to vary the quality Of the tore
seem to have been directed to the improvement
"i the Jacks. The quIIs had an unfortunate
hahit 81 wearing out rapidly. 50 builders expert
mented with leather. fshbone metal and various
other materials. The fundamental difficulty
however reEiaiaed-the jacks twanged Ia
strings. and 40 matter how the keys weIc
pressed, tWanged them with uniform Ioudness
For the sake of variety in effects, d3npers cf
various Kinds We're also invented which thecr-i
The vibrations Of the strings by the interposticu
OF cloth and other materials against them. al
later strings were aided. which could be pIuck-l
simultaneously 10y additional rows of jack
These added strings ii. =, tuned in unison
so as to set just twice the amount of tone: tut
the most famous harp builGer # Antwerp Ruc..-
ers, conceived the idea of adding an extra sy--
tenn of suings turel in the octave above. VIII Il
could be coupled with th- others at VIII TIe
builders also used differ MT kinds cf material IN
their strings for tn sake oi added effects. ara
since the quantity Of tone could rot be varied by
the touch the swell box idea borrowed from
the organ. the entire sound Gard OF the instrl.-
ment being covered with Stats. like the blinds Of
a Venetian curtain which could be opened and
closed at viii to 1t out the sound. These vari-
eties of effect were placed al the command e
the player by means If mechanical cOntrivancei
regulated by knobs, like organ stops pedals
knee swells and forth. They were, however
mere makeghifts. They did not go TO the real
seat of tn difficulty, and the inventive in
genuity which prompted them spent Itself largely
in the creation of merely fantastic contrivances
whose worthlessness is demonstrated by the fact
that they have long since ceased 10 occupy the
attention of musicians. There were devices 10
initiate flutes, ;rumpets. hagpipes bassocns,
ohoes. tfes, drums. caStanets and ever the
noise Of the wind of rain and II thunder.
These Instruments were looked uT=.II. however.
by real musicians mere mechanical curosi-
ties. Their effects were admired hy the idle and
the curious, just as to-day wonder al the
ciaptrap which concert orcanis;s exhibit for
Us in their storm fantasies. Seen : in the
Airs and what not Several 81 the mechanic.
means ,mploytd O prodUce effects in tn harYsi-
chords We're aft-rwarJ utilized in the piano
forte for nohler purpos. $. Tn. shifting of the
Keyboard. for instance. 10y means of a pedal
which now is used 20 divert The blow II the
hammer from one or two o. the unison strings
was FIRST applied 10 the harps.,hori and iustru-
m-utS of its class for IN, purpose ~ transpo-
s4tion. Th- cloth damprr> arr ALSO s:iI used n
cheap upright riauof.ttrs for TN purpos, Of Ie-
-reasiuc and changing the quality of rhe tone
Among tho German Silbertuauu's inventions wa:
the "ccuhal d'lmour." "a clavichord whict
the tang, mt struck the string exactly in the mid
dIc. so that both halves could vihrat, in unison
The strings We're damprd 10y falling upon little