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JULY 25,
THE
1925
MUSIC TRADE
47
REVIEW
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Syndicate vs. Legitimate Dealer in
the Sale of Popular Sheet Music Prints
Sales To-day of Popular Prints by Former Outlet Only Amount to 20 Per Cent of the Total Vol-
ume of This Business—Means by Which the Dealer Can Increase His Volume
C I N C E the annual convention of the National
Association of Sheet Music Dealers held in
New York in June at which a committee was
appointed to confer with popular publishers on
further means of co-operation and for the ad-
vancement of sales of such music, there have
come to The Review numerous comments on
this problem.
It has been pointed out that, with a minimum
of sheet music outlets, stores handling popular
music should be busy marts. Many say that
where attention is given to popular music a
flourishing trade is the result. Where popular
music remains inactive invariably the cause is
the inattention and lack of interest on the part
of the merchant. Aside from the profits that
are derived from the sales of popular music,
those who have neglected this phase of their
business overlook the fact that such goods at-
tract customers to the store. Anything that
will lure customers into the store is the means
of adding to the sales volume of the stocks
in other departments. The dealer who takes
the attitude that there is not much merit to
popular music and therefore it should not be
encouraged is certainly doing nothing to add to
the clientele for standard selections. Music ap-
preciation is on the increase and the popular
clientele which comes to the store frequently
is undoubtedly the purchaser of music of a
more classical nature in months to come.
Syndicate vs. Legitimate Retailer
While an analysis has shown that the sales
of popular music made by syndicate stores are
only from 10 to 20 per cent of the volume and
a little less where production numbers are con-
cerned, this is really more than they are justly
entitled to. The syndicate after all makes his
10 or 20 per cent sales only in the six to twelve
weeks when the particular popular selection is
at its height.
Many popular publishers would look with
pleasure upon the elimination entirely of the
syndicate stores. They are probably power-
less, however, to eliminate arbitrarily such
outlets. With so many of the legitimate deal-
ers showing little or no interest in popular
prints, they would hardly be jusified in exclud-
ing syndicate stores. Until the legitimate deal-
er is able to care efficiently for all the sales
of popular music, the siutation will probably
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remain along the distribution lines of the pres-
ent. Doubtless, however, it will not be many
seasons before it will be necessary for the legiti-
mate dealer to care for all the sales of popular
prints, the trend being certainly in the direc-
tion for the elimination of the syndicate estab-
lishments. How soon that will be brought
about is a question.
In most standard music establishments the
popular sheet music departments are in the rear
of the store. This position would probably be
all right in most instances if demonstrations
were given in that section. However, most
merchants feel that demonstrations are not
practical, do not add to their prestige and the
playing of the latest "Charleston" might drive
away the customer who came in to look over
a number of prints of more classical nature.
There is much truth in this. Therefore, the
popular department should be placed in the
front of the store. That this is advisable has
been proven in many instances where legitimate
dealers have made the change.
The best illustration of this, because it more
nearly resembles popular music business, is
shown by the evolution of talking machine es-
tablishments. In the early days of the talking
machine, in retailing, the front of such estab-
lishment was designed along the lines of the
old-time piano store. That is, the front was
made into a sort of reception room in which
were exhibited in attractive positions a few
models of talking machines. Closely in the rear
of this exhibit room, which might be termed
the foyer, appeared on- either side a series of
demonstrating booths and further back were
the record racks and general stock. Madam
on entering was greeted by the proprietor or
salesman and, if she was interested in records
only, she was taken to a booth. A series of
records were brought forth for demonstration
and, when the records desired were selected,
she walked to the rear of the store to have the
sale completed and her package wrapped.
About 1916 talking machine stores throughout
the country, or at least the most progressive of
them, decided that so many sales of talking
machines had already been made that the ma-
jority of purchasers came in for records. Such
being the case, the purchasers resented having
{Continued on page 50)
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SONGS THAT SELL
Yearning
Oh, How I Miss You Tonight
When You and 1 Were Seventeen
Ukulele Lady
Yes, Sir! That's My Baby
Silver Head
Sonya (Yup Alay Yup)
Cecilia
On a Night Like This
The Whole World Is Dreaming of Love
Summer Nights
My Sweetie Turned Me Down
Suite Sixteen
So That's the Kind of a Girl You Are
Waitin' for the Moon
Say, Arabella
Alone at Last
Sing Loo
One Smile
BOOKS THAT SELL
STRUM IT WITH CRUM1T—Songs for
Ukulele
T1DDLE DE UKES—Comic Songs for
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X Universal Dance Folio No. 9 (New)
Peterson's Ukulele Method
—
World's Favorite Songs
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Rememb'ring
I Never Had a Mammy
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BECAUSE
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Music by Walter Donaldson */%*
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lyric by Walter Hirsch
Music Joy Ted Fiorito
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