Music Trade Review

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SPEAKING
the fact that the broadcast instructions in piano playing are
in no sense lessons, but simply demonstrations to show that
it is a comparatively simple matter to master the piano suffi-
ciently well for home entertainment. Some hundreds of
teachers who witnessed a demonstration lesson in New York
recently were enthusiastic over its possibilities, but even those
who have not seen a demonstration should realize that the
campaign is creating new pupils for them. Their local efforts
will bring those pupils into the studio and turn them into
piano players and ultimately piano buyers. Much of the urging
will have to come from without, for only a small proportion
of those who have followed the radio courses can be expected
to hunt up a teacher of their own volition.
Altogether it is an opportunity for piano promotion that is
being kept alive by a minority and neglected by a majority.
It is all well and good to comment upon the possibilities, but
that is not going to develop sales of lessons and of instru-
ments. Here is an investment of some $400,000 in broadcast
station time and it is up to the dealer whether he follows
the lead of the Biblical servant who buried his talent or of
the other servant who invested his and was rewarded accord-
ingly.
PIANO INDUSTRY NOW
THINKING ALONG NEW LINES
I
F the existing situation in the piano trade has accom-
plished nothing else that promises to be of lasting benefit,
it must be credited with putting the piano designers on
their mettle to create instruments that will have an
increased appeal for the public either in general attractiveness
or in the matter of price. Certainly not in several decades
has there been so much activity evident in the factories in
the creation of new styles and even new types of instruments
designed to speed the dollar from the prospect's purse to the
music merchant's till.
It is true that some of the innovations, particularly those
designed to make possible the production of instruments
profitably at lower costs, have met with considerable criti-
cism from those who, having been closely associated with the
business for many years, are loyal to its traditions and regret
to see them violated. The question remains, however, just
how many of these innovations, such as the elimination of
fall boards and other parts not essential to tone, really repre-
sent violations of tradition and how many point the way to
logical means for eliminating accessories that may perhaps
have depended upon habit rather than necessity.
Then there has been earnest attention given to the matter
of the action with a view to eliminating various parts, sim-
plifying manufacture, and reducing costs. Within the past
couple of years changes in the piano action have probably
received more attention than since the days of Erard, and cer-
tainly some of these new and simplified designs have much
to recommend them. Some are quick to criticize, but there
are also others who see in these new types of action the open-
ing of an avenue to revolutionary improvements in pianos
generally.
There is a natural danger lying in attempts to revolutionize
THE
MUSIC
TRADE
REVIEW,
May,
1931
piano construction overnight as abortive results have shown,
but in contrast there is the work of these earnest men of
experience who are endeavoring to produce new types of
instruments at lower costs and still keep in mind the recog-
nized standards of good piano practice. There is ample
evidence that the work of this type of men is producing results
that promise much for the future if not for the immediate
present. At least, the trade generally is thinking along new
lines which, in most other industries, leads to progress.
TEACHING THE CUSTOMER
TO PLAY IS THE ANSWER
P
RACTICALLY every successful dealer in band instru-
ments and musical merchandise, which latter by the
way includes the increasingly popular piano accordion,
attributes its success to the fact that it does not simply
place the instrument in the hands of the customer, take the
money and forget about the deal, but sees to it that the cus-
tomer is properly trained in the playing of the instrument
selected. It means that the dealer either operates his own
school or maintains close contact with competent teachers,
but it also means that the interests of customers and pro-
spective customers is retained and sales increased.
It is fortunate that a fair proportion of piano dealers are
likewise giving thought to the matter of teaching the prospect
and the buyer to play. The silent piano is a breeder of dis-
satisfaction and a mighty poor advertisement for the instru-
ment. A few dollars invested in the training of the customer
to a point, at least, where he feels encouraged to continue
under a competent teacher is money well invested. In fact
it is worth many times the cost and the intimate publicity
that it promotes, the sort of publicity that cannot be bought
offhand and by the line.
PIANO PRODUCTION SHOWS
INCREASE IN FIRST QUARTER
T
HE piano trade should find some encouragement in
the fact that the production of instruments for the first
quarter of this year was considerably in excess of the
factory output for the corresponding period in 1930,
even though the value of that output was somewhat lower
due to a decrease in the number of player-pianos and an
increase in popular-priced grands. In fact, grand pianos of
various types now represent about 70 per cent of the entire
production, with player-pianos only about 5 per cent. If the
sales of players can be increased, and there is now a distinct
demand for them in certain sections, it will mean the stepping
up of the unit value right along the line and that means
more profit. Compare production figures and values since
the decline of the player and facts will be brought to light
that will emphasize its commercial importance.
II