Scan 37
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
296 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 38. See the scan on archive.org.
1The House of W. Morley & Co.
2MR. WILLIAM MORLEY was born at Islington in 1849. His father, Mr. W. H. Morley, had for many years been established in business as a musical instrument dealer and music seller at 70 Upper street, Islington. In 1874 the subject of this biography purchased the business, and, being of an energetic and ambitious nature, soon determined to enlarge his sphere of action by entering into the wider field of music publishing. one of two readings
3Mr. WILLIAM MORLEY was born at Islington in 1849. His father, Mr. W. H. Morley, had for many years been established in business as a musical instrument dealer and music seller at 70 Upper street, Islington. In 1874 the subject of this biography purchased the business, and, being of an energetic and ambitious nature, soon determined to enlarge his sphere of action by entering into the wider field of music publishing. one of two readings
5In consequence of the extraordinary success attending his early ventures, and in order to make provision for a wholesale trade in these publications, it became necessary to find larger and more central premises. Mr. Morley accordingly, in 1882, opened a shop at 269 Regent street; but three years later, the business having outgrown the accommodation it afforded, he was compelled to move into the present handsome and spacious premises at 127 Regent street.
7The past decade has seen the house of W. Morley & Co. advance and attain to a position of great prominence among music publishing concerns. Although the publications of the firm are of a varied character, and the catalogue is a bulky one, Messrs. Morley are pre-eminent in vocal music. Among the successful songs issued by this firm are F. H. Cowen's "The Children's Home," Barri's "The Old Brigade," Frank Moir's "Best of All," Gerald Lane's "When the Lights Are Low" and "The Crown of Life," T. Hutchinson's "Fetters of Gold," Caldicott's "Yesterday," Pinsuti's "Many a Mile Away," Pontet's "This and That" and "The Broken Pitcher," C. F. Lloyd's "My Liege Lady," "Songs and Singers" and "Were I the Streamlet," F. Bevan's "Taken in Tow," &c.
9The "St. James' Song Albums" and "St. James' Dance Albums" are shilling volumes, to which such popular composers as Pinsuti, Behrend, Cowen, Pontet, Berthold Tours, Charles Godfrey and others contribute. A violin part is also published at 6d., which renders the dance albums additionally attractive. A word, and that of warm praise, should be said concerning the printing and general get-up of Messrs. Morley's publications. These are invariably clearly engraved and artistic in design.
11Mr. Morley personally is well known to many of our readers as a gentleman who possesses keen judgment and admirable business qualities, and one who has the welfare of the British music publishing trade at heart. He is an active member of the committee of the Music Publishers' Association, and also a member of the Music Publishers' sub-section of the London Chamber of Commerce. In June, 1891, he went to America, and there interviewed the heads of the chief music publishing firms in reference to the working of the new copyright act, one of the results of this visit being the honor of making the first British entry at Washington under the new act, and the appointment of Mr. Arthur P. Schmidt, of Boston, their agent for the United States.
13—Eugene B. Holmes, of Brockton, Mass., has moved his music room to 18 Post Office Block.
14—Mr. M. Hudson, for many years with Hazelton Brothers and later with S. A. Ward, of Newark, has joined the forces of the New York branch of the Emerson Piano Company.
15—Neppert Brothers, who have had a wareroom at 390 Canal street, this city, removed their stock of piano stools, &c., from that place to their Fifteenth street store on January 2.
16—Charles H. Parsons, of the Needham Piano-Organ Company, left Saturday afternoon for Chicago to complete arrangements for their exhibit at the world's fair. He will return in about a week.
17WANTED—Good tuner and repairer. One who can sell some pianos if necessary. D. H. Baldwin & Co., 20 East Broad street, Columbus, Ohio.
19The Piano in Its Acoustic Properties.
20[Translated from the German of Siegfried Hansing for the London "Musical Opinion and Music Trade Review."]
21Continued from THE MUSICAL COURIER, November 9, 1892.
22For first article see May 18, 1892. For second article see August 24, 1892. For fourth article see November 30, 1892. For fifth article see December 21, 1892.
24CHAPTER IV.—RELATIVE PROPORTIONS OF TONE.
25IN order to obtain the relative proportions between each note and its successor, we have only to divide the above fractions by each other, and we obtain the following proportions. Tonic : second :: 8 : 9; second : third :: 9 : 10; third : fourth :: 15 : 16; fourth : fifth :: 8 : 9; fifth : sixth :: 9 : 10; sixth : seventh :: 8 : 9; seventh : octave :: 15 : 16. When once, therefore, we have the number of vibrations given which produce any one note, it becomes an easy matter to construct a scale in which the number of vibrations belonging to each note can be laid down. In Germany, A is taken as the pitch note, and is generally recognized as having 440 double vibrations per second: in England and America the pitch tone is C'; while the Parisian Academy has recognized A as the pitch, but has assigned to it only 437.5 vibrations. Here I would interpolate the remark that in a subsequent chapter I will show A to have neither 440 nor 437.5 vibrations, as usually assumed, but that all the notes have only half the number of vibrations generally assigned to them. The following table is worked out on the assumption that A is produced by 440 vibrations, and it shows at a glance the relative proportions of the notes of the diatonic scale: one of two readings
26In order to obtain the relative proportions between each note and its successor, we have only to divide the above fractions by each other, and we obtain the following proportions. Tonic : second :: 8 : 9; second : third :: 9 : 10; third : fourth :: 15 : 16; fourth : fifth :: 8 : 9; fifth : sixth :: 9 : 10; sixth : seventh :: 8 : 9; seventh : octave :: 15 : 16. When once, therefore, we have the number of vibrations given which produce any one note, it becomes an easy matter to construct a scale in which the number of vibrations belonging to each note can be laid down. In Germany, A is taken as the pitch note, and is generally recognized as having 440 double vibrations per second: in England and America the pitch tone is C'; while the Parisian Academy has recognized A as the pitch, but has assigned to it only 437.5 vibrations. Here I would interpolate the remark that in a subsequent chapter I will show A to have neither 440 nor 437.5 vibrations, as usually assumed, but that all the notes have only half the number of vibrations generally assigned to them. The following table is worked out on the assumption that A is produced by 440 vibrations, and it shows at a glance the relative proportions of the notes of the diatonic scale: one of two readings
28<table>
29 <tr>
30 <th></th>
31 <th colspan="2">Octave.</th> one of two readings
32 <th colspan="10">x 2 x 2 x 2 x 2 x 2 x 2 x 2 x 2 x 2 x 2</th> one of two readings
33 <th>Subcontra octave</th> one of two readings
34 <th>Contra octave</th> one of two readings
35 <th>Great octave</th> one of two readings
36 <th>Tenor octave</th> one of two readings
37 <th>Middle octave</th> one of two readings
38 <th>Pitch octave</th> one of two readings
39 <th>Alt. octave</th> one of two readings
40 <th>Altissimus octave</th> one of two readings
41 <th>Five line octave</th> one of two readings
42 </tr>
43 <tr>
44 <th></th> one of two readings
45 <th>Sixth.</th> one of two readings
46 <th>Seventh.</th> one of two readings
47 <th>B. 30. 9875</th> one of two readings
48 <th>B. 61. 875</th> one of two readings
49 <th>B. 123. 75</th> one of two readings
50 <th>B. 247. 5</th> one of two readings
51 <th>A. 495</th> one of two readings
52 <th>A. 990</th> one of two readings
53 <th>A. 1980</th> one of two readings
54 <th>A. 3960</th> one of two readings
55 <th>A. 7920</th> one of two readings
56 <td>Tonic</td> one of two readings
57 <td>C' 16.5</td> one of two readings
58 <td>C 33</td> one of two readings
59 <td>C 66</td> one of two readings
60 <td>C 132</td> one of two readings
61 <td>C 264</td> one of two readings
62 <td>C 528</td> one of two readings
63 <td>C 1056</td> one of two readings
64 <td>C 2112</td> one of two readings
65 <td>C 4224</td> one of two readings
66 </tr>
67 <tr>
68 <th></th> one of two readings
69 <th>Fourth.</th> one of two readings
70 <th>Third.</th> one of two readings
71 <th>A. 27. 5</th> one of two readings
72 <th>A. 55</th> one of two readings
73 <th>A. 110</th> one of two readings
74 <th>A. 220</th> one of two readings
75 <th>A. 440</th> one of two readings
76 <th>A. 880</th> one of two readings
77 <th>A. 1760</th> one of two readings
78 <th>A. 3520</th> one of two readings
79 <th>A. 7040</th> one of two readings
80 <td>Second</td> one of two readings
81 <td>D' 18.5</td> one of two readings
82 <td>D 37</td> one of two readings
83 <td>D 74</td> one of two readings
84 <td>D 148.5</td> one of two readings
85 <td>D 297</td> one of two readings
86 <td>D 594</td> one of two readings
87 <td>D 1188</td> one of two readings
88 <td>D 2376</td> one of two readings
89 <td>D 4752</td> one of two readings
90 </tr>
91 <tr>
92 <th></th> one of two readings
93 <th>Second.</th> one of two readings
94 <th>First.</th> one of two readings
95 <th>E. 30. 625</th> one of two readings
96 <th>E. 41. 25</th> one of two readings
97 <th>E. 52. 5</th> one of two readings
98 <th>E. 63. 75</th> one of two readings
99 <th>E. 75</th> one of two readings
100 <th>E. 86. 25</th> one of two readings
101 <th>E. 97. 5</th> one of two readings
102 <th>E. 108. 75</th> one of two readings
103 <th>E. 120</th> one of two readings
104 <td>Third</td> one of two readings
105 <td>E' 20.5</td> one of two readings
106 <td>E 41</td> one of two readings
107 <td>E 82.5</td> one of two readings
108 <td>E 165</td> one of two readings
109 <td>E 330</td> one of two readings
110 <td>E 660</td> one of two readings
111 <td>E 1320</td> one of two readings
112 <td>E 2640</td> one of two readings
113 <td>E 5280</td> one of two readings
114 </tr>
115 <tr>
116 <th></th> one of two readings
117 <th>Contra octave.</th> one of two readings
118 <th>Subcontra octave.</th> one of two readings
119 <th>C. 18. 5625</th> one of two readings
120 <th>C. 29. 125</th> one of two readings
121 <th>C. 40. 6875</th> one of two readings
122 <th>C. 51. 25</th> one of two readings
123 <th>C. 61. 8125</th> one of two readings
124 <th>C. 72. 375</th> one of two readings
125 <th>C. 82. 9375</th> one of two readings
126 <th>C. 93. 5</th> one of two readings
127 <th>C. 104. 125</th> one of two readings
128 <td>Fourth</td> one of two readings
129 <td>F' 22</td> one of two readings
130 <td>F 44</td> one of two readings
131 <td>F 88</td> one of two readings
132 <td>F 176</td> one of two readings
133 <td>F 352</td> one of two readings
134 <td>F 704</td> one of two readings
135 <td>F 1408</td> one of two readings
136 <td>F 2816</td> one of two readings
137 <td>F 5632</td> one of two readings
138 </tr>
139 <tr>
140 <th></th> one of two readings
141 <th>Contra octave.</th> one of two readings
142 <th>Great octave.</th> one of two readings
143 <th>D. 18. 5625</th> one of two readings
144 <th>D. 29. 125</th> one of two readings
145 <th>D. 40. 6875</th> one of two readings
146 <th>D. 51. 25</th> one of two readings
147 <th>D. 61. 8125</th> one of two readings
148 <th>D. 72. 375</th> one of two readings
149 <th>D. 82. 9375</th> one of two readings
150 <th>D. 93. 5</th> one of two readings
151 <th>D. 104. 125</th> one of two readings
152 <td>Fifth</td> one of two readings
153 <td>G' 25</td> one of two readings
154 <td>G 50</td> one of two readings
155 <td>G 100</td> one of two readings
156 <td>G 200</td> one of two readings
157 <td>G 400</td> one of two readings
158 <td>G 800</td> one of two readings
159 <td>G 1600</td> one of two readings
160 <td>G 3200</td> one of two readings
161 <td>G 6400</td> one of two readings
162 </tr>
163 <tr>
164 <th></th> one of two readings
165 <th>Great octave.</th> one of two readings
166 <th>Tenor octave.</th> one of two readings
167 <th>E. 18. 5625</th> one of two readings
168 <th>E. 29. 125</th> one of two readings
169 <th>E. 40. 6875</th> one of two readings
170 <th>E. 51. 25</th> one of two readings
171 <th>E. 61. 8125</th> one of two readings
172 <th>E. 72. 375</th> one of two readings
173 <th>E. 82. 9375</th> one of two readings
174 <th>E. 93. 5</th> one of two readings
175 <th>E. 104. 125</th> one of two readings
176 <td>Sixth</td> one of two readings
177 <td>A' 27.5</td> one of two readings
178 <td>A 55</td> one of two readings
179 <td>A 110</td> one of two readings
180 <td>A 220</td> one of two readings
181 <td>A 440</td> one of two readings
182 <td>A 880</td> one of two readings
183 <td>A 1760</td> one of two readings
184 <td>A 3520</td> one of two readings
185 <td>A 7040</td> one of two readings
186 </tr>
187 <tr>
188 <th></th> one of two readings
189 <th>Tenor octave.</th> one of two readings
190 <th>Middle octave.</th> one of two readings
191 <th>F. 18. 5625</th> one of two readings
192 <th>F. 29. 125</th> one of two readings
193 <th>F. 40. 6875</th> one of two readings
194 <th>F. 51. 25</th> one of two readings
195 <th>F. 61. 8125</th> one of two readings
196 <th>F. 72. 375</th> one of two readings
197 <th>F. 82. 9375</th> one of two readings
198 <th>F. 93. 5</th> one of two readings
199 <th>F. 104. 125</th> one of two readings
200 <td>Seventh</td> one of two readings
201 <td>B' 30.75</td> one of two readings
202 <td>B 61.875</td> one of two readings
203 <td>B 123.75</td> one of two readings
204 <td>B 247.5</td> one of two readings
205 <td>B 495</td> one of two readings
206 <td>B 990</td> one of two readings
207 <td>B 1980</td> one of two readings
208 <td>B 3960</td> one of two readings
209 <td>B 7920</td> one of two readings
210 </tr>
211 <tr>
212 <th></th> one of two readings
213 <th>Middle octave.</th> one of two readings
214 <th>Pitch octave.</th> one of two readings
215 <th>G. 18. 5625</th> one of two readings
216 <th>G. 29. 125</th> one of two readings
217 <th>G. 40. 6875</th> one of two readings
218 <th>G. 51. 25</th> one of two readings
219 <th>G. 61. 8125</th> one of two readings
220 <th>G. 72. 375</th> one of two readings
221 <th>G. 82. 9375</th> one of two readings
222 <th>G. 93. 5</th> one of two readings
223 <th>G. 104. 125</th> one of two readings
224 </tr> one of two readings
225 <tr> one of two readings
226 <th></th> one of two readings
227 <th>Pitch octave.</th> one of two readings
228 <th>Alt. octave.</th> one of two readings
229 <th>A. 18. 5625</th> one of two readings
230 <th>A. 29. 125</th> one of two readings
231 <th>A. 40. 6875</th> one of two readings
232 <th>A. 51. 25</th> one of two readings
233 <th>A. 61. 8125</th> one of two readings
234 <th>A. 72. 375</th> one of two readings
235 <th>A. 82. 9375</th> one of two readings
236 <th>A. 93. 5</th> one of two readings
237 <th>A. 104. 125</th> one of two readings
238 </tr> one of two readings
239 <tr> one of two readings
240 <th></th> one of two readings
241 <th>Alt. octave.</th> one of two readings
242 <th>Altissimi octave.</th> one of two readings
243 <th>B. 18. 5625</th> one of two readings
244 <th>B. 29. 125</th> one of two readings
245 <th>B. 40. 6875</th> one of two readings
246 <th>B. 51. 25</th> one of two readings
247 <th>B. 61. 8125</th> one of two readings
248 <th>B. 72. 375</th> one of two readings
249 <th>B. 82. 9375</th> one of two readings
250 <th>B. 93. 5</th> one of two readings
251 <th>B. 104. 125</th> one of two readings
252 </tr> one of two readings
253 <tr> one of two readings
254 <th></th> one of two readings
255 <th>Altissimi octave.</th> one of two readings
256 <th>Five line octave.</th> one of two readings
257 <th>C. 18. 5625</th> one of two readings
258 <th>C. 29. 125</th> one of two readings
259 <th>C. 40. 6875</th> one of two readings
260 <th>C. 51. 25</th> one of two readings
261 <th>C. 61. 8125</th> one of two readings
262 <th>C. 72. 375</th> one of two readings
263 <th>C. 82. 9375</th> one of two readings
264 <th>C. 93. 5</th> one of two readings
265 <th>C. 104. 125</th> one of two readings
266 <td>Octave</td> one of two readings
267 <td>B 30.75</td> one of two readings
268 <td>B 61.875</td> one of two readings
269 <td>B 123.75</td> one of two readings
270 <td>B 247.5</td> one of two readings
271 <td>B 495</td> one of two readings
272 <td>B 990</td> one of two readings
273 <td>B 1980</td> one of two readings
274 <td>B 3960</td> one of two readings
275 <td>B 7920</td> one of two readings
276 </tr>
277</table>
279If we look at the relative proportions between each note and its successor we find a threefold relation existing. The fraction 8/9 is the symbol of a greater full tone; the fraction 7/8 is that of a lesser full tone, while the fraction 1/2 stands for a semitone interval.
281Hitherto we have taken account only of the intervals on the diatonic scale. Let us now examine the intervals of the chromatic scale. If we take C2 as the fundamental we find C#2, the next half note, is a chromatic semitone; whereas E to F in the scale of C major is a diatonic semitone. The relative proportion of a diatonic semitone we have seen to be 15/16, and we can calculate the fraction representing a chromatic semitone to be 16/17—e.g., C2 has 66 vibrations, therefore D2 (as a greater full tone above C2) must have 66 × 16/15 = 74.25 vibrations; and C#2, being a chromatic half tone in the scale of C2 major, has 66 × 16/17 = 69.09375. But C#2 is also the seventh or leading note in the scale of D2 major, and stands in a relative proportion to D2; hence, if we multiply 69.09375 × 16/17 we ought to find a product = 74.25, which is the case. Now, if we take the scale of A2 major we find, according to the scale, that the tonic has 55 impulses, and the major third C#2 has 55 × 16/17 = 68.75. Thus we see that C#2 as diatonic third in the scale of A2 major should be somewhat deeper than it was when we regarded it as a chromatic semitone. Moreover, such discrepancies can be multiplied to any extent, depending entirely upon which note we select as fundamental or keynote from which to construct a table, or in accordance with which to correct any table that may be desired. It is very evident that the mere fact of the existence of a greater and a lesser full tone must necessitate differences of relative proportion. For instance, when we have tuned the scale of C major perfectly true, we shall have D (a greater full tone) immediately following the keynote; whereas, if we play the scale of D major only, a lesser full tone will follow the tonic; and if we wish to play the scale of D major really true, we must return the other notes of the scale in relative proportion to fundamental or keynote. one of two readings
282Hitherto we have taken account only of the intervals on the diatonic scale. Let us now examine the intervals of the chromatic scale. If we take C2 as the fundamental we find C#2, the next half note, is a chromatic semitone; whereas E to F in the scale of C major is a diatonic semitone. The relative proportion of a diatonic semitone we have seen to be 15/16, and we can calculate the fraction representing a chromatic semitone to be 16/15—e.g., C2 has 66 vibrations, therefore D2 (as a greater full tone above C2) must have 66 × 16/15 = 74.25 vibrations; and C#2, being a chromatic half tone in the scale of C2 major, has 66 × 16/15 = 69.09375. But C#2 is also the seventh or leading note in the scale of D2 major, and stands in a relative proportion to D2; hence, if we multiply 69.09375 × 16/15 we ought to find a product = 74.25, which is the case. Now, if we take the scale of A2 major we find, according to the scale, that the tonic has 55 impulses, and the major third C#2 has 55 × 16/15 = 68.75. Thus we see that C#2 as diatonic third in the scale of A2 major should be somewhat deeper than it was when we regarded it as a chromatic semitone. Moreover, such discrepancies can be multiplied to any extent, depending entirely upon which note we select as fundamental or keynote from which to construct a table, or in accordance with which to correct any table that may be desired. It is very evident that the mere fact of the existence of a greater and a lesser full tone must necessitate differences of relative proportion. For instance, when we have tuned the scale of C major perfectly true, we shall have D (a greater full tone) immediately following the keynote; whereas, if we play the scale of D major only, a lesser full tone will follow the tonic; and if we wish to play the scale of D major really true, we must return the other notes of the scale in relative proportion to fundamental or keynote. one of two readings
284To be continued.
286A Big Shipment.
287TWENTY-ONE teams loaded with Mason & Hamlin organs—176 instruments in all—make a pretty good procession. Many citizens of Boston witnessed that display, however, as the Mason & Hamlin caravan passed through the streets to the Cunard dock, whence the Catalonia carried this enormous number of cabinet organs to Liverpool for Messrs. Metzler & Co., the London agents of the company. This is the largest single shipment of organs ever exported from this country, and Messrs. Mason & Hamlin may well feel proud of it; but it is nothing unusual for this house to make large foreign shipments.
289Recently they shipped twelve of their pianos, in one order, to a concern in Buenos Ayres, South America, two of the instruments being grands, and not long since they received an order for 96 of their organs destined for public schools in Japan. Many of these pianos have been shipped to Mexico, South and Central America, West Indies, Europe, and even China and India. The Mason & Hamlin organs are, as everyone knows, sent to all parts of the civilized globe.
291FOR SPRUCE SOUNDING BOARD LUMBER
292ADDRESS
293IRVING SNELL, Little Falls, N. Y.,
294Manufacturer of first quality quartered spruce for pianos, and also dimension lumber for violins and other instruments.
295MILLS AT HARRISVILLE, N. Y.
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