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IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Production Music and the Way in Which
It Increases Sales for the Merchants
Properly Linked Up With the Appearances of the Production From Which the Numbers Are
Taken, It Always Brings New People to the Dealers' Sheet Music Departments
A CCORDING to word from a mid-West
dealer, there are values in production music
in addition to the profits from immediate sales.
This enterprising merchant takes the attitude
that people who are brought into the store for
songs from musical comedies invariably are
those who would not otherwise visit the estab-
lishment except at very long periods.
Production music, therefore, lures people to
the music establishment, and as such music
it must be valued accordingly. After all, it is
getting people into retail stores that makes for
large sales totals, and any method that will pro-
duce such effects among buyers should be
looked upon by the merchant as more than
worth while.
Now it is true that only the outstanding num-
bers from musical shows have large sales, so
no one would suggest that the dealer carry
heavy stocks of the songs of lesser importance
in productions. However, a good method is to
carry a fair supply of the most successful num-
bers and during the show's run in any particu-
lar city to have a few each of the second-best
songs, as well.
The firm of Leo Feist, Inc., has, in a measure,
offset the necessity for carrying any quantity of
second-best sellers by issuing for its late pro-
ductions folios carrying seven songs in one
cover. They are entitled "Vocal Gems," each
with the name of the particular show. They re-
tail at a very popular price and include not only
the hit songs but all the first seven numbers of
the production.
Granting that production music is an attrac-
tion which does somewhat more than bring
profit from musical shows to the store, the next
question is how best to get the most out of the
visit of productions to the dealer's locality.
One of the simplest forms is to display the
music of the current production in the window,
reminding those who have attended the show
that the song gems can be had inside. It may
not be generally known, but all theatres are glad
to loan, to any city, photographs of the promi-
nent players before and during the visit of a
musical comedy. Where the names of the
artists are known locally, the inclusion of a
photograph or photographs will not only add
value to the display but will give an intimate
touch to the setting.
In addition to the above, publishers and job-
bers often have special display material related
to particular shows. This is generally of such
a. nature that it lends itself very readily to win-
dow display and, more often than not, will add
importance to the window and attract custom-
ers who might not be lured to the window or to
the establishment otherwise.
There is not as much gamble in production
music for the dealer as some would have us
think. Of course, if nothing is done to en-
courage interest in the songs or instrumental
selections from a show, there are likely to be
few attracted to the establishment. The main
thing in all sales of production music, on the
part of the dealer, is to remind the prospective
customers of particular numbers that they have
heard in one or more places elsewhere. The
number one show that takes to the road does so
because the producer is assured of filling thea-
tres during the tour. This is generally after the
production has had months of success in New
York or Chicago. As far as the typical road
shows are concerned, there is very little gamble
in displaying the songs from these offerings, for
no producer puts out second, third and fourth
shows unless he has absolute assurance that
they are money makers. If either type of show
has attained sufficient success to justify a tour
of the country, the trade can rest assured that
it has several song attractions which have aided
considerably in making it an artistic and
financial success. Such being the case, songs
that have made possible four and five-dollar
prices for seats in New York and two and a
half and three-dollar seats on the road must be
of sufficient importance to create many sales
for themselves. It can be taken for granted
that people who pay such prices for seats for a
musical show are in a position to produce the
necessary funds to buy the particular songs
from such productions that they like. And,
what is more, they are able to purchase other
goods in the establishment if their interest is
aroused.
Taking these things into consideration it
might be worth while for sheet music dealers
to give more attention to show music. An
example has been set in this direction by many
talking machine dealers throughout the country
who take advantage of every appearance of a
musical show to display the records of the song
numbers. They have found this profitable and
a very big attraction to passing customers.
There is no reason in the world why the sheet
music dealer should not be able to attain the
same end by following out similar activities.
"When Twilight Gomes"
Is Widely Featured
John McCormack Singing It in Recital and Has
Recorded It—Widely Held in Moving Picture
Theatres
CHICAGO, III., November 20.—"When Twilight
Comes," a new song with violin and cello ob-
bligato, published by Pallma Music Publishers,
this city, was featured at the Chicago Theatre
by Jesse Crawford, organist, with great suc-
cess. This number is also being featured by
other leading theatres throughout the country
and Frank Pallma, head of the publishers, who
recently returned from an extended trip to the
West coast, reports that the number was given
prominence at the opening program of the new
Fifth Avenue Theatre, Seattle, Wash., as well
as at the new Broadway Theatre, Portland,
Oregon.
The words of this song are written by Harold
Home, while the music has been arranged by
H. J. Tandler. Among the well-known artists
who are singing the song are John McCormack,
tenor, who has also recorded it on Victor
records.
New Ditson Issues
In the new octavo releases of the Oliver
Ditson Co. are found some very timely titles
in "Anthems for Mixed Voices." These include
"Light at Evening Time," for mixed voices
with a soprano solo; "Blessed Are They," with
soprano, tenor and bass solo; "I Will Extol
46
SONGS THAT SELL
—
Just a Little Longer (Irving Berlin)
Because I Love You (Irving Berlin)
How Many Times (Irving Berlin)
When the Red, Red Robin Comes Bob, Bob,
Bobbin' Along
I'm on My Way Home (Irving Berlin)
That's a Good Girl (Irving Berlin)
My Baby Knows How
(I'm Tellin' the Birds—Tellln' the Bees)
How I Love You
Oh! How She Could Flay a Ukulele
When I'm in Your Arms
Rags
Some Day
So Will I
Elsie Shultz-en-Heim
Susie's Feller
I Never Knew What the Moonlight Could Do
At Peace With the World
I'd Climb the Highest Mountain (If I Knew
I'd Find You)
I'd Love to Meet That Old Sweetheart of
Mine
Remember
Always
Let's Make lip
lint I Do, You Know I Do
Who Wouldn't?
In the Middle of the Night
Blue Bonnet, You Make Me Feel Blue
Roses Remind Me of You
Tonight's My Night With Baby
Put Your Arms Where They Belong
Poor Papa
Gimme a Little Kiss—Will Ya? Huh?
If You Miss Me as 1 Miss You
And Then I Forget
Old-Fashioned Sal
Pretty Cinderella
—
—
—
—
—
BOOKS THAT SELL
X
New Universal Dance Folio No. 12
Special Edition for 1927
Peterson's I'kulele Method
World's Favorite Songs
Tiddle De liken
Strum It With Crumit
Irving Berlin's Song Gems
From the Musical Comedy Sensation
"THE COCOANUTS"
.Tlng-allng the Bell'll Ring
Why Do You Want to Know Why?
Florida By the Sea
The Monkey Doodle Doo
Lucky Boy
We Should Care
IRVING BERLIN, Inc.
1607 Broadway, New York
Thee," arranged with either tenor or baritone
solo; "Blessed Is the Man," with alto or bari-
tone solo; "Saviour, Breathe an Evening Bless-
ing," a hymn anthem for mixed voices with a
soprano solo; "My Jesus, As Thou Wilt," a
hymn anthem for mixed voices, and "Christ,
Our Advocate," accompanied with a tenor solo
part.
I.. S. Burk has been made manager of the
radio department of the Jordan Music House,
Charleston, S. C, in which city he has become
widely known as a radio expert.