There are to-day two distinct and prevailing types of pianoforte. These are the “upright” and the “grand.” Of the once popular “square” it is unnecessary here to do more than say that the type has passed into a state of obsolescence and is fast dying out. Both structurally and tonally, it was most defective; and its popularity was due rather to the imperfect development of the other types during the period of its vogue than to any inherent advantages of its own. It has well and faithfully served its appointed time, and we may properly leave it to die in peace.
For the last thirty years in this country and for considerably longer in Europe, the upright, succeeding the square as a home instrument, has remained victorious. Its small size and great convenience, together with the surprising tonal capacity that has been developed in it in the United States, have universally commended it, and only the development of the very small grand has lately seemed to be threatening its long unchallenged supremacy.
The exterior form of an upright is familiar to all. If we strip from it all the outer appendages, and then remove the action and keys, we shall at once see that the instrument consists essentially of a sound-board and a frame, the latter partly wooden and partly metallic, upon which are stretched strings of regularly graduated lengths and thicknesses. Attached to this framing are two more or less ornate wooden erections which are denominated the “sides” of the instrument, while a horizontal wooden shelf, called the “key-bed,” serves to join the sides and support the keys and their frame.
The strings of an upright are arranged vertically from the top to the bottom of the framing already described, with the exception of those which serve the bass notes. These are strung diagonally over the treble strings. It will also be observed that the strings become progressively shorter as the scale ascends until the speaking lengths at the highest notes are two inches or less. The thickness also varies directly as the length. The material of which the strings are made is cast-steel wire, and the overstrung bass strings are, in addition, covered with copper or iron wire. These strings, in order that they may be maintained at the proper tensions and in the correct positions, must be supported by suitable framing. The demands of modern construction require that the framing be most massive. We have already cast a hurried glance at it, and may now proceed to describe it in more detail. First of all, however, it is necessary to investigate the apparatus that amplifies the sound waves projected from the strings and transforms them into the pleasing tones of the pianoforte. We must, in short, examine the sound-board.