Music Trade Review

Issue: 1952 Vol. 111 N. 6

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
NPMA MEETING
(Continued from Page 15)
Ohio, and he also gave a demonstration
of lessons in piano which are being
given by Grinnell Bros, over the radio,
transmitting one lesson by wire recorder
to those present.
Eugene Wulsin of the Baldwin Piano
Martin B. Colwin, Harold F. Hage-
meyer and Eugene A. Schmitt, Hardman
Peck & Co., Clarence H. Pond and Rich-
ard W. Stevens, Ivers & Pond Piano
Co., Webster E. Janssen and Hugh Heli-
on, Janssen Piano Co., J. V. Sill, W.
W. Kimball Co., Charles K. White,
Kohler & Campbell, Inc., Maurice Bretz-
PRESIDENT FEDDERSEN HOLDS ALOFT THE "HAND BOOK FOR TEACHING PIANO
CLASSES" WHILE MAKING REPORT AS TRUSTEE TO AMC — HENRY Z. STEINWAY
REPORTS PROGRESS OF CLASS PIANO LESSONS — WILLIAM R. STEINWAY ON
THE ACTIVITIES OF THE NATIONAL MUSIC COUNCIL.
Co., Chairman of the Manpower Train-
ing Committee and Tuners Coordinating
Committee, gave a brief report on what
was being done by that activity and he
was followed by William R. Steinway,
N.P.M.A. representative on the National
Music Council.
Webster E. Janssen, Chairman of the
Committee on Good Pianos in Public
Institutions, made a very brief report.
This was followed by a long discus-
sion on a proposed change in the by-
laws, which was voted down.
After the report of the Nominating
Committee and the Election of Officers,
stated above, Mr. Feddersen took the
chair and called for new business.
J. A. Gould, President of Pratt, Read
& Co., after a brief talk, proposed a
resolution that the association be put
under a management committee which
would study a proposed promotion plan
which over a period of years would run
into considerable money, with the sug-
gestion that the funds be raised bv tax-
ing each manufacturer $5 or $10 per
piano. After considerable discussion,
this motion was laid on the table for
future consideration.
The members and guests were then
entertained at luncheon, at which time
President Feddersen called on Carleton
Chace, Editor of THE REVIEW, to tell
about the New Rochelle Piano Festival
which he attended on May 27th. which
was conducted under the supervision of
Fav Temoleton Frisch. at which 150
students from kindergarten to junior
hipfh school age participated, the story
of which appears on Page 5.
Among those present were: Robert
A. Hill. Aeolian - American Corp.,
Eugene Wulsin, Baldwin Piano Co.,
George H. Stapely. Everett Piano Co.,
Jack F. Feddersen, Jesse French & Sons.
THE MUSIC TRADE REVIEW, JUNE, 1952
felder and A. S. Zeisler, Krakauer Bros.,
C. Albert Jacob, Mathushek Piano Mfg.
Co., William Perlman, National Piano
Corp., Harry J. Sohmer and Harry J.
Sohmer Jr., Sohmer & Co., William R.
Steinway, Henry Z. Steinway, Charles
H. Steinway, and E. B. Orcutt, Steinway
& Sons, William H. Bowles, Story &
Clark Piano Co., W. G. Heller, John H.
Gettell, Winter & Co., Perk Bowers, Ru-
dolph Wurlitzer Co., William Hessmer,
Amsco Wire Products Corp., J. A.
Gould, and George C. Seeley, Pratt,
Read & Co., George A. Rest, Tonk Mfg.
Co., Henry G. Wickham and Henry G.
Wickham, Jr., Wickham Piano Plate
Co., Harmore V. Cook, Cornwall & Pat-
terson, George Barandes and Irving
Sacks, Sacks & Barandes and others.
New Weaver Royale Spinel
For Convention Display
PMA Plans Nightclub Setting
For Second Annual Banquet
The second annual banquet of the
Phonograph Manufacturers Association
will be a rollicking evening with excel-
lent food and great entertainment, ac-
cording to Joseph Dworken, secretary-
treasurer of PMA and chairman of the
dinner committee. As part of a climax to
the NAMM Show the affair will be held
on Wednesday evening, July 30th, and
is to start at 7:30 with a deluxe dinner
at Bill Miller's Riviera, atop the Pali-
sades in Fort Lee, N. J., followed by the
famous Riviera floor show. The fea-
tured attraction, usually of the coun-
try's leading names in the entertainment
world, will be announced when book-
ings are cleared, said Mr. Dworken.
He added, however, that the number
of tables available to PMA is limited.
Accommodations at the renowned night
spot, located on the New Jersey shore
near the George Washington Bridge,
are always in great demand during
warm summer evenings and only 200
places are reserved for the Association.
N.A.M.M
(Continued from Page 16)
sent to members early last month re-
ceived splendid response, with a 21 per-
cent return. Only the states of New
Hampshire and Vermont were absent
from the tabulations. Among the rev-
elations shown by the questionnaires
was that 85 to 95 percent of all pianos
sold are for music education purposes.
Piano Makers Meet With NPA
At the recent meeting of Piano Manu-
facturers and National Production Au-
thority officials, the industry requested
higher allocations of copper and steel.
Requested, also, was a single base per-
iod for the industry as a whole; length-
ening of the 45-day inventory restric-
tion; and elimination of materials con-
trols would fare as well or better without
them. Results of NAMM's member
questionnaire were used to support pi-
ano manufacturers position.
New NAMM Members For May
NEW WEAVER ROYALE SPINET
A new model piano known as the
Weaver Royale will be shown for the
first time at the NAMM Convention by
the Weaver Piano Co., York, Pa. Fur-
nished in mahogany and walnut this
spinet piano is 39" high, 24" deep and
56" long.
Clark Brothers Piano Co., Knoxville,
Tenn.; Durlauf Music Shop, Louisville,
Ky.: Easy Appliance Company, Hono-
lulu 3, T.H.; Egyptian Music Co., Du-
Quoin, 111.; Fawley-Simmons Music Co.
Daytona Beach, Fla.; Paige's Music
Store, Terre Haute, Ind.; Piano Sales
Co., Inc., Mobile 13, Ala.; Stillman
Piano Co., Pueblo, Colo.; Weir Music,
Inc., Huron, S. D.
23
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor in
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
ONALITY is the keynote for those
wishing to advance along the road
to become better tuners.
To understand this all-important
means of scale building, tonality is the
principle of organization which subor-
dinates the other degrees of the scale to
the tonic or keynote, and assigns to
each a functional importance.
An interesting phase relative to the
musical side of tuning is to know what
key stands for, and is thus explained.
A diatonic scale of which the notes
bear certain relations to one principle
note, from which they are all, in some
respects, derived, and upon which they
all depend, is termed a key; and the
principle note is called the keynote or
tonic.
T
MIDDLE
c
Important
Every scale in which the two diatonic
semi-tones are found between the third
and fourth degrees, and between the
seventh and eighth degrees, ascending
from the tonic, is termed the major
mode of that key; because the interval
between the tonic and its third (or
mediant) consists of two tones; that is
of the greater third.
The only series of this mode among
the natural notes is that which com-
mences with C; and hence, the key must
be taken as an example of all the major
scales. Before we leave our musical
terminal—C Major.
If we want to have a fine balanced
temperament each tonic must serve har-
moniously for any key, as we proceed
for example on C-, it must serve,
whether in the major or minor mode)
in the key of C major and C minor, B b
major and B b minor, also A b major and
A minor, G major and G minor, like-
wise F major and F minor and E b ma-
jor and E minor, also D b major and C#
minor. If you try to memorize these
primary beginnings, half the battle is
won.
Sometimes we act as if we were alone
in the world fighting a solitary battle
against an immovable foe; as a matter
of fact, there is no unseen foe. and the
24
CHORDS CAN BE CLOSELY MATCHED, THUS FORMING A GOOD BRIDGE BETWEEN
THE AUGMENTED CHORDS. THE TUNING CAN BE CHECKED CLOSELY AT EVERY
POINT AND THE CONSTANT ENHARMONIC CHECKS WILL NOT ALLOW THE ERRORS
OF JUDGMENT TO ACCUMULATE
only battle is with ourselves.
To avoid a lot of puzzlement in the
second procedure is to lower A b a ma-
jor third from middle C and listen for
the tremolos or beats. I prefer the use
of the word tremolo, one can imagine a
sparkle in the interval.
The test can be proved with the use
of various intervals apart, viz—let us
try out what we have just mentioned
about "C" serving in other keys; A b -C-
E b is a test, and a good one.
Remembering that we have a minor
third to the right of C, and a major
third to the left, another major third
A b -C- and testing C-E-G to the right of
our basic triad of C major we can ex-
tend the rest to C-E-G below middle C
because the inversions have already
(Turn to Page 25, Col. 3)
THE MUSIC TRADE REVIEW, JUNE, 1952

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