Scan 42
A Review Of Ancient And Modern Violin Making, 1899
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1tion in work and depend less on quality of wood, their work will have a much higher value. Before closing this section, I wish to notice and examine a practice followed by many makers, the folly of which should be apparent to any one acquainted with even the rudiments of violin science. These makers will not use wood that will not yield a certain tone when struck. The tone sought for, I believe, is C natural. No doubt they have a theory that is satisfactory to themselves for this proceeding, but on what scientific ground it was established is more than I can tell. They ignore the fact that the letter tone of any piece of wood is determined by its size, so, if the piece of wood they are testing should give the tone A or B, all they would have to do would be to shorten the piece, which would sharpen the tone until it reached C, or any other tone in the scale. When they find the wood that gives the sought-for tone, they begin to shape it for the violin. Every shaving they remove changes the tone, and by the time it is in place in the violin it will have run the chromatic scale several times.
3But granting the plate happened to be of the right tone (for by no possibility could this
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