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THE MUSIC TRADE REVIEW
62
THE IMPORTANCE OF SHEET MUSIC. GOOD WORK OF YOUNG COMPOSER.
Supplies Working Basis for Balance of Indus-
try, Declares Publisher—Should Receive
More Consideration from Music Dealers.
A meeting was held in New York this week, at-
tended by piano manufacturers and dealers, talking
machine jobbers and dealers, music publishers and
dealers and musical merchandise men, for the pur-
pose of organizing a Music Trade Chamber of
.Commerce, to the annual conventions of which
each branch of the music trade would send dele-
gates.
In discussing the plan, a prominent publisher
said: "Although those engaged in other branches
of the industry often look upon the sheet music
trade as a necessary evil, the fact remains that
without the sheet music there would be nothing
for the other branches of the trade to work on.
Without sheet music, whether standard or popular,
a piano or other hand-played musical instrument
would be practically valueless. Without music, in-
cluding the popular hits, the talking machine record
and music roll people would be up a tree for
material. Probably the conditions in the sheet
music field will admit of much improvement, but
nevertheless that branch of the industry is a very
important one and worthy of more consideration
from other branches of the trade than it receives
at present."
NECESSJTY_DID IT.
Andrew Mack and Billy Jerome Just Had to
Write a Song to Get Money to Go to Coney
Island, So They Produced a Big Hit.
Andrew Mack was in a reminiscent mood last
week. "It's queer," he said, "how necessity will
sometimes makes a man win success. About eight-
een years ago I met Billy Jerome on Broadway.
Billy had to go to Coney Island, but didn't have a
cent. I was 'busted' too.
'"Hello, Andrew!' Billy sang out. 'Slip me $5
quick. I've got to go to Coney and I'm broke."
" 'I haven't got a cent,' I replied.
"Billy's face clouded. Then he had a bright
idea. 'I'll tell you what I'll do,' he said. 'I'll go
over to T. B. Harms, the publisher, and borrow
the five.'
" ^Make it ten,' I said, 'and I'll go to Coney with
you.'
"Billy said he would, and I went with him to
see Mr. Harms.
" 'I wouldn't lend you fellows a cent,' said the
music publisher, firmly yet pleasantly. Billy had
another bright idea.
" 'Suppose we write you a song, will you advance
us some royalty?' he asked.
" 'Yes, if the song's any good. When will you
write it?'
" 'Now.'
"Billy sat down and ground out the words and
I composed the music. We did it all in less than
half an hour. When the song was finished we
called Mr. Harms in and I sang it for him. He
liked it so well he gave us each $25, and we had a
great old time at Coney.
"The song," concluded Mr. Mack, "was 'My
Pearl Is a Bowery Girl.' It made us a lot oi
money in royalties before it died."
Carlin Music Co. Publishing Three Songs by
Julia Alice Adam.
(Special to The Review.)
INDIANAPOLIS, IND V February 12.—One of the
Some Difficulty in Convincing the Public and
the Critics That Tones and Colors Are the
Same—Theory Seemed Feasible, but Didn't
Work Out at a Recent Demonstration.
most popular selections published by the Carlin
Music Co. is "The Three Lyric Gems," by Julia
Alice Adam, an Indianapolis composer. Although
they have been on sale only a short time, these
songs are gaining much favorable attention.
Miss Adam, although only eighteen years old,
has unusual talent for composition and comes from
a family of well-known musicians. The three
songs are entitled ''Oh, My Love Is Like the Red,
Red Rose," "The Flower Sermon" and "The Roll-
ing Year."
It has been declared that the varying colors of
flowers are due to the harmonic principle; that yel-
low and blue mixtures, for instance, come of the
ratio of the harmonic thirds, and that the fuchsia
is an illustration of the natural harmony of the
fifth. The full diapason is represented in the white
blossom, a composite reflection of all colors.
The theorists have gone further, and have told
us that tones and color are, in fine, the same, col-
ors being tones of tremendous height of pitch,
while tones are colors of tremendous depths. And
from these assumptions many things have been
KEEPING PEACEJN THE FAMILY.
written about the effects of music on meals, on
Remick & Co. Featuring Songs That Appeal to morals, on madness and on the run of human
Both Suffragettes and Fathers.
emotions. It remained for a Futurist composer
to provide a first elaborate test of some portion
In their popular song offerings, Jerome H.
oi this mass of theory, and it was the fortune of a
Remick & Co. are not playing favorites, and they
New York audience to witness the first co-opera-
give both father and mother an equal chance in
tive performance by a great orchestra and a
the matter of songs, especially it mother happens
"claviar lumiere" during the musical season just
to be a suffragette. There are. reproduced here-
closed.
with the title pages of two recent Remick successes,
It will be remembered that the music of this
the first, "She's Good Enough to Be Your Baby's
occasion was Alexander Scriabine's "Promethus,"
described as "a Poem of Fire," the Russian Sym-
phony Orchestra officiating. The critics seem quite
frankly to confess to having taken more of colored
lights to the eye, from the noiseless claviar, than
JW S I B GOTO ENOUGH FO V<]7t W M Y W
of message to mind or heart from M. Scriabine's
radical score. Out of the echoes of the concert
evening the only harmony appears to be that of
bewilderment among the .gentlemen who went to
write of what they should hear as affected by what
they should see.
This outcome of practice against a wealth of
theory is disappointing, but need not be dis-
Mother, and She's Good Enough to Vote with heartening. There is already a disposition to
You," an appeal to the cause of "Votes for blame it on Futurism, that cult having a well-
Women," for which Alfred Bryan supplied the established name for playing tricks on perfectly
words and Herman Paley the music. This song good colors. It would not be surprising to find
has been particularly well received, as has "No One that the claviar lumiere can be played to "Tip-
but Your Dear Old Dad," one of the first of the perary" or "I Hear You Calling Me" with excel-
father songs, with words by Stanley Murphy and lent effect.
music by Henry I. Marshall. It is a father song
that has a punch to it, and is already in great
WORTH IT.
demand.
5HEJGOOD ENOUGH
MYOl/RBABttHOMR
NEW MUSIC.
JEROMK H. KKMKK & CO.,
219 West 46th St., New York.
"Bo-Peep (C. L. Cooke-K. A. Whiting-Ray Egan)
£0.f>0
Nay, Nay, Pauline (Will S. Hart-Raymond W a l k e r ) . . .50
No One But Your Dear Old Dad.(Stanley Murphy-
Tfenry I. Marshall
go
Where the Shamrock Crows (J. B. Walsh-E. Van Al-
styne)
50
INSTRUMENTAL.
Hot Hands -Fox Trot (Charles Straight)
50
A stage carpenter went to the theatre manager
one day and asked for an increase in his wages.
The manager appeared surprised at this unexpected
demand.
"Why," he exclaimed, "I really don't see my way
to giving you a rise. You have nothing much to
do. Half the time you are merely standing in the
wings listening to the play."
"Yes, sir," replied the carpenter, grimly, "that's
just it."
THE MATERIAL.
"You say you are a designer of costumes for
musical comedies?" asked the lawyer.
"Yes," replied the witness. "That is my pro-
fession."
"Then I presume you are an expert on all sorts
of textile fabrics."
"No, I can't say I am, but I think T know about
all there is to know about beads."
We Have An IRISH BALLAD HIT in the Song
There's A Rose
In Old Erin
That's Blooming For Me
CHICAGO
MUSIC IN TONES OF COLOR.
McKINLEY MUSIC CO.
NEW YORK
JEROME H.REMICM
Sensational Song Hits
NO ONE BUT YOUR DEAR OLD DAD
MOLLY DEAR ITS YOU IM AFTER'
,
1ES GOOD ENOUGH TO VOTE WITH YOU" |
"LOADING UPTHE HANDY LEE"
"MEMORIES"
"SOONER OR LATER"
"SAVE YOUR KISSES TILL THE BOYS COME HOME'
"SWEETEST GIRL IN MONTEREY"
"UNDERNEATH THE STARS"
"IN THE VALLEY OF THE NILE"
INSTRUMENTAL
ROSEMARY WALTZES"
KANGAROO HOP
Fox T r o t
TINKLE BELL Waltz