Music Trade Review

Issue: 1921 Vol. 72 N. 22

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
THE VITAL QUESTION
{Continued from page 3)
playing the piano, per the player mechanism,
then that person will normally want a foot-
pumped player-piano, or, at any rate, a player-
piano which lends itself to personal control.
Every retail merchant who has ever seriously
tried the policy of showing prospects how easy
it is to give a little expression to the playing
knows that there is no comparison between the
enthusiasm which can be thus aroused and the
comparative apathy which supervenes when the
human element is ignored. Certainly, if the
salesman is to sell player-pianos by sitting at the
pedals with his arms crossed and working his
feet as if they were on a treadmill the sooner
the pedals are taken out and an electric motor
substituted the better for all concerned. But is
this the right sort of policy for the future suc-
cess of the player business?
Bad Playing vs. Bad Listening
The reproducing piano, properly so-called
(that is to say, the Ampico, the Duo-Art, the
Welte-Mignon, and so on), has its own high
place. It is the recording, the preserving, the
teaching player. It preserves musical interpre-
tation and puts at the disposal of the musically
minded, and of serious musicians everywhere,
the treasures of contemporary interpretation.
But it is not the player-piano for the masses
and no sensible man supposes that it is. Even
if it competed in price with the foot-pumped
player-piano the fact would remain that general
public musical interest will always decline when
the personal element is once shut out. Nothing
can be more absolutely certain than this. Bet-
ter by far to have the masses producing bad
music of their own than try to persuade them
to invest their money in devices which allow
them never to be more than passive listeners.
Passive listening does not sell music, pianos,
rolls or anything else.
A Field for Each Instrument
Let each instrument take its due place. The
reproducing piano is the great interpreter. The
automatic player-piano is the instrument for
public and for commercial uses, par excellence.
MAY
28, 1921
The foot-pumped player-piano is the player-piano
par excellence for the home, the best instrument of
all for bringing to the masses the love for music—
a love which must be stimulated by personal par-
ticipation before the interpreting players can
even be appreciated.
Reviving Player-Pianism
So it seems to us that the whole secret lies,
after all, in reviving the art of player-pianism,
and insisting that the retail salesman shall learn
the simple trick of playing, and impart this to
all his prospects.
There will not be any future for the player
business if the foot-pumped player-piano is
allowed to decline.
DECKER GRANDS IN DEMAND
Style L Player Also Among Popular Instru-
ments Manufactured by Decker & Son
That high-grade pianos and player-pianos are
in demand has been manifested at the plant of
Decker & Son, 697-701 East 135th street, New
York, where there has been a steady increase in
orders, especially for the Decker grand. No less
"The Player They Want
to Play Well"
That is how the right kind of a player-piano ought to
appeal to the prospective customer; if the salesman
knows the A. B. C. of his business.
If You Have Any Doubts as to This, Acquaint
Yourself Speedily With the Wonderful
M. Schulz Co.
Player-Piano
which for eleven years has been steadily developed, in
our own factories, by our own experts, along original
and exclusive lines, which have made .it pre-eminently
Easiest to Play
Simplest
Most Responsive to Sympathetic Handling
Most Reliable
Tightest
Least "Mechanical"
Live dealers, in this new time when player merchan-
dising is recognized as based on the musical value of
the instrument, are invited to gain a better knowledge
of one whose merits are extolled by an army of loyal
representatives.
Just Write to
M. SCHULZ COMPANY
Founded
General Offices
Sehulz Building
711 Milwaukee A T * .
CHICAGO
1869
Southern Wholesale Branch
1530 Candler Bldg.
ATLANTA, GA.
More than 175.000 of our pianos and player-pianos have been made and sold.
Decker Player, Style L
popular than the Decker grand, however, is the
Style L player-piano, an instrument which has
won quick success under the guidance of F. C.
Decker, whose reputation as a creator of good
instruments is well known throughout the coun-
try. As may be seen in the accompanying illus-
tration, the case design of this instrument is
particularly pleasing. It is finished in figured
mahogany and is four feet ten inches high.
Decker pianos and player-pianos have been
well known throughout the country since 1856
and have always been built by a member of the
Decker family. In this way the standard of
quality which was established by Myron A.
Decker, the founder of the company, has been
maintained by his son and grandson, and the
line has been kept abreast of the times with the
result that this old-established business has
shown progress from -year to year and a host
of representative dealers all over the country
are handling the Decker pianos and player-
pianos with great success.
REPUBLIC SERVICE PLEASES
Letters Received From Customers Praising
Quick Deliveries by Republic Corp.
The prompt service the Republic Player Roll
Corp. is giving dealers everywhere has brought
in many letters of commendation lately. One
just received from H. H. Duncklee, of the
Lauter Piano Co., of Newark, N. J., is especially
interesting, and reads: "We wish to thank and
congratulate you for your prompt service, viz.,
an order 'phoned you at 3.30 p. m. yesterday
was received by us at 9.30 this morning " Such
service on out-of-town orders gives dealers the
backing they need.
The demand for Republic rolls has increased
greatly of late, proving that the hand-played
dollar word roll is bringing roll business back
to normal figures. Letters received from deal-
ers and individuals bear out the correctness of
the Republic sales slogan—"Why Pay More
When You Can't Buy More."
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
MAY
THE MUSIC TRADE REVIEW
28,
The Art of the Player-Pianist
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The following is the seventh in a series (if articles by Wil-
liam Braid White. The aim of the series is to teach the
salesman and the music lover the secret of playing the
player-piano artistically, a secret apparently known to few,
but which can readily be imparted to anyone who is inter-
ested in music and is willing to give the player-piano a
fair trial. At the present time, when it is more than ever
necessary to attack the selling problem from the stand-
point of demonstration, this series should be extremely
valuable.
"TOUCH" AND PHRASING
It is always the part of wisdom to confess
limitations freely, for only when we have done
this are we in a position to set forth the advan-
tages which we possess apart from the limita-
tions. In the April article of this series,
attention was given to the limitations of the
player action in respect of what Tobias Matthay
calls the "prominentizing" of a note in a chord,
and to other limitations directly following from
this. Since then the writer has had the oppor-
tunity of reading a very remarkable and sug-
gestive little volume by Ernest Newman, of Lon-
don, called: "The Piano-Player and Its Music."
Mr. Newman is a musical critic of international
reputation, whose study of Richard Wagner is
perhaps the best thing of its kind ever done.
He is a partisan of the player and most thor-
oughly believes in it, going so far as to agree
with Doctor Schaaf as to the composition of
music especially for it. On this question of
limitations Mr. Newman is very frank. He
admits them; but he also shows that we need
not worry about them. With automatic accen-
tuation the question of prominentizing becomes
less impractical, while as to "touch" and "phras-
ing" he agrees with what has been the writer's
constant argument, during years, that the player
piano need be deficient in neither of these essen-
tial features. Let us just examine these matters
candidly and without prejudice.
What is "touch"? It is the art of controlling
the dynamic power and the acoustic quality of
tones produced from the strings of the piano,
by manipulation of the key. Now, those who
believe that there is an essential difference be-
tween the "touch" of the pianist and of the
player-pianist overlook all that has been accom-
plished by the reproducing piano, for the re-
producing piano has shown very clearly that
merely by ingeniously changing, within delicate
degrees and with necessary rapidity, the air-
pressures brought to bear on the pneumatics, we
can obtain an extraordinary variety of "touch"
effects. It is absurd, in face of these achieve-
ments, which rest on the simple technical fact of
changes in air pressure on a pneumatic, to argue
that "touch" and the pneumatic are not commen-
surable.
But, of course, the musicians are never satis-
fied with any statement of this sort. In the end
they can always fall back on their individual
sense of hearing and declare that they hear
things no one else hears. It may be; but
whether it is so or not, no single one of the
reasons alleged by any enemies of the player-
piano, for the supposed inferiority of the pneu-
matic over the finger, will hold water for a mo-
ment. As a matter of fact, we have over and
over again exploded the "touch" fallacy in these
columns, but a further brief allusion will do no
harm.
The point is this: No matter where the fingers
be placed on the keys, no matter whether one or
another of the usual technical names be applied
to the action of the finger on the key, the fact
remains that this key is a balanced lever, whereof
neither the fulcrum nor the arcs of motion can
be changed. This rigid lever contacts a system
of other levers turning through arcs of circles,
and finally imparting motion to a rigidly pivoted
hammer. Now, whatever the fingers do they can
only cause the key-lever to move through its
arcs with greater or less velocity. It does not
make a particle of difference what the finger
action is which produces the motion, or where
the finger touches the key. With the conditions
as they are stated above (and those conditions
never vary) the only variable is the velocity of
key-motion.
That being the case, any isolated tone, taken
entirely away from surrounding tones and there-
fore from the "atmosphere" set up when groups
of tones are brought into relation with each
other, will be produced at precisely the same
level of tone color and dynamic value, so long
as the key velocity does not change.
"Touch," when analyzed, is seen to be a func-
tion of velocity, and nothing more.
But what the musician means by "touch" is
something else. His ideas are invariably mixed
up with considerations of phrasing, of the skilled
use of the damper pedal and of the duration of
each tone in relation to surrounding tones. Take
all these considerations together and we obtain
those necessary atmospheric conditions which
make "touch" perceptible to the musician;
though what he calls the effect of his perceptions
is quite another matter.
(Continued on page 6)
James & Holmstrom
Established 1860
Manufacturers of the Artistic
JAMES & HOLMSTROM
PIANOS AND PLAYERS
THE SMALL GRAND WITH THE BIG TONE
and the
TRANSPOSING KEY-BOARD PIANO
..
are
TWO OF OUR MOST NOTABLE ACHIEVEMENTS
JAMES & HOLMSTROM PIANO CO., Inc.
Factory: Alexander Ave. and 132d St.
Office and Warerooms: 46 W. 37th St., New York

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