Music Trade Review
Issue: 1903 Vol. 37 N. 15 - Page 39
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
POPULARIZING SONQS.
Many and Varied Plans Adopted to This End—
Professionals Have the Call and Make Big
Money—The Risk in the Publishing Field—
What a Publisher Says.
In popularizing songs, melodies, char-
acteristics, ballads and whatever other
name the publisher may designate his
productions, the enlistment of profession-
als is an initiatory step that goes hand in
hand with publicity efforts. The experi-
ence and practice of the publisher when
"up against" the professional artist—man
or woman—is varied and picturesque, ac-
cording to competent testimony. One of
the newest recruits as a publisher, but a
veteran in the line, had this to say on
Tuesday to The Review:
"When we have what is believed to be a
good thing, it needs vigorous pushing
along, no matter what its merits may be.
In a certain class of music—the better
goods, if you please—the methods follow-
ed to get it before the public, via the deal-
er, is along well defined lines, quite conser-
vative at that, but correct. This quality is
not expected to get on the market at one
bound, as it were. It works its way grad-
ually, though surely, and the sale is steady
and reasonably lasting.
"With another species—what is generally
known as the popular kind, the procedure
is altogether different. The publishing bus-
iness along this particular road is some-
thing of a gamble, and to my mind is
strongly suggestive of playing the races.
There is no settled or accepted rule for
picking the winner for a certainty in either
division, if I may so term it. If one fol-
lows 'form' the chance of getting in the
one, two, three class is almost as hazardous
as a blind selection, observing, of course,
certain general rules of the game.
"Now, as to popularizing a song the
surest and quickest way is to have the lead-
ing professionals place it in their repertoire.
Then accompany this step with judicious
advertising in mediums for getting it be-
fore the dealers, and of which The Review
is one of the most effective examples. For,
without the newspapers how is the trade to
know who is the publisher? The singer is
not at all loath to have his auditors believe
he is the 'whole thing' when it comes down
to giving credit where credit is due.
"But the work, and often fun, comes in
while after the professionals. They are
in a class by themselves, and require
special handling if business is on the car-
pet. Certain singers there are who need
no carrying around of chips. If they fancy
a piece and it answers their purpose, sing
it they will, and no one will say them nay,
manager or any one else. The average art-
ist is particular and one must be careful
not to make too much of them. This is a
fatal step, for then they will walk all over
you. Handle just right—the secret of
which is learned only by actual contact
through some years—and you can get your
point without much difficulty.
"One house makes it a practice never to
pay a cent in advance for singing any num-
ber in the catalogue. Should the piece
'catch on' that is another proposition, and
we are only too willing to give every one
assisting us to its success a generous rake
off. Some firms pay as high as $500 to
$1,000 down as a starter, to get the pro-
fessional interested; and this is a policy
steadily adhered to for certain artists, but
we, and others, are not traveling in that
class. At the go-off not a few singers will
either intimate there should be 'gate money'
down, or their 'cold touch' is in such fine
working order that the demand is the first
'crack out of the box.' None of it in ours,
until the worth of their efforts shows for it-
self. Of course, when a piece is a hit with
any of them money consideration is a sec-
ondary matter, for their exclusive terri-
torial singing rights are in order, and then
the publisher comes in strong. Oh, yes, the
publishing business is surely a gamble. It is
either big money or none at all, unless you
are a piker, and there are some few of those,
also."
39
HERE AND THERE IN THE TRADE.
"The Fisher Maiden," by Harry Von Til-
zer, and produced by the Von Tilzer Opera
Co. at the Victoria Monday, was received
with every evidence of popular favor. This
is Mr. Von Tilzer's first operatic score, and
his song numbers are in the style which made
his former compositions such ready and
steady sellers. He has been warmly congrat-
ulated on his success. It is needless to add
that the publishing rights reside with the
Harry Von Tilzer Music Publishing Co.
The verdict of Minneapolis and St. Paul,
upon Walter Jones in Geo. V. Hobart and
G. E. Conterno's comic opera, "The Sleepy
King," was affirmed and emphasized in Mil-
waukee and other cities where they recent-
ly played to crowded houses. The success
songs were: "Mamie,Oh,My Mamie,""Reu-
. ben Redbreast,""I'm So Sleepy,""Ye Morn-
ing Winds," "Sweet Sixteen," "Sweetheart of
THE HALF DOLLAR
MUSIC SERIES
This series of music volumes has been planned to give, at a popular
price, a varied selection of attractive music. The contents of each volume
have been carefully chosen from music of proven popularity. In no other
form can so much desirable music be obtained at the price. The contents of
many of the books, would, if bought separately, cost at least five dollars.
In attractiveness of typography and binding the volumes far surpass all other
low-priced collections of music.
The following-named volumes have been issued :
DANCE WALTZES FOR THE PIANO
EASY FOUR-HAND PIECES, Second and Third Grades
EASY PIECES IN EASY KEYS. Vol. I
EASY PIECES IN EASY KEYS. Vol. II
EASY SALON MUSIC FOR THE PIANO
FAVORITE DUETS FOR VIOLIN AND PIANO
FORTY VERY EASY PIANO PIECES
FOUR-HAND RECREATIONS. Third Grade
MARCHES AND TWO-STEPS FOR THE PIANO
THIRTY SONGS FOR CHILDREN
VERY EASY PIANO DUETS. First and Second Grades
In addition to the above,
CLASSICS
F O R
F O R
VIOLIN
C E L L O
.
.
.
.
.
.
.
.
Price, $1.00
" 1 . 0 0
B O S T O N
OLIVER DITSON COMPANY
New York
CHAS. H. DITSON & CO.
Chicago
LYON & HEALY
Philadelphia
J. E. DITSON & CO.
THE MUSIC TRADE REVIEW
POPULARIZING SONQS.
Many and Varied Plans Adopted to This End—
Professionals Have the Call and Make Big
Money—The Risk in the Publishing Field—
What a Publisher Says.
In popularizing songs, melodies, char-
acteristics, ballads and whatever other
name the publisher may designate his
productions, the enlistment of profession-
als is an initiatory step that goes hand in
hand with publicity efforts. The experi-
ence and practice of the publisher when
"up against" the professional artist—man
or woman—is varied and picturesque, ac-
cording to competent testimony. One of
the newest recruits as a publisher, but a
veteran in the line, had this to say on
Tuesday to The Review:
"When we have what is believed to be a
good thing, it needs vigorous pushing
along, no matter what its merits may be.
In a certain class of music—the better
goods, if you please—the methods follow-
ed to get it before the public, via the deal-
er, is along well defined lines, quite conser-
vative at that, but correct. This quality is
not expected to get on the market at one
bound, as it were. It works its way grad-
ually, though surely, and the sale is steady
and reasonably lasting.
"With another species—what is generally
known as the popular kind, the procedure
is altogether different. The publishing bus-
iness along this particular road is some-
thing of a gamble, and to my mind is
strongly suggestive of playing the races.
There is no settled or accepted rule for
picking the winner for a certainty in either
division, if I may so term it. If one fol-
lows 'form' the chance of getting in the
one, two, three class is almost as hazardous
as a blind selection, observing, of course,
certain general rules of the game.
"Now, as to popularizing a song the
surest and quickest way is to have the lead-
ing professionals place it in their repertoire.
Then accompany this step with judicious
advertising in mediums for getting it be-
fore the dealers, and of which The Review
is one of the most effective examples. For,
without the newspapers how is the trade to
know who is the publisher? The singer is
not at all loath to have his auditors believe
he is the 'whole thing' when it comes down
to giving credit where credit is due.
"But the work, and often fun, comes in
while after the professionals. They are
in a class by themselves, and require
special handling if business is on the car-
pet. Certain singers there are who need
no carrying around of chips. If they fancy
a piece and it answers their purpose, sing
it they will, and no one will say them nay,
manager or any one else. The average art-
ist is particular and one must be careful
not to make too much of them. This is a
fatal step, for then they will walk all over
you. Handle just right—the secret of
which is learned only by actual contact
through some years—and you can get your
point without much difficulty.
"One house makes it a practice never to
pay a cent in advance for singing any num-
ber in the catalogue. Should the piece
'catch on' that is another proposition, and
we are only too willing to give every one
assisting us to its success a generous rake
off. Some firms pay as high as $500 to
$1,000 down as a starter, to get the pro-
fessional interested; and this is a policy
steadily adhered to for certain artists, but
we, and others, are not traveling in that
class. At the go-off not a few singers will
either intimate there should be 'gate money'
down, or their 'cold touch' is in such fine
working order that the demand is the first
'crack out of the box.' None of it in ours,
until the worth of their efforts shows for it-
self. Of course, when a piece is a hit with
any of them money consideration is a sec-
ondary matter, for their exclusive terri-
torial singing rights are in order, and then
the publisher comes in strong. Oh, yes, the
publishing business is surely a gamble. It is
either big money or none at all, unless you
are a piker, and there are some few of those,
also."
39
HERE AND THERE IN THE TRADE.
"The Fisher Maiden," by Harry Von Til-
zer, and produced by the Von Tilzer Opera
Co. at the Victoria Monday, was received
with every evidence of popular favor. This
is Mr. Von Tilzer's first operatic score, and
his song numbers are in the style which made
his former compositions such ready and
steady sellers. He has been warmly congrat-
ulated on his success. It is needless to add
that the publishing rights reside with the
Harry Von Tilzer Music Publishing Co.
The verdict of Minneapolis and St. Paul,
upon Walter Jones in Geo. V. Hobart and
G. E. Conterno's comic opera, "The Sleepy
King," was affirmed and emphasized in Mil-
waukee and other cities where they recent-
ly played to crowded houses. The success
songs were: "Mamie,Oh,My Mamie,""Reu-
. ben Redbreast,""I'm So Sleepy,""Ye Morn-
ing Winds," "Sweet Sixteen," "Sweetheart of
THE HALF DOLLAR
MUSIC SERIES
This series of music volumes has been planned to give, at a popular
price, a varied selection of attractive music. The contents of each volume
have been carefully chosen from music of proven popularity. In no other
form can so much desirable music be obtained at the price. The contents of
many of the books, would, if bought separately, cost at least five dollars.
In attractiveness of typography and binding the volumes far surpass all other
low-priced collections of music.
The following-named volumes have been issued :
DANCE WALTZES FOR THE PIANO
EASY FOUR-HAND PIECES, Second and Third Grades
EASY PIECES IN EASY KEYS. Vol. I
EASY PIECES IN EASY KEYS. Vol. II
EASY SALON MUSIC FOR THE PIANO
FAVORITE DUETS FOR VIOLIN AND PIANO
FORTY VERY EASY PIANO PIECES
FOUR-HAND RECREATIONS. Third Grade
MARCHES AND TWO-STEPS FOR THE PIANO
THIRTY SONGS FOR CHILDREN
VERY EASY PIANO DUETS. First and Second Grades
In addition to the above,
CLASSICS
F O R
F O R
VIOLIN
C E L L O
.
.
.
.
.
.
.
.
Price, $1.00
" 1 . 0 0
B O S T O N
OLIVER DITSON COMPANY
New York
CHAS. H. DITSON & CO.
Chicago
LYON & HEALY
Philadelphia
J. E. DITSON & CO.
Future scanning projects are planned by the International Arcade Museum Library (IAML).