Music Trade Review

Issue: 1946 Vol. 105 N. 5

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
INFORMATION
The Geibs Were Early
Piano Makers
Mr. Carleton Chac e , Editor
Music Trade Review
510 R.K.O. Bldg.
New York City
Dear Mr. Chace:
I am looking for information on the
H & M Geib an old piano made per-
haps one or two hundred years or more
ago, at 25 Maiden Lane, the address
given on the piano. Piano No. 6189, and
want to know any history or informa-
tion about the old piano.
The fact is, I have one that is thor-
oughly restored, like new. It is very
old and tremendously interesting. It
has six legs beautifully carved and
scrolled. Piano is in almost perfect
condition, like new, and I am going to
exhibit it.
May I say that I certainly appreciate
the splendid work you are doing for
the music industry. Best wishes and
kind regards,
Faithfully yours,
Clark Music Co.
Melville Clark,
President.
The Geibs came from Germany and
40 years' experience
were first heard of in the United
States in 1802 as John Geib & Son.
organ builders at 55 Warren Street,
New York. There was also an Adam
Geib, a music teacher. In 1805 John
and Adam Geib are mentioned as piano
makers in Mount Vernon, N. Y., and
John Geib was the inventor of the
"grasshopper action" and the "buff
stop" for square pianos. He was the
father of John and Adam and listed
as one of the "12 apostles" who came
to England from Germany in 1760 and
founded the piano business there.
In 1807 John and Adam Geib were
located on Leonard Street near Broad-
way in New York. John Geib, Jr..
started in business in 1815 and in 1821
was at the Bowery near Bedford Street
while Adam Geib and William, another
of the former's nephews, located at 23
Maiden Lane where Geib and Walker
and subsequently William Geib carried
on alone for many years. William Geib
exhibited in the first exhibit held in
"Castle Garden" at the Battery in New
York and received "first premium for
a grand upright pianoforte."
Geib & Walker at 23 Maiden Lane
were William Geib and Daniel Walker
and were well known past 1830 as
piano manufacturers, music publishers
and importers of miscellaneous musical
instruments. They separated in 1841
and little was heard of the Geibs after-
ward, while Daniel Walker went into
business by himself at 411 Broadway.
T. Gilbert & Co. in Business
from 1829 to 1868
New Bedford, Mass.
Mr. Carleton Chace. Editor,
Music Trade Review,
New York, N. Y.
Dear Mr. Chace:
59 years next month, I tuned a Tim-
othy Gilbert square piano, which at
that time was 58 years old and worn
out—it disappeared about 2 years later.
I have just come in possession of its
exact duplicate so far as I can judge—
a T. Gilbert & Co. #1995—so I estimate
this to be about 117 years old. It is in
almost perfect condition, inside and
out, strings bright, tuning pins paint-
ed black and shine as does the plate—
pin block looks new. Not a sign of a
moth. All in good playing condition.
Outside — top of solid mahogany
with a 3" inlay of rosewood around
the edge. Varnish, beautiful polish,
and no checks. Most perfect workman-
ship. Do you suppose there is another
in existence as old and in such perfect
condition?
Who might know about Timothy
Gilbert and his output? I have seen
articles such as this in publication in
the past, but do not recall what ones.
Chickering started in 1823. This one
was built within a few years before
or after. Who might give me an esti-
mate of its value. This one was par-
ticularly interesting because of having
tuned its counterpart, so many years
ago. You may use any part of the
above, if you think it interesting
enough.
Very truly yours,
C. F. Spooner
Timothy Gilbert started making pi-
anos in Boston in 1829 and by 1840
T. Gilbert & Co. had become quite an
important factor in the piano business
and had many agencies all over the
country. They were granted many pat-
ents also. In 1848 they established an
agency in New York with Berry &
Waters and later Horace Waters took
the agency before he went into manu-
facturing himself. In 1849 Gilbert &
Co. produced an organ-piano according
to a design by Obea Coleman from
whom they purchased patents. It was
in 1868 that the Gilbert firm went out
of business.
in cooperating with
makers of fine pianos
to the end of
BETTER
. . .
TONE
STANDARD
Piano Hammer Co.
ROCKWELL SCHOOL OF TUNING
LICENSED UNDER THE PRIVATE TRADE SCHOOL LAW OF PENNSYLVANIA
A 26 WEEK COURSE IN TUNING, REPAIRING,
CASE WORK, RESURFACING AND VOICING
HAMMERS. ALL NECESSARY TOOLS AND TEXT
BOOKS USED DURING TRAINING PERIOD ARE
FURNISHED BY THE SCHOOL.
(Not inc.I
820 North Kedzie Ave.
CHICAGO 51, ILLINOIS
28
Write for Further Information
315 MARKET STREET
CLEARFIELD, PA.
THE MUSIC TRADE REVIEW, MAY, 1946
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
I have often been asketl—what pro-
cedure do I follow when I am tuning
a piano.
FIRST AID IN PIANO REPAIRS
Jt
By ALEXANDER HART
Instructor in Piano Tuning,
Teachers College, Columbia University, New York
Registered Member of the National Association of Piano
Tuners
EDITOR'S NOTE: Piano Tuners who would like to further
their training are at liberty to consult Mr. Hart, c/o
Music TRADE REVIEW, 1270 Sixth Ave., New York SO, N.Y.
Information About Pianos
ALTHOUGH everything we try to do
is no harder than we make it nev-
ertheless tuners often experiment on
the piano action, that often interferes
with other parts of the mechanism.
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It seems to me we should begin with
the most simple problems that con-
/ront us.
The Problem
Offtimes, we are prone to overlook
the things that require our first at-
tention.
1. To look through the strings and
see if all the hammers are rest-
ing in their proper position.
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2. Be very sure to keep your hands
from resting on the keys, before
you attempt to remove the action
out of the case.
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This is not too much to ask for one
to remember, as the writer has often
broken a hammer shank, owing to this
oversight.
If * *
Hammers that rattle or click
This can happen in the wareroom
before an instrument is ready to be
moved to the purchaser's home.
a. When the action is removed, test
the hammer head, you may find
it is loose.
b. Caution must be exercised before
you remove the head from its
shank. Remove all the glue from
around the shank, then hold the
head with your left hand and
with the right, twist the shank
gradually — otherwise you may
break it.
c. Use a hammershamk
extractor
for such a purpose—unfortunately
they are quite hard to get just
now. When the head is removed
make a pin hole at the top before
you reglue it, the head will seat
better.
d. Be careful in putting the action
back—Keep hands off the keys.
This of course applies to the grand
piano action.
$ jf $
Piano tuning and the understanding
THE MUSIC TRADE REVIEW, MAY, 1946
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^Continued horn
April)
of repairs to its action—mechanism, is
a calling for one who should be vitally
interested in all its phases, whether
elementary or otherwise.
The reliable piano tuner usually
keeps close watch on his tuning cus-
tomers.
*
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What it means to be—a first class
piano tuner is when the instrument is
so well tuned, that music can be really
called the art of pleasing the ear.
*
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There's one sure promising feature
connected with building up a tuning
and general piano service route, is that
there is always a returnable amount
of business that turns out to be in-
dividual.
It is a known fact that many piano
tuners can live very comfortably on a
certain number of loyal patrons—that
he has served honestly and faithfully
for many years.
Clients do not change dependable
service, so there always is a reasonable
amount of return and recommendation
which surely follows on the right road,
that nothing is too good for the cus-
tomer.
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*
Let us take as an example a serv-
ice man who is called upon to repair a
Cash Register.
*
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We must admit that seldom do we
find one of these mechanical devices
not in use.
*
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Rarely do we find this kind of serv-
ice man fiddling with the parts.
Jf $ $
Those who service typewriter ma-
chines is another example.
*
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The repairs seem to be done on the
spot—
It is surprising how quickly they
diagnose the trouble.
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I do not know of any method that
is one for all, as everyone who takes
a lively interest in tuning, always tries
something new—he likes to employ his
own way even if it is wrong.
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Like any other line of endeavor—
patronage follows the right pathway
to the trusted servicemen.
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This brings us now to a question
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We like to suggest any idea that will
help the other fellow who is groping in
the dark.
A Procedure
1. It goes without saying that any-
one beginning to tune a piano is
able to tune fourths, fifths and oc-
taves in pure intonation.
2. When the circle is finished it will
be noticed that there is a differ-
ence in a few vibrations called
the "Wolf."
3. Laying the bearings to a certain
correctness, consists of altering
each fourth and fifth i.e., taking
away a small amount of the pitch
from each interval so that they
will receive a proper share of the
wolf, thus dividing the octave into
twelve equal tonal parts—
4. Of course this is the crux.
If we can divide the octave into
twelve absolute parts—
All tuners know this can only be done
according to his own judgment of—
distributing the "beats" between the
various intervals, and try to make all
chords harmonious in the diatonic,
chromatic, an enharmonic changes of
keys.
If all "ears" heard the same distance,
and all intervals could be tuned per-
fect and let it go at that, then every
musician, could and would be able to
tune his own piano — besides there
would not be any particular distinction
between timers anil I must admit that
there is.
I To be continued in June I
Set
of Keys
Recovered
with
IVOLOID
-N-INFLAMMABLE
$9.00 PER SET
_
F.O.B. Our Shop
^
FOR THOSE THAT L!KE THE BEST
IVOLOID PIANO KEY CO.
1361 61st STREET
BROOKLYN 19, N. Y.
Phone: Windsor 6-8078
29

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