Chapter XXI: Notes on Tone

CARRYING POWER.--Here we have that phase of tone which is most elusive. A violin seemingly loud, full and even brilliant, to the player, may, at a little distance, be thin and wailing. Such a violin is lacking in carrying power, and when played with a small orchestra, is rarely heard in the lower register by any save the player. The voice of a true-toned violin is rarely loud to the player, and, in the hands of many, such an instrument never has a chance to display its ability to lead the accompanying instruments. Those unused to such an instrument are charmed, it may be, with the purity of tone, but disappointed with its supposed lack of volume which, in their misguided efforts to produce, is all but destroyed. It is seldom such players can be brought to realise that carrying power is due to purity and not to mere loudness; that a tone which strikes the player as loud and the hearer as weak possesses elements of a conflicting nature which, in their efforts to dominate each other, all but destroy the carrying ability; that tone, when “pure,” is divested of these elements, or most of them, and is naturally less in quantity, or loudness, but greater in penetrative ability; and, finally, that pure tone requires no forcing, or undue pressure, to create a carrying power entirely beyond the possibilities of most loud-toned fiddles. These facts are rarely appreciated save by artists, whether players or singers, and it is seldom that amateurs, or some who rank as professionals, understand purity of tone sufficiently well to recognise what degree of carrying power it will possess. In fact, a loud-toned violin, although lacking the finer elements, is more suited to such players than a purer-toned instrument. It is better that they possess a fiddle with the tone with which they can be satisfied than another which is belaboured with the bow in the vain effort to create what is considered an effective, or “big,” tone. In justice to the player it must be said he is not wholly to blame. Wrong ideals of tone and carrying power are easily formed through the use of an unsuitable instrument. And it must be remembered a player can never “hear himself as others hear him.”

QUANTITY _versus_ QUALITY.--“Ruggeri,” writing in the _Strad_ for February, 1913, says: “There seems so often a tendency among violinists of the present day to forget that it is not quantity, but the ‘quality’ of tone that holds the audience spell-bound.” This warning should be remembered by all devotees of the fiddle. While the possession of a beautiful toned violin does not, _ipso facto_, make a tone-poet of its owner, it is the essential part of his equipment. Tone of superfine quality can only be freely and easily produced from a pure and flexible toned violin, and the importance of such a violin to those who would express the highest ideals in a masterly manner cannot be over-estimated. However sound the player’s theory may be, however high his ideals, he is, in practice, bound to limits of expression which are set by the instrument. Long association and use of a particular violin create a feeling that the limit of the player’s ability to produce quality of tone, and the capacity of the violin for giving it forth, are one and the same, whereas they are entirely different; the player’s ability is constantly growing and expanding, but the capacity of the violin remains always the same. Should this violin capacity be of a low order the player is bound to a dead level of tonal mediocrity, although rarely conscious of the fact. On the other hand, a violin which is practically limitless in capacity for expressing quality of tone places no obstacle in the way of the player whose ambition is to “hold the audience spell-bound.”

FLEXIBILITY OF TONE.--By flexibility is meant ease of production, the instant tone-response to the lightest touch of the bow--not only in the first, but in the high positions. Without flexibility tone loses its tenderness, most of its qualities of appeal, and delicate shades of expression become next to impossible. Its absence adds to the technical labour of the student and robs the soloist of his main source of inspiration--the command of a supple voice.

TONE-FAILURE.--It is sometimes remarked by players that certain violins and other bow instruments “lose their voice” after being played for a time under certain conditions. This would appear to take place in heated and crowded rooms and halls. It would further appear that it is certain old violins which are most affected, but new instruments are not entirely exempt, although less susceptible. There is, without doubt, a scientific reason for this, but I have not seen any explanation of the phenomenon in print. I mention it only as an eccentricity of tone, and one which would appear to present difficulty in regulating, and it may be said that an instrument possessing this peculiarity must, indeed, be near to tonal collapse when heat, humidity, and general heaviness of the air are sufficient to produce such a fatal effect. Old wood is spongy in nature. When too old it is dark brown in colour and almost crumbles to the touch. It is not difficult to imagine old wood, particularly if affected with some slight degree of dry rot, absorbing moisture which, together with heat, would cause it to become leathery and lose the crispness it would possess under opposite conditions. If the new violin is affected the cause may possibly be found in the fact that its tone is, under the most favourable conditions, hanging on the very brink of failure, which the mere touch of a heavy atmosphere is sufficient to consummate. If this be the reason for tone failure we should expect the old violin to become affected after some exposure to the conditions stated, and the new instrument immediately.

FIDDLES CLASSIFIED.--It is a task of extreme difficulty to classify violins according to their tonal value; while they may be dealt with singly, any attempt to separate them into well-defined groups, in which certain makers are associated with certain tone characteristics, will yield a result which, for reasons that are well understood, can only be considered approximately correct. Yet they may be roughly divided into four groups which I may be allowed to indicate as follows:--

(1) _Superior Tone._--This must be sought for among the violins of the old Italian masters; among those produced by one or two old makers in other countries, and among the instruments produced by the best makers of the present day. The first are the most difficult to obtain, and by far the most expensive, due to their scarcity and to the fame of their builders. Owing to the ravages of time, to the influence of damp, wear, accident, much repairing (not always skilful), and the vandal efforts of “improvers,” many violins by old masters have greatly depreciated in tone.

(2) _Excellent Tone._--The lesser lights of the “Palmy Days” turned out an occasional great violin, worthy to rank with the master fiddles of any age, and the same may be said of some of the great copyists of the eighteenth and nineteenth centuries. These are rare examples, and so mixed with others of less tonal worth by the same makers as to render their discovery possible only to the expert. Consecutive reproduction of superior tone is such a difficult part of violin construction that only masters can accomplish the feat successfully. The celebrated old makers are known to have succeeded, and so have a select few of the living makers. Mr. Towry Piper, writing in the _Strad_, says of a modern builder: “He can build a fiddle with a certain quality and volume of tone, and within human limits, repeat the process _ad lib._” It need hardly be pointed out that the old masters also laboured “within human limits.” Apart from the specially good examples, the old violin makers of the second class produced in their instruments a quality of tone in every respect worthy of being termed Excellent.

(3) _Good Tone._--Within this category is a wide range of fiddles suitable for all ordinary uses, made in all ages of the art, but usually found among violins by old makers of the third class in Italy, those of the second class in France, Germany, and England. The tone of some of these violins deserves to rank as excellent, but here, again, is found a wide difference in fiddles by the same maker. In this class the inexperienced will also find difficulty in making a selection, and the advice of an expert should be secured.

(4) “_Just Fiddles._”--Nameless, but “old” Italian, French, German, or English fiddles. Violins of all sorts, old and new, bearing unfamiliar names. The age-baked imitations by makers with and without repute. “Pawnshop” fiddles, manufactured to catch the eye of those seeking the rare but unrecognised! Factory-made “copies” of Amati, Guarneri, Stradivari, Stainer, etc. Numbered by thousands, such fiddles as these are carefully avoided by the knowing seeker after tone. Because one or the other rarely fail to deceive the well-meaning but uninformed, it does not follow that they lack any legitimate place in the world of fiddles. When sold on their merits, or by dealers of repute, they are low in price. On them one may “whack out” a lively tune of sorts and bring pleasure to the uncritical atmosphere of many homes--may, indeed, be a direct lead to better things. The King of Instruments rules over the pleasures of the great, and the little princes of his house bring an equal happiness to those whose lives and tastes are humble. Thus may these instruments bring music to the forecastle and the farm, and pleasure to those who, by one circumstance or another, are barred from better things.

A STRANGE BELIEF.--As an illustration of the extraordinary beliefs held regarding tone and its connection with the violin, I quote the following from a recent issue of an American journal: “If Stradivarius were living to-day and was a violin-maker ... he would be just as big a failure as our best modern makers are to-day ... he builded better than he knew.” The writer of this is without first-hand knowledge, either of Stradivari or the “best modern makers,” else he would cite a different explanation of failure. But what are we to say of such beliefs--long since exploded--being revived in a modern journal? Unfortunately for the accuracy of this theory, time has not dealt in a like manner with Stradivari’s sons. _They_ did not build “better than they knew.”

TONE HEALTH.--It is said a violin should always be kept in its case when not in use. While small objection can be found with this advice, I believe good fresh air is beneficial, and it is my practice to make the fullest use of this reviving and antiseptic influence on suitable occasions. I hang the violin away from the wall if indoors, and in a shady place if in the open, so arranged that it will not strike against anything should it swing about through the action of a passing breeze. Violinists are apt to neglect their cases, which should also be kept well aired and dry, together with the cloth used to cover the instrument. The function of a case is to keep out damp, not to keep it in, but I have seen some cases so musty and damp that steam has risen from the covering cloth when held before the gentle warmth of a fire. No wonder violinists are troubled with their tone by thus neglecting the first principles of hygiene. It may be thought superfluous to add that the violin should be kept perfectly clean, but every one experienced in these matters is aware that many players are exceedingly careless, while others actually look upon dirt as an ornament. The interior of the instrument may be cleaned by pouring a handful of rice through the soundhole, shaking it about, and emptying through the same orifice. On the exterior use a very soft cloth or chamois leather, and remove every trace of dust and dampness. This last is deposited from the hands, and may prove fatal to the varnish because of its saline properties. Where the hand touches the body of the instrument most frequently it is not uncommon to see, particularly in the old violins, the varnish entirely removed and the bare wood left to absorb, not only moisture, but grease, which is difficult to extract without injury to the wood. I am aware that, even to mention such a thing, is to suggest something in the nature of vandalism, but I do say these bare places should be carefully cleaned and _revarnished_--but _only_ where the hand touches when in the high positions, a chin-rest will protect the other end of the violin. The owner of the violin may, however, do as he pleases; it is merely a question whether health in tone or wealth in fiddle is to have the most consideration.

TONAL MISJUDGMENT.--The violin presents many strange difficulties, and, in order to indicate that the judging of tone is no simple or easy matter, I will cite a few cases to show how some excellent and experienced players have been deceived. A professional played upon two violins at a public entertainment--his own, an old Italian which cost one hundred and eighty pounds, and a modern instrument worth about thirty pounds. He played the first half of a selection on the Italian and the second half on the modern, the change occupying but a few seconds. The numerous audience were unaware of any test being made. The instant he began playing the modern instrument the surprise was general, the contrast being extraordinary, the intensity, richness, and telling qualities of the new fiddle’s tone completely eclipsing that of the older violin, which, in comparison, seemed weak and wailing. Note the sequel. Immediately the piece was finished the player, who was unaware of the impression created on his hearers, observed to a friend: “The new fiddle is good, but too weak. I could never lead with it!”

A Stradivari violin, once the property of a celebrated artist who used the instrument until his death, playing in all the great cities in Europe, was borrowed by a very talented amateur for the purpose of playing a solo at his farewell concert, as he was about to live abroad. He did not use this violin, however, the excuse being that he did not think it would carry sufficiently well to fill the hall, not by any means a large one. He used, instead, another instrument, the property of a local player, and, it is hardly necessary to add, treated his hearers to a tone not only less in quantity, but with no quality whatever.

It is the belief among a certain class of players (who are not by any means always amateurs), that an ear-splitting sound indicates a violin possessed of all the requirements of a first-class fiddle. When they discover such an instrument it is treasured above pearls, notwithstanding their progress and popularity are in no wise enhanced by its possession. An artist once called upon a continental expert with an old French fiddle. It had cost a considerable sum, and was looked upon by its owner as perfectly ideal in tone. The expert differed, however, but expressed his opinion as mildly as possible, merely observing that the tone was hardly suited to the artist’s talents! This opinion the said artist received with some show of pique. Later, this violinist began studying under a celebrated master, who condemned the thing in language both forceful and picturesque; and a better toned instrument was procured.

While most of the great violinists use instruments with which no tone fault can be found, others are not so happy in their possession, although, doubtless, quite satisfied themselves. Among these last are two whose names are household words, and the fault lies in the two lower strings of their violins, the sounds from which are scarcely audible in a fair-sized hall, although the hearer may sit only some thirty feet distant--_axioma medium_!

There are players so accustomed to the tone of one violin that they are utterly incapable of correctly judging the tonal qualities of another. I once met a player of no mean ability who owned and played upon a factory-made instrument which emitted a miserably flat and thin tone. Yet this fiddle had been treasured and used for twelve years! No other violin “suited” so well! although many excellent instruments had been tried. Such extreme cases of self-deception as this are, fortunately, rare, but they are occasionally met with.

ACCESSORIES AND TONE.--So far as the player is concerned, the important accessories are the strings, bridge and sound post, and with these it is not advisable to experiment. The post and the bridge are usually correctly proportioned and in their proper positions. The former may fall when all the strings are loose, and because of this it is well to keep them fairly taut always. When the violin is not in use I consider the E and G strings may be slightly lowered, the first to prevent unnecessary breakage and the last to prevent thinning of the core and consequent “buzzing.” When a string breaks put a new one on at once. If the instrument is to be restrung throughout, change one string at a time. It is well for the player to bear in mind that resetting the sound post may seem a simple matter, but that it is not so simple as it appears. Not one player in a thousand can accomplish this operation properly, or without some damage to the instrument. The position of the post should be marked on the back of the violin by inserting a thin pencil through the right-hand sound hole and marking as far as possible, and faintly, around its lower end. If the post falls, take the instrument to the nearest repairer.

The bridge is almost indestructible if it receives proper attention. It is important that it should lean slightly towards the tailpiece, never be upright, nor lean towards the finger-board. Watch the bridge frequently when tuning up, or when putting on a new string. The E string is a particular offender owing to its high tension and the frequency of its tuning and renewal. It pulls the upper right-hand corner of the bridge forward. Pay _constant_ attention to the bridge and keep it in the correct position. This pulling forward may be somewhat overcome if the nicks wherein the strings rest are leaded, using the sharp point of a soft pencil.

Every player should possess a string gauge on which is marked the sizes most suitable for the violin. Tone is greatly influenced by the hardness, softness, or size of the strings, and the player should ascertain by experiment what is most suited to the instrument and keep to that. It is rare that two violins are exactly alike in their string requirements, and they also differ in temperament: that is to say, one may demand a certain size and kind of string before the best results are obtained, while another will respond very well without more than ordinary care in selection.

THE BOW.--This important accessory should be selected with care. It has an important part in the production of tone, to say nothing of that technic which belongs to it. It is said that a really good bow of correct balance, flexibility and weight, is more difficult to find than a good toned violin. Only the few can afford a bow by Tourte, or other famous makers, but really fine modern bows may be obtained at reasonable prices from most of the dealers, and especially from those who are, in addition, bow-makers. Just as one may become used to a violin of faulty tone, so also may the player become used to a bow which adds to his tonal and technical difficulties. A good “stick” is a treasure and should be well cared for. When not in use the tension should be entirely removed. The stick should be kept perfectly clean, especially on the under side, and the screw oiled occasionally.

THE FIDDLE “DOCTOR.”--The simplicity of the fiddle is deceptive. It is not only not so simple as it appears, but of all musical instruments requires the most knowledge and skill in its repair and adjustment. Any player may apply the means by which tone can be preserved, and this is best accomplished by keeping the violin in a cleanly condition and healthy surroundings; but “accidents will happen,” or something peculiar in the tone will indicate the need of attention, and in either case, it is the luthier and not the fiddle “doctor” who should be consulted. Skilful repairers are to be found in practically every city in the world, and in their hands the ailing violin may be left with confidence.