Music Trade Review

Issue: 1910 Vol. 51 N. 4

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
AMERICAN GUILD OF PIANO TUNERS
endorsement of another, so that the growth of the
Guild has been harmonious, even and of a high
Will Hold Its First Convention in New York standard of excellence.
on August 10 to 12—Important Subjects to
The Guild is governed, and will be until the
Be Discussed—What the Guild Aims to Ac- convention, by an executive council of three active
complish.
and eleven advisory members, chosen by ballot
from the membership. The active members are
On the 10th day of August there will meet in in New York, and consist of a chairman, a secre-
New York the last piano trade convention of the tary and a general organizer. The headquarters of
year. Little, comparatively speaking, has been the Guild are at 126 West 100th street, New York,
said about it, and perhaps some members of the and J. Elliott Diez is chairman of the executive
trade do not even know that such an affair is council.
scheduled to take place. Yet the future historian
The Guild has organized, for the benefit of its
of the piano business will not fail to give due members, bureaus of employment, technical in-
and proper attention to it, for he will realize that formation and grievances. The service of these is
it marks the beginning of a new epoch in trade free to all members.
relations.
The National Piano Manufacturers' Association,
The American Guild of Piano Tuners, which at its recent Richmond convention, passed a reso-
holds its first annual convention at the Hotel Flan- lution approving the purposes of the Guild.
ders on August 10, 11 and 12, was brought into
At the coming convention of the Guild the prin-
existence at the beginning of the present year; to cipal subjects for discussion will be these:
be exact, on January 9. Its rapid rise and healthy
1. Adoption of a definite, formal constitution.
growth illustrate strikingly the carrying power of
2. Incorporation of the Guild.
an idea. For it was no more in the beginning than
3. Appointment of a commission to enunciate a
this. One man had the courage—or the foolhardi- standard statement of the equal temperament.
ness, as you will—to translate a dream into the
4. Appointment of a commission on uniform
nucleus of an organized body. And the result has pitch.
been unbelievably favorable.
Applicants for membership should write for
The idea at the bottom of the Amwican Guild full information to the general organizer, Ameri-
of Piano Tuners is best expressed as that of self- can Guild of Piano Tuners, 126 West 100th street,
reliance. The American piano tuner has been New York.
for years facing an evil system. Fraudulent prac-
tice by incompetent pretenders, price-cutting by
PIANO SALESiJNOMAHA, NEB.
employed tuners working after hours, bad employ-
ment conditions; all these and many others have Report of County Assessor Shows Increase of
1,629 Pianos for the Past Year—Proves
conspired to rob the competent artist of his dues
That Nebraskans Are Buying Pianos as Well
and make life a burden to him.
as* Autos.
The piano trade, in a vague and unsystematic
sort of way, has done its best to assist the tuner
The condition of the piano business in Omaha,
in combating these evils. Intelligent dealers have
tried to fight the fake tuner to the best of their Neb., and adjoining territory may be estimated
ability, but have been unable so to do, principally from the official statistics filed by County Assessor
because the good tuners could only be dealt with Shriver with the State Board of Equalization. Ac-
as individuals, and there was no means of bringing cording to Mr. Shriver the citizens of the county
any organized sentiment to bear. On the other hand, covering Omaha own more pianos than watches,
the unintelligent dealer has winked at and coun- carriages, wagons or sewing machines.
tenanced, covertly at least, all sorts of exceedingly
The assessment returns show 8,110 pianos as-
unprofessional and even dishonest practices by sessed at $683,315, in a population of less than
unscrupulous tuners, simply in order to benefit by two hundred thousand. Last year only 5,457 pianos
the small commission received on orders.
were reported, assessed at $591,470. This shows
In short, the piano trade, even when honest, has an increase of 1,629 pianos during the past year,
of itself been unable to do much for the tuner, all of which were undoubtedly purchased from
and when not sincere has not wished to do any- piano dealers in Omaha. There has been a falling
off in organs, which number 812, assessed at $32,-
thing.
The tuner, then, must forget his timidity, his 820, as compared with 905 organs, assessed at $34,-
traditional attitude of leaning on another, and 075, in 1909.
undertake his own salvation in his own way. He
must organize, call all other honest men his
brethren and drop, once for all, that stupid, ig-
norant feeling of hostility and jealousy to his col-
leagues which has for so long been a blot on the
face of the profession.
This, then, is the idea which lies at the bottom
of the American Guild of Piano Tuners. Organ-
ization for mutual benefit, for the better propaga-
tion of professional knowledge, the general im-
provement of the standard of professional attain-
ment, and the stamping out of the faker, the in-
competent and the fraud; these are the specific
objects of the Guild. So intrinsically worthy are
these objects that it would seem as if failure, un-
less due to gross mismanagement, would be im-
possible.
The progress of the Guild has been remarkable.
Starting last January with one member, it has
now reached the century mark. Twenty-six States
already have members, and in some instances prac-
tically the entire number-of good tuners within a
State are already Guild men. Particularly is this
so in the State of Virginia, where the Guild has
attained remarkable strength. Other well repre-
sented States are Ohio, New York and Pennsyl-
vania.
The basic notion on which the membership has
been recruited is that of professional excellence.
A candidate for membership not only must furnish
a minute account of his professional career, but
must also submit to examination at the hands of
the pearest member, or of headquarters, this de-
pending upon his distance from New York. Al-
most every member has thus been introduced by
11
It is worthy of note that the assessor last year
listed pianos at an average value of $108.50, while
this year he reduced the assessed value to $84.00
each, because of the increase in the value of other
personal property.
This certainly is an excellent showing as far
as the piano business is concerned, and demon-
strates that not only were a goodly lot of pianos
sold in Omaha last year, but the people had suffi-
cient spare cash to satisfy their desires.
GREAT ELECTRIC SIGN
To
Be Erected for the Montenegro-Reihm
Music Co. in Louisville, Ky.—Chickering
Piano to Be Featured.
An enormous electric sign is to be erected near
the Customs House in Louisville, Ky., for the
Montenegro-Reihm Music Co. It will be 30 by 20
feet, and the central figure will be a woman seated
at a Chickering piano discoursing delightful music.
Thousands of colored electric lights will be used,
and the sign, which will be one of the largest in
the city, will catch the eye of thousands of people
daily, as it is located in the most central part of
the city.
JOHN WANAMAKEITS 72D BIRTHDAY.
The Famous Merchant Prince Keenly Inter-
ested in Development of Piano Department.
John Wanamaker, the famous merchant, whose
piano departments in New York and Philadelphia
are among the show places of these cities, cele-
brated his seventy-second birthday on July 12 by
attending to business as usual at his Philadelphia
store. Mr. Wanamaker is enjoying very excellent
health, and is as enthusiastic about the develop-
ment of his business as he was in years agone, and
perhaps no department of his vast business interests
him more than that devoted to pianos. Its devel-
opment has been amazing in many respects, and
there has been no backward step.
G. W. Cooley, who is engaged in the furniture
business at 87-89 South Forsyth street, Atlanta.
Ga., has purchased the stock of pianos formerly
owned by Caldwell & Moore. G. W. Moore, of
the latter concern, is associated with Mr. Cooley,
and the Capen piano is being featured promi-
nently.
The Staples Piano Co., Portland, Me., has leased
a store at Skowhegan, Me.
TF you knew that by putting \ \ Z 1 T H 46 patterns ranging
6 or 12 Cabinets for Piano
in price from $6.75 to
Player Rolls on your floor that $35.00, every customer can be
they would move, and at a taken care of. And then the
good profit, there would be no
hesitancy on your part in giving designs we offer; why, we
us an order. Now, lots of had our designer working for
dealers thought they wouldn't months matching the Lead-
go, but those who have tried ing Player Pianos and Pianos
it out have been convinced to in the field.
the contrary, and why should a
In fact, if you do not
Player Sale be made without
bringing up the question of a write for our Sales Helping
cabinet in which to keep the Catalog you are letting one
rolls from being lost, getting of the "Best Bets" get away.
dusty and littering up the top
Write us.
of the Piano ?
The Udell Works
INDIANAPOLIS, IND.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
12
MUSIC TRADE
REVIEW
Conducted and Edited by Wm. B. White.
THE TONE-QUALITY OF PIANOS—ITS NA-
TURE, CREATION AND REFINEMENT.
Article 3.
It had for long been believed by acousticians
that the tone-quality of a sound-wave must be
determined by its form or shape, but no definite
understanding of the matter was possible until the
classic investigations of Helmholtz had rendered
everything clear. Ever since the time of Mersenne,
father of modern acoustics, there had been a pretty
clear and general understanding of that complex
sub-division of a string which I described in the
last article. And it had been guessed that this
train of secondary tones had something to do with
determining the shape or form of a wave, and per-
haps the quality of its tone. Helmholtz proceeded
with characteristic thoroughness to solve the
problem experimentally. He devised a number of
resonators; hollow metal spheres of different sizes
and each adapted to resonate some specific sound.
These resonators were each fitted with a small ear
piece, and with an aperture opposite to this for the
admission of sound-pulses from a sonorous body.
Helmholtz then selected various instruments and
tested their sounds by means of the resonators,
until he was able to detect the procession of
secondary or partial tones in each. When any
partial tone corresponding in pitch to one of the
resonators was present in a given instrumental
sound, it would be greatly magnified and em-
phasized in volume when that particular resonator
was held by the experimenter to his ear. And the
relative intensity of each detectible partial tone
could also be judged. Having thus analyzed the.
content of a complex sound, Helmholtz proceeded
to synthesize. He obtained tuning forks corre-
sponding in pitch to the ascertained fundamental
and partials of a given instrumental tone, and by
fitting them with special resonators adjusted to re-
inforce each according to the degree of intensity
observed during analysis, he was able to reproduce
the instrumental color which he had before sub-
jected to the inductive treatment. In this man-
ner he established, after a long and arduous series
of experiments, the truth that
THE TONE QUALITY BELONGING TO ANY GIVEN VOCAL
OR INSTRUMENTAL SOUND IS DETERMINED BY THE
NUMBER, PROMINENCE AND INTENSITY OF THE
SECONDARY OR PARTIAL TONES WHICH IN GREATER
OR LESS DEGREE FORM PART OF THE COMPLEX FORM
OF EVERY SOUND-WAVE.
Thus, by a series of logical inferences, we are
able to come to consideration of the third and so
far most important of the questions which I pro-
pounded at the beginning of these articles. We
may now ask:
WHAT ARE THE PHYSICAL DIFFERENCES
BETWEEN AGREEABLE AND DISA-
GREEABLE TONE-QUALITY?
The rule laid down above suggests at once an
obvious answer to this question. Since tone-
quality is determined by the manner in which
partial tones appear in connection with a funda-
mental, it is plain that if the procession of these
varies, tone-quality must vary also. And as we
know, there is continually such variation. All in-
struments have their individual tone-colors, even
those of the same kind. No two human voices are
alike. Plainly, then, there must be a multiplicity
of causes continually operating to prevent uni-
formity and create variety in sound-wave forms.
As a matter of strict faqt, every minute differ-
ence in the constitution of two sonorous bodies,
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DOLAN'S BOSTON
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Common & Washington
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every variation in the manner of their excitation,
every slight change in any condition of their re-
spective existences, will suffice to cause a cor-
responding variation in the resultant complex
wave which is the cause of their audible manifesta-
tions. Where the totality of existing conditions is
itself composed of such delicately adjusted and min-
utely related components, which themselves are so
readily susceptible to change on account of their
microscopic dimensions, it is clear that very slight
disturbances are sufficient to distort the resultants
arising from their interaction. And the mere fact
that our ears perceive very delicate varieties of
tone-color is enough to prove that uniformity of
sound-wave form is impossible of attainment,
strictly speaking, even among sonorous bodies of
the utmost practicable similarity. Certainly it is
not difficult to perceive that partial tones arising
from the valuation of very minute segments of
short steel strings, such as those used in the piano,
are of feeble strength and exceedingly delicate con-
sistency. Slight disturbances will blot out one and
strengthen another. A state of unstable equilib-
rium is not only probable but inevitable.
In the case of the piano, we have to consider the
causes which may intervene to produce one or
another kind of tone-color in strings. The specific
question which I propounded above has to do with
the physical causes for the existence of agreeable
and disagreeable tone-quality. Bearing in mind
what has just been said as to the inevitable varia-
tions in exciting causes, let us first ask ourselves
what we mean by agreeable or disagreeable in this
sense.
To a large extent, of course, such a question is
indeterminate. Tastes differ. "De gustibus non
est disputandum" is as true as ever. Still, there
are certain broad divisions which appeal to, and
are recognized by, everyone who has any right
whatever to discuss the subject-matter of these
articles. There are the widest differences in taste,
and yet everybody is agreed that certain things are
beautiful while others are the opposite. Yet it is
equally impossible to say where beauty in any class
of objects ends, and where ugliness begins. On
the other hand, we are all agreed that a Steinway
grand piano, style B for instance, has a beautiful
tone. And we are equally agreed that an old
square piano has not. What we have to examine,
then, is the basis of such broad differences as I
have suggested. What are the causes, and how
may they be controlled?
In examining the physical causes of tone-color
variations I have called attention to the many and
inevitable differences in conditions which neces-
sarily correspond to variations in tone-quality. In
the case of the piano we have to consider the
strings at first; their constitution, manner of appli-
cation to the instrument and method of excitation.
We may tabulate the various casual conditions,
although an absolutely complete and exhaustive
list is probably impossible of attainment. In col-
umn A of the table below I have enumerated the
physical factors and in column B the pertinent con-
ditions, variation in which causes corresponding
changes in tonal results:
A
B
1. Strings.
Material,
Length,
Diameter,
Weight,
Tension,
Point of contact with ham-
mers.
2. Hammers.
Material,
Softness or hardness.
Point of contact with strings,
Weight.
3. Sound-board.
Material,
Method of bridging,
Method of ribbing.
Method of crowning.
1 Plate.
Material,
Weight,
Distribution of iron on
bridges,
Distribution and weight of
braces.
(To be continued.)
PLAYER-MECHANISM AND PIANO TOUCH.
The subject matter which I am discussing with the
readers of this department in the above and suc-
ceeding articles will not have been treated with
any completeness until some attention has been
given to considering the influence which the
pianist himself has upon the tone-quality which he
evokes from his instrument. Without any desire
to plunge into the waters of musical pedagogy, so
tumbled and polluted with grotesque theories and
equally absurd "systems" of piano technic, we
must not neglect entirely the fact that after all
is said and done, after the piano has been con-
structed from end to end with every possible re-
finement of scientific knowledge and painstaking
skilled artisanship, there still remains the human
factor, that personal equation that, try as we may,
we can never disregard or abolish. In piano play-
ing, of course, we do not want to disregard it.
We require that after the piano maker has done
his work, the musician shall know how to extract
what the former has put into the instrument. If
the tone-quality is there it can be gotten out.
And, I take it, the question of touch, in its in-
fluence on tone-quality, is one of tremendous in-
terest to those who deal with player-pianos and
playing mechanisms generally. The existing piano
action has been built throughout, naturally enough,
with the idea of presenting a delicately re-
sponsive mechanism to the human fingers. Finger
touch has been the only possible method of piano
playing until within a decade or so, and naturally
all developments in piano building have been
directed towards making the evocation of its in-
herent tone from the piano as easy as possible
by the fingers of the performer. Not a great
deal of penetration, therefore, is required to dis-
cern that any radical change in the method of
exciting the action must naturally result in cor-
responding change in the kind of blow inflicted by
the hammer. And as we shall show in the articles
on Piano Tone-quality, this matter of hammer
attack is very important indeed in determining
the possibility or otherwise of extracting from any
instrument the tone which inherently is in it.
Now, the first thing that we note in the player
mechanism is that it by all means does introduce
a radically new and different manner of exciting
the piano action and through it the hammer. The
pneumatic actuates the piano action by the direct
and continuous push of a lever moving through an
arc of perhaps ten degrees. This push is usually
directed either at the wippen of the piano action
or at the bottom of the abstract through a short
rocking lever, sometimes called a secondary key.
But it is to be observed that, even when the pneu-
matic exercises its functions on the manual piano
key itself, its manner of attack is essentially dif-
ferent from that of the human finger. For, when
all is said and done, the one is a push and the
other is not. Plainly we have here an irreconcila-
Hammer Head
and
Butt Borer
Send for descriptive
catalog Free.
TUNERS SUPPLY CO.
Winter Hill District
BOSTON

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