Music Trade Review

Issue: 1929 Vol. 88 N. 10

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
the
i eriod Style
ean ome thing
T
HE steadily increasing production of
grand pianos and period models and the
growing vogue of that type of instru-
ment among the buyers of pianos of the
better sort has created a problem for many
salesmen, for the retail trade is fast passing the
point where a piano is a piano and name and
price are the chief consideration. Now the
salesman has another appeal and that lies in the
artistic appearance of the instrument case itself.
The more he understands, therefore of period
decoration and its meaning the more intelli-
The Wrong Piano
gently can he talk to the customer who has to
decide upon a piano for a particular room.
There is a story that has been told for years,
and still applies, of the small tradesman who
had suddenly reached a position of affluence
through fortunate real estate deals, bought him-
self a fine residence and set out to furnish it
appropriately. He and his wife were admiring
an elaborate suite of furniture heavily gilded
and had gotten down to the point of discussing
details. "That's a perfect example of Louis
XVI furniture," said the salesman. "Was there
so many Louies in the family that they had to
number them?" asked the customer, and then
inquired "what was his last name?" Perhaps
a bit exaggerated but the average piano sales-
man on more than one occasion meets with
equal ignorance on the part of customers re-
garding the decorative styles.
complete knowledge of decorative treatments
that the salesman owes it to himself an-d to his
house to be sufficiently well informed as to be
able to talk intelligently and accurately. Thou-
sands of American homes of the better class,
and many of the middle class, for that matter,
have been furnished in accordance with recog-
nized decorative rules. The library may fol-
low a certain definite style, the dining room
another, and the living room, or music room,
still another particular period. For the sales-
man to suggest that a piano of the William and
The Room Itself
The Right Piano
When it is a case of lack of knowledge on
the part of the customer the salesman must be
able to furnish accurate information regarding
the periods and their styles. His superiority
in that knowledge, properly emphasized, com-
mands respect, and if the statements are au-
thentic he has no need to fear that the ignorant
customer may at some time put the piano
under the criticism of a friend who is well
informed.
It is when the customer has a more or less
Mary period, or one that follows the Sheraton
style, is the proper thing for a room that is
distinctly French in its decorative characteris-
tics and furnishings would prove a fatal error,
and undermine the confidence of the prospect
in everything else that might be said regard-
ing the instrument.
It is unfortunate that in the larger centers
at least there are not available schools and
classes for the training of piano salesmen in
(Continued on page 23)
By H. R. KLINE
10
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THIS MAN FOUND
Piano Celling
a Real Career
By FREDERICK B. DIEHL
HEART-TO-HEART dis-
cussion on the all-impor-
tant subject of expert
piano salesmanship is what this
article offers to the reader. Here-
in a high-class and eminently suc-
cessful piano salesman tells why
he thinks his chosen occupation
is an outstanding one from every
possible angle and why he has
made a first-class job of his daily
task of selling high-grade pianos
to a Metropolitan clientele. There
is much inspiration to be derived
from this message by every piano
dealer and salesman throughout
the trade.—Editor's Note.
A
SYMPOSIUM containing the individual
reactions of piano salesmen to their
jobs, with each man telling frankly
what he thinks about piano selling as
a life career, would unquestionably constitute
one of the most interesting and instructive
documents ever made available to employers.
Its value would consist chiefly in enabling the
merchant to select new men and replace others
with greater foresight, but it would also serve
to answer certain questions in his own mind.
Can the retail piano field be held out to col-
lege men, for instance, as a suitable life work
for them? Can a man make a success of piano
selling unless his heart and soul are wrapped
up in it? Are the rewards in piano selling great
enough and are the circumstances surround-
ing the average sale on a sufficiently high plane
to give the work the semblance of a profes-
sion? These are surely some of the questions
that both salesmen and merchants must ask
themselves at one time or another in determin-
ing their aims for the future.
Without proposing to consider these topics
individually at this time, it must be observed
that neither employes nor employers would
agree in all of their answers to them. The
field is so varied and individuals so different
that it is almost impossible to generalize on
such questions. Firstly, college men do enter
the piano business; some of them fare better
than they would in entering other fields; some
do not. The efforts of certain employers to
"tone up" their stores by employing only col-
lege men of smart appearance is neither com-
mendable nor uncommendable by itself. The
important thing is—can they sell?
It is often said that real salesmen can sell
anything. This view then disposes of question
No. 2, since enthusiasm for a job comes after
the man proves to himself that he can do the
work well. The "born" salesman, whether he
has a college degree or has shifted for him
self since grammar school days, finds the piano
business no different than selling any other
merchandise for the home. Nearly everyone
numbers among .his acquaintanceship "star"
salesmen in other lines—advertising, automo-
biles, life insurance, etc.—who could achieve
equal distinction and derive similar earnings
in the piano business.
Coming then to the third question of con-
sidering piano selling in the light of a pro-
fession, it is gratifying to realize that there
are many men in the field to-day who not only
"could" but do consider their work of a pro-
fessional character. Their mental poise in the
actual putting over of a deal is just as lofty as
that of a lawyer or physician. Their hours for
work and time for leisure are just as convenient
A
Philip R. Besserman
and far more regular than those who practice
law or medicine. Their annual earnings, if
they apply themselves as do attorneys and
doctors, easily reach five figures, which is a
good average for any professional man.
A splendid example of this sort, who has
devoted about twenty years to the retail piano
field both in the West and the East, is Philip
R. Besserman, of the retail staff of Hardman,
Peck & Co., New York. Mr. Besserman is
firmly convinced that he conducts his business
life in exactly the same manner that he would
had he entered the practice of medicine or law.
In learning the business as a canvasser for
several years, he naturally passed through a
stage similar to the interneship or clerkship of
the other professions, but in recent years he
has built up a following that works almost
automatically for him.
11
THE 13 COMMANDMENTS
OF
PIANO SALESMANSHIP
1. Knowledge of the merchandise you
are selling.
2. Study the needs of your customers.
3. Enthusiasm—it's contagious—the cus-
tomer catches it.
4. Sincerity—everybody admires it.
5. Truthfulness—it's just as easy to sell
with truth and more pleasant.
6. Pride in the firm and the goods you
are selling.
7. Don't "knock" your competitors—
talk your own goods.
8. Talk slowly, deliberately, clearly—
let each point sink in.
9. Perseverance—easy sales don't count.
10. Dress quietly and business-tike.
11. Save money; it gives you an air of
independence.
12. Remember the salesman is the go-
between 'twixt the firm and the cus-
tomer—both parties should receive a
square deal.
13. Work—all the above points are
worthless without work. For a full
measure of success work evenings.
His hobby is traveling, and since becoming
connected with the piano business he has made
two lengthy trips to Europe, five visits to the
West Indies, and in addition has traveled ex-
tensively each year throughout the South and
West of our own country. Working on com-
mission only, his time is more largely his own
than that of the average salesman. He has
his own private office in the Fifth avenue ware-
rooms of the company and is responsible to no
one but himself. His appointments are sys-
tematized in a manner that would strike envy
in the office of even a public accountant and
his occasional night work is modified by being
conducted within the hospitality of a prospect's
home.
No article about Mr. Besserman's relation to
the piano business would be complete without
some reference to his early struggles. Leaving
school in his thirteenth year he worked at vari-
ous odd jobs in New York City, his home, until
he was seventeen, when the urge to travel,
which has affected his whole life, overcame him.
He worked his way West, riding plenty of the
distance on box-cars, and one morning found
himself in Portland, Ore., with but sixteen
cents in his pocket.
Deciding immediately on a plan of action,
he bought his breakfast of rolls and coffee
with the fifteen cents and with the other cent
purchased a post-card to inform his mother
that he was safe and sound. Then he started
to look for work, and the first sign he saw
was that of a job washing dishes. He took it
and with meals thrown in managed to save a
few dollars during a month. His next move
was that of floor boy in a department store,
a step or two higher as social planes go, and
(Continued on page 21)

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