otherwise called FORTE PIANO, a well-known musical instrument, of which we need make no apology for considering the peculiarities with some attention. If we look on music from no higher point of view than as the laborum dulce leniment, the innocent, the soothing, the cheating sweetener of toil, we must acknowledge that it is far from being the meanest of those enjoyments with which the Bountiful Father of Men has embellished this scene of our existence. But there is a science in music, independent of that artificial half mathematical doctrine which we have contrived to unite with it, and which really enables us to improve pure musical pleasure. Hence in the English universities degrees are conferred in music.

The voice is the original musical instrument, and all others are but imitations. The voice of man obeys the impulse of the heart with wonderful promptitude, and still more wonderful accuracy. A very coarse ear is hurt by an error in its tone, amounting to what is called a comma. A very limited voice can execute melodies extending to 12 notes, or an octave and a fifth. The motion of the glottis between these extremes does not amount to 1/10th of an inch. This must therefore be divided, by the most ordinary finger, into more than a thousand parts; and this must be done in an instant, and repeated with rapidity, without ever mistaking one of these divisions; and this is done everywhere, and without any seeming effort or thought. The mechanism of the human organ for effecting this with ease and precision is very remarkable, and seems to prove that the Author of our Being meant to give us this pleasure.

When, in the cultivation of this fruit of our own soil, the moderns discovered the beauties of harmony or consonance, and instruments of fixed sounds were employed, by means of which these beauties could be exhibited in their utmost richness and variety; and particularly when the organ, that "magic world of sound," was invented, the immense advantages of the ingenious speculations of the ancient Greeks about the division of the monochord were now perceived, and music became a deep intellectual study. It fell into the hands of men of letters, and, for a long while, counterpoint occupied all their attention. Instruments of fixed sounds were now made, not only with pipes, but with strings, bells, rings, and every thing that could make a noise in tune.

But all these instruments were far inferior to the voice, the spontaneous gift of Nature, in promptitude, and in the power of obeying every call of sentiment, every degree, as well as every kind of emotion, with which the heart was agitated. The pleasures of harmony, though great, were monotonous, and could not express the momentary variations of sentiment, which are as fleeting as the light and shade of a prospect while the dappled clouds fail across the sky. The violin, and a small number of the simple wind instruments, were found to be the only ones which could fully express those momentary gradations of sentiment that give music its paths, and enable it to thrill the very soul.

Attempts were made to remove this defect of the harmonic instruments, and the swell was added to the organ. The effect was great, and encouraged the artists to attempt similar improvements on other instruments of the same kind. This was first done in the same way as in the organ. The harpsichord was shut up, like the swell organ, and was opened by means of pedals when the performer wished to enforce the sound. But the effect was far inferior to that of the swell organ; for this was (at least in all great organs) a real addition of another properly selected sound. But the effect of the pedal on the harpsichord could not be mistaken; it was just like opening the door of a room where music was performing. Other methods were tried with better effect. Unisons were added to each note, which were brought on either by means of pedals or by another set of keys.

This method succeeded perfectly well, and the power of the harpsichord was greatly improved. But still it was imperfect, because it was only the more considerable changes of force which could be exhibited, and this only in one or two degrees. Other artists, therefore, attempted to construct the instrument, so that the jacks (the moveable upright pieces which carry the quills) can be made to approach nearer to the wires, so that the quills shall give them a stronger twang. The mechanism was such, that a very considerable motion of the pedal produced but a most minute motion of the quill; so that the performer was not restricted to the utmost precision in the degree of pressure. Some of these instruments, when fresh from the hand of the artist, gave full satisfaction. But, though made in the most accurate manner, at an enormous expense, they very soon become unfit for the purpose. The hundredth part of an inch, more or less, in the place of the quill, will make a great odds in the force of the sound. Nor does the same change of distance produce an equal alteration of sound on different quills. Other instrument makers have therefore tried baked or prepared leather (buffalo hide) in place of quills; and it is found much more uniform in the tone which it produces, and also remains longer in the same state; but the tone is not so powerful, nor in general so much relished.

But all these contrivances, both in the organ and harpsichord, were still very deficient. Whatever change they could produce in the strength of the sound, was produced through the whole instrument, or at least through two or three octaves. But the captivating expression of music frequently results from the momentary swelling or softening of a single phrase, or a single note, in one of the parts. Hence arise the unrivalled powers of the harp, and the acknowledged superiority of the theorbo, the lute, and even the guitar, over all keyed instruments, notwithstanding their great limitations in harmony and in practicable melodies. These instruments speak, while the harpsichord only plays.

Many attempts have been made to enable the performer to produce, by the intervention of the key, all the gradations of strength, and even the varieties of sound, found, which the finger can bring forth by the different manner of pinching, brushing, or, as it were, carelessly the string; but we have no distinct account of any attempt that has succeeded. Such a thing would quickly spread over Europe. The compiler of the article Luthier, in the Encyclopédie Méthodique, says a great deal about a harpsichord fitted with prepared buffalo leather instead of crow quills; and affirms expressly, that, by the mere pressure on the key, without the assistance of pedals or stops of any kind, the leather is made to act with greater or less force on the string. But he gives no account by which we can comprehend how this is brought about; and indeed he writes in terms which show plainly that he has not seen the instrument, and is merely puffing something that he does not understand.

The attempt has been made with more success on keyed instruments, when the strings are not pinched, but are rubbed by a wheel or band, in the manner of the vielle (hurdy-gurdy), or struck with a plectrum, like the dulcimer. The celestina (described by Merfenius by the name of archiviola) is of this kind. A fine band of horse hair or silk, filled with rosin, is extended under the strings, and drawn smoothly along by a wheel. By a particular mechanism of the keys, this band is made to press or rub on any string transversely, as the strings of a violin are touched by the bow. The pressure on the key regulates the strength of the tone. This instrument is not without considerable beauties, and will execute soft cantabile music in easy modulation, with great expression and sweetness. But the artists have not yet been able to give it either clearness or brilliancy of tone, nor sufficient force for concert music, nor that promptitude of touch that is indispensably necessary for figurative music or quick movements.

The same improvements have been made on the pulatile instruments; and indeed they are here the most obvious and easy. When the key is employed merely as the means of causing a plectrum to give a blow to the string, the performer will hardly fail to give that degree of force which he feels proper for his intended expression. Accordingly, many instruments of this kind have been made in Germany, where the artists have long been eminent for mechanical knacks. But all their instruments of the dulcimer kind are feeble and spiritless, and none of them have been brought into general use, if we except the clavichord. This is indeed an instrument of feeble, and not the most pleasing sound; but is well fitted for giving every momentary gradation of strength by the pressure of the finger. It is therefore a good instrument for forming the musical taste by chamber practice, and was much used by composers in their studies. It is also an ingenious, though seemingly an obvious and simple contrivance, and is capable of much more force, and even brilliancy of sound, than has generally been given to it.

The construction is shortly this. The inner end of the key is furnished with an upright piece, which terminates in an edge of brass, somewhat like the end of a narrow blunt chisel, whose line of direction is athwart the strings. When the key is pressed down, this edge strikes the string, and forces it out of its straight line in which it is stretched between its pins. Thus the string is shaken or jogged into vibration, in the same manner as we observe a tight rope set a vibrating by a sudden jerk given to any part of it. The string, thus agitated, gives a sound, which will continue for some little time if the key be held down. As the tone depends on the length of the vibrating string, as well as on its tension, it is of importance that the stroke be made on the precise point of the string which terminates the proper length. The string does not give the note corresponding to its whole length, but that which is produced by the part between the edge and the pin. And because the parts of the string on each side of the edge are equally thrown into vibration, the shorter portion of it must be wrapped up in a lift of cloth, to prevent it from disturbing the ear, by its sonorous vibrations. This, however, greatly diminishes the sweetness of the sound given by the other part.

The clavichord gives a fretful wafish kind of sound, not at all suited to tender expression. If the bridge (for the end of the key is really a bridge during the sound) were placed at an exact third of the length of the string, and if both parts were free, and if the stroke be of a proper strength, the string would sound its twelfth with great sweetness, and with much more force and brilliancy than it does by the present construction, and the clavichord would be a charming instrument for a lesson and for private study. We say this from experience of the power of one constructed under the direction of the great mathematician Euler, who was also an excellent judge of music and musical composition. The tones of the upper part of that instrument had a fort of pipe or vocal sound, and were superior in clearness and sweetness to any stringed instrument we ever heard. But as this construction required every string to be one half longer than a harpsichord wire of the same pitch, and as this would have made the instrument of a most inconvenient size, the basses were made shorter, by placing the bridge at one fifth of the length, and loading the shorter portion of the string with wire twisted round it. But although this was executed by a most dexterous artist, the tones were far inferior to those of the trebles, and the instrument was like the junction of a very fine one and a very bad one, and made but hobbling music. This was probably owing to the impossibility of connecting the metal wire and its covering with sufficient closeness and fidelity. An upright clavichord, where the length would be no inconvenience, would be indeed a capital instrument for musical study. It is worthy of remark, that Mr Euler tried other divisions of the string by the bridge. When it is struck precisely in the middle, it should sound its octave; when it is struck at one-fourth, it should give the double octave, &c. But the maker found that these divisions gave very indifferent, and even uncertain tones; sometimes not sounding at all, and sometimes sounding beautifully. Our readers will find this well explained in a future article of this Supplement. (Trumpet, Marine). They may please to reflect on the very different tone of the violin as it is bowed on different parts of the string, and on the very different tones of the fore and back unisons, and particularly of the Cornet stop of the harpsichord. The harpsichords of Rucker are noted for the grand fulness of their tone; those of Haffe of Dresden for their mellow sweetness, and those of Kirkman of London for their unequalled brilliancy. These makers differed greatly in the placing of their quills.

But the English Piano Forte, by its superior force of tone, its adequate sweetness, and the great variety of voice of which our artists have made it susceptible, has withdrawn all farther attention from the clavichord, so that it is no longer probable that the learned contribution of the great Euler to public amusement will be followed up. The Piano forte corresponds to its name with great precision: For, without any other attention or effort than what sentiment spontaneously dictates, and what we practice (without knowing it) on the harpsichord, where it is ineffectual, we make the Piano forte give every gradation of strength to the sound of the string, and give it every expression that an instrument purely pizzicato, is capable of. It is also susceptible of a very considerable variety of tone by the clipping of the mallets, which may be acute or obtuse, hard or soft. And we see, by the effect of what are called the grand Piano fortes, that they are fully equal to the harpsichord in fulness or body of tone. Nothing seems to be wanting to it but that sliding, or (as the French call it) carilloning touch of the string, by which a delicate finger, guided by fine taste, causes the harp or lute to melt the heart, and excite its finest emotions. We trust that the ingenuity of our British artists will accomplish even this, and make this national instrument rival even the violin of Italy.

We call it a national instrument, not doubting but that this is a recommendation to a British heart, and because we are very well assured that it is an English contrivance; the invention of a most excellent man and celebrated poet, Mr William Mafon. His Caractacus and Elfrida may convince any person who is a judge of music, that he had a mind exquisitely sensible of all its charms; and we cannot be surprised that it was one of his chief delights. No man enjoyed the pleasures of music with more rapture; and he used to say, that his fiddiest recruit from the fatigue of a long walk was to sit down for a few minutes to the harpsichord. He had seen several of the German attempts to make keyed dulcimers, which were, in some measure, susceptible of the forte and piano: But they were all on one principle, and required a particular touch of the finger, of difficult acquisition, and which spoiled it for harpsichord practice. We have also seen of those instruments, some of very old date, and others of modern improvement. Some had very agreeable tones; but all were deficient in delicacy and justness. The performer was by no means certain of producing the very strength of sound that he intended. And, as Mr Mafon observed, they all required an artificial peculiarly of fingering; without which, either the intended strength of tone was not brought out, or the tone was destroyed by repeated rattling of the mallet on the wire.

Mr Mafon removed all those imperfections by detaching the mallet entirely from the key, and giving them a connection quite momentary. The sketch in Plate XL. will give the reader a clear view of Mr Mafon's general principle, by which the English piano forte is distinguished from all others. The parts are represented in their state of inaction. The key ABK turns, as usual, on the round edge of the bar B, and a pin h, driven into the bar, keeps it in its place. The dot F represents a section of the string. D is the mallet, having a hinge of vellum, by which it is attached to the upper surface of the bar E. At the other end is the head D, of wood, covered with some folds of prepared leather. The mallet lies in the position represented in the figure, its lower end resting on a cushion-bar K, which lies horizontally under the whole row of mallets. The key AR has a pin C, tipped with a bit of the softest cork or buckskin. This reaches to within 1/8th of an inch of the shank of the mallet, but must not touch it. The distance E is about 1/4th or 1/2th of the length of the shank. When the end A of the key is pressed down on the stuffing (two or three thicknesses of the most elastic woollen hit) it raises the mallet, by means of the pin C, to the horizontal position Ed, within 1/4th or 1/2th of an inch of the wire F; but it cannot be so much pressed down as to make the mallet touch the wire. At the same time that the key raises the mallet by means of the pin C, it also lifts off the damper G (a bit of sponge) from the wire. This damper is fixed on the end of a little wooden pin Gg, connected with the lever g H, which has a vellum hinge at H. This motion of the damper is caused by the pin I, which is fixed into the key near to R. These pieces are so adjusted, that the first touch of the key lifts the damper, and immediately after, the pin C acts on the shank of the mallet. As it acts so near to its centre of motion, it causes the head D to move briskly through a considerable arch Dd. Being made extremely moveable, and very light, it is thus raised beyond the horizontal position Ed, and it strikes the wire F, which is now at liberty to vibrate up and down, by the previous removal of the damper G. Having made its stroke, the mallet falls down again, and rests on the soft substance on the pin C. It is of essential importance that this mallet be extremely light. Were it heavy, it would have too much force, after rebounding from the wire, that it would rebound again from the pin C, and again strike the wire. For it will be recollected, that the key is, at this time, down, and the pin C raised as high as possible, so that there is very little room for this rebound. Lessening the momentum of the mallet by making it very light, making the cushion on the top of the pin C very soft, and great precision in the shape and figure of all the parts, are the only securities against the disagreeable rattling which these rebounds would occasion. In respect to the fidelity and precision of workmanship, the British instruments are unrivalled, and vast numbers of them are sent to all parts of the continent.

As the blow of so light a mallet cannot bring much sound from a wire, it has always been found necessary to have two strings for each note. Another circumstance contributes to enfeeble the sound. The mechanism necessary for producing it makes it almost impossible to give any considerable extent to the belly or sound board of the instrument. There is seldom any more of it than what occupies the space between the tuning pins and the bridge. This is the more to be regretted, because the basses are commonly covered strings, that they may be of a moderate length. The bass notes are also of braids, which has a considerably lower tone than a steel wire of the same diameter and tension. Yet even this substitution for steel in the bass strings is not enough. The highest of them are much too slack, and the lowest ones must be loaded, to compensate for want of length. This greatly diminishes the fulness, and still more the mellowness and distinctness of the tone, and frequently makes the very lowest notes hardly appreciable. This inequality of tone about the middle of the instrument is somewhat diminished by constructing the instrument with two bridges; one for the steel, and the other for the braids wires. But still Pigments, the bass notes are very much inferior to the treble. It would surely be worth while to construct some piano forte, of full size, with naked basses. If these were made with all the other advantages of the grand piano forte, they would surpass all other instruments for the regulating power of their thorough bass. We wish that the artists would also try to construct them with the mechanism of mallets, &c., above the sound board. This would allow to it the full extent of the instrument, and greatly improve the tone. It does not seem impossible, nor (we think) very difficult.

For directions how to tune this pleasing instrument, see Temperament in this Supplement.