Music Trade Review
Issue: 1916 Vol. 63 N. 24 - Page 152
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
132
THE
PROFESSIONAL COPY ON NEW BASIS
(Continued from page 131)
copy, but the publishers didn't seem to be able
to get together to introduce a form of copy
that would be of no value to the "professional
copy grafter." About five years ago the writer
had the pleasure of introducing an engraved
lead sheet, which he thought would eliminate
the evil, but the publisher wasn't interested, so
the idea died a natural ileath, and was soon dis-
carded and forgotten.
Meeting the Situation
At a recent meeting held by the Leo Feist
professional staff, Mr. Bitner, who presides at
these meetings (which are weekly affairs),
spoke about the existing conditions of the busi-
ness, such as the high cost of paper, printing
and the teriffic amount of money spent on
Two Big 1917 Hits
Words 6y
Music 6
ConBartfy
6
lusic r-x
Leon 6i CostA
Order at once, 15c per copy
Fine Art Title Pages
A. J. STASNY MUSIC CO.
56 West 45th Street, New York
L
MUSIC TRADE REVIEW
paying acts to sing the songs, and getting no
chance to have a comeback. That is to say
that it was next to impossible to raise the price
of popular music, and something drastic had to
be done.
Seizing the opportunity, the writer once more
made known his scheme that he had used five
years ago, but with a few up-to-date improve-
ments. He showed that if the firm put through
this scheme, it would work out successfully,
materially aided by the other publishers follow-
ing suit, which the writer knew would happen.
After a big discussion on the subject the plan
was adopted, and work started immediately.
Introducing the "Special Artists' Copy"
Naturally being elated over the first suc-
cess of having the system tried, the writer
started after the new form of copy like a house
on fire, and within ten days had proofs of all
the songs that the firm had issued, and several
new songs, in the new form ready for the
printer. The picture on the previous page is
an exact reproduction of the new form which
we have termed "special artists' copy."
Upon close examination of the accompanying
reproduction you will see that the new form
is an engraved lead sheet, with all the neces-
sary harmonies cued in and even down to sev-
eral orchestra effects, which the writer might
want brought out. The copy is compact, and
neat, and can be read by the performer more
handily than the old form of professional copy.
Before going into details, we'll go back a mo-
ment and give the routine of the new system.
Producing the New Song
The song writer submits a new song to the
publisher, the first thing that is done after it
is accepted, is to have a piano copy made, then
from the piano copy the artists' copy is made,
so that all harmonies and effects can be cued
in. After that the quartet arrangements are made,
and as in the case of the big publisher, a copy
of the harmony arrangement is sent along with
a copyright copy of the song to each one of the
branch offices, so that the pianists employed at
these offices know exactly every detail of the
song, that they are going to work on. In the
meantime orchestrations in every key are auto-
graphed and supplied to each office. Naturally
a supply of artists' copies is also sent. Then
the operation starts.
by the concentrated efforts of the staffs of each
office. By that I mean that the acts learn the
songs at the different offices and the night staffs
of the different offices plug the song in the pic-
ture houses and cafes, etc., in co-operation
with the performer singing the song.
How the Performer Is Taught the Song
I present the fact so that it answers the fol-
lowing question: Suppose the performer can't
play or read the new form? Any performer
who is interested in a song will be taught the
song by the staff demonstrators, and they are
the only ones who have to read it. Now then a
question will come, "What about those perform-
ers or pianists who are on the road and write
in for the song? What are they going to do?"
Did you ever hear a pianist play a new song
from a professional copy? Well, I traveled from
Coast to Coast, and from experiences in com-
ing in contact with performers find that you
hardly can recognize one of your songs the
way they are played by so-called professional
pianists. Naturally it follows that if they can't
give a good interpretation with the professional
copy they can't give a much worse interpreta-
tion with the new form. I speak from experience.
As far as moving picture pianists are con-
cerned, they are supposed to buy the regular
copies, such as folios, etc., for the different
kinds of pictures that they follow. Generally
they give professionals that they receive to their
friends that sit in the front row, and there is
where the evil really starts.
With the new form of copy only professional
pianists can play it. Those that are amateurs,
cannot play them, and are forced to buy regular
copies, which they are supposed to do. The
word professional is supposed to convey that
meaning.
Music Dealers
To carry on your business efficiently you need
100% Service
through an efficient jobber, one who is
equipped to fill your every requirement.
We Offer
the services of a 100% efficient organization,
built with the sole object of serving the
dealer, first, last, and all the time.
Shipping Perfection
We have perfected arrangements whereby
your order is received, filled and shipped
with a promptness and dispatch that is at
times startling in its rapidity.
Prices
Being the largest jobbers in our field, en-
ables us to buy in great quantities, thus in
turn giving our dealers the very best rates.
Concentrate all your orders through one
clearing house. Regardless of publisher, we
have, or can procure the publication for you.
Let us do your worrying
Just remember this:—
No matter where it is published,
the "Enterprise" can supply it
Enterprise Music Supply
Company
145 West 45th St.
New York City
M. RICHMOND. Mgr.
Now let us take another glimpse from the
publisher's standpoint: The mailing of pro-
fessional copies and the cost and losses sus-
tained in that work. The system established
by all the representative publishers is to an-
swer all letters received, and at the same time
send out professional copies t o requests in these
letters by second-class mail. It is known that
a fair percentage of the mail is lost or stolen
because the people know that it is music. Now
with the new form you can answer the letter
received, send seven copies of the song in new
form, and mail same by first-class mail for 2
cents, thus insuring the safe return of the let-
ter and music if not delivered. This is a sav-
ing of 50 per cent, over the old system and is
100 per cent, efficiency.
The old professional copy consisted of a
sheet of paper approximately ten by thirteen
inches, and only one song appeared on it. With
the new form you get two songs on the same
sheet, and if a little heavier paper is used, you
can print back to back and get four songs on
the same sheet of paper. Now then, when you
order 25,000 copies of the old style you get
25,000 copies, and with the new way you get
50,000 or 100,000 copies, which is some saving
in printing bills.
This form of copy is now being used by the
Leo Feist firm, and up to the present time there
has been nothing but the most favorable com-
ments on it.
In concluding, this form of copy outside of
being only good for professionals is so cheap that
the professional grafters won't lower them-
selves to have it on their pianos in their homes,
and that is also a point that will aid in making
them go out and spend that 10 or 15 cents for
a regular copy. If only 25 per cent, of the
grafters do that the system is worth while try-
ing, and if all the publishers get together, I
am sure that it will be the greatest move that
has been made in many years for the betterment
of the publisher, dealer and song writer.
132
THE
PROFESSIONAL COPY ON NEW BASIS
(Continued from page 131)
copy, but the publishers didn't seem to be able
to get together to introduce a form of copy
that would be of no value to the "professional
copy grafter." About five years ago the writer
had the pleasure of introducing an engraved
lead sheet, which he thought would eliminate
the evil, but the publisher wasn't interested, so
the idea died a natural ileath, and was soon dis-
carded and forgotten.
Meeting the Situation
At a recent meeting held by the Leo Feist
professional staff, Mr. Bitner, who presides at
these meetings (which are weekly affairs),
spoke about the existing conditions of the busi-
ness, such as the high cost of paper, printing
and the teriffic amount of money spent on
Two Big 1917 Hits
Words 6y
Music 6
ConBartfy
6
lusic r-x
Leon 6i CostA
Order at once, 15c per copy
Fine Art Title Pages
A. J. STASNY MUSIC CO.
56 West 45th Street, New York
L
MUSIC TRADE REVIEW
paying acts to sing the songs, and getting no
chance to have a comeback. That is to say
that it was next to impossible to raise the price
of popular music, and something drastic had to
be done.
Seizing the opportunity, the writer once more
made known his scheme that he had used five
years ago, but with a few up-to-date improve-
ments. He showed that if the firm put through
this scheme, it would work out successfully,
materially aided by the other publishers follow-
ing suit, which the writer knew would happen.
After a big discussion on the subject the plan
was adopted, and work started immediately.
Introducing the "Special Artists' Copy"
Naturally being elated over the first suc-
cess of having the system tried, the writer
started after the new form of copy like a house
on fire, and within ten days had proofs of all
the songs that the firm had issued, and several
new songs, in the new form ready for the
printer. The picture on the previous page is
an exact reproduction of the new form which
we have termed "special artists' copy."
Upon close examination of the accompanying
reproduction you will see that the new form
is an engraved lead sheet, with all the neces-
sary harmonies cued in and even down to sev-
eral orchestra effects, which the writer might
want brought out. The copy is compact, and
neat, and can be read by the performer more
handily than the old form of professional copy.
Before going into details, we'll go back a mo-
ment and give the routine of the new system.
Producing the New Song
The song writer submits a new song to the
publisher, the first thing that is done after it
is accepted, is to have a piano copy made, then
from the piano copy the artists' copy is made,
so that all harmonies and effects can be cued
in. After that the quartet arrangements are made,
and as in the case of the big publisher, a copy
of the harmony arrangement is sent along with
a copyright copy of the song to each one of the
branch offices, so that the pianists employed at
these offices know exactly every detail of the
song, that they are going to work on. In the
meantime orchestrations in every key are auto-
graphed and supplied to each office. Naturally
a supply of artists' copies is also sent. Then
the operation starts.
by the concentrated efforts of the staffs of each
office. By that I mean that the acts learn the
songs at the different offices and the night staffs
of the different offices plug the song in the pic-
ture houses and cafes, etc., in co-operation
with the performer singing the song.
How the Performer Is Taught the Song
I present the fact so that it answers the fol-
lowing question: Suppose the performer can't
play or read the new form? Any performer
who is interested in a song will be taught the
song by the staff demonstrators, and they are
the only ones who have to read it. Now then a
question will come, "What about those perform-
ers or pianists who are on the road and write
in for the song? What are they going to do?"
Did you ever hear a pianist play a new song
from a professional copy? Well, I traveled from
Coast to Coast, and from experiences in com-
ing in contact with performers find that you
hardly can recognize one of your songs the
way they are played by so-called professional
pianists. Naturally it follows that if they can't
give a good interpretation with the professional
copy they can't give a much worse interpreta-
tion with the new form. I speak from experience.
As far as moving picture pianists are con-
cerned, they are supposed to buy the regular
copies, such as folios, etc., for the different
kinds of pictures that they follow. Generally
they give professionals that they receive to their
friends that sit in the front row, and there is
where the evil really starts.
With the new form of copy only professional
pianists can play it. Those that are amateurs,
cannot play them, and are forced to buy regular
copies, which they are supposed to do. The
word professional is supposed to convey that
meaning.
Music Dealers
To carry on your business efficiently you need
100% Service
through an efficient jobber, one who is
equipped to fill your every requirement.
We Offer
the services of a 100% efficient organization,
built with the sole object of serving the
dealer, first, last, and all the time.
Shipping Perfection
We have perfected arrangements whereby
your order is received, filled and shipped
with a promptness and dispatch that is at
times startling in its rapidity.
Prices
Being the largest jobbers in our field, en-
ables us to buy in great quantities, thus in
turn giving our dealers the very best rates.
Concentrate all your orders through one
clearing house. Regardless of publisher, we
have, or can procure the publication for you.
Let us do your worrying
Just remember this:—
No matter where it is published,
the "Enterprise" can supply it
Enterprise Music Supply
Company
145 West 45th St.
New York City
M. RICHMOND. Mgr.
Now let us take another glimpse from the
publisher's standpoint: The mailing of pro-
fessional copies and the cost and losses sus-
tained in that work. The system established
by all the representative publishers is to an-
swer all letters received, and at the same time
send out professional copies t o requests in these
letters by second-class mail. It is known that
a fair percentage of the mail is lost or stolen
because the people know that it is music. Now
with the new form you can answer the letter
received, send seven copies of the song in new
form, and mail same by first-class mail for 2
cents, thus insuring the safe return of the let-
ter and music if not delivered. This is a sav-
ing of 50 per cent, over the old system and is
100 per cent, efficiency.
The old professional copy consisted of a
sheet of paper approximately ten by thirteen
inches, and only one song appeared on it. With
the new form you get two songs on the same
sheet, and if a little heavier paper is used, you
can print back to back and get four songs on
the same sheet of paper. Now then, when you
order 25,000 copies of the old style you get
25,000 copies, and with the new way you get
50,000 or 100,000 copies, which is some saving
in printing bills.
This form of copy is now being used by the
Leo Feist firm, and up to the present time there
has been nothing but the most favorable com-
ments on it.
In concluding, this form of copy outside of
being only good for professionals is so cheap that
the professional grafters won't lower them-
selves to have it on their pianos in their homes,
and that is also a point that will aid in making
them go out and spend that 10 or 15 cents for
a regular copy. If only 25 per cent, of the
grafters do that the system is worth while try-
ing, and if all the publishers get together, I
am sure that it will be the greatest move that
has been made in many years for the betterment
of the publisher, dealer and song writer.
Future scanning projects are planned by the International Arcade Museum Library (IAML).