Music Trade Review
Issue: 1924 Vol. 79 N. 8 - Page 43
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
AUGUST 23, 1924
THE MUSIC TRADE REVIEW
43
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Paid Demonstrations, Properly Handled,
Are a Direct Means of Increasing Sales
SONGS THAT SELL
Cost Should Be Distributed Over Entire Department Instead of Charged Entirely to One
Number—An Example of This Work Done by the McCrory Store in Atlantic City
\X7HRN the popular publishers, several sea-
^ ^ sons back, decided to discontinue paid
music demonstrations behind music counters,
they eliminated one of the assets of the busi-
ness. It is really too bad that in order to dis-
continue the abuses that went with such pub-
lic demonstrations at that time, and the ex-
orbitant costs that often accompanied them, it
was found necessary to abolish them entirely.
Properly programmed and arranged on an
equitable basis, song demonstrations, undoubt-
edly, could be made profitable. They would put
life into some music departments in dull seasons
and add to the general activity of the business,
particularly at periods when it is almost abso-
lutely necessary to inject enthusiasm.
The cost of some of the old-style demon-
strations were prohibitive so far as results on
particular issues were concerned. Undoubtedly,
the cost where distributed over all of the sales
made on the counter and taking in mind the
placing of new melodies in the air, would show
profits on the right side of the ledger. A method
of demonstrating, sharing and distributing the
costs, so that all who benefited might be charged
their fair proportion, might be arranged. Nat-
urally, if such a plan were placed in opera-
tion it would have to be closely watched so that
abuses would not creep in and bring back the
intolerable conditions that brought about its
elimination.
With a large enough audience, the personnel
of which is constantly changing, and with meri-
torious songs, there is probably no better
method of creating sales than through the means
employed for counter demonstration.
What it means to have frequent demonstra-
tions can be easily found by looking over the
activities of the music counter during the pres-
ent season of the J. G. McCrory store, Atlan-
tic City, N. J. This resort is not having as suc-
cessful a season as some of its previous years.
But, despite this, it is said that this McCrory
music counter has topped previous figures by
close to $10,000 for the first eight months of the
year. A good deal of its sales activities can
be credited to the fact that demonstrations are
almost constantly being carried on.
Some months back there was some talk to the
effect that the sheet music business needed more
points of distribution. It was quickly shown
however, by those who knew from their busi-
ness experience, that from a national viewpoint
there were sufficient retailers. In some par-
ticular localities, of course, there may have been
room for added sales sources, but this was not
a national problem.
There are seemingly enough sources where
the consumer can buy popular, or, for that mat-
ter, standard music. In the standard field the
publishers are well represented considering the
thought, energy and attention necessary to oper-
ate successfully a thriving business on educa-
tional and other standard numbers. What, then,
is the problem when considering popular selec-
tions? It is the problem of inactivity caused
by a lack of initiative, salesmanship and en-
thusiasm.
In the popular field if the dealer has not a
particular number for which he has received
a request the consumer will try elsewhere, the
first dealer losing the sale. If the second dealer
happens to be out the sale of that particular
copy has been lost because the interest of the
consumer has, in the meantime, waned.
To some extent the distribution of player
rolls in undergoing the same problem. There
arc certainly enough points of distribution, but
all too many of them have inadequate stock.
Too many of the shops and music stores fail to
merchandise such goods and are really only
operating stores for the purpose of filling de-
mands.
The consumer comes in and asks for a par-
ticular roll because he likes the melody and is
bound to have it at once. Invariably the sales-
man asks whether or not he wishes it demon-
strated. If the roll happens to be of a good
make and the melody is well liked the consumer
often dissents. Under the circumstances the
average salesman thinks there is nothing to be
done but to wrap up the purchase, no effort be-
ing made to call the attention of the player-
piano owner to many other numbers that are
quite timely.
Popular racks in sheet music, talking machine
and other shops serve a purpose and, undoubt-
edly, get some sales that might be lost other-
wise. Such displays are better than no display
at all, but they do not serve to get the most
out of popular sheet music. A popular rack,
(Continued on page 44)
"Where The
Iftbash Flow
ivetyhody's
layinji them!
The Lyric is a jiewi, awi it's
Fox Trot Meloay makes it
a dolidkt to Dancers
What'll I Do?
Charley, My Boy
Driftwood
Red Hot Mamma
Lazy
I Can't Get the One I Want
Oh, Baby (Don't Say No—Say Maybe)
Mindin' My Business
She's Everybody's Sweetheart
Old Familiar Faces
Nobody Loves You Like I Do
Nobody's Child
Where Is That Old Girl of Mine?
—
—
E
Cover Me Up With the Sunshine of
Virginia
Indiana Moon
Morning (Won't You Ever Come 'Round)
(New)
No One Knows What It's All About
(New)
Come Back to Me (When They Throw
You Down) (New)
Superstitious Blues (New)
Dance Folio No. 7
X Universal
Special Edition
Peterson's Ukulele Method
World's Favorite Songs
Lundin'* Tenor Banjo Method
Song Gems from Irving Berlin's Third Annual
MUSIC BOX REVUE
An Orange Grove in California
The Waltz of Long Ago
Little Butterfly
Learn to Do the Strut
Outstanding Song Hits irom
TOPSY and EVA
Rememb'ring
I Never Had a Mammy
IRVING BERLIN, Inc.
1607 Broadway, New York
DOODLE
DOO DOO
THE SONG AND DANCE HIT
It's lively rhythm and catchy
doyus wade It iMstautlu popular
3
CaWt Oo Wroni) With Any FUST Som
SING A. -
LITTLE SONG!
A SUNSHINE FOX TROT
•Wheit YouVe Blue Here's What To Do -
Sm6 Yourself A little S o W
ten Lights
Are
Low
jjte Most CharutinO
c
Waltz Nit of the Yeaf
MOONLIGHT
MEMORIES
A NEV WALTZ HIT BY VINCENT R O S E ,
WRITER O r * LINGER AWHILE* WITH LYRICS
BY DOROTHY TIRRISS, WHO WROTE 'THREE „
O'CLOCK IN THE MORNING* AND "'WONDERFUL ONE*
AUGUST 23, 1924
THE MUSIC TRADE REVIEW
43
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Paid Demonstrations, Properly Handled,
Are a Direct Means of Increasing Sales
SONGS THAT SELL
Cost Should Be Distributed Over Entire Department Instead of Charged Entirely to One
Number—An Example of This Work Done by the McCrory Store in Atlantic City
\X7HRN the popular publishers, several sea-
^ ^ sons back, decided to discontinue paid
music demonstrations behind music counters,
they eliminated one of the assets of the busi-
ness. It is really too bad that in order to dis-
continue the abuses that went with such pub-
lic demonstrations at that time, and the ex-
orbitant costs that often accompanied them, it
was found necessary to abolish them entirely.
Properly programmed and arranged on an
equitable basis, song demonstrations, undoubt-
edly, could be made profitable. They would put
life into some music departments in dull seasons
and add to the general activity of the business,
particularly at periods when it is almost abso-
lutely necessary to inject enthusiasm.
The cost of some of the old-style demon-
strations were prohibitive so far as results on
particular issues were concerned. Undoubtedly,
the cost where distributed over all of the sales
made on the counter and taking in mind the
placing of new melodies in the air, would show
profits on the right side of the ledger. A method
of demonstrating, sharing and distributing the
costs, so that all who benefited might be charged
their fair proportion, might be arranged. Nat-
urally, if such a plan were placed in opera-
tion it would have to be closely watched so that
abuses would not creep in and bring back the
intolerable conditions that brought about its
elimination.
With a large enough audience, the personnel
of which is constantly changing, and with meri-
torious songs, there is probably no better
method of creating sales than through the means
employed for counter demonstration.
What it means to have frequent demonstra-
tions can be easily found by looking over the
activities of the music counter during the pres-
ent season of the J. G. McCrory store, Atlan-
tic City, N. J. This resort is not having as suc-
cessful a season as some of its previous years.
But, despite this, it is said that this McCrory
music counter has topped previous figures by
close to $10,000 for the first eight months of the
year. A good deal of its sales activities can
be credited to the fact that demonstrations are
almost constantly being carried on.
Some months back there was some talk to the
effect that the sheet music business needed more
points of distribution. It was quickly shown
however, by those who knew from their busi-
ness experience, that from a national viewpoint
there were sufficient retailers. In some par-
ticular localities, of course, there may have been
room for added sales sources, but this was not
a national problem.
There are seemingly enough sources where
the consumer can buy popular, or, for that mat-
ter, standard music. In the standard field the
publishers are well represented considering the
thought, energy and attention necessary to oper-
ate successfully a thriving business on educa-
tional and other standard numbers. What, then,
is the problem when considering popular selec-
tions? It is the problem of inactivity caused
by a lack of initiative, salesmanship and en-
thusiasm.
In the popular field if the dealer has not a
particular number for which he has received
a request the consumer will try elsewhere, the
first dealer losing the sale. If the second dealer
happens to be out the sale of that particular
copy has been lost because the interest of the
consumer has, in the meantime, waned.
To some extent the distribution of player
rolls in undergoing the same problem. There
arc certainly enough points of distribution, but
all too many of them have inadequate stock.
Too many of the shops and music stores fail to
merchandise such goods and are really only
operating stores for the purpose of filling de-
mands.
The consumer comes in and asks for a par-
ticular roll because he likes the melody and is
bound to have it at once. Invariably the sales-
man asks whether or not he wishes it demon-
strated. If the roll happens to be of a good
make and the melody is well liked the consumer
often dissents. Under the circumstances the
average salesman thinks there is nothing to be
done but to wrap up the purchase, no effort be-
ing made to call the attention of the player-
piano owner to many other numbers that are
quite timely.
Popular racks in sheet music, talking machine
and other shops serve a purpose and, undoubt-
edly, get some sales that might be lost other-
wise. Such displays are better than no display
at all, but they do not serve to get the most
out of popular sheet music. A popular rack,
(Continued on page 44)
"Where The
Iftbash Flow
ivetyhody's
layinji them!
The Lyric is a jiewi, awi it's
Fox Trot Meloay makes it
a dolidkt to Dancers
What'll I Do?
Charley, My Boy
Driftwood
Red Hot Mamma
Lazy
I Can't Get the One I Want
Oh, Baby (Don't Say No—Say Maybe)
Mindin' My Business
She's Everybody's Sweetheart
Old Familiar Faces
Nobody Loves You Like I Do
Nobody's Child
Where Is That Old Girl of Mine?
—
—
E
Cover Me Up With the Sunshine of
Virginia
Indiana Moon
Morning (Won't You Ever Come 'Round)
(New)
No One Knows What It's All About
(New)
Come Back to Me (When They Throw
You Down) (New)
Superstitious Blues (New)
Dance Folio No. 7
X Universal
Special Edition
Peterson's Ukulele Method
World's Favorite Songs
Lundin'* Tenor Banjo Method
Song Gems from Irving Berlin's Third Annual
MUSIC BOX REVUE
An Orange Grove in California
The Waltz of Long Ago
Little Butterfly
Learn to Do the Strut
Outstanding Song Hits irom
TOPSY and EVA
Rememb'ring
I Never Had a Mammy
IRVING BERLIN, Inc.
1607 Broadway, New York
DOODLE
DOO DOO
THE SONG AND DANCE HIT
It's lively rhythm and catchy
doyus wade It iMstautlu popular
3
CaWt Oo Wroni) With Any FUST Som
SING A. -
LITTLE SONG!
A SUNSHINE FOX TROT
•Wheit YouVe Blue Here's What To Do -
Sm6 Yourself A little S o W
ten Lights
Are
Low
jjte Most CharutinO
c
Waltz Nit of the Yeaf
MOONLIGHT
MEMORIES
A NEV WALTZ HIT BY VINCENT R O S E ,
WRITER O r * LINGER AWHILE* WITH LYRICS
BY DOROTHY TIRRISS, WHO WROTE 'THREE „
O'CLOCK IN THE MORNING* AND "'WONDERFUL ONE*
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