Music Trade Review

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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
UITE frequently you will hear a
technician remark. "I would like
Q
to assume charge of a piano repair
shop."!
This thought in mind must not be
construed that in case you could not
make good as a practical all-around
man. another solution might present
itself, i.e.. take on the job you are
better fitted for.
If you will refer to my article of
October. 1953, Page 25. there are
many branches one might know enough
of to qualify as an assistant, be able
to pitch in and perhaps become invalu-
able to the superintendent of the piano
repair shop.
When an opportunity knocks at the
door, all you have to worry about is.
do you know any branch of piano mak-
ing so that you can take your place at
the work bench and not just pretend,
i.e.. unable to glue on a new set of
hammers or. let us say. restring a pi-
ano. Whatever it is, one may be able
to do it well.
On the assumption that there is a
complete 'set-up', a fine piano repair
shop ready to take on complete over-
hauling.
Example: A piano comes in for re-
pairs. A proper procedure is to give
the customer an honest estimate as to
what is goirifj to be done to the instru-
ment.
One point should be made clear—
when conducting a shop.
A reliable piano repair shop can be
considered as a part of the piano sell-
ing as well as piano rebuilding, be-
cause tfie instrument that comes in for
overhauling changes automatically into
a new sale, providing the customer is
induced in such a way that the shift is
advantageous on all sides.
There is spare time to fix up the
one just taken in and put on the ware-
room floor (especially if it has a brand
name), and when repaired and pol-
ished the chance for the sales in both
directions Incomes profitable. The
main point in question is—living up to
the estimated work, minus promises.
THE MUSIC TRADE REVIEW, DECEMBER, 1953
and "almost like new" statement.
What are some of the estimates that
find their way in a piano repair shop?
1. Grand piano action brought in to
be regulated only.
2. Grand action to have a new set
of hammers put on only.
3. Upright piano to be restrung. Ac-
tion in general is o. k.
4. Mrs. M. wants the instrument reno-
vated, new strings, new hammers,
sounding board repaired, revarn-
ished and sent home like a new
instrument.
5. Mrs. S. wants her instrument put
in good playable condition.
6. Another lady wants the instrument
decorated to a finish to match her
furniture.
7. A new pin block is another re-
building process.
8. A new bass bridge is another re-
pairing procedure.
It is somewhat difficult to actually
outline each and every item of repair-
ing procedures, but it can be logically
assumed that an established shop, based
on ability, experience and integrity,
cannot fail to satisfy the most critical.
A major performing medium for
new business can be counted on when
"nothing but the best" emanates from
this department.
Let us cite in fairness some of the
shortcomings that make a shop a losing
proposition—one is the underestimat-
ing. Two. making statements that can-
not be relied upon, i.e., an exact time
to deliver the instrument ready for per-
formance.
\X e have only to revert to a few
items of repairs that will answer this
assertion. Third, new strings, new ham-
mers and soundboard.
One cannot foresee in advance when
the stringer does not show up for work.
The action regulator likewise, depend-
ing on the piano being restrung. It is
in the same predicament.
At the beginning of this article, we
tioted how one would like to assume
charge of a piano repair shop.
Now comes the chance to make his ability to restring the instrument
and get it ready for the finisher, the
one who puts the new hammers on.
Ironing out a condition of this kind
gives our foreman a pat on the back.
So it goes, all the way down the line
of emergencies, when it becomes a part
of an overseer to make good some of
his experiences.
Another side of the picture should
be taken into consideration. This is
specialization—the "jack of all trades"
does not fit into the picture.
Many first class action regulators
do not tune.
A-l piano tuners are not usually
experienced regulators.
The same may be said about
stringers.
Another criterion is that these men
are free lancers, coming and going as
they please. Unless they can be guar-
anteed a certain amount, uncertainty
remains on both sides. That's the prob-
lem. It is not an easy one. However,
when a piano repair shop has the qual-
ifications built on ability, experience
and integrity, it can be solved.
Mrs.
Fay Templeton Frisch Not
With Educational Productions
Mrs. Eav Templeton Frisch of !\ew
Kochelle. V Y. made a film about a
year ago. an initial pilot film, under
the title of "Piano Lessons are Fun",
the name of which was later changed
to "Keyboard Experiences" and which
was shown at numerous places and
through numerous o r g a n i z a t i o n s
throughout the United States.
The project was being promoted by
Arthur Schmoyer of Los Angeles. Cal.
under the trade name of "Educational
Productions.
Mrs. Frisch now states that she has
s e v e r e d all connections with Mr.
Schmoyer and has renounced any per-
sonal sponsorship of his "Keyboard
Experiences" project. She further states
that she has not only notified Mr.
Schmoyer regarding this but has also
advise many persons who saw the film
as well as interested organizations.
37