SALE SALE SALE

Every year at this time, Lewis Eady has a store wide 'Anniversary Sale'. Our only full shop sale of the year! This year's sale celebrates 127 years and is this weekend (2nd - 4th December).

Planning for the sale started somewhere back in August. We work hard to find some of the best specials around, working with our closest suppliers to bring in a whole bunch of products specifically for the sale.

Discounts range from 10% through to the incredible 60% off products. Our very popular Farida and Alhambra guitars are at least 20% off!

We'll share more deals with you over the weekend... so make sure you 'like' our Facebook page or subscribe to our tweets.

"See you there!"

Post by David Love

Lewis Eady Retail General Manager

Emerging Artists Series 2011 Winner

Each year, the Lewis Eady Charitable Trust extends an invitation to universities around New Zealand to present a pianist to perform as part of an Emerging Artists Series. Travel and accommodation for performers outside of Auckland is covered by the Trust.

Lewis Eady Charitable Trust promotes each solo recital and with support of sponsors, Dawsons Catering and Soho Wine Co, allows the audience some informal time to socialise over a glass of wine and canapés prior to the evenings performance.

The performances are considered by an independent adjudicator who selects the winner of the series with the best recital performance.

The Lewis Eady Charitable Trust are proud to announce the WINNER of the 2011 Emerging Artists Series - LUCY ZENG of Auckland University.

Lucy Zeng is eighteen years old and currently a second year Bachelor of Music student at Auckland University’s School of Music, studying piano with Rae de Lisle. She started learning the piano at the age of seven and won 1st prize in district piano competitions around Auckland such as the Epsom Music Competition, North Shore,South Auckland, Te Awamutu Performing Arts Competitions, and IRMT scholarships.

At fifteen, Lucy was awarded 2nd place in the 2008 New Zealand Mazda Foundation National Young Performer Awards. In 2010, she came 3rd and also won the Sonata Prize at the Kerikeri National Piano Competition. Later in the year Lucy also won the Janetta Mcstay Prize for the ‘Most Deserving Pianist’ at the University of Auckland.

"CONGRATULATIONS LUCY"

Lucy wins $1,000 and a performance opportunity in Sydney courtesy of the Lewis Eady Charitable Trust.

Join our Concert Club and be sure you are on the invitation list for the Emerging Artists Series 2012 and experience a very talented group of young up and coming musicians, selected from our top Universities throughout New Zealand.

The Trust would like to give a special thank you to its generous sponsors; Dawsons Catering, Soho Wine Co, etc. photography & design and Spikemail.

"...and to our audience - we THANK YOU for your support and we look forward to seeing you in 2012 with another impressive line up of young emerging artists".

Post by Sharon Seetto

Lewis Eady Charitable Trust Administrator

Hey computer, where have all the real stars gone?

So, last week the New Zealand music industry took to Auckland’s Vector Arena for its annual backslapping gala royale that is the Vodafone New Zealand Music Awards.

Over the last year there have been a number of great records released by artists of varied style here in Aotearoa and most of these great albums probably didn’t even make it onto the short list for the prizes awarded at the hugely glitzy “star studded” affair. Last week the nation was treated to performances from the big nominees with The Naked and Famous, Brooke Fraser, Avalanche City, Ladi 6 and Tiki Tane all playing on a stage fit for any international performer. Now you will most probably know by now that the big winners on the night were The Naked and Famous and Brooke Fraser, two acts that indeed have had big years with both high charting albums here at home and tour dates dotted across the globe and quite rightly, they do deserve some high fives from the industry.

Now, I didn’t watch it on TV, nor did I go, I have seen all of these acts a few times and know what’s on order. I did however look at some pictures of people all dressed up to the nines and taking to the red carpet for the big night though. Folks that I probably wouldn’t look twice at in the street but tonight… They are in the big league and all eyes are on them. Something I’m finding more and more these days is that there are hardly any memorable, charismatic, intelligent and stylish (I’m not just talking about wearing popular clothing and holding your hand up in the air onstage) musical performers in the country. I can make a couple of immediate exceptions from this years batch in the form of Tiki Tane (despite not being my cup of tea he can still rock the mic), Matt Hyde (front man for exceptional rock band Beastwars), Ladi 6 and new comer Kimbra all have the ability to engage with their audience passionately and showcase their own style/personality while matching their din.

In a world where it is becoming increasingly easy to make music in your bedroom, without even setting foot on a stage, I’m left hoping we haven’t thrown the baby out with the bathwater. Are we getting the wrong end of the stick and therefore short changing our own level of entertainment? 

I wait with bated breath.

Edward Castelow

Sales Consultant - Lewis Eady Ltd

A Kiwi in Shanghai - Part 3

Day three with another small anecdote. Something I noticed looking out the window on the plane on the way in. In NZ we have sub-divisions like Stonefields where you have ‘cookie cutter’ houses. In Shanghai they have a similar thing, except the houses are huge apartment blocks. I guess if you have the design for one and you have a population of 1 billion you might as well build 20 or 50.

Today was less about meetings and more about looking around, seeing what manufacturers were doing that was new or interesting. A few observations this time rather than highlights.

• I had a good talk to BAM cases. They’re a European company who make enviable Violin, Cello, Guitar etc. cases. So enviable that you can find a dozen companies making copies of them now. This is such a concern for BAM that they’ve put off displaying a new product this year to give them a years head start. Still, even the best copies didn’t come close to the quality and elegance of the originals.
• The piano hall just blew me away. It was amazing being able to play Steinway, along side every other brand, Grotrian, Fazioli, Bluthner, Seiler, Shigeru Kawai, Kawai, Yamaha. I can safely say Steinway was my favourite, but that goes without saying.
• There were a number of incredibly interesting piano case designs, although generally the odder the design, the worse they sold. Safe to say you won’t be seeing a space ship grand piano at Lewis Eady anytime soon.
• This year they had a large contingent of Chinese Folk Instruments there. I had a good wander through the stands. Tried a couple of things. Very keen to get something for myself, but I’m pretty sure snake skin won’t clear MAF control!

This may be the last blog this side of NZ, but subscribe to our Youtube channel to see some of the performances from the show.

 Post by David Love

A Kiwi in Shanghai - Part 2

Day two of the fair, but a quick little snapshot of Shanghai. Unfortunately I was too freaked to actually take a snapshot. A taxi ride is something akin to a roller coaster except with the very real concern of death. Lanes are just guides. You want to pass someone, you go around them. Someone’s coming in the other direction, fine go faster and toot at them to get out of the way!

So a few highlights from the show.

• I met with Jorge Julia from Alhambra. We had a good chat about how things are in Europe etc. Saw a couple of cool new guitars. What would you say to a Spanish made steel string for under $1k?

• Talked to Harvey from KG Instruments. They’ve got this beautiful new series of violins and cellos called the 500 series made with European woods. Unsure how much they’ll be yet, but he had already sold out of the violins by the time I got there so they must be amazing value.
• I had a good wonder around. There are stands where you can you buy wood blanks for violins, guitars and even piano sound boards. A stand where you can buy/rent CNC machines. And a stand where you can buy guitar kits. What more do you need… it’s probably there anyway.

• Watching a Chinese hard rock band on one of the stages. Funnily enough there’s music getting played everywhere here. I’ll try and get some videos up once I get back to NZ. The hard rock one didn’t come out so well with my digital camera microphone.

• And hands down today… Tonight I went to dinner with the guys from Farida, and the distributors from the England, India, and Malaysia. A traditional Shanghaiese banquet which was awesome, but it was awesome to hit around some ideas and share war stories with the other distributors. 

Until tomorrow…

Post by David Love

A Kiwi in Shanghai - Part 1

There are three major trade fairs for musical instruments each year. Namm (Anaheim), Frankfurt Musikmesse and the Shanghai Musikmesse. This year was the turn of Shanghai. They’re an amazing experience so why not share it with you all as it happens.

First off, Shanghai… what an incredible city. Incredibly busy, incredible buildings, ridiculous traffic, and yet very clean. I’ve sampled a very little shopping, from the Science and Technology Museum market with copy everythings, to the Superbrand Mall, with every conceivable shop, to Nanjing Road where Prada and fake Prada live side by side - and everything’s for sale. Try doing all three in 1 day and see how your feet feel.

Day one at the fair and a few highlights:

• Finally meeting the guys from Farida guitars. I got to meet Mr. C. W. Tsai who has been involved with Farida for 40 years! Some cool stories about their guitars, but they’ll wait for another day.

• AXL have some pretty cool looking new electrics, but my favourites were the Recording King wood body resonators, and their new RP-06 Parlour size guitars. I’m looking forward to getting these guitars through.
• Hausheng had as many classroom percussion instruments fitted into as small a space as possible. They’re constantly coming up with new products. I’m looking forward to expanding our range of this product. Absolutely everything I saw was incredibly quality.

• But hands down the best moment of the day was the Steinway stand. In particular the John Lennon Tribute Imagine piano. I figured it would be fitting to play ‘Imagine’ on it; it was slightly surreal. It made me smile when a couple of Chinese families came up to me and asked to have their picture taken with me playing the piano. I didn’t have the heart (or language) to tell them I wasn’t a performer, so just smiled along.

Until tomorrow…

Post by David Love

Tra la la la la la

It's an exciting time for people wanting to learn how to sing at Lewis Eady!

As well as the ongoing private one-on-one lessons, which continue to grow, we have two new opportunities. A children's choir/group lesson and the group lessons for adults. These two classes are an environment where you can take your time learning to sing, with out the pressure of one-on-one with a teacher.

I have a number of students who come to me, who would love to learn to sing and usually it's only their confidence holding them back. But sometimes they are not ready to sing all by themselves out loud! So we have a problem... to improve as a singer and to become more confident, eventually one must sing, it is a group of muscles like any other and they need stretching and exercising in order to improve and strengthen.

If a student can't find that initial confidence to sing and show me what we are working with then developing the confidence becomes a struggle. So, all you adults and children who love to sing and would like to gain some more technique, but find the idea of one half hour all to yourselves a bit intimidating... come and join a group lesson!

Enrol now!

We will have fun learning to sing in a group, as well as solo if you feel ready! Improve in pitch, rhythm and that all important confidence!

Post by Charlotte O'Brien - Lewis Eady Music School Teacher

Music for Minors

I have had a unique opportunity to explore elements of the Orff approach to music teaching, through teaching the Singing Rainbows pre-school program and Musical Jam for Year One and Two, both of which are influenced heavily by this philosophy. It is a new approach to teaching music for me. I always believed that if I had a child I would thrust an instrument in its hand as soon as humanly possible. But, when I did have my own child, I realised that greater benefit would be gained by having music as a constant in his life – we made sure there were lots of instruments around the house, the opportunity to experiment with sound and to listen to and play a variety of music. He, of course, lapped it up and seemed to have a really good ear. However, by about 4 he seemed to have lost all sense of rhythm... and pitch. Obviously, I was horrified. Then he became part of my Musical Jam class and my great experiment. It is a fantastic opportunity to watch his development, knowing everything I do about his past. 

I also teach the violin, in a formal more traditional way. Some of my students have had previous musical exposure and some have not. For the most part, the ones who have been banging on pots and drums driving their parent nuts, or the ones who are involved in church or cultural groups, or ones who have been involved in programs like Musical Jam, seem to be much further down the road from noise to music.

My sons proficiency has increased enormously since participating and collaborating in music making, so has his confidence and co-ordination. But the most notable thing is his new connection to the beat. He got his rhythm back! The other great benefit, the “group” aspect, means the kids start sharing their ideas and start to articulate themselves, musically. I know that when my boy starts more formal musical training, he has a great number of musical concepts already “instinctual” – or seeming so. This will leave him able to concentrate on the more “technical” aspects of music making and understanding, enabling him to progress much faster than he would have without these basic musical elements already in place.

Post by Meryl Main
Lewis Eady Music School Tutor

Q. Is a larger upright better than a smaller grand?

A. There has always been much debate amongst pianists and technicians over this but at the end of the day, with very few exceptions, Grand Pianos will always win out over upright pianos - even ones which may technically be larger and better.

This is primarily down to two incontrovertible facts:

1. The action on an upright piano is what we refer to as a single escapement action, whereas a grand piano utilises a double escapement action. Coupled with the fact that the grand piano action is working with gravity, whereas the upright action is not... means the grand action will be faster, smoother and more responsive than most upright pianos.

2. The grand piano soundboard is horizontal with clear space above and below to allow for optimum sound transmission. Compare this with the upright which is generally shoved up against a wall with the lid down. Once again the grand will appear to give more sound.

As always there are exceptions. A few years ago we put on a 'duelling piano' promotion using our model A 6' 2" Steinway grand piano and our model K 132cm Steinway upright piano. I made the mistake of taking off the front of the upright in an attempt to balance up what should have been a no contest... to my horror the upright drowned out the grand!

Post by John Eady


Visit the Lewis Eady showroom and experience the best in pianos and customer service.

Buy responsibly... guitars that is

On Tuesday this week this article came to my attention, http://www.tennessean.com/article/20110904/BUSINESS/309030089/Gibson-goes-offensive.

At the time it made me concerned for the US guitar making industry. That’s Martin, Fender, PRS, Guild, Larrivee, Collings, the list goes… If Gibson, an industry leader has been taken down by the Federal government what’s stopping one of the others been taken down?

And that’s the question. I can’t comment on the legality of Gibson’s practice but I turned to Andrew at Lyn Mac (the importers of Martin guitars for NZ) because what they don’t know about importing US made guitars isn’t worth knowing.

Apparently it all comes back to a 100 year old piece of legislation called the Lacey Act. In a nutshell, an Act to stop illegal transportation of endangered animals, plants and wood products. What this means today is practically every guitar that comes out of a US factory needs to have paperwork showing where every piece of wood came from, who and where that wood was processed by etc.

Martin don’t cut corners, and I would assume the same could be said about the other brands listed above. Two quick examples of this:

• Around a year ago we ordered in a very special Martin for a customer. It had a rare veneer on the headstock, and rare material for the nut and saddle. It took 3 months longer than expected and cost around 3 times more than usual to bring out that single guitar while all the paper work was checked.
• Guitar manufacturers found a source of Rosewood in Madagascar that came close to the Holy Grail, Brazilian Rosewood. Martin created an artist model with Rosanne Cash (Johnny’s daughter) that used Madagascan Rosewood. This was going to be limited to 100 guitars only. Part way through production of this model a coup broke out in Madagascar and wood supply was sold illegally and irresponsibility to fund the fighting. Martin stopped production of all models that used Madagascan Rosewood straight away. Only 44 Rosanne Cash models were made.

Just some food for thought, but as with everything these days… Buy responsibly.

The second annual New Zealand International Piano Festival (NZIPF) will be held in April 2012. 

This exciting event brings together concert pianists from all over the globe, to perform solo and duo piano recitals at the Auckland Town Hall Concert Chamber - and also provide a supreme educational experience for New Zealand’s up and coming musicians through masterclasses. 

Festival dates - NZIPF 2012 

Saturday 21st April  Richard Mapp & Emma Sayers 

Sunday 22nd April  Hyoung-Joon Chang 

Tuesday 24th April  Sofya Gulyak

Wednesday 25th April  Jian Liu

Thursday 26th April  Oleg Stepanov & Natasha Vlassenko

....................................................................................................................................................

Saturday 21st April - Richard Mapp & Emma Sayers

Programme : 

Schubert - Allegro in A minor (Lebenssturme) 

Ken Young – Variations on a Prayer 

Samuel Barber - three pieces from Souvenirs 

Poulenc - Sonata 

Interval 

Ken Young - Fantasy for two pianos 

Bartok - Six pieces from Mikrokosmos

Lutoslawski - Variations on a theme of Paganini 

When you go to a concert by Richard Mapp and Emma Sayers, you get not just two outstanding single pianists, but also a pair of piano-duettists, and, when pianos permit, a first-class piano duo team. 

Richard and Emma have been working together as pianists and recitalists for close to ten years, and are both currently on the staff at the New Zealand School of Music in Wellington. They are in great demand not only as a duo/duet ensemble but also as soloists, as accompanists, and as performers of high stature in a variety of chamber music ensembles. 

These two pianists are a great choice for ringing up the curtain on this year’s NZIPF programmes, and they’ve chosen a programme that shows them in two allied roles. In the first half, the music will be all piano-duet, and following the interval and the set-up of a second Steinway grand, there will be three varied pieces for piano duo. 

As well as Schubert’s Lebensstürme movement - a rarely heard but powerful sonata-piece for four hands - Richard and Emma are offering Poulenc’s sardonic “Duet Sonata” and three witty items by the American composer Samuel Barber. 

The Piano Duo works in the second half are by Bartók (from Mikrokosmos), and a tightly compressed set of flamboyant variations on a Paganini theme by Polish composer Lutoslawski, written when he was hiding from Nazi occupying forces during WW2. 

Two special items will be excitingly unknown for many. Not only do they offer new experiences, but they help to confirm the NZIPF as a New Zealand event, since they are by Wellington composer/conductor Kenneth Young. The first is Variations on a Prayer for piano-duet (“a wonderfully evocative piece” according to John Button of The Dominion Post) and the second is called Fantasy and is for two pianos. “The Fantasy of the title,” says Young, “reflects the fact that I simply let my imagination run wild... I really enjoyed writing the piece... and I hope the audience will too.” 

The bet is that the audience will love it. 

“Beautifully integrated playing...” The Dominion Post 

Visit www.nzipf.com

Blog post by Sharon Seeto

Lewis Eady Charitable Trust Administrator

Is your child learning on a suitable instrument?

To give your child the best chance of success in learning the piano, it is important that they learn on a suitable instrument. In essence there are three options:

1. Keyboard

2. Digital Piano

3. Piano

Keyboards

These are the least favoured option as they have light weight sprung actions derived from organs and do not resemble piano touch at all. At the very best 6 months is the maximum a child should learn on one of these and never never never buy a keyboard that isn’t touch sensitive – they are a complete waste of time and money!

Also bear in mind that keyboards are like computers and will depreciate in value very quickly.

Digital Pianos

These are a much better option than keyboards as a learning tool. They have a full 88 note keyboard with weighted actions which in some cases - like the Kawai digital pianos - can be very close to a piano touch. 

Bear in mind though that these too have their limitations. The best quality ones like the Kawai are rated by the Associated Board up to grade four level. Most digital pianos won’t take you that far but are still way better than keyboards.

Pianos

The best option but ‘Buyer beware’! Buying a second hand piano is like buying a second hand car of the same age. There are almost 8000 moving parts in a piano action. If the piano you are looking at on Trademe hasn’t been well maintained or has been exposed to high humidity or excessive use, you could be buying very expensive firewood.

All our second hand pianos are selected and serviced by qualified piano technicians and we stand behind each and every one of them with a comprehensive warranty. 

One last point on second hand pianos. Pianos are like humans – they get old and die!

They don’t get better with age.

They don’t appreciate with age.

And in many regards you would be far better off with a digital piano.

Get good advice, do your research and then come and see us at Lewis Eady for the best deal.

Finance available on request.

Poste by John Eady (Lewis Eady Ltd)

The Life of a Lewis Eady Music Tutor

Ah, the opportunities for a Lewis Eady Music Tutor don't cease over the holidays... I was given the chance to tutor at the Auckland Philharmonia Orchestra's 'Sistema Aotearoa' holiday programme at Sir Edmund Hillary College in Otara. The inspiration for the programme was 'El Sistema', founded in Venezuela by Jose Antonio Abreu. 90 percent of the 250,000 children attending El Sistema's music schools are from poor socio-economic backgrounds. 

Five and Six year olds came to learn Violin, Cello and Double Bass and worked towards a group string and vocal performance at the end of the week for friends and family. 

In week two I ran 2011's second installment of 'Lewis Eady Rock School' where seventeen creative young people learned the ins and outs of performing in bands and writing their own Rock songs. They worked tirelessly for 3 days finally putting on a show where they shook the foundations of M.A.I.N.Z. in stunning unrelenting ROCK style.

One member of the Rock School programme was new to our country and didn't speak english. His constant grin behind the drumkit and the Sistema Aotearoa experience reminded me of the power of the language of music and what can happen when people of varying social and creative backgrounds are brought together to share it.

Post by Brent McGarva 

Brent joined Lewis Eady in 2005, he teaches piano, keyboard, guitar, bass guitar, ukulele and Rock Band at the Lewis Eady Music School and Lewis Eady Rock School in the school holidays.

Brent holds a Bachelor of Music from the University of Auckland, Grade 8 Piano and is currently studying to become a classroom teacher. He writes and performs both classical and rock music and is the Principal Coach of the Lewis Eady Rock School.

Solid vs. Laminate

There is a widely held belief that if an acoustic guitar has all solid wood it will sound better than a guitar that is laminate. In every belief there’s a small lie (see what I did there). While it’s true that the best sounding guitars are all solid, it’s not true that because a guitar is all solid wood it will sound great. Now to try and explain that particular riddle...

First off, what do I mean by all solid wood? It’s easiest to look at the top of the guitar. If you look inside the sound hole of the guitar at the cross grain you will either be able to see grain running through the thickness of the guitar, or you’ll see three pieces of wood glued together (a wood sandwich). The wood sandwich is three pieces of wood laminated together. The top piece is usually more cosmetically beautiful than the other pieces. Laminate tops are strong, but because of the glue holding the wood together they’re also very rigid.

This shouldn’t be confused with a guitar having two pieces across the face of the guitar. There should always be two pieces (preferably book matched which is a whole other blog).

The cheapest guitars are usually laminated all over. Mid priced guitars and most entry level high end guitars (Martins, Matons etc.) have solid wood tops but laminate or composite back and sides. High priced guitars are all solid wood. In a nutshell to get a piece of wood not only thick enough to make a guitar but structurally sound, and cosmetically beautiful it costs more.  So surely if a guitar is all solid wood it will sound better. Less glue making the more free to move than if it was laminate means more resonance and tone right? Yes, but not exactly.

I often tell the story of Antonio de Torres. Antonio de Torres is widely considered to have created the modern classical guitar. He innovated the making of guitars in Spain from 1852-1893. His belief was that the most important part of the guitar was the top. If the top was well made from solid wood the guitar would sound great. To prove this point in 1862 he made a guitar with solid spruce top and papier mache back and sides. The guitar sounded amazing; much better than the all solid wood guitars made by his contemporaries. 

This quote by Antonio de Torres explains the point of this blog "my secret is one you have witnessed many times, and one that I can't leave to posterity, because it must with my body go to the grave, for it consists of the tactile senses in my finger pads, in my thumb and index finger that tell the intelligent builder if the top is or is not well made, and how it should be treated to obtain the best tone from the instrument."

The most important contributor to how good a guitar sounds is not what it’s made from, but the skill of the person/people who made the guitar. The question we often get asked is, is a Martin guitar really that much better than a cheaper guitar, or do you just pay for the name?  Yes, if you play a quality guitar of any brand it does sound better than a badly made guitar (of any brand!). And yes you pay for the name… but not just the name. You pay for the 175+ years of collective guitar making skill and innovation passed down and nurtured for 7 generations of guitar makers that the name stands for. Does a D-28 sound better than a DX1, yes of course it does… that’s when we can start talking about what neck joints, bracing, oh and what solid wood does to the sound of a guitar.


Does a Farida D-8 for $299 sound and play better than solid top guitars for $299? Does a Recording King RD-16 for $599 sound and play better than an all solid wood guitar for $599?

Yes I believe so, but don’t take my word for it. Come into the shop and find out for yourself.

From David Love (Lewis Eady's GM)

Visit our guitar dept. online >

Emerging Artists

Sydney Theme and Variations emerging artist winner…

Camelia Wong presented two concerts as part of her prize package from 2010.

Tuesday was a spellbinding performance in the glorious surrounds of Mollies Boutique Hotel in Herne Bay.

For those of you who love to mix your fine wines, dining and music experiences, this is the perfect setting. The new owners of Mollies have stamped their mark on this iconic hotel in fashionable style.

Wednesday night saw Camelia perform as part of the Lewis Eady Charitable Trust ‘Emerging Artist Series’ at the Lewis Eady showroom. She presented some very interesting repertoire including not one but two Tippet sonatas which has become somewhat of a speciality of Camelias’

August is a busy month for the Trust with two of Qu Yong’s students – Lawrence Wong and Jane Koo performing on Thursday the 4th as a warm up to the Lev Vlassenko competition, Andrew Faleatua plays an evening of Jazz on Wednesday the 17th and the annual Auckland Junior Music Contest for Primary and Intermediate school children takes place on Saturday the 27th of August.

If you would like to receive email updates to these and other events please join our concert club.

High NZ Dollar - Sweet Music to Piano lovers

New Zealand Dollar Hits All time High Against Euro!!

An interesting way to start a piano blog perhaps and many would question the relevancy of the financial markets to music?

However to anyone considering the purchase of any high priced or luxury item at present it is all good news.

Almost exactly four years ago when the world financial markets went into global meltdown, it was the New Zealand dollar that led the charge.

In July 2007 the New Zealand dollar bought .57 euros. In other words we paid $1.75 for every euro.

Six months later and the exchange rate was .38 a massive 33% drop in the NZ dollar. So how does this affect the price of pianos? Lets have a look at the value of a model D-274 Steinway concert grand piano.

In July 2007 with an exchange rate of Euro .57 the List price of a D-274 Concert grand piano was $258,700 inclusive of gst. 

Track forward a mere six months to an exchange rate of .38 and the price is $386,500.

The fact that the exchange rate dropped by 33% means a 50% increase in imported goods!!

Well that was the bad news; now - courtesy of a very poor political and economic climate in Greece, Portugal and Ireland - the tables have been turned and the New Zealand dollar is reaching new highs against the Euro.

So now what is the list price of a model D Steinway Concert grand piano? Well, at an exchange rate of almost Euro .6 it is $264,200 which is pretty good considering we have had an increase in gst and four factory price increases.

So the moral of this story if you haven’t already guessed, is buy your new piano now! Like today!! And save a huge amount of money.

And just to make things even easier, Lewis Eady will be holding a special, appointment only, VIP SALE on Friday the 29th and Saturday the 30th of July. This will not be advertised and there will be no ticket prices on the pianos. Just good old fashioned negotiation to give you the very best price and value that we can.

Call John on 021 524409 or David on 09 5244119 to make an appointment.

Life & Learning

I see evidence every day that playing music fosters and encourages valuable tools for life and learning - self-expression, leadership, communication, creativity, self-esteem and confidence.  Bands and orchestras can only be successful if there is focus and dedication from each and every member of the team.

So it was encouraging last week to read the results of the 18 month US study ‘Reinvesting in Arts Education’.  

Art, music, drama and other creative activities deserve an "unambiguous place in the curriculum" American researchers said, “Creative subjects lead to significant and lasting benefits for pupil achievement and should be put at the heart of education reforms”.

In addition to gains in student achievement, the report also identified increased motivation and engagement, and improved problem-solving, critical and creative thinking skills as key benefits of arts education.

Decades of research show strong and consistent links between high-quality arts education and a wide range of impressive educational outcomes.  

The key findings of the research were:

- Arts education helps increase academic achievement, school engagement and creative thinking.

- Integrating the arts into the teaching of other subjects can dramatically improve results and close the 'achievement gap'.

- Schools that are 'arts-rich' uniquely reach out to disengaged learners.

- Creativity is best developed through arts education.

- Research about the value of arts education is positive and consistent.

Most of us are lucky - our schools recognise the importance of music and the arts but there are also many who don’t or don’t have the resources to deliver what our children deserve.  If your school doesn’t offer strong music education, take responsibility yourself to ensure your child gets access to quality music instruction elsewhere.  It is a powerful gift which will have spin-off in many areas of their life and learning.

Miranda Rocca |  Manager - Lewis Eady Music School

Martin Enthusiast Behold

Greetings enthusiast, I’m pleased to bring forth good tidings in the form of new additions to our 'Top Shelf' room. In between torrential Auckland downpours it seems that the heavens have opened for a fleeting moment of magic and delivered neither three, nor four… but five new Martin acoustic guitars, making Lewis Eady Music your one stop tone shop in New Zealand for premium quality acoustic guitars. Come and enjoy the balmy 21 degree warmth of our 'Top Shelf' room, relax on the couch and strum yourself to a brighter place. In the interim, here is a brief on each of new arrivals.

OMJM

John Mayer. Ladies love him, men want to be him, and Martin made a guitar for him. And we have it! The OMJM John Mayer Special Edition is a beautiful instrument that is as lovely to look at as it is to play. The 000 body size sat comfortably in my lap and the 1 11/16” neck width felt more like a Stratocaster than Martin acoustic near the nut. Matched with a low profile Select Hardwood neck and Ebony fingerboard it makes for very smooth, fast and responsive action all the way up the neck. Martin have pulled out all the stops here, Solid Engelmann Spruce top, Solid East Indian Rosewood back and sides. All of these contributing to the OMJM producing some of the most even sounding tones I’ve heard in a while. The lows aren’t overbearing, mids are punchy and highs are crisp and clear. The Paua rosette, Gotoh open back butterbean tuners, grained binding and signed twentieth fret give this guitar a vintage vibe with a personal touch. 

M-38

Sporting a 0000 body size the M38 is renowned for producing Dreadnought like volume with a little less bass. The shallow body width (16 inches) makes for quicker decay and more tonal balance overall, not to mention a very comfy feel. The top is Solid Sitka Spruce and has been treated with a very nice vintage toner, giving it that aged look that will only get better as the years go by. The back and sides are high quality East Indian Rosewood and show a very impressive grain that when framed with the white Bolteron binding, looks quite smashing indeed. To play the M38 has a very forgiving feel in that each strum seemed to seep into the next and voicing chords became very flowing and effortless. Individual notes sustain delightfully to create lush overtones giving the M38 a voice all of its own.

D-18

The name Dreadnought was originally given to the guitar in reference to its large shape, likened to the predominant battleship design of time that boasted the same name. Where this model differs from other Martin Dreadnoughts is in its Mahogany back and sides as apposed to Rosewood which both the D-28 and D-35 both feature. A weightier piece of work, this is largely due to the fact that it doesn’t have scalloped bracing. This could be good for the heavier handed folks out there, as I found that laying into the D-18 produced some excellent sound. It’s fairly stock standard in its look, matching black body binding and scratch guard and simple dot inlays. The Rosewood neck has a nice earthy feel to it.  

OMCPA4

Part of the Performing Artist Series, designed to incorporate the traditional Martin feel with the convenience of a modern acoustic-electric the OMCPA4 comes ready to roll with a Fishman F1 Analog pick up and built in tuner. Its cutaway design means that even when reaching for those top frets the player still has oodles of space to work with. This is an all solid wood guitar (neck included) which also comes with a case and the price is lower than you think… I found it to be very forgiving in its playability and responsive to a number of different techniques. Whether strumming through some cowboy chords, bending single notes or picking folk styles the OMCPA4 delivered each time.

DC-1EL

Now I did my best Anika Moa impersonation to try and get a handle on this guitar. Because it’s left handed and I couldn’t really play it that well, but hey, I gave it a go. It’s an all solid Sitka Spruce top with solid Sapele back and sides. The pick up is a Fishman Presys which incorporates a tuner as well, so it will appeal to those that are gigging and not wanting to carry extra gear (i.e. stage tuner). Features a plain black body binding, and scratch plate.

Post by Edward Castelow (Lewis Eady)

Contact Edward for more info...