Music Trade Review

Issue: 1926 Vol. 83 N. 7

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
At the Western Music Trades Meeting
1. C. D. (Jreenleaf, Ed. Kelly and Otto May. 2. Messrs. Adams, Short, Miller and Warner. 3. H. L. King, of Fletcher Bros.; Vic. Middleton and
A. E. Miller. 4. Mr. and Mrs. William R. Turner, Wallace, Idaho; C. B. Sampson, Boise; Howard Chesbro, Idaho Falls. 5. C. A. Eyles and H.
D. Hewitt. 6. A Group of Conventioncrs. 7. A. S. Cobb. 8. E. A, Geissler and Ed Kelly
Bases on Which to Judge the Tonal Value of the Pianoforte
(Continued from page 5)
only noteworthy part of the scale, leaving the
upper registers to take care of themselves. As
a result of this neglect we find short, "tubby"
tones where virile, well-sustained ones are most
needed. A musician does not care to play upon
such a piano, for he can do nothing with it. It
is not alive under his touch; its tone cannot be
colored or shaded to express his moods.
Much dispute has arisen over this matter of
tone coloring. The statement is often advanced
that the artist must accept the tone of the piano
as he finds it; that he is powerless to add to, or
subtract from, the normal speaking voice of the
instrument. However, I am sure that no artist
would be happy were he so handicapped, and 1
am equally sure that the designers of truly fine
pianos have no intention of imposing such
limitations upon the performer. In addition to
being well balanced, the piano tone must also
be mobile. Here, again, we see the analogy to
the human countenance. To say that a face is
beautiful is not to deny it mobility; it is not to
say that it must forever remain fixed in its ex-
pression, impassive and unchanging. In the
course of an hour the features will reflect a
dozen or more emotions, some of which enhance
its beauty, while others detract from it, but al-
ways it is mobile and alive. Such moods as
these the artist seeks to interpret through his
music. Is it a matter of surprise, then, that he
insists upon a piano that answers his demands?
During the course of a recital he brings to us
the soft music of the Summer shower, the glad
song of the birds or the tinkling serenade of a
cavalier, and a moment later there bursts forth
the defiant challenge of a military march. All
of this with but one instrument. Truly, such
an instrument must possess character. If not,
he will sense immediately the shallowness of it.
He will "reach bottom" at the first touch, and
will be dismayed to find nothing more to draw
upon. He cannot confine himself to the bass
section alone. He needs the entire keyboard,
and expects to find life and depth of tone wher-
ever his composition lies. Therefore, the piano
must be a perfectly blended unit and not a
poorly joined patchwork of uneven parts.
• It is not the purpose of this discussion to con-
sider the ways and means by which the piano
builder brings about the results obtained in the
finished instrument. We are judging only the
performance, and do not care what goes on
behind the scenes. We may safely leave the
mathematical calculations to the scale draughts-
man and the design of the amplifying apparatus
and the selection of the materials to the tech-
nical engineer. But I want to deviate just for a
moment to say a word about the hammer, and
its treatment or mistreatment.
Times have changed, however, and to-day we
have the plastic surgeon. If you are not satis-
fied with what the mirror shows you, you can go
to him with your face, and your purse, and he
will lift them both. He restores and preserves
the beauty that formerly fled at the approach of
middle age, and to a quite remarkable extent
corrects the mistakes of nature.
The piano, too, has its plastic surgeon. We
call him the tone regulator. His is the power
and privilege to smooth away the wrinkles, and
to transform the discordant voice to sweetly
modulated accents. But, like all beauty doctors,
if he isn't very, very skillful he is probably very
clumsy. And what an awful mess a novice can
make of things!
The true tone regulator is an artist with a
full knowledge of the composition of tone, and
a thorough understanding of the possibilities
and limitations of his art. But all too frequently
a tuner deludes himself with the belief that the
possession of a felt pick and a hammer iron
automatically makes him a tone regulator. He
will wield the shiny needles upon the slightest
provocation, usually without the least notion of
what he hopes to accomplish. Seemingly, he is
actuated by the same sort of logic as that used
by the darky mammy who whipped each of her
children every day, "Ah jus' does it on gen'ral
princ'ples."
A tuner who understands, however, knows
that the shape and degree of firmness of the
hammer determine the number of partials that
will be brought out when the string is struck.
He knows that a very hard hammer calls forth
the higher partials, and causes the acid clangi-
ness that is so disagreeable to the ear. He
knows further that a soft hammer will not bring
into prominence any partials beyond the fourth
or fifth, thereby leaving the tone more nearly a
fundamental one. A soft hammer and a hard
hammer are equivalent to a soft blow and a
hard blow. Therefore, we can readily see that
the performer can color the tone of the piano
by subduing or by inciting certain characteristic
partials. The extent to which this can be done
is, of course, limited, but the skillful tone regu-
lator can render invaluable assistance if he has
a good instrument to work on. There is one
thing, however, that the beauty doctor cannot
do; he cannot, with all his skill, mold char-
acter into a face that has no character, and
neither can the tone regulator iron or needle
character into a piano that is characterless to
start with.
Summarized, our analysis leads us to the fol-
lowing conclusions: the piano tone is first an
all-inclusive tone, a tone that embraces and
employs those tones by which we identify the
principal orchestral instruments. The piano is
an instrument where we find this composite tone
completely exemplified in each octave and each
register of the scale. No improper balance is
permitted to mar what must stand as a per-
fectly blended unit. The tone must have suffi-
cient depth to be flexible, so that a division of
the orchestra may be made as the occasion de-
mands. It must have character, and life, and
sparkle, and timbre, so that is can satisfy the
exacting demands of a concert recital. It must,
if you please, have "meat." And it is by these
features that we judge; it is by their presence
or absence that we distinguish the good from
the bad, the superior from the inferior, and all
degrees of mediocrity that may creep in be-
tween.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
AUGUST 14, 1926
The Music Trade Review
Nearly 500 Delegates in Chicago for the Annual Tuners' Meeting
The meeting adjourned at 3.30 and the dele-
gates and visitors immediately dispersed
throughout the exhibits, all of which are on the
second floor immediately above the convention
hall.
The Tuesday Sessions
On Tuesday morning the business sessions
really got under way. After reading messages
of greeting from the Piano Club of Chicago and
the San Francisco division of the Tuners' Asso-
ciation, President Charles A. Deutschmann de-
livered his annual report, in which he said:
In reviewing the growth of our Association
I am happy to state that through the inten-
sive campaigns we conducted during the last
two years to increase our membership we
have been able to double it. We rejoice in this
fact, and it should be an incentive to us all not
to stop or leave one stone unturned until every
qualified tuner in the United States is a member
of our Association.
Do not gather from this that organization
work is an easy task. It takes quite a little
energy, coupled with some persuasive ability,
to separate the average tuner from the amount
of money necessary to pay his initiation fee.
However, our work has been considerably light-
ened by the publicity given our Association and
its aims through the columns of The Tuners'
Journal. It is not now necessary to inform
tuners that there is such an organization as
the National Association of Piano Tuners, for
no matter where we go the message has pre-
ceded us.
Brother McClellan, our national secretary,
will go further into detail regarding our mem-
bership, so suffice it for me to say that we are
now solidly entrenched on both the Western
and Eastern coasts.
Publicity
During my recent visit on the Western Coast
it was my good fortune to have my address to
the tuners in Spokane, Wash., flashed across the
Associated Press wire. I stated, among other
things, that there are 8,000,000 pianos out of tune
in the United States, and I urged, for the sake
of the nation's musical ear, that they be put in
tune and kept in tune. That address appeared
in the newspapers of every city of any size
throughout the country, the circulations of
which run into many millions.
Legislation
Because of the vast distances between the
national office and some of the divisions, it is
considered advisable by your officers to add two
more vice-presidents to our list of executives,
one on the Eastern Coast and one on the Wes-
tern Coast, who will represent the Association
and thereby expedite the handling of Associa-
tion affairs.
Educational Work
Our work of educating the public is going on
determinedly, and many concerns in the trade
are assisting. The Music Industries Chamber
of Commerce has issued and sold to date 493,000
copies of "The Care of the Piano" pamphlet.
The circulation of this booklet, together with
the Association pamphlets, "The Care of the
Piano" and "Ear Training," are doing more to
increase the tuning business and keep it staple
than any other single agency. Your officers
advise all tuners to get the habit of distributing
this literature.
Lack of Interest in Piano Recitals
It is a sore disappointment to me to find a
general state of apathy and indifference among
piano men in general—in which I am compelled,
much to my regret, to include the tuners—in
the matter of attending piano recitals. I mean,
of course, the recitals given by the great artists.
I have attended many wonderful recitals at
which there was not a single piano man present.
This woeful lack of appreciation on the part of
those engaged in the piano industry is a distress-
ing commentary on our understanding and en-
joyment of the better things in music.
(Continued from page 3)
In a city some hundred miles from Chicago
I recently attended a concert given by a promi-
nent pianist. I was the only man in the au-
dience, although there are thirty-five or forty
men in this particular city who make their liv-
ing by the sale of pianos.
Let us tuners set the example for the rest
of the trade by cultivating the habit of attend-
ing concerts. All too long have we neglected
to promote the use of the piano, and our failure
in this respect is one of the reasons why the
piano business is not more prosperous.
Prosperity Ahead
At the Music Industries Convention in New
York City last June it was quite evident that the
several bodies have laid out some very construc-
tive work for the future. If these plans work
out as anticipated things will prosper for the
tuner.
The president then took occasion to announce
that at the council meeting held on Monday
night a constitutional change had been pro-
posed creating two additional vice-presidents:
one from the East and one from the Far West,
thus establishing the regional principle.
Secretary's Report
In his report as secretary, W. F. McClellan
also told of the progress being made by the
Association and took occasion to comment upon
the increasing compensation realized in various
parts of the country for piano tuning and repair
work. He declared that the propaganda of the
Association for regular tunings had begun to
make a real impression on the public, as has
been evident by the attitude of piano owners.
He gave full credit for this to the part played
by the national advertising of the Gulbransen
Co. and the Standard Action Co., in which the
necessity of regular tunings has been empha-
sized.
Mr. McClellan also called attention to the
steady growth of the Association membership
particularly in the Far West and in the South
and Southwest. Since the Detroit convention
last year tuner groups in fourteen cities have
applied for dispensation and charters as divi-
sions of the national association.
Treasurer's Report
The annual report of Treasurer Lester Singer
showed receipts during the year of $15,089.72,
and disbursements of all kinds, including sal-
aries of officials, office and traveling expenses,
etc., $12,957.60. The Association now has on
hand as of August 1, 1926, a balance of approx-
imately $6,000.
Suggests Letter With Each Piano
Following the reports of the officers H. T.
Rawson, of Rockford, 111., led an interesting
discussion on ways and means for further edu-
cating the public regarding the necessity of
regular tuning and thus aid the tuning busi-
ness. He suggested that piano manufacturers
send out with each piano a letter of instruction-
regarding its care and maintenance, and sug-
gested a letter something as follows:
"To the Purchaser of This Instrument
"As manufacturers, we are extremely anxious
that you should receive the greatest amount of
satisfaction from the purchase of this instru-
ment. There is so much misinformation abroad
regarding the proper care of the piano that we
feel justified in offering a few suggestions which,
if followed, will mean much to the owner of
this instrument.
"The piano is one of the most expensive
single articles placed in the home and the secur-
ing of one means in the majority of cases a
real sacrifice. Therefore, the owner should
know how best to care for it in order that they
may receive the utmost satisfaction from its
possession.
"In a mechanical sense a piano is a very deli-
cately adjusted piece of machinery; in fact, it
is as delicately adjusted as a fine watch and to
keep it in perfect condition it should receive
regular and expert attention,
"This instrument left our factory in perfect
condition. Great care has been used in selecting
the materials entering into its construction
and in procuring careful and painstaking work-
men to assemble the different parts. It is now
in your hands. If you choose to give it the
regular and careful attention to which it is en-
titled, it should give you a lifetime of pleasure
and service. If, on the other hand, the only
care it receives is an occasional dusting when
company is coming and no thought is given to
the delicately adjusted action and other parts,
which are really the heart of the instrument, it
will pay you very small dividends in joy or
satisfaction.
"Our guarantee covers defects in workman-
ship and material, and we wish to state most
emphatically that every dollar of our organiza-
tion stands back of this guarantee. There are
certain things, however, against which we can-
not guarantee because the atmospheric condi-
tions which affect these are beyond our control.
We do not guarantee against varnish checking
or tuning.
"Please take a few moments to read the fol-
lowing suggestions upon the care of the piano
and if you will see that they are carefully ob-
served you will never have cause to regret your
selection of this instrument for your home."
The idea was endorsed and a committee will
be appointed to confer with manufacturers on
the plan.
A discussion was held regarding the question
of State legislation for the regulation of piano
tuning. The idea was finally talked down.
Loving Cups for Antunes and Piquette
At the Tuesday afternoon session the Peoria
Division presented loving cups to Herbert An-
tunes, of Chicago, and E. J. Piquette, of the
Ampico School, New York, in appreciation of
the recent technical help given the Peoria tuners
by those men.
The president next appointed the following
nominating committee: Emil Koll, Cincinnati;
Erwin Bacon, Rochester, and Nels Boe, Chicago.
The Effect of Heat
Charles W. Dowling, of Newark, O., delivered
an interesting talk on the effect of heat on the
piano and the necessity of urging owners to
provide a fairly even temperature for the in-
strument. He cited several instances where
pianos have been ruined through the practice of
maintaining excessive temperatures in the home
and explained that this practice worked against
the interests of the tuners who, after doing a
good job, received complaints regarding their
work because immediately after tuning the
piano was subjected to overheating and nat-
urally expanded. Tuners who have had similar
experiences agreed thoroughly with Mr. Dowl-
ing's comments.
Mr. Dowling's comments on the effects of
heat on the piano led to a lively discussion
participated in by several members of the Asso-
ciation, among them Ernest Giesecke, of Hon-
olulu, who spoke on the effects of humidity and
insects on pianos, and Edgar Seagrave, who
spoke of the work being done by the Society of
Heating and Ventilating Engineers on humidity
control which, though far from being perfected,
had made excellent progress.
Conference on Regulating
Next came a group conference on tone and
action regulating led respectively by Herbert
Antunes of Chicago, and E. S. Werolin, of New
York. It was distinctly interesting and brought
to a close the scheduled program for the after-
noon.
Player Playing Contest Held
Immediately following the business session
the first elimination trials in the player playing
contest, sponsored by the Standard Pneumatic
Action Co., New York, were held, and for which
three silver cups were provided as prizes by
the company. The judges were A. K. Gutsohn,
(Continued on page 16)

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