Presto

Issue: 1924 1985

PRESTO
24
THE BUSINESS
OF PIANO TUNING
(Continued from page 11.)
Piano owners are commencing to respond to the
idea that, after all, a piano is only a stringed instru-
ment, and as such it must, in the natural course of
events, be tuned several times a year. It is now a
well-established fact that the public has taken on a
more favorable attitude toward tuning.
Public Response.
We have no less an authority than G. Brownell, in
charge of the tuning department of Lyon & Healy's,
tMat there is no question but that the attitude of the
public towards tuning has changed greatly in the
last two or three years. That the demand for tuning
is on the increase there can be no doubt, as the num-
ber or independent tuners has increased to a greater
extent in the last two years than was ever known of
before. It would be a difficult matter to estimate
how much of an increase in the demand for tuning
has taken place since the N. A. of P. T. Inc.j began
to work on the proposition of building up the tun-
ing business, but we will submit the following figures,
taken from the classified telephone directory in Chi-
cago, covering a period of ten years, and it will serve
to give an idea of the change that had taken place
in the minds of the piano owners towards piano tun-
ing.
Increase of Tuners.
In 1914 the classified telephone directory of Chi-
cago contained the names of 19 independent tuners.
In 1917 there were 25, an increase of six in three
years. In 1920 the number of independent tuners
had jumped to 36, an increase of eleven tuners in
the same length of time. In 1924 a still greater ad-
vance was achieved, as the number of independent
tuners listed reached the sum of 52, a gain of sixteen
tuners in the three years, and a net gain of 33 for
the last ten years.
It must not be construed that there are only 52
independent tuners in Chicago, as we know of quite
a number who are not listed in the telephone direc-
tory.
The marked increase in the number of independent
tuners operating in Chicago is an indication of what
is taking place throughout the entire country. The
number of employed or salaried tuners has fallen off
to some extent. Many piano dealers have discovered
the illusionary value of free tuning, or the promise
thereof, and realizing that it is both unnecessary and
very expensive, have discontinued the policy.
Today the tuner is retained by the piano merchant
to take care of complaints, etc., much the same as a
law firm is retained to take care of litigations.
The Outlook.
The prospect for future business confronting the
piano tuners of this country staggers the imagination.
No other line of business that we can think of shows
greater possibilities, comparatively speaking.
There are literally millions of dollars invested in
pianos in this country, and all of them should be
tuned at least twice a year, whereas at the present
time the average is about one tuning in four years.
Figured by experts, the average upkeep expense is
forty cents per piano per annum. Estimates on the
number of pianos in this country vary all the way
from 5,000,000 to 10,000,000. Assuming that there
are only five million pianos in the United States, we
may also assume that these pianos average $400.
That will show that there is $2,000,000,000 invested
in pianos.
On this investment the piano tuners are taking
down one-tenth of one per cent, which nets the mem-
bers of the tuning profession in this country $2,000,-
000. Two tunings a year, at a cost of $4.00 per tun-
ing, brings the upkeep expense on pianos up to $8.00
a year, which is not unreasonable. This would net
the tuning profession $40,000,000 per annum, or an
increase of $38,000,000 more than they are getting
out of the business at the present time.
These figures may, or may not, be correct, and we
may never be able to bring the public around to two
tunings a year. Nevertheless, there is a splendid
opportunity to increase the business and the prospects
are worth working for. The great resources of the
tuning business, as indicated by the above figures,
are possible to the members of the tuning profession,
provided they have the courage and ability to go
after it in a business like manner.
To Teach the Public.
Educational advertising will open up this great
storehouse of wealth, which has hitherto remained as
a locked or sealed-up mine. Individually the tuners
are helpless in the face of the adverse public opin-
ion that now exists concerning the value and need for
piano tuning. Educational advertising plus the liberal
distribution of great quantities of "care of the piano"
pamphlets, would affect public sentiment and bring
about a more favorable attitude towards the tuning
business and the piano tuner. It would open up
great fields of business activity that are now dormant.
National advertising is a large mouthful for the
piano tuners to bite off, as it will require a lot of
August 9, 1924.
THE DEATH OP BUSONI
Irreparable Loss to Music, but His Master Playing
Is Preserved in Welte-Mignon.
Ferruccio Busoni, Italy's gifted son, the greatest
pianist of that land of noted musicians, is gone, and
his loss is irreparable. To concert gpers the world
over his death will be deeply felt, for to them he
had become an institution.
But Busoni's musical personality still lives, pre-
served in the faithful records of the De Luxe Welte-
Mignon (Licensee) Library of Records. There it is
immortalized, a source of lasting comfort to his
admirers, who are found in every walk of life the
world over. For the art of the pianist is preserved
with as much fidelity today, through the ingenious
mechanism of the Welte-Mignon (Licensee) Repro-
duction Action, as the printing press has preserved
the great literary classics.
It was near Florence, in 1866, that this super-genius
of the pianoforte was born. His gift for music was
inherited, as both of his parents were musicians. He
was only 8 years old when he made his debut in
Vienna.
Busoni made many concert tours through both
hemispheres. He lived and taught in Helsingsfors,
Moscow, Berlin, Vienna, Zurich, and at one time
in Boston. Over fifty works have been composed
by him. What Busoni thought of the Welte-Mignon
(Licensee) was most aptly expressed in the follow-
ing words:
"The 'Welte-Mignon,' so to say a Cinematograph
of piano playing, is an invention of quite equal im-
portance, as surprising for mere amateurs, as it is
wonderful for the skilled musician. It will be of
great use for artists and through them, let us hope,
afford great pleasure to the general public."
It is a source of great satisfaction, indeed, to be
able to say that the magic playing of the great
Busoni will most certainly continue to "afford great
pleasure to the general public."
money to put on the kind of advertising that will be
effective. If we are to get under way with the adver-
tising in 1925, there will have to be some tall hustling
done between now and the first of the year. No at-
tempt will be made to put on the advertising until a
sufficient fund is assured even if it takes two years to
accumulate it.
T
HE commonest challenge by many advertisers concerns
the paper's circulation. It is with them a question
altogether of quantity. But the best things about piano
advertising, from the manufacturer's point of view, have other
arguments besides quantity.
In a trade paper quality circulation is more important than
quantity circulation, for bulk of circulation is not what sells pianos
at wholesale. Nevertheless, Presto is certain that in quantity, as
well as quality circulation, it will compare favorably with any of
the piano trade papers.
Presto produces results for its advertisers. It does not ask the advertisers to
pay for waste paper or mere bulk. It covers the field, and its advertising rates are
as low as any trade paper, with anything like the same circulation, can accept.
PRESTO
The American Music Trade Weekly
417 So. Dearborn St.
CHICAGO
Carries Advertising For More Live Piano Manufacturers Than Any Other Trade Paper
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
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25
PRESTO
August 9, 1924.
SHEET MUSIC TRADE
AN IMPORTANT ALLIANCE
Famous Finnish Composer Contracts with Carl
Fischer, Inc., for Control of His Compositions.
The house of Carl Fischer, Inc., New York has
closed an agreement with Jean Sibelius, the celebrated
Finnish composer, whereby it controls the exclusive
publishing rights to his new musical works for a long
term of years. Dr. Sibelius is considered one of the
world's greatest living composers, and many of his
works, notably*the "Finlandia" and "Valse Triste,"
have enjoyed tremendous popularity in the United
States as well as in Europe.
Carl Fischer, Inc., is at this time preparing for
publication a group of smaller works by Dr. Sibelius
for piano solo and violin and piano, which will be
ready for issuance by early fall. The list includes:
Piano Solo—Op. 101, No. 1, Romance; No. 2,
Chant du Soir; No. 3, Scene Lyrique; No. 4, Humor-
esque; No. 5, Scene Romantique. Op. 103, No. 1,
The Village Church; No. 2, The Fiddler; No. 3, The
Rcwer; No. 4, The Storm; No. 5, the Mourning
Strain. Violin and Piano—Op. 106, No. 1, Danse
Champetre I., No. 2, Danse Champetre II.
Information has just reached us that Dr. Sibelius
has completed a new continuous symphony, his Opus
105, which will probably appear in print before the
end of the year. This is an important item to the
trade and musical world generally because Sibelius,
one of the greatest living musical talents, has seen fit,
after long and careful thought, to entrust his artistic
future, not to some European publishing house with
centuries of traditions behind it, but to the compara-
tively young and enterprising American firm of Carl
Fischer, Inc.
SONG SHARKS DISGORGE
Swindlers Get Off with Fines in Federal Court After
Returning $3,000 to Victims.
Two more song sharks in Chicago were let off
with fines of $750 and $250 plus costs, after they had
refunded approximately $3,000 to victims. Among
the victims to whom money was refunded was a
crippled girl in a small OKio town.
An invalid woman in Brooklyn who had been de-
frauded of nearly $300 received it back, and also one
other crippled woman in Indiana. The latter wrote
a letter of thanks to the Better Business Bureau of
the Music Industries Chamber of Commerce telling
how she received her refund after reporting the
case.
More significant than the ending of the particular
case in point is the statement that it is the last of
the illegal operations in Chicago about which the
post office authorities had complaint. The success-
ful outcome of the song shark campaign in Chicago
is due to the vigorous drive made by the post office
authorities and the thorough investigation by Post
REMICK SONG HITS
Where the Lazy Daisies Grow
I Wonder Who's Dancing with You
Tonight
There's Yes Yes in Your Eyes
Hula Hula Dream Girl
It Had to Be You
Mandalay
Bring Back the Old Fashioned Waltz
Until Tomorrow
Twilight Rose
Watchin' the Moonrise
Counting the Days
Not Yet Susette
Arizona Stars
If You'll Come Back
Land of Broken Dreams
Office Inspector Frank N. Davis, who secured a con-
viction in every one of the cases.
The two who were fined in federal court by U. S.
Judge G. A. Carpenter were Lester E. Simmons and
Mary F. Letgers, who operated under various names,
including Frank Radner, Dean L. Haylor, Edward
Trent, Marvin Morley, Thomas Merlin, Idyl Publish-
ing Company, Warfield Music Service, Letgers Music
Company, and others.
Simmons was fined $750 and costs and Mrs. Let-
gers $250 and costs. It is understood that refunds
were made to all parties whose complaints were on
file, and who had expressed dissatisfaction with the
outcome of their transactions.
FROM FRUIT TO PORK
Last Year's Banana Shortage Has Prompted Song
Lovers to Take Bacon.
"It would appear that following the great shortage
of bananas last season music dealers are after a slice
of the pork business, and according to reports those
who have seen the possibilities of Hearst Music Pub-
lishers' latest feature number, 'Bringin' Home the
Bacon,' are doing nicely, thank you.
"Herewith is reproduced a window of the J. J. H.
McLean Co., Ltd., Winnipeg, Canada, featuring His
Master's Voice Victor Record No. 19334, also sheet
music copies of this fox-trot which although just re-
cently released has already received big exploitation
throughout the country.
" 'Bringin' Home the Bacon' is equally suitable for
comedy, or straight use, and as a dance number its
rhythm is infectious. It looks like becoming one of
this season's big hits."
The head office of Hearst Music Publishers of
Canada, Limited, is in Winnipeg and the company
has offices in New York, Chicago, Vancouver and
Toronto.
HOW MUSIC SAYS THINGS
Democratic Convention Furnished Illustration of Dif-
ficulty of Separating an Air from Its Incident.
The following humorous editorial appeared in the
Chicago Tribune last Saturday under the heading of
"New York Wants to Know Who Marched Through
Georgia, When and Why?"
Mr. Tumulty has written to Clark Howell of the
Atlanta Constitution that, cross his heart, he did not
have a thing to do with the dirty work at the cross-
roads in New York when the convention band played
"Marching Through Georgia" for the Georgia dem-
onstration. Mr. Tumulty wishes to be believed and
he is earnest. He loves the south. His father hap-
pened to be on the other side of the issue, but a
southern colonel saved his life and a southern woman
nursed the shattered northerner back to health.
He does not say so, but there was no intentional
dirty work in this. The band had complimented
Maryland, Indiana, New York, etc., with "Maryland,
My Maryland," "The Banks of the Wabash," "The
Sidewalks of New York," etc., and when it came
Georgia's time the band thought it was choosing the
state's well known and much loved air.
New York is the great American city. It is self-
sustained and self-contained with good reason. It
cannot be expected to keep track of events else-
where or remember that there was a secession over
slavery. New York thinks the first one was over
the Volstead act. Why did Georgia write the song,
anyway, and isn't it something like "My Alabama
Coon"?
That very clever editorial goes to prove again that
it is almost impossible to divorce a song from the
incident, sentiment or purpose of its original crea-
tion. That is one reason—the reason, in fact—that
the song "America" as now sung can never be a
national song for this country. It is too clearly Brit-
ish—"God Save the King.". And that's why it was
considered enough to hit Dr. Muck when that Ger-
man musician refused to play the "President's
March," which iiad become so thoroughly associated
with Key's words of the "Star Spangled Banner" as
to call for protection, even reverence, during war-
time as our country's patriotic song.
Mr. Tumulty knew that "Marching Through
Georgia" was written in celebration of General Sher-
man's great effort during the Civil War. And while
perhaps the band master at Madison Square Garden
didn't know it, or even care, the Democratic chief-
tan is sensitive about how the air might strike south-
ern ears so long after the discordant note between
north and south had been stilled.
It shows how powerful an element even a simple
strain of music may be. And the composer of the
song for which Mr. Tumulty thought it necessary to
apologize has been dead for forty years. And he
was a printer when he made the melody, later con-
ducting a music business under his own name of
Henry C. Work, and finally dying in a retreat for
the insane at Hartford, Conn.
"SONNY BOY" A SONG HIT.
One of the "best sellers" among the popular songs
just now is "Sonny Boy," by Silverman, and published
by H. J. Gott, 177 State street, Chicago. The song
is being sung by a number of public entertainers,
and it is on the'records and music rolls. It was in
demand almost as soon as it had appeared and its
popularity has been increasing until it is a veritable
"hit." The orchestras are taking hold of it, and
Mr. Gott, who has put forth many good songs,
believes that "Sonny Boy" is his most successful
number. The music is very catching and the words
are poetic and unobjectionable.
Norworth Co.", Inc., sheet music publishers of
Milwaukee, according to reports from Milwaukee,
in which the concern operated, went out of business
leaving absolutely no assets. In fact, a former asso-
ciate states that the rent for the office was not
paid, and that the people in the building took over
all the furniture that was in the office to cover the
HEARST HITS
You Can Take Me Away From Dixie
Forget Me Not
Bringin' Home the Bacon
My Dream Moon
Waiting for the Rainbow
Only a Butterfly
I
;
. > \
June

Broken Dreams
Lovers Lane Is a Lonesome Trail
If I Had You
I'm Falling in Love With a Shadow
Just a Lullaby
In a Wonderful World of Our Own
Someone Else
!
Chicago
;
I
(Took Your Place in My Heart)
Boost Your Sheet Music Sales. Record Releases Announced.
Victor, Columbia, Brunswick, Vocation, Okeh, Paramount
and other records played by the famous orchestras, including
Vincent Lopez, Paul Specht, Ben Selvin, Jack Chapman,
Don Bestor, Carl Fenton, Ray Miller, etc.
Q. R. S., U. S., COLUMBIA, ETC. PLAYER PIANO ROLLS
HEARST MUSIC PUBLISHERS
of Canada, Limited
HEAD OFFICE—WINNIPEG, Canada
New York
-
Chicago

Vancouver
-
J. H. REMICK & CO.
New York
i
(Means Remember Me)
Detroit
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
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