October 2014

Meet the Honorary Member Malcolm McKeand A Life Remembered — Francis “Frank” Evans Precision Tools from Gavin Hartley PTA/Yamaha Day/The Piano Workshop Reigate 2 CONTENTS

Editorial — 4 President Writes — 5 Membership News — 6 Gavin Hartley, Precision Tool Engineer — 8 Student Mentoring Scheme — 9 Meet the Council — 10 Obituary — 12 Students’ Pages — 14 Classical Music is Taking Over the World — 17 PTA Yamaha Training Day — 20 Images from Piano History — No 2 — 21 Meet the Honorary Member — 22 Council Report — 26 Wanted: Testimonials — 26 PTA Diary — 27

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October 2014 3 EDITORIAL ANNE BURTON

“I’m on the scrounge” is how I might make a request in my native city with people that I know well, however it sets the tone for some of this editorial. Genie Dyke requests Mentors to volunteer themselves for the Student Mentoring Scheme (p9) where a range of levels of involvement is required. The recent Yamaha Training Day in Reigate (p20) was marvellous and I would like to thank Derek Love for hosting the day and Neil Farrar for his teaching. I’m now looking forward to a trip to Stirling (see below), so I hope that many of you will sign up for what should be another great day; again it is only £10 for Students. As promised, Gavin Hartley, Precision Engineer and Toolmaker, introduces himself (p8) and there will be an in-depth interview with him in the next issue. In addition to meeting new Council Member Andrew Giller (p10), we “Meet Honorary Member Malcolm McKeand” (p22). I met Frank Evans and his sister on a trip to Poland in 2005, so it is with sadness that I learned of his recent passing. Edited sections of the booklet Kay made in his memory are reproduced here (p12). We continue the series “Images from Piano History” supplied by Dr Alastair Laurence, to whom I apologise for omitting his name credit in August’s newsletter (printed format). I’d like to thank Nigel Polmear for alerting me to the article “Classical Music is Taking Over the World” (p17) and to the Evening Standard for their permission to reprint it. From 1st March 2015 some significant changes will be made to the Membership Test; full details will appear in the December Newsletter. Also in December I hope to have information from the PTG of America about access for our Members to their on-line resources. Finally, please pen a testimonial as Matthew asks on pages 26/27. There will soon be a new website to go along with the new official Face Book and current Twitter page and these testimonials will be used across all these platforms. Please ‘like’ and ‘follow’ at www.facebook.com/pianotunersassociation PTA/KAWAI TRAINING DAY Sponsored by Kawai UK Saturday 1st November, 2014 10am –4pm Stirling Highland Hotel, Spittal Street, Stirling FK8 1DU Training with Manabu Arimori. focusing on Kawai Upright Piano Regulation and the mechanics of the Anytime hybrid systems. £45 for Members/Associates/Patrons, £65 for non-Members, £10 PTA Students Followed by the Scottish Autumn Dinner £25pp To book your place, contact Mrs A Summers, PTA Secretary Tel: 0845 602 8796 Email: [email protected]

4 THE PRESIDENT WRITES BRIAN FROST

From time to time it’s worth remembering what the PTA stands for and how it operates. Council is elected by the Membership to represent it in the day to day affairs of the Association. It has a duty to protect the Membership and the Association as a whole, where possible, from possible court action, and also to ensure it remains respected within the piano industry. When becoming a Member of the Association we all sign a declaration that we will abide by the rules of the Association. Members are expected to conduct themselves and their business dealings in such a manner as to ensure that the name of the PTA is not brought into disrepute. The use of social media within the Association has slowly grown over the last few years and it is worth thinking about the implications this can have over the way we interact. We have to be careful when posting items on Social Media so that we do not offend others and that the things we write are not libellous. It is often said that PTA discussion forums are ‘closed’ to the public at large and it does not matter what is posted or discussed. The reality is that in this modern age of technology, Members’ posts made in a PTA forum can be easily shared, not just by those within the Association, but also to others outside the PTA. This means that Council has to decide, where necessary, what constitutes an offensive or libellous post and then act accordingly. Council would be negligent in its duty to the general Membership if it did not act, and on the very rare instances when action is taken the decisions are not taken lightly. I would like to remind everyone that when posting things on-line it is essential to bear in mind what they are sharing with others. What might be acceptable ‘banter’ in the bar at a Convention may not be something that should be shared with others on a PTA forum. Before posting something that could be controversial or risqué please consider that something you might find acceptable may well be offensive, and could affect the reputation of the PTA. On a lighter note, I am delighted to report that the Yamaha training day in Reigate was an excellent day with over 30 in attendance. The full report is on page 20. I hope that some more of you will consider travelling up to Stirling to the Autumn Training Day and Dinner on 1st November with Kawai. If you are going, I look forward to seeing you there. More training days are being planned – so watch this space!

Brian Frost PTA President September 2014

October 2014 5 MEMBERSHIP NEWS ANNETTE SUMMERS A warm welcome to new PTA Member: 1234 Mr Ed Stroud 50 Denmark Road, Wimbledon LONDON SW19 4PQ Tel: 020 8947 1964 Mob: 07817 382534 [email protected] and also to new PTA Students: S363 Mr Chris Steedman 7 West View, Warwick Road Balderton, NEWARK Notts NG24 3QF Tel: 07510 967096 [email protected] S364 Mr Jim Jacobs 2b Queen Elizabeth’s Walk Stoke Newington LONDON N16 0HX Tel: 020 7502 2253 Mob: 07970 933220 [email protected] S365 Mr Paul Mill 4 Old Town Hall Cottages, Wadsworth HEBDEN BRIDGE HX7 8SP Tel: 01422 706209 Mob: 07746 714392 [email protected] S366 Mr Gerwyn Murray 4 Glanywern, Manod BLAENAU FFESTINIOG LL41 4AW Tel: 01766 831103 Mob: 07876 399627 [email protected] Please note these changes to the 2014/15 Year Book: 1228 Mr Patrick Symes (new address; telephone and email remain the same) 5 Esther Road, Leytonstone LONDON E11 1JB A78 Mr H J Smith (new address) 101 East Beach Road, Selsey, CHICHESTER PO20 0EZ Tel: 07528 809614 6 S345 Mr Ben Elsey (new address; telephone and email remain the same) 32 Lymbourn Road, HAVANT PO9 2SL S353 Mr S Haynes email should read [email protected] Additional telephone number: 01636 918738 S357 Miss C V Byrne (new address; telephone and email remain the same) 8c Beach Lane, MUSSELBURGH EH21 6LA S360 Mr M Hackworthy (new address; telephone and email remain the same) 2 Rivers Reach, FROME Somerset BA11 1AQ Please send all changes of address, telephone and email to The Secretary using the contact details on Page 27

October 2014 7 GAVIN HARTLEY PRECISION TOOL ENGINEER

seeking a change of scene after leaving my previous job in aerospace engineering I happened to come across the piano tuning course at Newark College onto which I enrolled. This was my introduction into the trade where, with the support of friends and colleagues, I found my way into making tools specifically for piano tuning and regulating. Due to my background, and my nature I suppose, I am used to working with high-quality tools and, when none are available, making my own. Frustration with the ‘standard’ equipment had led me to make a tuning lever of a fairly conventional design for myself whilst I was learning to tune. It became apparent that there was a demand for my home-made levers and scope for further improvements to the design. So I set about designing a tuning lever which addressed all of the short- comings of existing designs and which, I felt, was the best possible tuning lever that I could make. Feedback from my most experienced colleagues confirmed my design ideas and it is this which is now my ‘standard’ design of tuning lever. As a result of me experimenting with other ideas and being approached by people with their own, I have branched out into making an increasing range of tools which includes standard designs as well as completely bespoke tools made specifically to individuals’ requirements. Although I have been aware of the PTA throughout my involvement with the piano trade, I have only recently made personal contact at the Bolton convention where I was very much encouraged by the good feedback that I received from all onlookers. I am very pleased to have established a good relationship with the PTA and its Members and hope that it will continue for the length of my career. All of my tools are made to my own designs and are made by me in my little workshop in South Yorkshire. My philosophy is one of attention to detail and it is very important to me that everything I produce is of the very highest quality, in terms of design, workmanship and materials to ensure my own satisfaction as well as that of my customers. I’m proud to be able to say ‘hand-made in England’. I feel it is significant that my tools are made to last a lifetime as this is more sustainable than discarding (or even recycling) worn-out tools for new ones. My tools are in use (and recommended) by some of the most respected tuners and technicians in the trade. I can be contacted at [email protected] or on 0797 1971147

LORRAINE BOLGER writes about Gavin’s tuning lever:

It's not often you hear “I made it myself” when you see a tuning lever, but it was that statement which had us all talking at college. Word soon spread that Gavin Hartley had made his own tuning lever and that it was very good. We were half

8 expecting to see something that had been cobbled together but we were wrong; the tuning lever was precision made and looked perfect. Gavin now makes carbon fibre levers of varying lengths which accommodate the Watanabe tips I'd previously purchased. At the Convention I bought a tuning lever with a separate screw in section to lengthen it (he does make an adjustable lever too). Gavin was kind enough to customize my lever by colouring the metal connectors to my chosen colour; it's very smart. I don't use my other levers now as I really find the carbon fibre model brilliant; it's so easy to feel the pin and you don't get any flexing when you try to ease a stiff wrest pin a minimal amount or tune a new piano. All the threads are of exceptional quality and brilliantly manufactured that there is no danger of cross-threading. The lever is light, easily portable and above all, comfortable to hold. I thoroughly recommend Gavin's levers. I'm hooked—you may be too.

STUDENT MENTORING SCHEME BY GENIE DYKE

As part of the PTA objective for supporting students, the PTA established a Student Mentor Scheme to provide students with further support by working directly with experienced professional piano tuners. The aim of the scheme is to match students with willing and experienced professional piano tuners to aid in developing student skills. As a former student, I am aware of how important it is to work with seasoned professionals. Under the tutelage of a Mentor, one can bring together tuning theory knowledge while also developing ear and hand coordination. I read that piano tuning is all about compromise. Knowing where and how to make these compromises comes from a solid understanding of tuning theory as well as years of practice to develop the coordination between the tuner’s ear and hand movement. In order to develop tuning skills, it is essential that students work with experienced tuners to gain a solid understanding of tuning theory and to acquire the necessary judgement to make those compromises. In addition to tuning, students also need to be proficient in piano repair, regulation and voicing, but with such diversity in makes and types of pianos as well as age and condition of each instrument, sometimes students may need to call on their Mentor’s skill and knowledge for help. Exam preparation is always a stressful time for students; perhaps Mentors might also consider helping students prepare for their exams? As with learning to play an instrument, a novice or student piano tuner must spend hours practising and developing skills in order to gain a deeper understanding of how to tune many different kinds of pianos. Students need all the help they can get, so it would be great to hear form any willing professional piano tuners who are interested in becoming a Mentor. Students who feel that they could benefit from participating in the PTA Student Mentor Scheme can contact me directly, [email protected] or on 07570 239 547 and I will endeavour to put you in touch with a willing Mentor.

October 2014 9 MEET THE COUNCIL ANDREW GILLER

My early years were spent in Essex and it was while living in Chelmsford, around the time of my ninth birthday, that the family piano first became the focus of my attention. I spent hours keenly working out various popular melodies with a few left hand chords and before long I was producing some not too embarrassing sounds. As music had run in the family, my parents were quick to arrange lessons and almost immediately I came to understand the language of music better than that of my schoolwork. In those early days I dreamt of being a concert pianist and spent my teenage years racing through the ABRSM graded exams. In 1979, aged 18 and in a rather rash moment I did the ARCM performers diploma at the Royal College of Music, a 45 minute recital played on a Steinway ‘D’ in their recital hall. Some nervousness caused a memory lapse and alas, that cost me the exam and made me think more carefully about a career in music. It was time for me to consider a plan B. In December of that year I was made aware of the piano technical courses at the London College of Furniture. I always tried to keep up my practical skills in woodwork and metalwork and had already taken our home piano apart many times for cleaning and attempts at tuning with an old and large clock key! In truth I had been fascinated by the workings of the instrument since childhood when I would observe our Broadwood trained tuner on his visits, having had my interest piqued while watching him order and change a bass string. I duly applied to the LCF and in early 1980 found myself sitting entrance exams opposite a young Alison Moyet, trying to remember how to solve fractions. The course I undertook was the brand new Higher National Diploma in Musical Instrument Technology. As my class was the first to undertake it things were a bit fraught at times but the lecturers always did their best to steer us through the various areas of study. I was particularly taken by the coaching I received from John Spice in tuning and Bob Morgan in the workshop, they, along with Ted Wicking, made me aware of the value of trade associations and inspired me to make a mental note to join the PTA as soon as I was eligible for Membership. After leaving the LCF I sought experience in Suffolk piano shops, hoping to learn as much as I could about all aspects of my new career. During this time I particularly relished the opportunity to work with the older visiting technicians, one of which had studied under a former Steinway Hamburg factory manager while another regularly worked with former London Steinway workshop manager Fred Batson. It was around this time that I assisted early keyboard specialist, Donald Adcock, in caring for his historic collection of pianos that included very rare early Broadwood and Viennese makes. I benefited enormously from their knowledge, mentally storing away tips and tricks. In September of 1987 I was able to undertake the PTA test and become a Member. I came to greatly enjoy the conventions, taking full advantage of the networking opportunities with suppliers and dealers, as well as the unique classes available. I particularly valued those taken with Bösendorfer, Blüthner, Bechstein and Steinway, all of which boosted my confidence, both in the field and in the workshop, particularly when

10 it came to technical matters of ‘voicing’ or key weighting. These classes also provided fantastic opportunities to trade notes with my peers in the trade, discussing matters of cost effectiveness or efficiency, and ultimately affording us all a chance to re-evaluate our working practices. These conventions were singularly useful as, much like my work in Suffolk in the eighties, they made available information that simply could not be gleaned anywhere else. In the late eighties I established my own restoration and sales business in South- Norfolk. I played in many local concerts, partly for enjoyment but it was a super way to promote myself, my work and indeed the piano! By the mid-nineties Giller Pianos was reasonably prosperous, however the next ten years saw the marketplace become increasingly unpredictable as budget imported pianos and digital pianos gained prominence and a new generation of buyers took their business online. In the face of these trends I chose to change tactics and move into concert piano hire. I was inspired in part to do so by the presence of several major arts festivals in the area, as well as a strong contingent of music societies throughout East Anglia, all of 1928 Pleyel Duo-Clave Double Piano whom would become regular customers. By the mid-2000s I decided to begin selling stock pianos and, knowing the magical power that the name alone has over concert artists, I invested in nearly-new Steinways. Since then roughly half of my business has been devoted to concert hire and maintaining pianos at various venues, with the rest of my time spent on restoration in my workshop and out performing private tunings. I keep a minimum of six Steinways, including four model Ds, and provide them to well over one hundred concerts a year. A most memorable outing was when all four model Ds were required at once for a performance of Stravinsky’s Ballet Les Noces, which, factoring in moving and tuning, proved quite an undertaking! My home and premises are both on the same two-acre farm site, which also accommodates the Old Granary Studio, a converted Rick Wakeman & his English Rock Ensemble Band space that my wife and I run as a concert venue and recording studio. Since the year 2000 we’ve had the privilege of welcoming some of the world’s great artists, including a few rock stars, to perform and record with us, several of whom have become close friends. Behind the scenes recording work continues on a regular basis for independent record labels such as Quartz, SOMM, Toccata Classics and Classic FM. Old Granary Studio On a personal note I am married with a daughter and two sons, the eldest of which is actively engaged in the music industry himself. I am involved with several charitable trusts concerned with arts funding. My other interests revolve around the outdoors, electronics and building work; I find the building and plastering particularly useful as it keeps me in good physical shape for moving and tuning pianos. In closing I am delighted to be involved in the Council and look forward to contributing to the running of our valuable and highly professional Association.

October 2014 11 OBITUARY FRANCIS (FRANK) EVANS 8 FEBRUARY 1929 – 20 AUGUST 2014 “A LIFE REMEMBERED” BY KAY EVANS

My brother Francis, or “Frank” as his friends call him, was born in Ystradgynlais, Swansea. Frank left home on 21st August 1945, joining 251 other young men aged between 15 ½ and 17 who became Halton’s 51st Entry of RAF Aircraft Apprentices — “Trenchard’s brats” (Viscount Trenchard being the founder of the RAF Engineering Apprentice scheme in 1922). He joined as his idols had been cousins who were in the RAF. 1949 saw him posted out to the RAF proper at Pembroke Dock servicing Sunderland flying boats, where he stayed until 1951. Because of back problems, he retrained and in 1952, he became an Admin, Shorthand and Typing Instructor in the Careers Section at Hereford. Here he became Drum Major of the band and mastered the art of tossing the mace high up in the air, practising with a broom stick. Frank had several postings abroad; firstly in Singapore for 2 years at Admin, HQ Far East Air Force in Changi. From 1965 to 67, he was Personal Assistant to a Group Captain at RAF HQ Middle East in Episkopi, Cyprus. He had a 3 months spell as Air Attaché Wing Commander Goring Morris’s PA in Tel Aviv and went back for a short time to Cyprus before returning to spend the last five years of RAF life in Careers Advice at the Personnel Management Centre¸ Innsworth, Gloucester. A few years ago we spent some time at the Imperial War Museum where I had traced the Crown Film Unit’s recruitment film “Pathways to the Sky”. A short clip in this shows Frank poignantly playing Home Sweet Home on his violin in their dorm

LIFE OUTSIDE THE RAF

Coming to the end of his time in Gloucester, he was accepted at the London College of Furniture and Music, spending two years in its musical instrument department learning piano tuning, repair and construction. 1974 saw him working for a music shop in Ware, Herts, before being accepted six months later by Blüthner. After a few years covering South East London for them, he suggested to the MD that he might become self-employed. The MD saw this would benefit not only Frank but also the firm and this arrangement was then accepted for the rest of the firm, including the technicians across Britain.

12 Alongside his work at Blüthner, he built up his own clientele and left the firm in 1984 while still undertaking some work for them. From age 55 until retirement in 1996, he looked after clients in London and the South East as well as in East Anglia, when he took the opportunity to spend time golfing with his sister Nina and Bob, her husband. His clients came from all strata – Petula Clarke, Lloyd Webber, Lord Lever, Mrs Joe Blogs et al. He formed a special friendship with the “Tafia” at URC Christchurch, Petts Wood, and recently donated his piano to the church, much to their delight. In 1996, Frank decided to retire and spend more time playing golf, the sports love of his life. Very often success in life is measured in terms of one’s work. Despite many rewarding, enjoyable years in the RAF and later self-employed, Frank, in my eyes, had his greatest success in the way he showed great love and concern for his family but also for friends and clients. One of Frank’s great characteristics was his application – the ability to visualise a project, work flat out, collapse on the sofa and within the hour be ready again for action. He loved practical work and many can testify to his ingenious inventions – repairing anything from pianos to broken objects of whatever nature. He has always truly been the world’s best “Fixer”. In late 1970, when Mammy could no longer live on her own in Wales, he kindly brought her to Blackheath to live. He was a sterling son, caring for her with breaks in between at Nina and Bob’s, until I returned to London in 1984. Thereafter we spent many happy hours together, with Frank returning home sooner than I and making our dinner and generally being very kind to us both. So often we undervalue the quiet person who stands in the background giving us courage when we are faced with life’s challenges. For me, Frank has been that person – the best companion anyone could have. Frank’s doctor, Dr Sharma, said on first meeting Frank: “You are a very nice person to be around”. What more could one ask for oneself? Frank passed his last months at home in Blackheath very patiently and graciously bearing his discomfort. As ever, his gentle spirit has been evident to all. He is now at peace in his eternal Home. I thank God for the blessing of such an admirable, faithful, lifelong friend and my irreplaceable companion. Frank and Kay Evans October 2014 13 STUDENTS’ PAGES PTG Review 38* Steps to Endearment by Sid Stone, RPT, Chairman, Ethics Committee 7. Park to the client’s satisfaction. Do not park in the client’s driveway unless there is no other place to park. In that case, ask the client’s permission. If your car or truck leaks oil, park some distance away — such as in the neighbour’s driveway (just kidding!). 8. Dress appropriately. This means clean, neat clothes and a clean body. For men, it is a well-shaved face and neat haircut. For women technicians, I would suggest slacks rather than a dress. Unwashed and baggy clothes are not acceptable. Some technicians wear a suit and tie. This is fine if all you do is tune. If you have to lie under a grand piano to check the pedals or take care of a squeak, then a suit and tie may be inappropriate. People who have pianos and have them serviced properly are not only caring but also intelligent people. They notice how you are dressed. 9. Respect the client’s carpet. In other words, take your shoes off and do so before you are asked. In many fine homes, especially Oriental homes, you are expected to take off your shoes before walking on the carpet. There may be a row of slippers for guests, but they are all too small for you. You should not object to taking off your shoes when you realise the reason. If it is raining, water will cling to the bottom of the shoes. Besides water, dirt and more objectionable substances may have been stepped on. There are alternatives to shoe removal, especially during the rainy season or when the carpet has recently been shampooed. One alternative is to carry an extra pair of socks. Another one is surgeon’s slippers over your shoes. If you do not have those, you might try a cheaper contrivance: plastic shopping bags. I would rather look funny than soil a carpet or catch a cold in the wintertime. 10. Respect others’ property. Some homes have a hardwood floor without carpet. “Don’t put your tool kit on the floor,” I was once admonished. Chairs and couches may also be off limits. So where do you put your tool kit in a home with expensive carpets or hardwood floor? You may take a Gibson cloth, named after the originator†. It is a cloth slightly larger than a piano bench and will easily accommodate your tool kit. If a second tool kit, supplies or vacuum sweeper are needed, take from the car the sheet or blanket to be used for that purpose. Someone has suggested rip stop nylon from a fabric store. Care should also be taken when the music desk of a grand piano is removed, or the front panel of an upright. 11. Compliment the yard and home. A well-kept front or back yard may be a source of pride. If the lawns, flowers, bushes, and general landscaping impress you, say so. Also, a neat home with striking décor should not go unnoticed. Admire any special paintings, pictures of children, certificates, trophies, collections, hobbies, etc.

14 12. Compliment the piano. If it is a new piano, compliment the client on their wise choice. If it is an antique piano, you might have a favourable compliment about the case. What about a spinet piano? If a client asks you what you think about their spinet piano, what do you say to them? Here may be one exception to the rule “Honesty is the best policy.” You do not have to lie, but you do not have to tell the truth, the whole truth, and nothing but the truth. So far, I have gotten away with the answer, “It is the best in its class.” I fear the day when I’m asked what class that is. (By the way, one of the critics who reviewed this article has a spinet piano. I regained some endearment when I gave them a free tuning). 13. Have a neat and orderly tool kit. Do you wait until the client leaves the room before opening your tool kit? Do you have to open it carefully so the contents will not spill out? Here is one instance where I say, “Do as I say and not as I do!” I may be perfect in every other way, but I am still working on that tool kit. When I am stood up by a client, I do not mind very much. I can spend the extra time cleaning up that tool kit or other kits in the car. A few tunings down the line, however, and I am back to where I started. Does anyone out there relate to this problem? (An interesting chapter mini or main technical is to have the members bring their tool kits for a “show and tell” session. Members not only will get their tool kits in order but they also may be interested in seeing what other tool kits look like and contain). 14. Be a good conversationalist. Talk more about the other person than about yourself. Don’t be a gabber, like Willie Everstop. Have a cheerful countenance. Does the room light up when you enter? Or does it light up when you leave? Knowing how to converse properly with others can endear you to them. 15. Be a good listener. A good listener is more endearing than a good talker. It has been said that most people have poor listening habits. This is perhaps true in our profession. Look at the person as you listen as well as when you are talking. Do not interrupt. Being interested is as important as being interesting. Give your full attention to what is being said. 16. Encourage the client to ask questions. This helps to strengthen your standing as a knowledgeable professional. Most piano owners appreciate information on the care of the piano. The question most often asked is, “How often should a piano be tuned?” The best source of information is the manufacturer of the instrument. More available information is found in some of PTG’s pamphlets. A recent pamphlet is entitled, “How often should my piano be serviced?” The attempt there is to get the piano owner to think in terms of more service than just tuning. Pamphlets from the National Piano Foundation are also available.††

October 2014 15 PTG REVIEW CONTINUED Another question we may be asked is, “Was it far out of tune?” Clients may not notice any changes because they play and hear the piano every day. The tuner comes in once or twice a year, and he/she can tell the difference. It is like seeing my two grandsons every week; I do not notice any changes. If I saw them only once a year, I could tell the difference. “Was it far out of tune?” My answer might be, “You probably noticed some notes that were not just right.” Or “About what you would expect of a good piano that has not been tuned for a year (or whatever).” To be continued… Extract from article reproduced with permission from the PTG Notes *38 Steps … one step beyond Yamaha’s 37 Steps. References to the client have been changed to become gender neutral †Gibson cloth – a polishing cloth for Gibson guitars. ††The PTA’s comparable Sound Advice leaflets are available from the Secretary (£6 for 50 leaflets). These are subtitled, ‘Your piano – your questions answered’ and ‘Taking care of your piano’. Inside the sections are entitled ‘What is the piano action and why does it need maintenance?’; ‘How can I move my piano?’; ‘Where is the best place to stand my piano?’; ‘What is a PTA Registered Tuner/Technician?’ and ‘A brief history’. PTA contact details are on the back along with space for you to insert your contact information.

Gavin’s de-centring tool & a lever

Helpful instructions left by a customer for Bill Kreis

16 CLASSICAL MUSIC IS TAKING OVER THE WORLD BY PETROC TRELAWNY WITH PERMISSION FROM THE EVENING STANDARD

In China, one factory makes a piano a minute to keep up with demand created by 40 million children studying to play — the expanding middle class throughout Asia is fuelling an insatiable appetite for the orchestra, says Petroc Trelawny

Global harmony: nearly 100 factories in China produce instruments on fast-moving production lines such as at the Beijing Xinghai Piano Group. Krug champagne flowed freely at the Hong Kong Philharmonic Orchestra’s 40th anniversary gala last month, accompanied by caviar canapés and chocolates dusted with gold leaf. Some of the richest people in the territory had turned out to hear Berlioz’s Symphonie Fantastique and Russian pianist Boris Berezovsky playing Rachmaninov’s Rhapsody on a Theme of Paganini. I was making small talk with a man from Christie’s, who suddenly stopped mid-sentence as one of the orchestra’s patrons passed by. “I’m pretty sure we sold her that necklace,” he said, as we eyed the lavish jewels. “But I’m not going to tell you the price.” When the Hong Kong Philharmonic went from being a ragtag band of amateur musicians to a fully professional orchestra, it quickly became one of the most important ensembles in all Asia. In 1974, China’s Cultural Revolution had not finished. Over the previous decade Chairman Mao’s ambitions to wipe out what he saw as the foreign bourgeois elements corrupting society had hit music particularly hard. The few orchestras that had survived were forced to play from a small canon of works chosen by the state, including a series of “revolutionary operas” and approved pieces such as The Yellow River Piano Concerto.

October 2014 17 Thanks to its rich patrons and generous government support, Hong Kong’s orchestra faces a secure future. But it also has competition these days. Cultural Revolution now forgotten (Chinese arts administrators prefer you not to mention it) and with a rapidly expanding middle class, China has taken to classical music with alacrity. The oft-quoted statistic that 40 million Chinese children are studying the piano is considered by many to be a spectacular underestimate. Commercial piano schools in major cities teach from six in the morning until midnight in order to accommodate all those who want lessons; Russian musicians are hired in order to make up a national shortfall of teachers. Nearly 100 factories produce instruments on fast-moving production lines; in the southern city of Guangzhou I visited a plant making a piano every minute. This new-found love of music encompasses orchestras too. More than a dozen professional ensembles have launched, or relaunched, in the past few decades. The finest of them is the Beijing based China Philharmonic — which spearheads a season of visiting Asian orchestras at this summer’s BBC Proms. It will perform music by Elgar and Tchaikovsky alongside a new work, Joie éternelle by Shanghainese composer Qigang Chen. The orchestra is relatively new, founded in 2000 by Long Yu, a man best described as China’s equivalent of Valery Gergiev, the Russian maestro and Vladimir Putin confidant who leads the London Symphony Orchestra. An astute political networker, Long Yu has China’s cultural commissars on speed-dial, and controls all three of the nation’s top orchestras — he is music director of the Shanghai and Guangzhou Symphony Orchestras as well as the China Philharmonic. They enjoy lavish state funding, officially as high as 60 per cent, though in reality even higher, with local governments donating state- of-the-art halls and rehearsal spaces and guaranteeing the purchase of major allocations of tickets for each concert. The foyer of the Guangzhou Symphony Orchestra’s home, with rehearsal facilities its British counterparts can only dream of, is lined with pictures of past performances at the Musikverein in Vienna, the Concertgebouw in Amsterdam and Carnegie Hall in New York. Touring abroad is a key to China’s orchestras; the message they project internationally, of a culturally vibrant nation, with tastes not so different to those of the West, is central to Chinese diplomacy. It’s not just China where orchestras are coming of age. Pianist Stephen Hough remembers making his debut with the Singapore Symphony Orchestra 30 years ago. “Back then the idea that they would get invited to the Proms was unthinkable,” he recalls. “They were in no way an international orchestra.” Hough has made regular visits to play in Singapore in the past decade and notes a new confidence. “It makes me feel that we’ve become jaded in the West,” he says. “In Asia there are so many young musicians that it feels like a participation sport — and classical music works particularly well because it’s a language that needs no translator.” While the old European masterworks are undeniable popular with new Asian audiences, there is also a hunger for works that mix indigenous Chinese sounds with Western composing techniques — such as Zhou Long’s Postures, which the Singapore Symphony will play at the Albert Hall. The Seoul Symphony will bring a Korean

18 instrument to its Prom — the sheng, a reed mouth organ, for which distinguished Seoul-born, Berlin-based composer Unsuk Chin has written a concerto, Šu. Founded in 1948, the orchestra’s debut Prom has been a long time coming. Conductor Myung- Whun Chung made his first appearance with the Seoul Symphony as a seven-year-old pianist; half a century later he is credited with dramatically raising performance standards as music director. The Middle East is perhaps the least likely region to support a flowering of orchestras. The Qatar Philharmonic launched in 2007, when the Gulf city-state decided an orchestra was essential to its plans to become the culture hub of the region. The former boss of the Bavarian Radio Symphony Orchestra was hired, with the instruction to “create an orchestra of international standard as quickly as possible”. While the vast majority of the players are European, and the music director, Han- Na Chang, is South Korean, the Qatar Philharmonic is proud of the fact that it already has more than 30 specially commissioned works from Arab composers in its repertoire. Establishing Western orchestras was a key part of Mustafa Kemal Atatürk’s cultural revolution in Turkey in the 1920s, when ensembles were founded in all major cities. South Korean Han-Na Chang, music director Today, according to Serhan Bali, editor of of the Qatar Philharmonic Istanbul-based classical music magazine Andante, the quality is pretty patchy: “They are all bound to the government,” he says, “and are not in very good shape either artistically or in terms of how they are run.” The great hope for the future of classical music in Turkey is the Borusan Istanbul Philharmonic, an orchestra completely funded by Borusan Holdings, one of the richest industrial conglomerates in the country. “It’s a bit like the Lucerne Festival Orchestra,” says Bali, “taking the best players from the state orchestras and giving them a chance to properly show their talent.” The Borusan Philharmonic plays a dozen concerts a season in Istanbul. “Recep Tayyip Erdogan’s AKP party has little interest in Western art,” says Bali. “Major cultural initiatives only happen here thanks to the passion of the middle classes and a few dynamic private sponsors.” It’s clear there is a cultural shift in the global orchestra business. While government subsidy has safeguarded the great European ensembles, in the US the collapse of the “philanthropic dollar” has orchestras under more pressure than ever before, with international touring becoming increasingly rare, leaving the door open for the orchestras of Asia. The four Chinese orchestras I have heard have excellent string sections but are less secure when it comes to wind and brass, a legacy of the way music has been taught in the country’s conservatoires; the Qatar Philharmonic may feel like a European orchestra transported to the Persian Gulf. But compared with the great orchestras of the West these are young institutions that need time to mature. In the Seventies a sniffy sommelier might have raised an eyebrow at the suggestion of a wine from Australia or New Zealand. Let’s not make that mistake again; new world orchestras are here to stay. EVENING STANDARD WEDNESDAY 9 JULY 2014 October 2014 19 PTA/YAMAHA TRAINING DAY WITH YAMAHA & THE PIANO WORKSHOP, REIGATE BY GARY WHITELAND

The first PTA/Yamaha training day featuring Yamaha Silent and Disklavier systems was held at The Piano Workshop, Reigate. PTA president Brian Frost and Derek Love of The Piano Workshop welcomed us and thanked Matthew Gough for organising the event and introduced Neil Farrar, Yamaha Technical Manager. Neil began by handing Matthew Gough a memory stick containing all the technical manuals for the Yamaha range of Silent and Disklavier pianos. Matthew is planning to put this on the Members’ section of PTA website. There was a Yamaha grand and upright either side of Neil and a further upright hidden from view (more of this instrument later). We learned that the first ‘hybrid pianos’ were introduced in the late 80’s and now account for 30% of current Yamaha piano sales. There are two basic types, the Disklavier and the Silent piano. Neil is a piano technician with no training in electronics; the silent pianos all have a low voltage 12V supply so are safe to work on. The Disklavier system uses a more powerful 68V supply and this must be isolated before undertaking any work, particularly the pedal solenoid fitted to the grand. Neil then explained how the sensor system works; a greyscale gate is fitted to the underside of the key, as the key is depressed a red light is passes through gate and is read by a sensor which determines the keys velocity and converts this analogue information into a digital form. The height of the sensor unit below the key is critical and he showed us how to measure the key height. He also showed us how to position the all-important shank-stopper rail which prevents the hammer from striking the string when the piano is in silent mode. We learned that good key easing is crucial for optimum performance of Silent/Disklavier pianos. Having determined that all the adjustments were correct, he then ran the piano through a self-calibration test to check and adjust the sensor measurements. During calibration the sensor system is able to learn and adapt to any abnormalities within the setup of the piano. We then had a buffet lunch provided by The Piano Workshop before commencing our afternoon class which covered the more complicated Disklavier system which is fitted to both uprights and grands. The Disklavier piano is able to record and playback a performance and the most recent examples are wireless, allowing a performance taking place on a Disklavier in one location to be streamed live and reproduced by a piano fitted with a Disklavier system in another location, even in another continent. Neil showed us that the Disklavier has sensors fitted to the hammers and keys and how to disconnect the wire loom fitted to the action of a grand to facilitate its removal to carry out any repairs or regulation. All the leads are labelled and unique so refitting should be straightforward. One of the drawbacks of the Silent and Disklavier systems is early hammer set off to allow the hammer to set off before it engages with the shank-stopper rail. This situation has been overcome on grand pianos with the extra space allowing a second set off rail and second toe on the jack. Hammer set off is normal until the piano is put into silent mode, the extra rail then engages with the extra jack toe to create an early set off. Neil then carried out a full calibration of the 20 Disklavier system. He used the control panel to put the piano in test mode which provides the technician with a large amount of information about the state of the electronics and has the potential to carry out a number of tests and calibration exercises. Neil ran a full calibration test (rather involved and very loud as the test progressed through the piano’s dynamic range). Always refit the treble keyblock prior to this test as the solenoid operating the left pedal will push the action towards the right hand cheek with excessive force. Throughout the test the all clear was signified with a major chord, a minor chord highlighting a fault and the need to investigate further. Finally the third piano of the day, Yamaha’s latest hybrid piano the Transacoustic, uses two transducers fitted to the soundboard to allow an electronic piano sound (or other voices) to be reproduced using the soundboard as a speaker with the acoustic piano or on its own when the shank-stopper rail is activated. A big thank you to The Piano Workshop, Matthew Gough and Neil Farrar for an interesting and informative day. The meal at a local pub afterwards was delicious! Photographs by Andrew Jamieson appear on pages 5,6 and 7

IMAGES FROM PIANO HISTORY — NO 2 THE CHAPPELL CONCERT GRAND CAST-IRON FRAME BY DR ALASTAIR LAURENCE, JOHN BROADWOOD & SONS.

First introduced: 1895-1900. Iron frame manufacturer from circa 1920: Booth and Brookes Ltd., Mildmay Ironworks, Burnham-on-Crouch, Essex (for Chappells of London). Weight of casting: 204 kilograms. Total string tension: believed to be around 17 tons. Length of completed piano: 267cm (8 foot 9 inches). Designer: Friedrich Reinhold Glandt (1840-1902), Chappell’s factory manager from 1893. Special feature: the attractive and intricate foliage decoration on the bentside was hand-carved into the wooden foundry pattern by Glandt himself. Tonal qualities: the bass is certainly superior to the same-size Steinway, but the top treble is weaker than Steinway as the brass studs are carried right up to the top note, C88, and a capo d’astro bar is not utilised. Regularly seen and heard, circa 1900-1950, at: the Royal Albert Hall and the Queen’s Hall, London; the Usher Hall, Edinburgh. Numbers made: sadly, all records lost, as Chappell’s archive at 50 New Bond Street was destroyed in a fire in 1964. Last advertised: in Chappell’s sales brochure of circa 1960, although it is doubtful whether the concert model was still in regular production at that date.

October 2014 21 MEET THE HONORARY MEMBER MALCOLM McKEAND

Why did you decide to train as a piano tuner? I have always loved music and played the violin and piano from an early age but although achieving Grade VIII on both instruments and completing my ‘A’ level music, attending Music College did not appeal. After hearing a radio programme that visited a small piano maker in the country, I wrote and in due course was offered an apprenticeship. I had always been dissatisfied with the tuning of my own piano until a new tuner, John Spice, moved into the area. Where did you train, what was it like and who with? My apprenticeship as a Piano Maker was very old-fashioned, strict and with frequent twelve hour days and thirteen day fortnights! However, the standard of training in the workshop was extremely high. Unfortunately, my boss was reluctant to teach me piano tuning, so I finally left in order to enrol on a course at the London College of Furniture (LCF) at the suggestion of Bill Kreis of Bedford. John Spice was a part-time tuning lecturer at the LCF and it is entirely thanks to him that I had a thorough grounding in this wonderful art. My workshop lecturer was the former Challen piano factory manager, Ted Wicking. We became firm friends from the first day we met until the day he died. My Piano Making apprenticeship had been primarily upright piano work both new and restoration, so I was very pleased to have the opportunity of working on grand pianos with Ted Wicking and together with one other student, made a Challen grand piano in my second year. During my first year at the LCF I noticed that the PTA was holding a national piano tuning competition for all students and apprentices throughout the country. I decided to enter to give myself a challenge even though I had only been learning piano tuning for six months. To my great surprise, I won the London and Home Counties heat and went through to the final at Hereford where I came second in a draw decided by a stability test. I believe a third year student from Newark was the winner. In my second year I applied for the Arts Council Award to train with Steinway & Sons in London, open to all piano tuners of all ages and experience. The final three candidates had to do a tuning test for Bob Glazebrook at the old Steinway Hall. I won and was offered the award. Sadly, I was told that I would have to move to Newcastle and never be allowed to tune or work in London and the Home Counties again, so I turned down the award and completed my Higher National Diploma course which enabled me to learn much piano design and technology knowledge from Bob Morgan, who had just returned from the Research & Development Dept. of Baldwin pianos in the USA. What was your first job? I worked self-employed for the first two years but found that Bösendorfer pianos were very keen for me to work as a free-lance concert tuner for them. Eventually, after training in Vienna, I was offered the full-time position of Senior Concert Technician for Bösendorfer UK being responsible for all the concerts using their pianos and the maintenance of the concert hire fleet and showroom pianos.

22 How did your career develop? By this time I had been in the piano trade for seven years and felt that I wanted to give something back to the industry that I had prospered in, so took up a full time post lecturing at the LCF and became Head of Piano Studies with the remit to raise the standard of piano tuning. Within three years, two of my students entered the David Marks Piano Tuning Competition at Hereford and walked away with the first and second prizes. This was a significant achievement as at that time the Royal National College for the Blind at Hereford (known as RNC today) were considered to produce the best piano tuners under their inspiring Head of Piano Tuning & Repairs, Eddie Wilkins. Back at the LCF I introduced a piano tuning competition and workshop prize and the students undertook major restoration work of grand and upright pianos in the workshop. In all, I spent two years part-time and eight years full-time working at the LCF with about 75 students from all over the world training at any one time and a staff of seven. After eight years full-time as a Senior Lecturer I felt that I really missed working on pianos myself as opposed to teaching the subject. So I resigned my post and went back to working as an independent self-employed piano technician before opening my own company, South West Pianos Ltd as the agent for Steinway & Sons in Cornwall, Devon, Dorset and Somerset. I had one other piano technician with me who joined for further training as my Technical Assistant, Chris Moulton (later to be Editor of the PTA Newsletter and now the Piano Technician at the Royal College of Music) and a part-time secretary. We had a good size showroom and workshop space. After this, I returned to Bösendorfer UK as CEO and enjoyed selecting large numbers of Bösendorfer pianos in Vienna and preparing them for mainly London concert venues. It was interesting although tiring work preparing Bösendorfer grand pianos for such diverse tastes as Andre Previn and Tori Amos! I had been an examiner for some time before being invited to take over from Mike Glazebrook as Chief Examiner in Piano Tuning for the Association of Education & Welfare of the Visually Handicapped (VIEW) in 1997 until the demise of the piano tuning course at the RNC at Hereford. I had already been Chief Examiner in Piano Tuning for City & Guilds of London Institute from 1987 to 2002 when they ceased offering the examination due to the low numbers coming into the piano trade. For the last eight years I have been working as the Concert Piano Technician for the Guildhall School of Music & Drama in London with responsibility for 128 pianos played 15 hours a day for almost every day of the year! These include four Steinway concert grand pianos, two of them at the prestigious new concert hall, Milton Court, almost next door to the Barbican. What are the highlights of your career? I have been privileged to prepare pianos for several thousand concerts and many recordings and live broadcasts for some of the most revered pianists in the world including Vladimir Ashkenazy, Alfred Brendel, Shura Cherkassky, John Ogdon, Murray Perahia and András Schiff to name but a few. Perhaps preparing the first Fazioli ever used in public in the UK is one of my highlights. It took place in December 1986 at the Royal Festival Hall with András Schiff playing a Bartók piano concerto, the orchestra conducted by Sir Georg Solti. Paulo Fazioli flew in from Italy for the great occasion. I also prepared the piano for Schiff’s recording of Bach’s First

October 2014 23 Book of Preludes & Fugues, his first Proms and his first seven years of playing at the Edinburgh Festival plus numerous concerts in the Wigmore Hall, Royal Festival Hall and Barbican as I was his personal piano technician for eighteen years. Working with Oscar Peterson whenever he was in the UK was another special treat which included the recording of his Easter Suite in London and many Royal Festival Hall concerts and the more relaxed environment of Ronnie Scott’s jazz club. Legacy to the PTA and Piano Trade? My legacy to the PTA and the piano trade in general are the piano tuners and technicians I have trained in this country and from abroad over the last thirty six years. A few of them are known to the PTA, many of them sadly never joined. Of the several hundred, I will mention just a few. My earliest students include Rob Pearce, Samantha Hewson, Colin Crawford and Mark András Schiff with Malcolm Beglin. Slightly later came Glen Easley, Carmel Cooney, Colin Taylor, Barry and Roberta Caradine, Matthew Gough, Clive Benson, Steve Gibbs, Tim Wise, Phil Sander, David Widdicombe, John-Paul Williams, Rob Padgham, Pete Lyons (McGill), Gary Beadell, Steve Carrol-Turner, Clare Tobin, Chris Moulton, Trevor Lowe and Geoff Sapsford. Most recently I have taught Yumi Shigeno, Andy Briggs, Anne Burton, Patrick Symes and Finlay Fraser. Currently over 10% of the PTA membership were trained by me. Why was it important for you to become a Member of the PTA? Many piano tuners find the work is very solitary, seldom meeting any other people from the piano trade except at a PTA event. I have always felt that it is important for the PTA to provide a means of communication and further training which is very worthwhile and appreciated by many members. I felt it important to join and support the PTA by sharing skills and knowledge and to introduce as many of my students and apprentices who might be interested to join too. How have you been involved with the PTA over the years? Since becoming a student of the PTA in late 1979 or early 1980, I have been closely involved with the PTA by giving numerous technical classes on a wide range of subjects at conventions, weekend courses and seminars and hosting well over a hundred PTA examinations whilst Head of Piano Studies at the London College of Furniture. I have been an examiner on a great many occasions in the past, many with the indefatigable Lewis Flisher. I have served on Council and played a large part in writing the present Examination Syllabus, (much of the marking scheme coming from my own tuning examination work at the LCF) as part of the Examination sub- committee which frequently met at Bill Kreis’ piano shop in Bedford. I introduced many classes and lecturers to the PTA Conventions including Les Pearce’s ‘Grand Damper Class’ and Ron West’s ‘Polyester Repair Class’, being one of the first people within the PTA to encourage Jeff Prett to join (Lewis and I were his examiners) and 24 give us his most excellent classes over many years. I arranged entertainment such as putting an upright together from 120 separate pieces against a stop watch and encouraged John Spice and Johnny Pearson to attend so many conventions to give us some fantastic musical evenings. I am proud to have introduced tool auctions to raise money for the widows and dependants of members who had passed away and acted as the auctioneer for many years. What does it mean to you to be given Honorary Membership? I am grateful for the Honorary Membership bestowed on me and pleased that my contribution, particularly to technical training and examining within the PTA over three and a half decades is recognised together with my introduction and technical support of so many members. What do you think the future holds for the profession? There were six piano makers and six training establishments around the UK in 1978 and eleven of these twelve are now gone. Other than basic training at Newark College, it is now almost impossible to obtain advanced level training, so the PTA has an important part to play in this area. The flip side to this is positive though. Vast numbers of pianos are still manufactured around the world and piano sales within the UK are still buoyant. London is arguably the musical capital of the world and there are more public piano concerts taking place than ever before. With six top level music training institutions (and many smaller schools) in the UK producing hundreds of fine pianists each year, the work of piano tuning and servicing is absolutely secure for the future. Unfortunately, there have been so few piano tuners trained in the UK in the last twenty years that there is a growing shortage of really good tuners. However, the future for those who have the skills looks rosy. My main concern for the future of piano tuners and technicians living within the UK is to see a return of respect for our profession within society in general, which used to exist until the end of the 1930’s. After the second world war, the country slowly but progressively turned its back on manufacturing and consequently apprenticeships and training. Successive governments have closed down trade schools, implying that only those too unintelligent to pursue an academic career should work with their hands. Recent governments have pushed an entire younger generation to go to University and careers advisors never even mention the possibility of having a fulfilling career in musical instrument making or servicing. By contrast, in Germany, Austria and Japan, the apprenticeship system is still alive and flourishing. In these countries a fully trained and qualified piano technician is a highly respected member of society and earns a professional fee. With one-bed flats costing one third of a million pounds sterling or more in Central London (2014 prices), why are some of the best piano tuners I know working in Central London being paid well under £50 per tuning? How can the current or next generation of piano tuners or technicians ever hope to buy their own home when society values them so little and what incentive is there to bring new people into the industry with the current lack of social and financial reward? This is an area that needs much more thoughtful debate within the PTA and I hope my remarks may encourage further correspondence to the PTA Newsletter.

October 2014 25 PTA COUNCIL REPORT ANNE BURTON The meeting of the Executive Council was held on 27th September at Robert Morley & Co. Ltd., Lewisham. Present were Brian Frost (President), Matthew Gough (Vice President), Andrew Jamieson (Treasurer), Annette Summers (Secretary), Anne Burton, Lewis Flisher, John Lambert, Michelle Rudd, Tania Staite and Gary Whiteland. Apologies were received from Andrew Giller and Stephen Venn. Genie Dyke is now up and running as student mentor coordinator. The new logo is available on the website for download by Members only. We welcome a new Member and 4 new PTA Students. The Treasurer’s report was presented. Andrew Jamieson confirmed that funds were running low on the HSBC current account. However, this will improve with the issue of subscription Invoices at the end of November. As yet Andrew has not had to use PTA reserve funds. Two copies of the PTG CD have now been purchased for the library. The PTG of America has offered PTA Members access to PTG on-line documents. We hope to have details soon. The new Yearbook has received very positive feedback. Test Sub Committee has made changes to the present entrance test which will begin with all tests taken from 1st March 2015. To encourage students to continue to attend training days, it was agreed that their attendance fee will remain at £10. More days are being planned. The inclusion of data to the new website has delayed its launch date but the designer is expecting to have the site ready for approval soon. A new official PTA Facebook page will shortly be available. Classes are all confirmed for the Hereford Convention from13th to 16th May, 2015. In light of current legislation regarding price recommendations it was proposed to remove Rule 2E from the Yearbook. This was agreed but will need to be voted on at the AGM next May. Michelle Rudd will work on a statement for our website and other outlets advising on the qualities and services the public may expect from PTA Members and that customers should expect Members charges to reflect this. John Lambert has received a reply from Solicitors regarding the implications of being a Trustee. The next meeting is scheduled for noon on Saturday 27th November at Robert Morley & Co. Ltd., Lewisham. WANTED: TESTIMONIALS Would you like to write a short testimonial for the PTA to use on the 'Join Us' section of our forthcoming new PTA Website, Facebook Page and current PTA Twitter page? The aim is to encourage new people to join us across all categories. Testimonials would be shown in continuous rotation with your name and PTA registration number appearing alongside/underneath your comments. It's probably best if you currently don't serve on Council nor have a very active role within the PTA.

26 PTA DIARY 10am to 4pm Saturday 1st November 2014 PTA/Kawai Training Day Sponsored by Kawai UK At The Stirling Highland Hotel, Spittal St, Stirling, FK8 1DU Learn about the workings and mechanics of the Anytime hybrid systems, upright piano regulation and lots more with Manabu Arimori & Joe Carroll followed by the Scottish Autumn Dinner Contact the Secretary to book your place 15th March 2015 PTA Training Day with Malcolm McKeand at the Guildhall School of Music and Drama More details soon. Convention 2015 Three Counties Hotel, Hereford 13th to 16th May

For enquiries, PTA goods, changes of address or contact details: Mrs Annette Summers PTA Secretary PO Box 230 HAILSHAM BN27 9EA Tel: 0845 602 8796 Email: [email protected]

DEADLINE FOR PTAN ARTICLES: FRIDAY 21st November Articles, letters and photos to: [email protected] or to address on page 3. Please email photographs and articles separately .

WANTED: TESTIMONIALS continued Suggested Testimonial Topics: Did you take a long time to decide to join us and do you wish you did so much earlier? Do you find your work load is increased by being a PTA Member? Are or were you a PTA Student who gained valuable knowledge or training? Are you an Associate who enjoys the internet based discussion forum? Are you a Patron who enjoys their association with the PTA? Perhaps there is a certain thing you do, have or gain from belonging to the PTA? ...or anything else. Please send testimonials to [email protected] or the Secretary. October 2014 27