Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
13
THE MUSIC TF?ADE REVIEW
Conducted and Edited by Win. B. White.
I want to call attention to the following let-
ter from a correspondent who has occasionally
asked questions of this department. The mat-
ters here treated of are particularly interesting
from every point of view, and I am sure that all
readers will take considerable care in noting
what is here said. I call attention particularly to
the latter paragraphs of the letter:
Editor Technical Department, The Music Trade
Review:
I have read with great pleasure of the success
of your friend in New York City. I should sure-
ly like to know his name and address, so that
I might learn more of his advertising methods.
At the present time I am getting up copy to be
used in the fall of the year, and your article
came at a very opportune time.
For six years I have been an independent
tuner in a sense. That is to say, I have my own
private trade, but at the same time do all the
work of two dealers in the city here, this work
being, of course, at dealers' rates. In other
words, the dealers have a string on me, and I
must jump when they have work to be done.
Very often this means that I must push aside
more profitable private work. I have an idea
that by persistent advertising such as your New
York friend uses, I could secure a larger per-
sonal following, which would mean that I could
make more money than is now possible.
I would, therefore, like to have your opinion as
to which is best for a tuner to do—be independ-
ent in the strict sense, or do work for dealers at
dealers' prices? Also, tell me if you think that
an independent tuner can interest himself in the
sale of pianos and be successful? Would this
come legitimately in his line of work?
Sincerely, W. W. LOTT.
I might mention, incidentally, that I have also
received requests for the name and address of
my young New York friend from several other
correspondents, among them being Richard Schu-
bert, Syracuse, N. Y., and R. N. Johns, Oshawa,
Canada. I have sent these gentlemen the infor-
mation they require.
and consistent impartiality. When the members
of a community realize that a tuner represents
nothing but his art, when they know that he is
not engaged in shouting for some particular
make of instrument, when, in fact, they know
that his sole interests is in giving the best work
that is in him to those who pay him for that
work, then his future is secure, and none but
himself can take away or destroy it.
I have repeatedly pointed out in this column
the importance pf this kind of a reputation, and
I am sure that the statements are not less true
for their obvious triteness. I do not pretend that
the making of this kind of a reputation is the
work of a day, nor that the alliance with dealers
is very tempting, but I do say that a lasting
success is built only upon independence in the
strict sense; and that means also upon independ-
ence of thought, will and action.
Regarding the question of tuners selling
pianos, I want to say that the reasons given
above should make it very clear to every reader
that I am heartily not in favor of the selling of
pianos by tuners. That is to say, provided that
my correspondent means the sale of new instru-
ments as a business and in connection with the
pushing of a certain make. If you wish to be a
dealer, then, be one; but if you are a tuner,
tune. On the other hand, the tuner may fre-
quently add to his legitimate income by specu-
lating a little in old pianos which are often to
be had at absurdly low prices, and rebuilding
these with a view to selling them again at a
profit. This, however, is a different phase of the
question, and I think that all will agree with me
as to its general advisability, no less than I ex-
pect them to agree as to the general inadvisability
of the other method.
SOME RKFI.KCTION.S ON CASK DKSION.
The reader will do well to note that 1 say
here "Some reflections on case design," not on
case designers. I.have no quarrel with the gen-
tlemen whose- business it is to make me outer
garments of pianos, but rather with the public
taste that permits, nay, even encourages, the
perpetration of artistic atrocities in the decora-
Mr. Lott asks me some important questions, tion of musical instruments.
As I have said before on this page, the piano
and *I shall be very glad to know what my read-
ers think of the points he has made, and of the has not kept pace with other art products in
reply herewith given. The matters at issue are the evolutoin of its decorative functions. While
capable of divers interpretations, and there is we find that there is a progressive improvement
nc doubt that opinions on them are very various in all other domestic utensils, the piano remains
very much where it was twenty years ago. I am
and conflicting.
I have always held that it is far better for a sure that no one will seriously contend that the
tuner to surround himself with a following per- average piano is really a beautiful thing, of itself
£onal to him. If he can possibly manage it, I and apart from any meretricious and extraneous
believe that he will always be better off by keep- ornamentation that may be placed upon it. On
ing away from dealers, unless he desires to en- the contrary, the case of the piano is estopped
gage his services entirely to one firm and be- from the possession of any great aesthetic value
come allied with one organization. In this lat- by reason of the physical necessities of the in-
ter case, his duty is to give all the loyalty and strument. Even the grand suffers from this in-
enthusiasm of which he is capable to the insti- evitable disadvantage, and the upright is still
tution that is paying his salary. On the other more subject to the crudity of outline and for-
hand, unless he does thi3, I think he had better mality of contour than the position and neces-
leave the dealer alone. Not only does this part- sary dimensions of the instrument impose.
It is, therefore, our duty, in considering the
time work become a nuisance to the tuner with
a growing private practice, but it always means matter of the outer dress of the piano, to try to
that the dealer expects, and not unjustly, that perceive wherein lies fundamental feature of the
the tuner will boom his goods. Now, when a piano's form, and then to develop this feature in
tuner, is trying to keep his conscience straight such a manner as to eliminate the lack of in-
between two dealers and his own customers the herent beauty and endow the instruments with
moral law is likely to receive considerable as much and no more of ornamentation and dec-
stretching. No matter by how slender a chain orative treatment as will enhance whatever grace-
.he is attached to the interests of another the ful lines they may possess, while shading down
fact remains that he cannot continually use his the prominence of such as are the reverse. In
own unbiased judgment without falling foul of this manner alone will it be possible to approach
the legitimate interests of the man who employs with intelligence the problem of the decorative
parts of his time to tune pianos in his ware- treatment of the piano. Recklessly to load upon
the instrument any kind of ornamentation that
room.
may be convenient will never bring about the
Now, I believe that the foundation of success desired effect. When completed the case of the
in the independent practice of tuning is the se- piano should express a uniform idea, and be
curing of a reputation for absolute fearlessness susceptible of an easy artistic interpretation.
"ThCOry and
Practice
OF
Pianoforte
Building."
^Copyright.)
The above is the title of a technical
work which is the result of two years of
careful study and research by Wm. B.
White. It covers in a comprehensive
manner every essential of pianoforte
building and scale draughting, together
with the principles of acoustics. It is a
book which should be in the hands of
every man interested in piano develop-
ment. It is profusely illustrated with
original designs.
Here are a few of the subjects treated
in this book:
THE EVOLUTION OF THE MODERN
PIANOFORTE.
DESCRIPTION OF THE MODERN PIANO-
FORTE.
ACOUSTICAL
LAWS OF SOUNDING
STRINGS.
THE MUSICAL SCALE AND MUSICAL
INTONATION.
THE EQUAL TEMPERAMENT.
PIANOFORTE STRINGS AND THEIR
PROPER DIMENSIONS.
RESONANCE AND THE RESONANCE-AP-
PARATUS OF THE PIANOFORTE.
THE CASING AND FRAMING OF THE
PIANOFORTE.
THE IRON FRAME OF THE PIANO-
FORTE.
THE MECHANISM OF PERCUSSION.
THE TOUCH MECHANISM.
THE REGULATION OF PIANOFORTE
TOUCH-MECHANISM.
TUNING AND TONE REGULATION OF
THE PIANOFORTE.
THE DRAUGHTING OF THE PIANO-
FORTE SCALE.
DEVELOPMENT OF PLAYER-PIANO.
THE SMALL GRAND.
Every man, whether manufacturer,
scale
draughtsman,
superintendent,
dealer, or salesman, should own a copy
of the first work of its kind in the Eng-
lish language.
The price for single copies, delivered
to any part of the world, is $2.
EDWARD
LYMAN BILL,
PUBLISHER,
1 Madison Avenue,
NEW YORK CITY.