Music Trade Review

Issue: 1931 Vol. 90 N. 2

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
N MUSIC
O M I N ENT
STORIES OF MUSICAL BEGINNINGS THAT SHOULD
INSPIRE THE CHILDREN BEING TRAINED IN MUSIC
LEADERS
WILSON
evident in the manner
in which he conducts
his orchestra.
Arthur Pryor, long
with Sousa and for
many years conducting
his own band, records
as his first musical ef-
fort an attempt to play
the bass drum during
a rehearsal of his fath-
er's orchestra.
His
father was an accomp-
lished musician and
CAPT. TAYLOR BRANSON
had his own band in St. Joseph, Mo. He
took pride in his youngsters and taught
them so thoroughly that at the age of four
Arthur Pryor was playing cornet duets
with his older brother. At the age of
six he was playing alto and was a salaried
member of his father's band. When nine
years old he began to study the violin and
at the age of eleven began to play the
valve trombone in a military band. When
thirteen years old he played the bass viol,
being compelled to stand on a soap box
in order to reach the instrument. At fif-
teen came the piano and at seventeen Mr.
VINCENT
Pryor took up the slide trombone and
found at last the instrument that most appealed to him and on
which he scored in later triumphs as a soloist.
Rudy Vallee, whose music and songs have set many young
female hearts aflutter, was apparently no-child prodigy but
wanted to play something, so first took up the clarinet. He
didn't like it, so tried the trumpet, and being disappointed
again dropped that and took up the saxophone. He still
plays saxophone solos with his orchestra in addition to acting
as director.
Nathaniel Shilkret, musical director of the Radio-Victor
Co., Inc., and noted orchestra leader, chiefly in radio and
recorded programs, is another conductor who owes his early
musical training to the musical inclinations of his parents. His
father played practically every instrument, but was most effi-
cient on the clarinet and insisted upon his children, including
THE
MUSIC
TRADE
REVIEW,
February,
1931
Nathaniel, mastering that instrument. His musical talents
came to the fore naturally and he took up the study of the
piano on his own initiative. He was so good on the clarinet,
however, that when only seven years old he played that in-
strument in an orchestra of seventy boys and at thirteen he
joined a major symphony orchestra. Mr. Shilkret's com-
petence as ati orchestra leader and a musical director for a
big recording company is probably due to the fact that after
the clarinet and piano he studied the violin, cello, trumpet,
organ, guitar and saxophone for periods ranging from two to
four years and has a complete knowledge of almost all instru-
ments in both popular and symphonic orchestras.
Up in Canada one of the outstanding bands is that of the
Royal 22nd Regiment, of which Captain Charles O'Neill
is director of music. Here is a band
leader, too, who has had a well-rounded
education in the playing of musical instru-
ments. Captain O'Neill started with the
violin at the age of six but did not take
kindly to the instrument and after a few
months turned to the piano, with which
he was more successful. When ten years
of age he took lessons on the organ and
at twelve started to play the cornet in a
boys' band. The cornet led him into
band work, to which he has devoted most
of his life, with such success that he re-
ceived the degree of Doctor of Music
from McGill University.
Another figure prominent in military
LOPEZ
circles is Captain Tay-
lor Branson, leader of
the United States Ma-
rine Band. In a sense
Captain Branson may
be said to be Marine
Band trained, because
when only ten years of
age he started taking
lessons on the violin
with Captain Santel-
mann, retired leader oi
the band. He desired
to become a member of
(Turn to page 19)
EDWIN FRANKO GOLDMAN
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
CETTINC
BAND
T
and O R C H E S
HE introduction of radio and sound
pictures has had a demoralizing
effect upon the music industry, and
manufacturers and retailers have been
puzzled to determine if the industry is
to have a future, or if it is to become
allied with the horse and buggy and other
now historical relics. That there shall
be music is without question, but what
it will do to the industry is a big one.
The musical merchandise department
of the San Antonio Music Co., of San
Antonio, Tex., has enjoyed a good busi-
ness despite this new competition. It is
a well-managed department in a well-
managed firm, and its methods of doing
business will prove of interest to any mer-
chant engaged in a similar line of busi-
ness. The story is told by Gene Curtis,
manager of the department.
"In discussing the orchestra and band
business today," Mr. Curtis began, "it
would be well to review the conditions
that exist at this time. In the first place
the professional business is on the decline.
The radio sets and the sound pictures
have eliminated the services of a large
number of professional musicians, and
while the condition is not so serious as
GENE
many might care to believe, it is, never-
theless, one which must be considered.
"On the other hand, the market for musical instruments
among amateurs is increasing. Young men and young women
who attend the motion picture shows and listen to good music,
or who attend a dance and hear the orchestra, experience a
desire to play, and they turn to their favorite instrument for
expression.
"There is also a greater market among boys' bands, high
school and college organizations and other similar fields than
there was a few years ago. Young people are desiring more
and more to play. There are thousands of young women
who play a saxophone as well as young men. There are thou-
sands of young men who are now takipg lessons on one
instrument or another. And this desire for expression
through music is one which is natural and constant. We
shall always have a field for musical merchandise so long as
there is music.
"The changes, however, have brought about new conditions.
We now feel that we must carry two grades of instruments
instead of one. In order to meet the competition of foreign
manufacturers who are flooding the United States with low-
priced instruments, we have to stock a line that will meet
thes? prices. And, for the person who knows and appreciates
the best, we must have such a line.
8
THE MOST
"We believe that it is a much better
policy to have and feature only one make
of instruments than two or three. At the
present time we are concentrating all our
efforts toward the sale of Buescher band
and orchestra instruments, and shall make
this line exclusive as soon as we can work
out the other lines that we now have on
hand.
"Our reason for this is a simple one:
If a man comes into our store and says
he wants to look at a first-class saxophone
and we take one down, tut he says he
doesn't like it, and we take down another
make, we can't recommend both as being
the very best. We have to be loyal to
only one, if we are to make a sincere
choice. If we try to make him believe
that they are both the best, we won't
get very far.
"By having one line, we can tell the
same man with absolute sincerity that we
believe it is one of the best made. We
do not tell him it is the best, for we do
not knock a competitor. But we do tell
him that it is our choice, that it has
some things on it that we like above all
others, and that if he purchases this in-
strument, we are sure he will have a full
CURTIS
measure of satisfaction.
"Our sales are developed from several sources, among one
of the best being the music teachers and bandmasters. These
persons are constantly learning of new pupils who are in-
terested in purchasing instruments, and by offering a small
commission for all such purchases that they bring or send
into the store we are able to get a good share of this busi-
ness.
"Teachers and bandmasters are appreciative of the little
courtesies shown to them, and by catering to these people
you not only have them talking your store, but you get the
store name before the people that are most interested in
music. We estimate that fully 65 per cent of our sales to
amateurs come through this source.
"Another plan that works out well is in renting instru-
ments to amateurs with the understanding that, after three
months, if they wish to make a purchase, the rental price
will be turned in on the purchase. This plan of offering
an instrument for rent appeals to many who would not think
of buying one at the time, and it gets the instruments in
hands of people who really want them. And, once they have
had them for a short time, it is a hard thing to turn them
back.
"Belonging to musical organizations and playing in bands
and orchestras is a wonderful aid in building sales and in
THE
MUSIC
TRADE
REVIEW,
February, 1931

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