Classic Mode

Music Trade Review

Issue: 1927 Vol. 84 N. 21

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
28
The Music Trade Review
2,000 Juvenile Bandsmen to Take Part
in National Contest in Council Bluffs
Twenty States Have Already Entered Contesting Organizations—National Champion-
ship Trophy for High Schools Bands to Be Awarded at Event
/COUNCIL BLUFFS, IA., May 16.—America's
*"* champion school band will be chosen in a
two-day musical battle here May 27 and 28,
when high school bands from practically every
section of the country, comprising about 2,000.
juvenile musicians, vie for the national title.
Prior to this, sectional and State contests
will have been held in twenty-six States to
select the best bands to compete in the
national contest held here under the joint
auspices of the Committee on Instrumental Af-
fairs of the Music Supervisors' Conference and
the National Bureau for the Advancement of
Music. Many of the State contests already
have been held. The States which are sched-
uled to have bands representing them are
Illinois, Indiana, Iowa, Minnesota, Montana,
North Carolina, Ohio, Pennsylvania, California,
Kentucky, Michigan, Wisconsin, North Dakota,
Oklahoma, Utah, Colorado, Nebraska, Kansas,
South Dakota and Texas. The six New Eng-
land States will have one band represent this
section, to be selected in a special contest May
20 at Boston.
Each competing band will play four types of
composition, consisting of a warming-up march,
not to be judged; an assigned composition, one
composition to be selected from a list of twenty
prepared by the Committee on Instrumental
Affairs of the Music Supervisors' Conference,
and two well-known numbers to be prepared
for playing in unison with the other bands.
The committee consists of J. K. Maddy, Ann
Arbor, Mich., chairman; Jay W. Fay, Louis-
ville, Ky.; Lee M. Lockhart, Council Bluffs, la.,
who will be general director of the national
contest; Russell V. Morgan, Cleveland, O.;
Victor L. F. Rebmann, Yonkers, N. Y., and
C. M. Tremaine, of the National Bureau for
the Advancement of Music, New York
Three musicians of national reputation will
be named as judges to decide which is the
best school band in the contest. The bands
will be judged on six main points, as follows:
Instrumentation, interpretation, intonation, tonal
and harmonic balance, tone quality and pre-
cision.
The grand prize for the national champion-
ship band is a large, handsome trophy, hewn
out of solid mahogany and symbolizing a tem-
ple of music, with beautifully carved columns
and a decorative arch. In the center is a solid
bas-relief cast in bronze representing group
music, by the sculptor Luini. There also are
first, second, third and fourth place tablets,
etched in design similar to the trophy. These
tablets, together with medals and trophy and
with honorable mention for fifth and sixth win-
ners, will be given in both classes A and B.
The prizes are donated by the National Asso-
ciation of Band Instrument Manufacturers.
Keener interest is being shown this year in
all the State competitions, according to the
various State directors, and National Director
Lockhart expects the Council Bluffs contest to
excel any of its predecessors in point of mu-
sical talent and competition. State contests
have been held annually since 1924, culminating
in 1926 in a national combat at Fostoria, O.
MAY 21, 1927
Thirteen bands participated in this contest. The
winner was Joliet (111.) High School, with Fos-
toria second; Ogden, Utah, third, and Louisville,
Ky., fourth.
The Committee on Instrumental Affairs un-
dertook this work following a national contest,
not held under its auspices, in Chicago, in 1923.
This contest, which attracted many school
bands, led to a widespread interest in the con-
test idea under educational auspices, and the
formation of the National School Band Asso-
ciation, with the thirteen bands who competed
in the first national contest as its original
members. These bands were from Joliet, 111.;
Marion, Ind.; Council Bluffs, la.; Louisville,
Ky.; Lowell, Mass.; Flint, Mich.; Grand Rapids,
Mich.; Paw Paw, Mich.; Lockport, N. Y.; Ash-
tabula, O.; Fostoria, O.; Houston, Tex., and
Ogden, Utah.
Aluminum Violin Tests
Conn Display Made
Interest Chicago Trade
by Flanner-Hafsoos
Showing in Connection with Meeting of Wis-
consin School Band Association and Band
Tournament
Instrument Built by E. l'Allemand Shows Wide
Variety of Tonal Qualities Due to Material
Used
MILWAUKKE, Wis., May 16.—A display occupy-
ing 244 square feet of space in the Milwaukee
Auditorium will be made by Flanner-Hafsoos
Music House, Inc., in connection with the con-
vention of the Wisconsin School Band Associa-
tion and the Wisconsin School Band Tourna-
ment. C. G. Conn instruments will, of course,
be the feature of the display, which will be in
active charge of A. J. Niemiec, manager of the
band instrument department of the Flanner-
Hafsoos store.
The display to be shown is the same as that
which will be used at the National Music Tour-
nament in Chicago and will include every type
of instrument manufactured by the Conn house.
All the instruments will have a platinum gold
finish.
C. J. Fairchild, head of the agency division
of the Conn factory, will be present at the con-
vention and Dick Stross, nationally known
cornetist, will demonstrate Conn trumpets. O.
J. Dost will also be a guest of Flanner-Hafsoos
at the convention. Mr. Dost is president of the
Milwaukee Conservatory of Music and director
of the East Troy High School Band, the pre-
mier clarinet soloist of Milwaukee, and instruc-
tor of the clarinet section of the Milwaukee
Tripoli Temple band.
Mr. Niemiec and Mr. Fairchild will also at-
tend the Conn dealers' convention to be held
iii Elkhart, Ind., June 1-4, and will also be pres-
ent at the national convention in Chicago.
CHICAGO, In.., May 14.—Members of the local
trade showed a great deal of interest recently
in the demonstration of an aluminum violin de-
signed and constructed by E. l'Allemand.
Tests of sensitiveness are said to be readily
obtainable on the aluminum violin and even the
color shading can be controlled by a slight
structural change. Metal being a homogeneous
substance that has no grain variations, the re-
sults will always be the same.
It was demonstrated that tone shadings such
as flute, violin, viola, and clarinet are obtainable
on the aluminum violin of standard string
length. Also because of the greater technic
realized through a permanent and always equal-
ly sensitive sound chamber unaffected by at-
mospheric conditions, the musician can play the
melody and accompaniment at the same time.
Opens New Store
MADISON, WIS., May 16.—Lane Ward and Cecil
Brodt, formerly with Hook Bros. Piano Co.,
have purchased the small goods department of
the Hook firm and have opened up a fine new
music store under the name of Ward-Brodt
Music Co. located on State street in Madison.
Leedy Mfg. Go. Issues
New Catalog "O"
Pocket-Size Volume Shows Complete Line of
Leedy Drums and Banjos
INDIANAPOLIS, IND, May 16.—Catalog "O," the
late.U catalog of the Leedy Mfg. Co., manufac-
turer of Leedy drums and banjos, is now being
distributed to dealers. It is the fifteenth Leedy
catalog in its thirty years' existence and al-
though it is designed to tit the pocket it in-
complete in every detail.
Prices shown are net retail, so that dealers
arc able to use it as a sales help. The foreword
points out six reasons why drummers have
all to gain and nothing to lose by purchasing
through the Leedy catalog through dealers:
saving in transportation charges; saving in
time; choice of several models; privilege of
trying article before buying; quick service
within easy reach; duty to purchase in own
home town.
The complete Leedy line is shown and the
illustration of the gold and color finishes in
natural color makes these pages an attractive
part of the catalog.
Banjo and Drum Heads
Genuine Rogers "Qualitv brands"
were given Medal and highest
awards over all others.
Five grades to select from, cheapest
to the very best.
White calf in thin, medium and
heavy.
Joseph Rogers, Jr., & Son
FarmingcUl*, N. J.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
TECHNICAL^SUPPIY DEPARTMENT
William
BraidWhiteXecfimcalEditor
Which Has the Greater Influence on
Tone—The Sound Board or the Strings ?
Some Reflections on One of the Great Controversial Questions in the Technology of
the Piano Construction—Possible Ways to Its Solution
I
N the technology of the pianoforte there
are certain questions which constantly re-
appear, no matter how often they may be
treated in the attempt to settle and dispose of
them. If one looks closely at the history of
pianoforte construction during the last century
one is almost compelled, willy-nilly, to con-
clude that most of these have been in their
very nature insoluble, at least in the absence
of those precise methods of inquiry which only
now are coming into a rather uncertain and
belated favor. Among them all no one has
been so thoroughly the subject of controversial
discussion as the question whether the sound
board or the strings have the greater influence
in tonal production. And since at the present
time there is every reason to feel that those
whose business it is to design and construct
pianofortes are more willing to undertake fun-
damental questionings than previously they
have ever been, some more words at this time
apropos this famous controversy may not be
entirely inappropriate.
In any technological field which has not had
the advantage of scientific foundations it is
almost certain that opinions on important ques-
tions will partake far too much of personal,
and far too little of detached and impersonal,
Our large stock is r*rj seldom
depleted, and your order, whether
large or small, will receive imme-
diate attention. In addition, you
jet the very best of
Felts— Cloths— Hammers —
Punchings — Music Wire —
Tuning Pins—Player P a r t s -
Hinges, etc.
We hare In stock a full line of
materials for Piano* and Organs.
The American Piano Supply Co.,
coloration. It is quite usual to hear piano
makers of various degrees (and piano tuners,
too) talking in a vein of complete assurance
about matters which scientific men who have
attempted to analyze them would certainly treat
with much reserve. Piano makers who are thus
dogmatic have simply never understood the
data upon which they are so ready to pro-
nounce; have never, in point of fact, had those
data before them in anything like their com-
pleteness. If the data had been before those
confident gentlemen in all their completeness,
if in fact they had ever been able to know (in
the strict sense of the words) what they were
talking about, it is quite certain that they would
usually have been far less confident in the
expression of their opinions. Scientific knowledge
always makes one very humble and very chary
of expressing dogmatic opinions about anything.
It is precisely with these thoughts in mind
that I venture to discuss here, quite tentatively
and without any notion of definite pronounce-
ments, the vexed question of the relations
between sound board and strings. What is
written here takes shape largely as the result
of having been able to talk over with Vice-
President Taylor and Research Director Wood-
bury, of the Mason & Hamlin Co., some of
their recent work in tonal research and of
having at first hand examined their data and
their methods of handling them. But, of course,
the opinions expressed are my own, I am alone
responsible for them, and they will be found
not to disagree in principle, I think, with the
opinions I have been known to hold during
many years.
Sound Board Motions Established
As I have had occasion to say quite definitely
in some very recent articles, there is not the
slightest question as to the existence of definite
and perceptible surface motions in the sound
board, motions which correspond with the
original periodic motions imparted to the
strings by the blows of the hammers. If a
pianoforte be carefully damped so that the
sound board cannot impart its surface motions
to the air (as by covering both its surfaces
with,a' heavy, continuous sheet of thick damper
felt), we at once perceive that the sounds which
are now given out are both "metallic" (twangy)
Easy to Repair DAMAGED FINISHES
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Permanent repairs are easily and
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or incur expense of reflnishlng-.
Campbell's stick Shellac easily re-
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Melted into
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and polished. An ideal way to eco-
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A color card of Campbell's Stick Shellac will
be sent free to anyone upon request.
Shows
actual samples and the ranuc of 54 colors.
Write for one today.
THE M. L. CAMPBELL COMPANY
1008 West Eighth Street
Punchings
Washers
Bridle Straps
581437th Ave.
George W. BraunsdorS, Inc.
Direct Manufacturer* of
TUNERS' TRADE SOLICITED
Kansas City, Mo.
{Continued on page 30)
William Braid White
Associate, American Society of Mechanical
Engineers; Chairman, Wood Industries
Division, A. S. M. E.; Member, American
Physical Society; Member, National Piano
Technicians' Association.
Consulting Engineer to
the Piano Industry
Tonally and Mechanically Correct Scales
Temal and Technical Surreys of Product
Tonal Betterment Work in Factories
Reference*
to manufacturers of unquestioned
position in Industry
For particulmrt, *ddr**$
209 South State Street, CHICAGO
Piano
Also—Felts and
Cloths, Furnished
in Any Quantity
Woodside, L. I., N. Y.
29
and leeble. What is more, they die away more
rapidly, or at least are heard by the ear for a
shorter length of time. If now we examine the
sounds thus produced by any visual means, we
find that they are exactly what we should have
expected from the knowledge we have of the
behavior of stretched pianoforte strings which
are struck by pianoforte hammers. In a word,
they present the expected combination of fun-
damental and partial vibration forms, expressed
in resultant curves of familiar shapes. On the
other hand, when we take away the damping
material and restore the sounds to their original
quantity and quality, we find two interesting
facts, which, however, are also what should
have been expected. We find that the amplitude
of the sound curves is throughout greater for
equivalent hammer velocities (i.e., equivalent
blows upon the keys), and at the same time
that, in general, the even numbered partials
(octaves, octave twelfths, etc.) are strengthened
at the expense of the others (twelfths, seven-
teenths, etc.). It is evident that the effect of
the sound board is twofold and that it both
amplifies and modifies.
Qualitative vs. Quantitative
I might as well say frankly that I am not
at this moment in possession of quantitative
measurements on this point, although these will
come in due course. I cannot at this moment
say exactly how far this property exerted by
the sound board may be said to extend for
each note of the scale. It is, in fact, extreme!}
probable that we shall find quantitative meas-
urement a process of considerable confusion,
which will require a very great deal of inter-
pretation, and that an element of uncertainty
will be injected into any opinions founded upon
it. On the other hand, qualitative interpretation
is much simpler. It is only necessary to ex-
amine visually the sound curve to see that what
I have already described does exist. On the
other hand, if each curve be photographed, it
may be placed, in turn, under the Henrici
harmonic analyzer, whereupon each of its com-
ponents may be discovered and its relative
amplitude set forth.
The Plausible Fallacy
The sound board, then, is amplifier and modi-
fier. Hut that is not at all the same as to
say that it is itself a prime vibrator. A great
Tuners
and Technicians
are in demand. The trade needs tuners, resru-
lators and repairmen. Practical Shop School.
Send for Catalog M
Y. M. C. A. Piano Technicians School
1421 Arch St.
Philadelphia, Pa.

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