APPENDIX
A NOTE ON WURLITZER BAND ORGANS AND THEIR ROLLS
The earliest band organs made by the Rudolph Wurlitzer Company were played by pinned cylinders (barrel organs) rather than by paper rolls. Cased in naturally finished oak, with plain facades, and equipped with prestant brass trumpets for maximum loudness, they were primarily intended for use in skating rinks. By the year 1915 or so, they had undergone gradual change so that Wurlitzer organs looked and sounded like those we are familiar with today. They were still cased in natural oak still, but with ornately carved and decorated facades, with few or no brass trumpets, being more softly voiced for use in dance halls and carousels as well as skating rinks, and they were played by perforated dry-waxed paper rolls instead of pinned cylinders.
At about the same time Wurlitzer standardized its roll system so that all its band organs could be played by one of three roll styles: the 125 roll, the 150 roll, or the 165 roll. The style 180 band organ, introduced in 1922, was an exception; it used its own style 180 roll, but neither the organ nor its rolls were ever produced in significant quantity.
The style 165 band organ roll was used to play Wurlitzer organs of styles numbered 157 through 175. From the mid-1920's until Wurlitzer shipped out its last large organ in 1939 -- a style 165 sent on June 14 of that year to the late Ross R. Davis, owner and operator of the Griffith Park Merry-Go-Round in Hollywood, California -- the company dominated the band organ field because of its business acumen and the quality of both its instruments and its music rolls. Because of the quantity and quality of Wurlitzer music rolls, many organs of other manufacturers were converted to play Wurlitzer rolls. Some comparative data on roll output may be illuminating.
Both style 125 and style 150 rolls were first issued in a short-roll format containing only four tunes or fewer. About 1913 the company re-designed its roll frames so that they could handle a larger 10-tune roll. From that time on, until 1919, when production of short rolls was ended, 125 and 150 rolls were available in both long and short formats. The earliest datable 125 roll was issued in 1905. In 1933 Wurlitzer began, as an economy measure, putting only 6 tunes on a roll, lengthening each tune so they could claim that the 6-tuners were the length of a 10-tune roll. T.R.T. roll production, superseding Wurlitzer in 1946, continued the 6-tune format to its end in 1967. The production of style 165 rolls which must have begun about 1914 followed the same pattern as the production of 125 and 150 rolls, excpet that there was no short-roll format, because all style 165 organs had the long-roll tracker frame.
A total of 613 style 125 rolls were probably issued, of which 203 are known to have survived (346 4-tuners, 59 surviving; 197 10-tuners, 86 surviving; 70 6-tuners, 58 surviving). Slightly more style 150 rolls were issued: a total of 686, of which only 215 survive (376 4-tuners, 12 surviving; 220 10-tuners, 118 surviving; 90 6-tuners, 85 surviving). Far fewer style 165 rolls were produced: a total of 235, of which 158 survive (182 10-tuners, 105 surviving; 53 6-tuners, all surviving). All these figures are subject to change as more information -- and more original rolls -- come to light. As for style 180 rolls, we estimate from the little known about their production that not more than 82 rolls were produced; only 9 survive, and these all seem to be 8-tune rolls.
For more information on Wurlitzer organ styles, quantities sold, and names of purchasers, consult Encyclopedia of Automatic Musical Instruments, by Q. David Bowers. Vestal, N.Y.: Vestal Press, 1972, and The American Carousel Organ; An Illustrated Encyclopedia, by Ron Bopp. Jay, Okla.: R. Bopp, 1998.
WURLITZER BAND ORGAN ROLL NUMBERING
Some time in the 'teens (perhaps in 1913 when the company enlarged the capacity of its roll frames or perhaps in 1914, coinciding with the introduction of the style 165 band organ and the style 165 roll) Wurlitzer standardized its band organ roll output. Previous to that date each band organ played a roll unique to it. After standardization, there were only three roll types for band organs, styles 125, 150, and 165. Only with the introduction in 1922 of the Wurlitzer style 180 band organ was another style roll introduced, and very few of those rolls were ever made, of which only 9 survive.
Wurlitzer's early tracker frames were not capable of holding a roll of more than four-tune length. It was probably in 1913 that the company began equipping its band organs with what it called the "Long Roll Trackerframe": in October 1913 it started to issue style 125 and style 150 rolls in a 10-tune length as well as in the 4-tune length. A given tune would appear on both the long and the short rolls, so that 5 short (4-tune) rolls contained the same tunes as were found on 2 long (10-tune) rolls. This practice continued until late 1925, when Wurlitzer ceased making 4-tune rolls.
In order to issue rolls of two different lengths concurrently in both the 125 and the 150 series, Wurlitzer used two different concurrent numberings in each roll series, 125 and 150. This was unnecessary to do for style 165 rolls, because the style 165 band organ and its roll were not introduced until 1914 and they all played the long roll.
Four-tune style 125 rolls were numbered in the 1xxx series, the earliest known being roll 1004 (its issue date is unknown but it contains tunes from 1905), and the last known one being roll 1414, containing tunes from November 1925. Ten-tune style 125 rolls were numbered in the 3xxx series, the earliest known being roll 3005, issued October 1913.
Four-tune style 150 rolls were numbered in the 10xxx series, the earliest known roll being 10035, issued in 1914, and the last being roll 10880, issued August 1925. Ten-tune style 150 rolls were numbered in the 13xxx series, the earliest known being roll 13005, issued October 1913.
As stated above, all Wurlitzer style 165 rolls were for the long roll tracker frame. They were numbered in the 65xx series, continuing in 1921 into the 66xx's. There was no separate numbering for 4-tune rolls. A few 4-tune rolls, such as the schottische rolls, were issued; but none have survived, so their actual length is uncertain. Roll 6510, the "Home Sweet Home" roll, containing one tune consisting of a long medley of four tunes, does survive and it is a short roll, suggesting that the lost schottische rolls were also short rolls. But these rolls were all numbered consecutively with the normal ten-tune style 165 rolls, not in a separate series as was done with style 125 and style 150 rolls.
There is a peculiarity in Wurlitzer's style 165 roll numbering, however, and that lies in the fact that roll numbers up to 6537 were used twice: there existed two different rolls for any given roll numbered through 6537. But from roll 6538 onwards each roll number applied to only one and only one roll. (The apparent existence of two rolls numbered 6620 and issued in 1924 is a possible exception to this statement. Almost any statement that can be made about the Wurlitzer roll business seems to generate its own exception.) Apparently Wurlitzer decided around 1920 to issue a series of 3 dozen or so rolls containing tunes of lasting popularity to supplement its monthly releases of rolls containing current "hit" tunes of the day. Whereas "hit" rolls were not saleable for more than a few months after their release, the new series of rolls were designed to be stocked and sold year in and year out: they contained tried-and-true tunes such as Sousa marches and Strauss waltzes, the odd-numbered tunes being marches and the even-numbered tunes being waltzes, almost without exception. Many of the tunes on these rolls had previously appeared on one or another discontinued "hit" roll. In order to avoid creating a new numbering system for this new category of roll to be kept in permanent inventory beginning around 1920, the company reused the early 65xx numbers which were once assigned, beginning in 1914, to out-of-production "hit" rolls. The new series began with roll 6501 and stopped with roll 6537, an operatic roll issued in February 1925 and reusing the number of the obsolete "hit" roll issued in April 1918.
SCALE SPECIFICATIONS FOR THE STYLE 165 ROLL
ORGANS USING THE STYLE 165 ROLL
Organ specifications from Wurlitzer catalogs.
Illustrations courtesy of Ron Bopp, from
The American Carousel Organ
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WURLITZER STYLE 157 BAND ORGAN
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No. 157--Duplex Orchestral
Organ
61 Keys
Built in Oak Veneered Case, natural finish.
Beautiful white enameled front, elaborately carved and
decorated with gold leaf and colors. Panels and screen over swell shutters
beautifully decorated with realistic landscapes. To further set off the
organ, the decorative front is wired for thirty-four 16 C. P. lamps, with an
additional red lamp in each drum. These lights are usually furnished in red,
white and blue colors, and the organ makes a wonderful display at night.
Equipped with Duplex Tracker Frame to Play same Rolls
as
Style 165 Organ
INSTRUMENTATION
Bass--6 Wood Trombones; 6 Stopped
Diapason Pipes; 6 Stopped Octave Diapason Pipes.
Accompaniments--10 Stopped Flute Pipes; 10 Open Flute
Pipes; 10 Open Piccolo Pipes.
Melody--44 Violin Pipes; 22 Octave Violin Pipes; 22
Piccolo Pipes; 22 Open Flute Pipes; 22 Stopped Flute Pipes; 16 Bell
Bars.
Trumpets--14 Wood Trumpets; 14 Wood Clarionets.
Traps--Bass Drum (automatic tension); Snare Drum;
Cymbal.
Automatic Stops--1 for Bells; 1 for Swell and Wood
Trombones.
Draw Stops--1 for Wood Trombones; 1 for Wood Trumpets; 1
for Violins; 1 for Flutes; 1 for Piccolos.
DIMENSIONS
Height, 8 feet 4½ inches. Width, 12 feet
2 inches. Depth, 3 feet 10 inches. Weight, packed for shipment, 1,900
lbs.
WURLITZER STYLE 163 BAND ORGAN
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WURLITZER STYLE 164 BAND ORGAN
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WURLITZER STYLE 165 BAND ORGAN
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Style No. 165--Duplex Orchestral Organ
69 Keys
Case, Oak Veneered; finished natural, with highly
decorated white enamel fancy front; wings detachable.
Equipped with Duplex Tracker Frame.
Dimensions With Front On-Height, 8 feet 5 inches. Width,
12 feet 8 inches, Depth, 4 feet 4 inches.
Dimensions Without Front-Height, 5 feet 10½ inches.
Width, 6 feet 5 inches. Depth, 3 feet.
Weight, packed for shipment, 3,000 lbs.
Automatic rewind; stops off and cut-off for drums.
INSTRUMENTATION
Basses--6 eight-foot Stopped Pipes; 6
eight-foot Open Pipes; 6 Wood Trombones.
Accompaniment--10 Stopped Pipes; 10 Open Pipes.
Melody--14 Wood Trumpets; 14 Wood Bassoons; 14 Wood Viola
Pipes; 22 Flute Pipes; 22 Piccolo Pipes; 22 Flageolet Pipes; 22 Open
Piccolos; 22 Loud Violin; 22 Soft Violin; 22 Bells.
Traps--Bass Drum; Cymbal; Crash Cymbal; Triangle; Snare
Drum, Castanets.
Automatic Swell Shutters.
Automatic Stops--1 for Trombone; 1 for Trumpets; 1 for
Bells; 1 for Flute and Piccolo; 1 for Flageolet and Open Piccolo; 1 for Loud
Violin; 1 for Soft Violin.
NOTE: Contrary to factory specifications shown above, the style 165 organ had 44 loud violin pipes and 44 soft violin pipes in the melody. Each of those ranks was a double rank of pipes, two pipes sounding in the loud violin rank for each note and two pipes sounding in the soft violin rank for each note. Thus the total number of pipes is 256.
WURLITZER STYLE 166 BAND ORGAN
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Style No. 166--Duplex
Orchestral Organ
75 Keys
Beautiful case similar to style No. 165 but somewhat
larger. Elaborately decorated; hand-carved scroll work, finished in gold
leaf, offset by light Venetian red and light green against white enamel
finish of case. Raised panels decorated with picturesque landscapes and
flower designs. INSTRUMENTATION
Instrument equipped with Wurlitzer Duplex
Tracker-frame.
Highest grade mahogany shell drums with improved
self-tightening tension rods.
Automatic rewind; stops off and cut off for drums.
Push button arranged to rewind at any time.
Dimensions: Height 10 feet 4 inches. Width 17 feet 2
inches. Depth 4 feet 9 inches.
Weight packed ready for shipment, 3900 pounds.
Requires 1 H. P. motor to operate.
Basses--6 8-foot stopped diapason pipes;
6 8-foot open diapason pipes; 6 wood trombones; 6 brass trombones; 6
4-foot open diapason pipes.
Accompaniment--10 2-foot stopped flute pipes; 10 2-foot
open flute pipes; 10 1-foot open flute pipes.
Melody--14 brass trumpets; 14 wood trumpets; 14 wood
bassoons; 14 wood viola pipes; 22 flute pipes; 22 piccolo pipes; 22
flageolet pipes; 22 open piccolos; 22 loud violin; 22 soft violin; 22
prestant violin; 22 note glockenspiel; 22 uniphone bells.
Traps--Bass drum; cymbal; crash cymbal; triangle; snare
drum; castanets; kettle drum.
Automatic swell shutters.
Automatic stops--1 for trombones; 1 for trumpets; 1 for
bells; 1 for flute and piccolo; 1 for flageolet and open piccolo; 1 for
uniphone bells; 1 for loud violin; 1 for soft violin; 1 for trombones and
trumpets, brass; 1 for prestant violin; 1 for octave bass and
accompaniment.
WURLITZER STYLE 175 BAND ORGAN
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OBSERVATIONS ON ROLL MAKERS AND ARRANGERS
Unfortunately, little is known about the people who arranged the hundreds of rolls produced by the Rudolph Wurlitzer Company. Whoever they were, they maintained a remarkably consistent -- some would say formulaic -- style and level of quality until 1933 when the company cut its last 10-tune roll. Without knowing more about how Wurlitzer assigned its arranging work, it is difficult to say whether the stylistic differences that can be noticed in Wurlitzer music over the years are attributable to its arrangers or merely to changing styles in American music.
Beginning with roll 6672, produced in early 1934, Wurlitzer cut some corners in its roll production process. The ember days of the band organ business were approaching and perhaps the incentive to cut really fine rolls was diminishing. Thenceforth, each roll contained only 6 tunes. To keep the 10-tune length and to permit advertising its rolls as being the "length of a ten tune roll," Wurlitzer simply repeated verse and chorus of each tune, note for note, until it played long enough to fill one-sixth of a roll. This practice reduced arrangement costs but made the tunes sound endlessly repetitious. (The Play-Rite recuts of 6-tune rolls avoid this shortcoming by combining two 6-tune rolls into one 12-tune roll, shortening each tune accordingly and alternating the tunes so as to preserve the proper tempo.) The practice of making only 6-tune rolls was continued by Wurlitzer's successors, the Allan Herschell Company and T.R.T. Manufacturing Company.
There are various stories about what became of the assets of its Roll Department after Wurlitzer decided to cease making music rolls in 1945. But the closest we can come today to the truth is contained in the recollections of North Tonawanda resident Douglas R. Hershberger from conversations he had with Ralph Tussing. When the Allan Herschell Company learned that band organ rolls were no longer going to be produced, the company probably realized that, without music being available, its carousel sales would be negatively impacted. Therefore Ralph Tussing was asked to go to the Wurlitzer plant and select anything needed for Herschell to carry on the band organ roll business, which Mr. Tussing was to run for them.
At one time Wurlitzer owned as many as twelve roll perforators, but most of them were scrapped as materiel for the WW II war effort. Mr. Hershberger remembers being told by an old-timer who lived near the Wurlitzer plant of seeing a mountain of scrap metal piled against the building. Ralph Tussing selected at least two perforators and their accompanying racks, a paper slitting machine, a master marker, and a huge quantity of roll masters, band organ parts, and patterns. Whatever he did not take for Herschell was junked by Wurlitzer.
The Allan Herschell Company's venture into the roll making business was short-lived, probably because of their development of the Merri-Org. (The Merri-Org was a 78-rpm record player with a large amplifier and three speakers housed in a case. Herschell is said to have had a special band organ constructed to play the music for the Merri-Org records, because although the Merri-Org music comes from style 165 rolls, the organ does not sound exactly like a Wurlitzer. The recording was done by the Howell Recording Studio, Buffalo, N.Y.) Apparently feeling relieved of the burden of running a full-scale roll making operation, Herschell sold the business to Ralph Tussing. Herschell produced only one style 165 roll (6691), in mid-1946, and not more than two or three rolls in the other Wurlitzer styles (125 and 150). How much of their output was simply material already started by Wurlitzer in 1945 and thus in the pipeline and how much was actually arranged and mastered by Ralph Tussing in the Herschell band organ department is uncertain.
Ralph Tussing (his name pronounced TWO-sing, not TUSS-ing, as is commonly supposed) incorporated with his son-in-law Lloyd Robins and son Gordon Tussing as the T.R.T. Manufacturing Company, North Tonawanda, N.Y., to carry on the band organ repair and roll-making business. Although Ralph was sometimes assisted by his son, he largely worked alone in his shop, first at 825 Main Street, later at 138 Miller Street. It would be interesting to know more about all this; but Ralph Tussing was not very motivated to pass his knowledge on to others, and much lore undoubtedly died with him on June 29, 1974.
A misconception exists that T.R.T. stands for "T. Ralph Tussing." The truth is that Ralph Tussing was born and died Ralph Tussing. The initials in the firm name represent the surnames of its three partners: Ralph himself, his son-in-law Lloyd Robins, and Ralph's son, Gordon Tussing, hence Tussing, Robins & Tussing. Unfortunately Ralph himself fostered the misconception by stating in a 1964(?) newspaper article for the Tonawanda News that "TRT stands for 'Tussing, Ralph Tussing'." (A similar misconception is that the large T in Wurlitzer's corporate monogram somehow reflects the way the Wurlitzer family wrote its surname; in fact, the large T is merely a matter of artistic design; examples of Farny Wurlitzer's holographic signature show no unusual formation of the "t" in "Wurlitzer")
Ralph produced his first new roll, 6692, in late 1946 and his last one, 6724, in 1967, whereupon the production of new rolls on a systematic basis ceased for good.
But perhaps not! Arrangers like Art Reblitz, Tom Meijer,
David Stumpf, and talented newcomer Rich Olsen still do custom arranging for the 165 scale. Don Stinson (Stinson Band Organ Company) is creating a
whole new market for 165 rolls through his manufacture of new band organs.
And there are several enthusiasts on both coasts who use 165 rolls to play
theater organs they have adapted to the purpose. The 1970's saw recuts for
almost all rolls become widely available: these rare and irreplaceable
survivors from a bygone musical and cultural era were copied by Play-Rite
Music Rolls, Inc., and sold by Ray Siou, of Oakland, Calif. Ray Siou is now
retired, but the occasional newly-discovered original roll can still be copied and made available by others (see introduction).
B.A.B. band organ rolls were all, or nearly all, arranged by J. Lawrence Cook, whose band organ arranging style was markedly different from the Wurlitzer style, even taking into consideration the fact that Play-Rite's B.A.B.-to-Wurlitzer transcription process necessarily altered the B.A.B. sound somewhat. Art Reblitz makes this comparison between the two styles:
"In general, Wurlitzer-made band organ rolls have the trumpets playing the sustained melody line, either with single notes, or two- or three-note chords, and with the melody section of pipes also playing the melody but doodling away with arpeggios, runs, and trills. This type of arranging provides the classic American merry-go-round organ sound.
"Many of the BAB popular music rolls were arranged by J. Lawrence Cook, who arranged nearly all of the QRS Word Rolls from about 1928 through the early 1960's. .... His BAB arrangements are characterized by switching the melody between the melody and countermelody [trumpet] sections of the organ, sometimes abruptly in the middle of a phrase, and often with no countermelody being played at all. The automatic registers and snare drum perforations in a 66-key BAB roll are different from those in a 165 roll, so the BAB rolls sound different when played on an organ for which they were designed than the conversion rolls sound on a Wurlitzer.
"Ralph Tussing may have been more careful in his earlier years of making band organ rolls, but in later years rolls were made with the perforator paper drive mechanism malfunctioning, with the result that the tempo sometimes speeds up and slows down throughout these rolls.
"My own band organ arranging style attempts to duplicate the arranging of a real band or orchestra, with many combinations of arranging occurring within each piece of music, rather than following a set formula. To date I have arranged over 200 music rolls, many of them for band organs."
Collectors who are familiar only with the Wurlitzer sound should listen to a few B.A.B. rolls to learn how different the music produced by one organ can sound depending on how it is played. For example, the bass drum is used so effectively on roll 493 -- in a Wurlitzer tune you never hear it beat continuously without pause from the beginning of a tune to the end, as you do in "The Poor People Of Paris" -- and the beat is sometimes so insistent that the Wurlitzer style seems quaint by comparison. It is unfortunate that the transcribed B.A.B. rolls do not make use of all of an organ's instrumentation: neither the castanets nor the triangle play, for example; their part is carried in a transcribed roll by the snare drum and the bass drum respectively, resulting in the effect just described.
Even the Wurlitzer sound has variations. The march/waltz rolls, early 10-tune rolls alternating marches (or one-steps or two-steps) as the odd-numbered tunes with waltzes as the even-numbered ones, are quite different in sound from the popular rolls numbered 6606 and up, which typically contain fox trots with a few waltzes. Still different are the classical rolls such as 6513, 6522, 6528, 6534, and 6537.
Ralph Tussing, who was a professional musician, arranged his own rolls. But the consensus seems to be, even making allowances for the monotony of the 6-tune roll, that his rolls never reached the level of consistent musical quality found in the earlier rolls. Perhaps part of this is due to the nature of the music he chose to arrange -- few show tunes, many contemporary rock-and-roll pop tunes and an occasional second-rate march gleaned from the past. Many Tussing arrangements do not exploit the capabilities of the organ, although they were sometimes capable of rising to the occasion in a tune like "Alley Cat," where the organ clearly meows like a cat.
One of the cost-cutting measures introduced after the switch to 6-tune rolls was the substitution of a lower quality of roll paper for the original green, dry-waxed paper that Wurlitzer used for so many years. Wurlitzer's earliest rolls were on unwaxed red (occasionally purple) paper, but the company had begun using the familiar green paper by the time it standardized its roll production (see Encyclopedia of Automatic Musical Instruments, by Q. David Bowers. Vestal, N.Y.: Vestal Press, 1972. Page 933). The tan paper used by T.R.T. after its supply of Wurlitzer green paper ran out was inferior, exhibiting several defects. With constant playing the surface of the paper tended to become abraded, causing tracker bar screens to become clogged with paper lint more quickly. Also that paper was less dimensionally stable with changes in outdoor air humidity, resulting in poorer tracking of the rolls. Moreover the tan paper was thicker than the green paper, resulting in bulkier rolls and consequently a greater difference in paper speed from a roll's beginning to its end. (Some people used to joke about T.R.T. rolls being cut on butcher paper, but that joke was close to the truth: Robert Moore, now a DisneyWorld technician, reports that Roseland Park, Canandaigua, N.Y., had a couple of rolls on orangish paper with a watermark that read "keeps meat fresh") It is fortunate that modern recuts use a paper very similar to the old green paper, although it is white.
As a positive note on which to end, it is worth observing that in 1925 a Wurlitzer 10-piece style 165 music roll sold for $30 in pre-depression currency. In modern times Ray Siou was selling Play-Rite recuts of the same roll for less than half that amount!
WURLITZER ROLL PERFORATORS
Most of the machinery in the Perforating Room of Wurlitzer's Roll Department
is known to us only from a company photograph taken March 1919. There were twelve production perforators in operation
in the long room, each machine watched over by a female employee and each machine numbered in white paint
on its side, as can be seen in the photograph on perforator no. 11, the second from the front. (The machine in the
immediate foreground, with the wire cage around its drive belt, appears to be the paper slitter used to cut
the blank paper as it came from the mill to exact roll width for use in the perforators.) A perforator by
itself is a fairly compact machine taking up only about three feet of floor space. The bulk of the space
in each perforator aisle is occupied by a wooden rack holding the dozen or more pre-trimmed rolls of blank
paper to feed the perforator, plus at the other end of the perforator a take-up spool rack, holding a like
number of spools on which the finished perforated rolls were temporarily wound, pending final spooling,
labeling, and boxing.
Perforators no. 11 and 12, their paper racks and take-up racks, the master marker, and the paper slitter are the only pieces of machinery from that room whose whereabouts are known today. These artifacts are on display, and perforator no. 12 is in use, at the Herschell Carrousel Factory Museum, North Tonawanda, N.Y., along with all surviving cardboard masters used to run the perforators. Shown below are perforator no. 12 and its take-up spool rack.
For an illustrated description of the roll-making process, see HOW WURLITZER ROLLS ARE MADE, then return here.
SIXTY-SIX-KEY B.A.B. ROLLS 001 TO 044
Using Ozzie Wurdeman's notebooks, information from Larry Villano and George Karpel, and labels from rolls in various collections, we have attempted to reconstruct the contents of the forty-four 66-key rolls produced by B.A.B. during its existence. In addition, one ten-tune roll was arranged by J. Lawrence Cook for a group including Villano and Karpel in 1971; that too is shown at the end of this list.
Some of the listings below may unwittingly be based on Wurdeman recuts rather than on original B.A.B. rolls, as may be the case with roll 039. It is possible that Ozzie Wurdeman, lacking the master for a certain tune that was supposed to be on the roll, substituted another tune in producing his recuts.
Lack of tune numbering in a few cases indicates that the order of tunes on the roll is unknown. Copyright dates for tunes are shown as an aid to dating the rolls, as well as for their value as a check on tune identification. Composers are not shown except in a few cases where the information is not obtainable from one of our Wurlitzer roll catalogs.
The tunes listed below are some, but not necessarily all, of the tunes for which 66-key masters exist but which could not be given their place in one of the 44 B.A.B. 66-key rolls above:
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