ON THE PRODUCTION OF GOOD TONE IN VIOLINS

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.