Music Trade Review

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THE MUSIC TRADE REVIEW
Conducted and Edited by Wm, B. White.
It will be recollected that I recently had occa- trouble, however, with many tuning schools is
sion to print a letter from a .correspondent in that they are like some of the people who make
Ohio, who lamented the troubles that he was pianos without any practical knowledge of the
experiencing in the matter of finding a situation business. How can such men teach others? Not
for himself as tuner. In this connection, I took long ago I noted an inquiry in a trade paper as
occasion to make certain observations in ref- to where a copy of Helmholtz in English could be
erence to the general subject of "tuning schools," purchased, as the inquirer was about to open
their utility and disadvantages. My correspond- a tuning school. There are a lot of cranks who
ent, it will be remembered, was a graduate from read up on sound waves and a lot of other non-
two of these institutions. In this connection, I sense, and then believe that they are capable of
wish to call attention to the following letter teaching the whole art of caring for pianos. But
from Mr. George L. Maitland, the well-known all such schools should be weeded out in short
tuner of Philadelphia, whose opinion is certainly order, and the good schools should be encour-
aged. I am confident that any piano tuning
entitled to respectful recognition:
school directed by an experienced tuner with a
Editor Technical Department:
Dear Sir—1 notice in your advice to our Ohio properly equipped repair shop can teach an in-
brother that you do not seem to have a very dustrious young man more about outside tuning
high opinion of even the good tuning schools. in two years than he can learn in twenty years
Now it seems to me that so long as the present in the average piano factory. I admit that this
plan prevails of dividing up the work of piano would not be true if factories were run now as
making into many branches, the good tuning they were in the old days; but I do contend that
school has the decided advantage over the fac- the factory tuner has a very poor chance to get
tory in the matter of equipping outside tuners. a thorough knowledge of all the details of piano
If, as you imply, dealers and manufacturers look making, or repairing, whereas the contrary is
down on the good tuning schools, they should be the case with the students of a well-equipped
taught their mistake. You know that, as things school. Pray pardon me for so lengthy letter.
Respectfully,
GEOKGK L. MAITLAMI,
r.re new, the factory tuner need know nothing
Philadelphia,
July
9,
1906.
more than how to wind the wires and set the
pins. He may work at tuning for twenty years
Mr. Maitland is a man of positive opinions, and
in the factory without using any other tool than
I confess to having much sympathy with such
his tuning hammer.
I knew a young tuner some time ago who went persons. But I think that his wholesale condem-
into a piano factory with the idea of learning the nation of factory methods is somewhat exag-
whole business. After he had tuned pianos for gerated, nor dees it appear that he makes out a
about nine months at a good salary he asked to good case against them and for the schools, for
be put in another department. But the foreman it must be admitted that the factory, at least,
said that they could not upset their system for keeps a man in his proper place until he has
the purpose of teaching him the piano trade, as attained skill and excellence in his particular
they made pianos there, not piano mechanics. branch. Moreover, an industrious young man
The foreman further said that as tuning was can always gain a good insight into the various
this young man's profession, that was enough for methods of construction, and I have never yet
him to know. So it seems to me that your Ohio heard of a factory superintendent refusing a
friend need have little trouble in getting into a chance to a man who was willing to take it when
factory where he can wind wires for the rest of offered. The trouble, to my mind, has rather
his life to his heart's content, and at a good been that the tuners have wished to acquire their
knowledge too quickly, and have not been content
salary.
But when it comes to outside tuning, or tun- to take the slow but sure method found in the
ing, as the boys say, "on the road," that is an- factory.
other matter, and requires a man with knowledge
As far as the schools are concerned my quarrel
from A to '/J of piano making, or at least of piano
is
rather with their methods than with the prin-
repairing. For instance, an outside tuner must
know what to do with a warped case, a cracked ciple in virtue of which they exist. No one can
sounding board, a squeaky pedal, a sticky key, a deny that the rise of these institutions is in ac-
clincking hammer head, a rattling jack, a buz- cordance with a demand, and that they are doing
zing string, a split bridge, a broken tuning pin, their best to supply this. But the fault is to be
or a broken hitch pin, besides all the other trou- found in the fact that they will not, or cannot,
bles. All these things he must be able to remedy. keep their students under their eye for a long
Yes, the outside tuner must know how to lay a enough period to insure them anything like
touch, bush a flange, put on strings, put in dam- requisite experience. Every conscientious direc-
tor of such a school knows that the greatest
pers or damper springs, drill out hammer heads difficulty lies in forcing pupils to stay long
or butts, felt hammer heels, bush keys, and enough to acquire proper knowledge. Moreover,
many other things too numerous to mention it cannot be denied that many schools have been
here.
accustomed to grant diplomas at the conclusion
Now, what I want to know is how the outside of ridiculously insufficient periods of study.
tuner can acquire this knowledge in our present There is no standard of excellence, and therein
modern piano factory, where every fellow does lies the fatal weakness of the school system. I
his own little stunt from one" year's end to the wall say frankly that I believe in a licensing
next, and has not time to be observing what his system for tuners under state direction; in fact,
neighbor is doing. Why, even if our Ohio friend there seems to be no other way in which tuners
could get in a factory it would take until he can be graded as to ability and skill. I am sure
was a hundred years old or so, he being now that most tuners will agree that the school sys-
fifty, if he set out to learn the work of all the tem is founded on good enough principles. The
departments. Yes; this would be true even if only quarrel is with the fact that the gentlemen
he were only to spend six months in each de- who manage them have hitherto been more anx-
partment. No, sir; tne young man who spends ious to run them as paying business propositions
two years or so in one of our modern piano fac- than as institutions of learning. We cannot ex-
tories is no more qualified to tune on the road actly take exception to this idea, but its influ-
than is a druggist to treat the sick.
ence upon the students is far from good. When
But now, how' is it with the good tuning i' is thoroughly understood that the tuning
schools? And I may say that by a good tuning school is merely an elementary institution, and
school I mean one that is directed by an expe- that some years of constant factory practice are
rienced piano tuner. How is it with an institu- needed after the completion of the course, then
tion like this? Why, at one of these places you things will be better. But they will remain as
can learn to tune, and at the same time to do all at present until students of tuning schools are
manner of repairs in a correct manner. The
"Theory 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.