Los Angeles daily herald., 1888-03-11

cesses known as the "Leather Patch"
series, embracing the songs at
Showered Again." Glove. Put on
Your Bridal Veil," etc. In the comic
and topical there has been OF late
years dearth of songs that have COM
manded an extensive sale, thorgh
many OF such prints have been popu-
larized by the professional singers and
become a byword in our homes.
Since Dixey's "It's English, You
Know" and the muck ma
ligned "Climbing up the Golden
Stairs" there has been no especial
work Of this stamp that has exceeded
The ordinary sale attending compo-
sition supposed to insure famous
issue. With the exception, perhaps,
of Lotta's quaint eccentricity, "Hush,
Little Baby, Don't..You Cry.," which
received its prominence mainly
through its catchy orchestral effects,
and the following list of mis- ,ellaneous
favorites, the darky and local ditty has
fallen into innocuous desuetude;
COMIC HITS FOR 1878.
Copies Sold.
''It's for Money! (Blake) ...... 80 900
"Ring dat Golden BelI' (Heiser) " 10000
''Ihe Man. that Struck o'Hara"
"Johnnie, aaGde'i Get Your Gun" (Rosen. '0'OO'
"Too who, You know" (Kavanaugh
ano Witmark). )................,......4 .4O,O 600
A number of new copyrights that
have sprung into existence lately, and
which are rapidly becoming the
source of much profit and prosperity
to publishers, are those species of
OF necessity known as the "Midwave"
songs, which are being circulated in
thousands of sheets and folios through
out the land. They are sold at a
nominal figure, and represent the
sentiment of the masses--feel-
ing the public pulse, go to
speak. Among these are the skits,
eli ho! Let her go, Gallagher ?" the
red-headed girl caricature, Where's
the White Horse ?', cit was Woman,
Lovely Woman" and innumerable
others. These compositions are
mostly from the pen OF William w.
Delaney, compositor on the San,
who, under the non de plume of
"Willie Wildwave," has achieved dis
tinction in bis specialties, and whose
efforts have swelled the Golfers of hun
dreds OF publishers OF this class of sheet
music. Delaney has happy knack
of working up new ideas, popular
phrases and new expressions, and
weaving them into melodious rhythm.
He ascribes his success chiefly to the
newspa ger upon which he is employ
o1 J, M l,a Iy su1
its columns, new and bright, which
he weaves into musical aelange dur
ing his leisure moments in the COM
posing-room.
Another successful writer of this style
OF music is M. J. Kavanagh, the au
thor OF "Bring Back My Fisher Boy"
"Colleen Aroon" and other noted
ballads. Frank Howard, elsewhere
referred to-whose right name is Mar
tindale, and who has probably had
more consecutive successes in senti-
mental music than any other living
author-made his first appearance as
a tenor with Thatcher, Prim-
rose & Vests minstrels.
The immense income accru-
ing from his compositions enabled
him in a short time to retire from ac-
tive professional work, and he is now
living on his farm in the upper part
of New York State.
Another phenomenal writer in this
line is the well known boy soprano,
Master julius P. Whitmark, who
wrote and sang with Thatcher, Prim-
rose& Vests minstrels his unique
song. "The Sisters Lullaby" and
who popularized the Renaissance,
"Always Take Mothers Advice"
The late Harry G. Talbert, whose
demise left void in the song world,
was also one of those lights whose
creations bid fair to outlive those OF
many modern writer's. In instru-
mental compositions Woolson Morse,
the author Of the opera cinderella at
School," and G. D. Wilson, who wrote
"The Shepherd Boy" and Gripping
Through the Meadows" stand pre-
eminent as writer's who also combine
the versatile art of linking words mel
odiously with the gamut.
One of the most subtle gifts Of the
modern song writer is the knack of
hitting upon some original title for
his work. zone half the battle of
fame" said a publisher, ''is the
secret of getting q good name fer
song" The devices employed and the
many sleepless hours spent by authors
in finding suitable title for their
text is good evidence of the truth OF
the old adage, that there is
nothing new under the SUM-"
Many peculiar incidents are ex-
tant illustrating the birth of an idea
which has been grasped by some
writer and interviewer into musical
dress. A case in point is that alb
surdity, "You Know" generated and
launched into familiarity by the di-
lemma of a dudelet who whistled it
as a response to a magistrate commit
ting him for contempt of court at a
recent trial. Another pet song
phrase, the title of which is
said to have emanated from life's
repository, is that known as "Let her
60, Gallagher" born, it is affirmed,
from the last words of the miscreant
who uttered them on the scaffold and
addressed them to the hangman as a
signal to spring the trap the sheriff's
name being Gallagher, and the place
Texas. AS is we'll known. "the tune
the old COW died of was born in
Scotland and the north of Ireland.
where the familiar phrase originated
from a heifer who died of hunger
while the peasant sung unto her this
lay:
There was once an old man and he had an
old COW,
And nothing had he to give her;
So he took out his fiddle and played her q
tune
Consider, good COW, consider,
This is no time for the grass to grow
Consider, good COW, consider.
But the modern song poet aims al
subtler things, and, contrasted with
the above, the following effort from q
contemporaneous aspirant leads the
van of modern day parodies:
How dear to my purse is the new-fashioned