Music Trade Review
Issue: 1929 Vol. 88 N. 25 - Page 47
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
theW
Comment, opinion, bits of news, not to
overlook a few tales from true life—all of
which have been gleaned "By the Way"
By G. V. BUTTELMAN
Managing Editor The Jacobs Music Magazines
sembles than the ordinary dance orchestra.
Leaders of school orchestras and bands es-
pecially should be encouraged to give the fret-
ted instrument players a chance to do their b-it.
' I * EN or fifteen years ago flute players were With proper music and properly played, a tenor
about as scarce as hens' teeth in some sec- banjo section adds more than a "bit" to such
tions of the country. In recent years there seems ensembles. Band and orchestra leaders are
to have been considerable of a jump upward prone to turn up their noses when anything of
in the general regard of would-be musicians for the sort is suggested, but this is because they
this dulcet-toned instrument. In not a few have not given the matter any thought. Such
cities there are flute classes ranging as high as leaders are usually open-minded enough to at
fifty members. Should you chance to drop into least think about what might be done with
the office of the William S. Haynes Co., in banjos if the subject is broached to them by
Boston, you would see on the walls photo- some one in authority, and if you don't feel
graphs of such student-classes totaling hun- that your own opinion is sufficiently authorita-
dreds of players, mostly children and young tive, you might refer to John Rcdfield's book,
Music—A Science and an Art. On page 246
people.
But there is still room for more flutes, judg- you will find the following:
"Another class of instrument which has been
ing by the instrumentation lists of many school
bands and orchestras. Dealers who are not splendidly developed by American manufacturers
already doing so may well give the instrument in recent years is the plectral instruments of the
some extra attention, as it readily makes banjo, guitar and mandolin type. These instru-
friends for itself and may be played as well ments . . . have not yet reached the symphony
by a girl as by a boy. It offers the additional orchestra but icill probably arrive at that destina-
advantage of being a very attractive solo in- tion finally. . . . The banjo might zvell find a
strument and fits in with almost any combina- place there at once. Sixty players of bowed in-
tion of instruments in small ensembles, as well struments in the symphony orchestras cannot ac-
complish as much pizzicato effect as can four
as in the band and orchestra.
'
equally proficient banjoisis, nor can they do it as
'*
i
DANJO bands seem to be attaining wide well. '. . ."
There is other forceful and reliable opinion
vogue throughout the country. But what
is a banjo band? Is it an ensemble composed which may be quoted, as well as the actual
entirely of members of the banjo family, and experience of leaders and conductors, and
if so what is the ideal instrumentation? These should it prove helpful to any dealer or teachci
and other questions were asked of a number who is interested, I am sure the Music Trade
of leading teachers of fretted instruments re- Review will be glad to supply information as
cently, most o'f whom have successful banjo to the source.
It should be mentioned, in passing, that there
bands of their own. Practically all of these
experts expressed the opinion that the ideal is available considerable music especially
banjo band or banjo orchestra must include adapted both for banjo bands and for band
reed and brass instruments with piano and and orchestra with banjo or tenor banjo parts.
drums, ad lib., in order to secure balance and Just as fast as there is general demand for
more music of this sort, on the part of the
colorful effects.
There are literally thousands of tenor banjo teachers, conductors and players, the publishers
players throughout the country, with a goodly will furnish it.
(The catalog of Walter Jacobs, Inc., con-
scattering of players who can give a fair ac-
count of themselves with the various banjo tains many band and orchestra arrangements
variants—five-string or "regular," plectrum with tenor banjo parts, and some with plectrum
banjo, mandolin banjo and guitar banjo. Many banjo parts as well. Mr. Jacobs was, I believe,
dealers are co-operating with teachers in the the pioneer publisher to add banjo parts to
organization and maintenance of banjo ensem- concert orchestras and band arrangements.)
bles, and those who are not may well look to
this opportunity for furthering and sustaining U^VERY time I thump a letter as 1 type these
paragraphs, my finger strikes a bit of glass
the general interest in these instruments.
Speaking of banjos, we are reminded that which was cut to fit the keys of my typewriter
there is growing evidence that the tenor banjo, with the aid of a musical accompaniment. If
at least, will eventually be accepted as a regu- you tap typewriter keys with glass tops the
lar member of the concert or symphony or- chances are that those circular bits of glass
chestra and the wind band. Any such develop- were cut, polished, finished and packed for
ment can hardly be expected to come about shipment to some of the same tunes, or at least
overnight; that it is much to be desired from the tunes from the same radio set.
Most folks wouldn't see much connection be-
standpoint of those who are interested in the
manufacture and sale of the instruments does tween glass tops for typewriter keys and music,
not need to be argued here. It stands to rea- but Mr. Edgar Schiebe, who owns and man-
son, therefore, that dealers and manufacturers, ages a factory in Cambridge, Mass., isn't quite
as well as players who have an eye to the like most folks, otherwise he wouldn't have
future, should seize every opportunity to have thought of making glass tops for typewriter
{Continued on page 50)
banjos played and heard frequently in other en-
taining to sales opportunity, prejudice and
whatnot, which readily suggest themselves, such
speculation is left to the reader.
C. V. Buttelman
HAT is the favorite instrument of
the average youngster? This ques-
tion was recently asked of several
different people, most of whom were
in a position to at least make good guesses—
hut they all guessed wrong, if we are to use
the figures furnished by several questionnaires
and surveys which I have recently been per-
mitted to summarize.
The following tabulation represents the
choice of instruments indicated by children in
five different localities, all within a period of
six months. Approximately half of the chil-
dren were in schools where there had been no
regular program, of musical instrument instruc-
tion. The balance were in communities where
school bands and orchestras had been in oper-
ation for varying periods. This probably ac-
counts for the naming of some of the "uncom-
mon" instruments like bassoon. Approximate-
ly 10 per cent of the children had had some
previous instrumental music instruction, but
none were, at the time, owners of instruments.
According to the figures, the violin is still very
much in the lead with the piano as second
choice. Here are the figures which show the
total expression of preference in the five
schools:
Violin, 180; Piano, 152; Trumpet, 101; Drum,
59; Clarinet, 48; Trombone, 27; *Tenor Banjo,
22; *Saxophone, 12; Flute, 9; Viola, 5; Cello,
4; Tuba, 3; French Horn, 2; Alto Horn, 1;
Bass Viol, 1, and Bassoon, 1.
Approximately 500 of the preferences were
indicated on blank forms which listed the in-
struments, except those starred (*), and in each
case the choice of the children was limited to
the regular instruments of the band and or-
chestra, which accounts for the low figures on
saxophone and baxijo, and for omission of
the mandolin and guitar from the above list.
These figures of course do not prove much
of anything further than the fact that if left
to the discretion of th-e youngsters the average
school band and orchestra would be largely
composed of pianos and violins.
We are told by band and orchestra organ-
izers that the first preference, as expressed by
children, does not in the average case indicate
a prejudice against other instruments, and there
is little difficulty in interesting the youngsters in
the instruments which they should play in order
to fill out the various sections of the ensemble
to proper balance.
Later on I hope to be able to present some
interesting facts regarding the use made of the
"surveys" which provided the statistics above
tabulated. Although one is tempted to delve
into the various angles of theory and fact per-
W
43
theW
Comment, opinion, bits of news, not to
overlook a few tales from true life—all of
which have been gleaned "By the Way"
By G. V. BUTTELMAN
Managing Editor The Jacobs Music Magazines
sembles than the ordinary dance orchestra.
Leaders of school orchestras and bands es-
pecially should be encouraged to give the fret-
ted instrument players a chance to do their b-it.
' I * EN or fifteen years ago flute players were With proper music and properly played, a tenor
about as scarce as hens' teeth in some sec- banjo section adds more than a "bit" to such
tions of the country. In recent years there seems ensembles. Band and orchestra leaders are
to have been considerable of a jump upward prone to turn up their noses when anything of
in the general regard of would-be musicians for the sort is suggested, but this is because they
this dulcet-toned instrument. In not a few have not given the matter any thought. Such
cities there are flute classes ranging as high as leaders are usually open-minded enough to at
fifty members. Should you chance to drop into least think about what might be done with
the office of the William S. Haynes Co., in banjos if the subject is broached to them by
Boston, you would see on the walls photo- some one in authority, and if you don't feel
graphs of such student-classes totaling hun- that your own opinion is sufficiently authorita-
dreds of players, mostly children and young tive, you might refer to John Rcdfield's book,
Music—A Science and an Art. On page 246
people.
But there is still room for more flutes, judg- you will find the following:
"Another class of instrument which has been
ing by the instrumentation lists of many school
bands and orchestras. Dealers who are not splendidly developed by American manufacturers
already doing so may well give the instrument in recent years is the plectral instruments of the
some extra attention, as it readily makes banjo, guitar and mandolin type. These instru-
friends for itself and may be played as well ments . . . have not yet reached the symphony
by a girl as by a boy. It offers the additional orchestra but icill probably arrive at that destina-
advantage of being a very attractive solo in- tion finally. . . . The banjo might zvell find a
strument and fits in with almost any combina- place there at once. Sixty players of bowed in-
tion of instruments in small ensembles, as well struments in the symphony orchestras cannot ac-
complish as much pizzicato effect as can four
as in the band and orchestra.
'
equally proficient banjoisis, nor can they do it as
'*
i
DANJO bands seem to be attaining wide well. '. . ."
There is other forceful and reliable opinion
vogue throughout the country. But what
is a banjo band? Is it an ensemble composed which may be quoted, as well as the actual
entirely of members of the banjo family, and experience of leaders and conductors, and
if so what is the ideal instrumentation? These should it prove helpful to any dealer or teachci
and other questions were asked of a number who is interested, I am sure the Music Trade
of leading teachers of fretted instruments re- Review will be glad to supply information as
cently, most o'f whom have successful banjo to the source.
It should be mentioned, in passing, that there
bands of their own. Practically all of these
experts expressed the opinion that the ideal is available considerable music especially
banjo band or banjo orchestra must include adapted both for banjo bands and for band
reed and brass instruments with piano and and orchestra with banjo or tenor banjo parts.
drums, ad lib., in order to secure balance and Just as fast as there is general demand for
more music of this sort, on the part of the
colorful effects.
There are literally thousands of tenor banjo teachers, conductors and players, the publishers
players throughout the country, with a goodly will furnish it.
(The catalog of Walter Jacobs, Inc., con-
scattering of players who can give a fair ac-
count of themselves with the various banjo tains many band and orchestra arrangements
variants—five-string or "regular," plectrum with tenor banjo parts, and some with plectrum
banjo, mandolin banjo and guitar banjo. Many banjo parts as well. Mr. Jacobs was, I believe,
dealers are co-operating with teachers in the the pioneer publisher to add banjo parts to
organization and maintenance of banjo ensem- concert orchestras and band arrangements.)
bles, and those who are not may well look to
this opportunity for furthering and sustaining U^VERY time I thump a letter as 1 type these
paragraphs, my finger strikes a bit of glass
the general interest in these instruments.
Speaking of banjos, we are reminded that which was cut to fit the keys of my typewriter
there is growing evidence that the tenor banjo, with the aid of a musical accompaniment. If
at least, will eventually be accepted as a regu- you tap typewriter keys with glass tops the
lar member of the concert or symphony or- chances are that those circular bits of glass
chestra and the wind band. Any such develop- were cut, polished, finished and packed for
ment can hardly be expected to come about shipment to some of the same tunes, or at least
overnight; that it is much to be desired from the tunes from the same radio set.
Most folks wouldn't see much connection be-
standpoint of those who are interested in the
manufacture and sale of the instruments does tween glass tops for typewriter keys and music,
not need to be argued here. It stands to rea- but Mr. Edgar Schiebe, who owns and man-
son, therefore, that dealers and manufacturers, ages a factory in Cambridge, Mass., isn't quite
as well as players who have an eye to the like most folks, otherwise he wouldn't have
future, should seize every opportunity to have thought of making glass tops for typewriter
{Continued on page 50)
banjos played and heard frequently in other en-
taining to sales opportunity, prejudice and
whatnot, which readily suggest themselves, such
speculation is left to the reader.
C. V. Buttelman
HAT is the favorite instrument of
the average youngster? This ques-
tion was recently asked of several
different people, most of whom were
in a position to at least make good guesses—
hut they all guessed wrong, if we are to use
the figures furnished by several questionnaires
and surveys which I have recently been per-
mitted to summarize.
The following tabulation represents the
choice of instruments indicated by children in
five different localities, all within a period of
six months. Approximately half of the chil-
dren were in schools where there had been no
regular program, of musical instrument instruc-
tion. The balance were in communities where
school bands and orchestras had been in oper-
ation for varying periods. This probably ac-
counts for the naming of some of the "uncom-
mon" instruments like bassoon. Approximate-
ly 10 per cent of the children had had some
previous instrumental music instruction, but
none were, at the time, owners of instruments.
According to the figures, the violin is still very
much in the lead with the piano as second
choice. Here are the figures which show the
total expression of preference in the five
schools:
Violin, 180; Piano, 152; Trumpet, 101; Drum,
59; Clarinet, 48; Trombone, 27; *Tenor Banjo,
22; *Saxophone, 12; Flute, 9; Viola, 5; Cello,
4; Tuba, 3; French Horn, 2; Alto Horn, 1;
Bass Viol, 1, and Bassoon, 1.
Approximately 500 of the preferences were
indicated on blank forms which listed the in-
struments, except those starred (*), and in each
case the choice of the children was limited to
the regular instruments of the band and or-
chestra, which accounts for the low figures on
saxophone and baxijo, and for omission of
the mandolin and guitar from the above list.
These figures of course do not prove much
of anything further than the fact that if left
to the discretion of th-e youngsters the average
school band and orchestra would be largely
composed of pianos and violins.
We are told by band and orchestra organ-
izers that the first preference, as expressed by
children, does not in the average case indicate
a prejudice against other instruments, and there
is little difficulty in interesting the youngsters in
the instruments which they should play in order
to fill out the various sections of the ensemble
to proper balance.
Later on I hope to be able to present some
interesting facts regarding the use made of the
"surveys" which provided the statistics above
tabulated. Although one is tempted to delve
into the various angles of theory and fact per-
W
43
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