february 1967

TH
OU
 TABLE OF CONTENTS

3 Our Purpose . . . . . . . . . . . . . . . . . . . . . . . . Gary Karr

The Post's Post

5 Georges E. Moleux. . . . . . . . . . . . . . . . . . . John Finnegan
6 Letter from Fabien Sevitzky
7 The "Czech bow". . . . . . . . . . . . . . . . . . . . Frantisek Hertl

More from our Members

8 What should it be called?

The Topic of Next Issue Posted

9 "The Problems of the Left Hand"

Special Feature
10 "Scotty left an Impression" . . . Bert Hanson

12 The Jobbing Post . Warren Benfield

14 The Trading Post

15 The Members of the International Institute for the String Bass

 THE BASS SOUND POST

Gary Karr, Editor of THE BASS SOUND POST

Director of the International Institute for the String Bass

Office: Extension Music Department

University of Wisconsin
Madison, vVisconsin 53706
Telephone (608) 262-2027
Administration, University of Wisconsin
Fred Harvey Harrington, President
Robert L. Clodius, Vice -President of the University
Donald R McNeil, Chancellor, University Extension
George Strother, Assistant Chancellor
Harold Montross, Dean, Division of Professional and Liberal Education
Emmett R. Sarig, Director of Music, Extension
University of Wisconsin

NEWSLETTER

With each International Institute for the String Bass membership, copies of the
BASS SOUND POST will be included.
The annual subscription and membership fee is $2 . 00.

BOARD OF ADVISORS

International Institute For the String Bass

Murray Grodner - Indiana University, Bloolnington, Indiana

Roger Scott - Philadelphia Orchestra, Curtis Institute of Music, Philadelphia,
Penna.
Stuart Sankey - ]uilliard School of Music, New York
Lion Groen - Netherlands Chamber Orchestra, Amsterdam, Holland
Ray Brown Bass Soloist, Los Angeles, California
Eugene Wright Dave Brubank Quartet, New York
Bert Turetsky - University of Hartford, Hartford College of Music, Hartford,
Conn.
Kenneth Winsted - University of South California, Los Angeles
Edward Krolick - University of Illinois, Champaign, Illinois
Warren Benfield - Chicago Symphony, Northwestern University, Chicago, Illinois
]anles Clute - Minneapolis Symphony, University of Minnesota, Minneapolis, Minn.
Theron McClure Ohio State University, Columbus, Ohio
Lucas Drew University of Mialni, Coral Gables, Florida
Henry Portnoi Boston Symphony, Boston University, Boston, Massachusetts

2
 OUR PURPOSE
This Bass Sound Post is the voice of the voice of the International Institute for the String
Bass, which is being conducted under the auspices of the Music Extension of the University of
Wisconsin. The purpose of the Inagazine is to inform its subscribers of the Institute's activi-
ties, including, of course, keeping them posted on job opportunities, and passing on to the
bassist valuable information concerning his instrument. The Bass Sound Post is designed to
attract the interest of all bass players, jazz and classical, student and professionals, so that
they might benefit from and perhaps participate in the conferences held by the Institute.

The International Institute for the String Bass has been created to raise the standards of
the string bass. It, therefore, will investigate from} position
playing techniques to recording engineering techniques. It will investigate all
--------"----
of the instrument such as; rosins, strings, end -pins, bows, bow hairs, bridges,
bass sizes, sound -post adjustments, bridge adjustments, string tension, tail pieces, finger
board shapes and contours, bridge shapes and contours, bass bar alignments, neck placenl.ents,
tuning machine positions, and so on. The Institute will discuss and evaluate all technical and
educational to the bass such as: the three finger method, the four finger method,
the Smandl school, the Bille' school, the Ray Brown school, the extended fingering method,
the gut -string approach, the metal string approach, the orchestral training, the solo training,
the jazz training, the various French bow methods, the numerous German bow methods, etc.
The Institute will eventually possess a complete library of string bass music and will endeavor
to make known its contents to the members of the Institute by publishing evaluations of the
ilnportant materials and by making available, by rental, music such as orchestrations, old
editions, unpublished works, which are difficult to obtain.

How will the International Institute for the Bass achieve its The attain-
ment of our purpose can only be achieved by conferences and intensive research. The con-
ference will serve to assimilate and discuss all possible areas of worthwhile interest to the
attending participants. We expect that the conference will embody a group of bass players
representing many of the varied approaches to double -bass playing. This amalgamation of any
ideas and opinions will not be expected to establish universal principles regarding our instru-
ment. We predict, however, that a conference of bass players will succeed in weeding out the
very best solutions for handling the problems facing today's bassist. The first such conference
will be held on the campus of the University of Wisconsin at Madison under the auspices of
the University of Wisconsin Extension from June 12 to June 17, 1967. For the tuition fee of
$50, the 100 participating students and professionals will be offered the privilege of attending

3
all the scheduled events. The University of Wisconsin, to insure focused activities in the many
realms concerning the problems of the String Bass at the conference, will invite five specialists,
the names of whom will be announced in the next issue of the Bass Sound Post and in a special
brochure. In this group of men we hope to include a jazz bass specialist, an orchestral bass
specialist, a specialist in the field of bass education, a bass repairman, and a bass soloist co

The research programs of the International Institute for the String Bass will include the com-
missioning of new bass repertory the offering of scholarships, and the offering of grants to
activate the scientifically technical programs concerned with improved physical materials to
satisfy the needs of the existing basses. In order to support the above endeavors vve will estab-
lish a fund, the monetary source for which will be derived from annual membership dues, con-
tributions, commercial advertising in the Bass Sound Post, and special fund-raising efforts.

The International Institute for the String Bass will make it possible for bassists throughout
the world to combine their knowledge in order to solve present day string bass problems and
to raise the standards of our greatly neglected instrument. In this way The International
Institute hopes to make its contribution to the Renaissance of the string bass.

4
 THE POST'S POST
GEORGES E. MOLEUS, 66, LONG WITH SYMPHONY

MARSHFIELD - -Georges Edmond Moleux, who retired this year as principal double bass
player with the Boston Symphony Orchestra, died Wednesday at his home on Forest St.. He
was 66.

As a boy of five in his native Boulogne -sur -Mer.. France, Mr.. Moleux began to study
solfeggio, the practice of scales. When he was 12 he was studying double bass and clarinet
and at 20 he received first prize at the Paris Conservatory for both instruments .

Before joining the Boston Symphony in 1930 at the invitation of Serge Koussevitzky, Mr .
Moleux was first clarinetist at the Monte Carlo Orchestra and principal double bassist of the
Pasdeloup Concert in Paris. He became principal double bassist of the BSO in 1939 .
While in Boston, he served on the faculties of the New England Conservatory of Music,
Boston University School of Fine and Applied Arts and the Berkshire Music Center.. His hobby
was conducting and arranging music for bands .

Mr . Moleux leaves a wife, Sandra (Robertson), and a son by a former marriage, Peter
G. Moleux of Newton.

A requiem Mass will be sung by Rev. Peter Blynn at the Church of the Advent, Boston,
Friday at 11 a . m.. Burial will be in Woodlawn Cerrletery, Everett .

As per the above information, Georges Moleux, longtime Principal of the Boston Symphony
bass section died earlier this month after a long illness. He was unable to complete his last
season with the BSO.. I bring this to your attention because I know that literally hundreds of
bassists, many of them now in high positions, worked under him at Tanglewood, where he was
in of the bass department since the school opened pre-World War II. Not mentioned
in the clipping, I know he has performed the "Trout" with the Budapest Quartet and Szell on
Piano, and I think he recorded it with them as well. This happened in about 1948 or 1949.

As a former pupil of his, I was reminded of something he used to say regarding the
first line of your letter, namely, "Which bow, etc ...... French or German?" Himself a pupil of
Nanny French Bow, of course he observed in his Parisian accent which conveniently (?)
never left him, "Anysing you can do with ze French Bow you can do with ze German Bow and
anysing you can do with ze German Bow you can do with ze French bow, but .... with ze French
Bow eet is eeeasier."
John A. Finnegan
Salem State College, Massachusetts

5
Mr.. Gary Karr
Extension Music Department
University of Wisconsin
606 State Street
Madison, Wisconsin

Dear Gary:

It was very nice to receive the pamphlet concerning your work .

Now you realize how difficult it is to be a double bass virtuoso.. In my

time I tried every possible avenue to promote double bass as a solo instrument .
It was in some places successful- - in some places it was not successful.. There
is tremendous competition in the field of music, and particularly when double
bass starts to compete with cello.. I wish we could open that avenue of prejudice
against double bass soloist"

You must understand that I still love my instrulnent on which I spent almost
half of my life, with endless practicing and perfecting myself, only to find the
limited possibilities of exploiting my art.

When I learned that you played with Bernstein, I thought that an audience
and vast possibilities had arrived for the double bass.. When I was in Russia
last summer I heard two remarkable double bass players, and they were wonder-
ful. I don't remember their names"

I wish you all the best with the establishment of the International Institute
for the String Bass and your conference in June .

As ever,

Fabien Sevitzky

FSjis

6
FRANTISEK HERTL
nam. Kubanske revoluce 18
Praha 10-Vrsovice
Telef. 92-60-78

Dear Mr. Karr,

I received your printed letter from my colleague, Mr. E. Kirschner, from

Denmark, who sent you in my name the respective blank and the subscription
and membership fee, so that I take for granted that I am now a member of the
established International Institute for the String Bass.

I am a double-bass teacher at the Prague University of Music, Academy

of the music arts, where the double-bass class has enjoyed a famous tradition .
The Prague Conservatory of Music is the oldest one in the Middle Europe, being
founded in 1811, and those who finished their studies at this Conservatory
founded the double-bass classes in the other Musical Conservatories throughout
Europe.. They were mainly: Hrabe, Geissel, G.. Laska, F. Simandl, Fr.
Shima, the first professor at the Conservatory in Vienna, E . Storch, V . Sladek,
Jos. Rambousek, professor at the Conservatory in Moscow and teacher of S .
Koussevitzki, etc .

The Music Conservatory in Vienna was founded only after the Prague Con-
servatory' the Conservatory in Berlin in 1871 and in London in 1823 .

We, the czech double-bass players are of the opinion that it is correct to
call the bow "Czech bow" and not "German bow . " The Czech double -bass player,
V . House, the first teacher at the Prag-Conservatory created the first method
the double-bass play and embodied in the law the holding of the bow and the
technique of the left hand .

Why then do we call the bow German?

The name "German" has its origin in the following history: The German
considered Prague up to 1918 as a German city and also Vaclav I-:Iouse as a
German; they called him Wenzel Hause.

There is in Czechoslovakia a lot of literature for double-bass, which, I

thinl< can be of interest for you.. We, on the other hand, are interested in the
new compositions.. And all that is why I would like to come in contact with you .

I should be very pleased to get your early news about the establishment of
the International Institute for the String Bass and about the proposed conference .

Sincerely yours,

Frantisek Hertl
Professor of the University of Music in Prague

Prague, am Januar 22, 1967.

7
 ORE FROM OUR EMBERS
WHAT SHOULD IT BE CALLED?

"Just what is a double-bass anyway? It's worth two dollars to find out?" ......
B. Thomas (Columbus, Ohio).

Well, here's some thoughts and answers that have already been sent to the Bass Sound
Post. Walter Coplin of West Virginia University says: I suggest we decide on a name to
call the instrument, and then stick with that name. Let's look at some of the names in use .
Take Double Bass -this name is good because the French Contrabasse, the Italian Contrabasso,
and the German Kontrabass all use the prefix Contra or Kontra literally meaning "double,"
since the instrument doubles the tone an octave lower than it is written. However, the tuba
and the Sousaphone are also double basses for this same reason, and this could at times be
confusing.. How about Bass Viol? This would be good because the ancestor of the present
bass was a member of the viol falnily. However, those instruments were flat-backed, and
there are not so many flat -backed basses around today" (or are there?) Some call it the Bass
Violin. This may be quite true genetically, but it brings up visions of something you might
hold under your chin.. Of course, Bass Fiddle is used mostly in ridicule, but the name I like
best is String Bass helps to distinguish this instrument from the brass bass
(tuba) and from the electronic bass or Bass Guitar. I vote to call it String Bass .

We do too! ,. your editor

8
 THE TOPIC OF NEXT ISSUE POSTED
THE PROBLEMS OF THE LEFT HAND

Kurt Schuster - Evansville University - Indiana

"Should we drop the 'i' positions on the string bass? How about learning to finger the
bass by intervals? 'eg. Major 3rds (40n D, 2 on G, or 2 on D, 1 on G); Minor 3rds
(4 on D, one on G); octaves using the first and fourth fingers across the strings, etc."

Eugent Cruft - Oxford University Press, London

"If I had a very large hand, I might think of using the third finger in the lower positions,
but as mine is rather on the small side, I do not. I sometimes use the thumb for cer
tain passages rather than use extensions."

Gerald von Klein - Instrumental Director, Wisconsin

"If Franz Simandle is passe, then what methods?

Ivan Policoff St. Paul, Minnesota

"What are the problems of the left hand in adapting solo cello literature for the bass?"

Don Carlton - Boise Philharmonic, Boise, Idaho

"How about developing a so -called set of standard bass fingerings and bowings for the
orchestral repetoire?"

Robert Hartsfeld - Toledo, Ohio

"Is there a comprehensive exercise in which every practiced note is played with several
different, practiced ?"

Basses come in all kinds of sizes with string lengths measuring from 35 inches to 44
inches. So do left hands but, of course, the proportions are different. These two factors
should determine the choice of fingers and the method by which the left hand is used. That?s
why we have so Inany different schools of thought regarding bass fingering. And that's why
we feel that we must be aware of and understand the different ideas being used by other
bassists. Perhaps his idea will be new to you. Perhaps it will help you to play better.

Please send ideas to the Post!

9
SPECIAL FEATURE
"SCOTTY LEFT AN IMPRESSION"

Summer in Lake Tahoe, Nevada, is idyllic. The air is rarified at 6, 000 feet, above
sea level, and permeated with the scent of pine trees. The color of the lake is vibrant blue
with enough white caps to create a subtle impression of restlessness, although the sky is
clear and calm.

My two companions on the north end of the Lake Tahoe beach were Pat Moran, a tiny
attractive brunette girl jazz pianist, and Scotty Lo Faro, a musical giant of the string bass .

That summer of 1959 was my 'first personal contact with Scotty. I had heard him play
many times in Los Angeles, but had never had the opportunity to talk with him at length on
any topic. Therefore, the afternoon I'm referring to is one of my most pleasant recollections.
Let me share some of the details, as well as magical moments that remain .

All three of us were simply basking in the sun, taking an occasional dip in the water
separately.

Pat was quiet, I didn't feel like talking, and Scotty was occupied with his own thoughts.

We were together, but then again we weren't. Sometimes communication does not re-
quire conversation.

Scotty was about 5'9" tall, slender, brownish-haired, and as he stretched out on his
towel with his hands behind his head, supposedly relaxing, I noticed that his abdominal muscles
remained taut. He was restless. Suddenly he jumped to his feet, and announced that he was
leaving to practice. Scotty practiced the bass by playing along with records. He carried an
extensive collection of recordings by all the jazz greats and a portable phonograph wherever he
went.

Many bass players are so involved with pitch and chord changes, they forget about the
rhythm and figurations that can be created. Scotty had perfect metre and time.. He also had
an in1agination and spirit of adventure.

The bass is one of the most difficult instruments for self-expression, but Scotty Lo Faro
charged ahead with such fierce detern1ination, aggressiveness, and improvisational ingenuity,
his great ability was quickly recognized.

Those of you who have slaved away in a rhythm section at a session know what it is
to play 99 choruses of the blues, feeding "lines" to trumpet or saxaphone, and then when the
time comes for your chorus, to be spent physically and musically.. At this point Scotty simply
grew stronger and more creative. Listen to the many beautiful and original solos he has

10
 -2 -

played on record! His teacher was himself, and the sum total of all his impressions and
feelings always came to the surface through his playing"

Scotty's formula for his rhythm style of playing was to always search for the "open
holes" in an arrangement, then to instinctively "wail in" some little riff, that always seemed
to fit the mood of the piece.

His choruses were a potpourri of double stops, staggered triplets, scale -like sixteenth
notes, etc. The entire chorus or choruses he played had the meticulous construction of a
fine watch.

Listen, learn, and profit from the contributions of the late Scotty Lo Faro. Perhaps
some of his truly creative jazz playing will inspire you to further your efforts.

One vital area of the development of any musician is that of listening, and most of us
don't devote enough time to it. It is surprising how many "new" things we hear when we
listen to the same recording over and over.

I believe Scotty's fluid melodic ideas stemmed from the influence of the great sax and
trumpet players he listened to. He told me that whenever he played a chorus, he never felt
that he had to "lay down" a beat at the same time. He felt that one of the biggest mistakes
made by bass players was that they try to keep the rhythm section swinging, and play a solo
simultaneously. That concept is probably part of the reason for his overlapping phrases that
created cadences that had an uneven number of bars"

There are only a handful of jazz bassists who have carved a permanent niche for thelTI-
selves in the "Bass Players Hall of Fame!"

Scotty La Faro is one of them.

Bert Hanson
Jazz Bassist, N" J"

11
 THE JOBBING POST

JOB OPPORTUNITIES

February is hardly a good time for job openings in the Symphony Orchestra" On rare
occasions an opening does occur in the middle of the season due to illness or death; however,
Spring is the time when orchestral positions are publicized"

How does one hear of job openings? In my case, I sometimes hear directly from con-
ductors or through my students who are scattered throughout the world in various orchestras.
The usual way, of course, is for the applicants to write directly to several orchestras and
ask if there are any openings. The International Institute for the String Bass may prove to
be a valuable Clearing House for "Job Opportunities,," This will also include jobs for Jazz
Musicians as well as Symphonic bassists. It is our hope that the Institute will be informed
immediately of all job openings so that this portion of the Bass Sound Post will become an
invaluable source for latest information.

There are several openings that I know of: Max Rudolph was looking for a Principal
Bass in Cincinnati. He heard several players last Spring but did not fill the vacancy.. He
wants a mature person, I would guess someone over 30 years of age.

The North Carolina Symphony Society has some openings for the second segment of
their season which runs from April 2 until May 24" The salary is approximately $130" 00 per
week" Applicants should write to Benjamin F" Swalin, Chapel Hill, North Carolina"

In a letter dated 3/3/66 from the New Zealand Consulate General, 630 Fifth Avenue,
New York, New York, the following offer was made:
Applications are invited to fill one vacancy in the New Zealand Broadcasting
Corporation Symphony Orchestra as Principal in the Double Bass Section, at a
starting salary of 1590 pounds and for several vacancies for bass section players
at a starting salary of 1415 pounds. Continuous full employment is offered with
paid sick leave provisions, and optional participation in retirement fund. Additional
allowances are paid for dress, instruments, doubling and touring. Outstanding
applicants may qualify for over -scale payments to the annual salary" Three weeks
annual leave is granted plus statutory holidays"
The orchestra has a twenty-five hour work schedule per week"
Please state full details of orchestral playing experience, musical experience,
qualifications and age and apply in the first instance to The New Zealand Consulate
General, 630 Fifth Avenue, New York, New York 10020.

Virginia Sylnphony Orchestra

William Penny Hacker, Music Director

12
 -2 -

standard symphonic with much opportunity for solo concerti.

Area: weeks in New York State and Virginia with southern and southwestern
states tour.

touring situation with concerts most every night" Educational programs

enroute.

Salary: On private contracting basis with no deductions.

catagories $650 total ten weeks (Apprentice)

$750 :; (Regular Prof. experience)
$1000 " (first chair quality)

HOTEL FURNISHED DURING SCHEDULE

additional week at $100. possible for some mUSICIans in chamber
group concerts in Virginia in String Quartet, Harp Trio, Woodwind
quintet, Brass Quintet
(during pre -Easter week layoff). Hotel furnished.

Travel: by air -conditioned bus.

Contact: William Penny Hacker, music director

316 Second Avenue, New York, New York
GR 5-3135 or ac 914 562-6874
applications also for summer schedule
LAKESIDE, OHIO (symphony and chamber music) six weeks
July-August

in an audition?

In that I have been present at numerous auditions with well known conductors, I should
like to state what is generally given for an audition:

A scale, a solo of your choice and then perhaps a Mozart Symphony, 35, 36, 37, 38,
39, 40, or 41. Beethoven, usually the recitative from the 9th, the Scherzo from the 5th
Symphony and possibly any of the other 7 Symphonies. The Solo in Othello and
The 3 Weber overtures might be asked for, Euryanthe, Oberon, or Der Freischutz. One
should know the solo in Mahler's 1st Symphony and the solo in Lieutenant Kije by Prokofieff.
Saint Saens "Elephant" from the "Carnival of the Animals" might also be heard.

Do or classical
Benfield % the International Institute for the String Bass, University of Wisconsin Extension
Music Department, Madison, Wisconsin.

13
 THE TRADING POST

HAVE YOU ANY BASSES FOR SALE?

This part of the Bass Sound Post will be reserved for publicizing the privately-owned
instruments that are available for purchase.. Perhaps you have a bow, or loads of bass
music, or what have you " " " "if it ties in with the string bass and you want to
sell it to bassists, here's the place .

Please send in your ads to:

The Bass Sound Post

University of Wisconsin
Extension Music Department
606 State Street
Madison, Wisconsin 53706

Those ads received before April 1, 1967 will be printed free of charge.

14
 The Members of the International Institute
for the String Bass
February, 1967
Henry Adams, Greensboro, North Carolina
Philip Albright, Muncie, Indiana
Richard Alleshouse, Toledo, Ohio
Clyde Anderson, Minneapolis, Minnesota
David Andre, Edmonds, Washington
Pamela Andrews, Aurora, Illinois
Lawrence Angell, Cleveland, Ohio
As Harlow Atwood, White Plains, New York
Mary Boise, Idaho
Robert Barney, Interlochen, Michigan
Raymond Baumgardt, Evansville, Wisconsin
Sister Mary Benedict, Racine, Wisconsin
James Bernhardt, Hillsdale, Michigan
Calvin Bisha, Fort Wayne, Indiana
Virginia Bodman, East Lansing, Michigan
Ronald Bozicevic, Oberlin, Ohio
H . Stevens Brewster, Aunandale, Virginia
Harold Brown, Burbank, California
Sue Burroughs, Brookside, New Jersey
Barnett Bzman, New York, New York
Frank Carroll, Freeport, New York
Don Carlton, Caldwell, Idaho
Arthur Castle, Columbus, Ohio
Anthony Cipriano, Bluffton, Indiana
Warren Claunch, Silver Hill, Maryland
Irving Cohen, Brooklyn, New York
Rochelle Cohen, Phoenix, Arizona
Linda Collins, Detroit, Michigan
Clayton Wolfe, Independence, Missouri.
Walter Coplin, Morgantown, West
James Croft, Oshkosh, Wisconsin
Eugene Cruft, London, England
Robert Cunningham, Brooklyn, New York
William Curtis, Needham, Massachusetts
Gulio D'Antonio, Howard Beach, New York
Arthur Davis, Peekskill, New York
Paul Davis, Dawson Springs, Kentucky
Viefa Day, Mansfield, Ohio
Emilio De Palma, Los Angeles, California
Derald De Young, Columbus, Wisconsin
George Duvivier, New York, New York
Georgia Dillon, Bellevue, Washington
Dean Duncan, Midland, Michigan
Charles Eakin, Boulder, Colorado
Victor Ellsworth, Syracuse, New York
Victor Estes, Seattle, Washington
15
Walter Fandrich, Madison, Wisconsin
Joseph Feinberg, Ann Arbor, Michigan
John Finnegan, Danvere, Massachusetts
Edward Fish, Midway, Washington
Robb Fisher, Redlands, California
Parker Foley, Tucson, Arizona
Richard Fredrickson, Seattle, Washington
James Hoopeston, Illinois
W . Charles Fuller, Ellensburg, Washington
Linda Gannett, New Orleans, Louisiana
Rodney Gibson, Sheboygan, Wisconsin
Winifred Giles, Galesburg, Illinois
Samuel Goldman, Los Angeles, California
Edgar Gomez, Jackson Heights, New York
Jay Grauer, Orange, California
Mel Graves, Columbus, Ohio
William Gray, Carbondale, Illinois
Nancy Green, Seattle, Washington
Nat Greenburg, Fort Wayne, Indiana
Murray Grodner, BlooIT1ington, Indiana
Ernest Gruen, New York, New York
Finn Hansen, Sonderborg, Denmark
David Hanson, Perrysburg, Ohio
Michael Hardy, Columbus, Ohio
Francis Harlow, Dearborn, Michigan
Jane Hastie, Larchmont, New York
Robert Hartsfeld, Toledo, Ohio
Dennis Hemmer, Sandusky, Ohio
Henderson, Moscow, Idaho
Frantisek Vrsovice, Czechoslovakia
Tom Holets, New Buffalo, Michigan
Donald Homuth, San Jose, California
David Hoover, Plymouth, New Hampshire
Lawrence Hurst, Ann Arbor, Michigan
Frank Isenberg, Price, Utah
Charles Isreals, New York, New York
John Jensen, Copenhagen, Denmark
Fred Johnson, Columbus, Ohio
Joe Karr, Los Angeles, California
David Kaszubski, Toledo, Ohio
Harvey Kaufman, Philadelphia, Pennsylvania
Kathleen Keck, Lancaster, Pennsylvania
Richard Kelley, North Hollywood, California
Edward Key, West Orange, New Jersey
Eric Kirschner, Augustenborg, Denmark
Gerald von Klein, Patch Grove, Wisconsin
 - 2-
William Kramer, Huntsville, Texas
Ed Krolick, Champaign, Illinois
Lambert Kroon, Kalamazoo, Michigan
James Krummenacher, Pittsburgh, Pennsylvania
Diana Lannett, Iowa City, Iowa
Gary Lawrence, Columbia, Missouri
Donald Lewandowski, Detroit, Michigan
Marvin Lewis, Port Jefferson, New York
Royce Lewis, Smithtown, New York
Barry Lieberman, Interlochen, Michigan
Robert Lorenz, Milwaukee, Wisconsin
Cory Lyon, Midland, Michigan
Charles MacCluer, Ann Arbor, Michigan
Jerome Magill, Portland, Oregon
Kasper Malone, Tucson, Arizona
Marchant, Fond du Lac, Wisconsin
Leona Marek, Vermillion, South Dakota
Susan Matthew, Hopkins, Minnesota
Theodor Mayer, Buffalo, New York
Robert Meyer, B. C. Canada
Stafford Miller, Seattle, Washington
Tom Miller, Cheboygan, Michigan
Walter Mison, Detroit, Michigan
Thomas Monohan, Toronto, Canada
Frances Moslen, Los Angeles, California
Ray Neapolitan, North Hollywood, California
Gladys Niesen, Middleton, Wisconsin
Eldon Obrecht, Iowa City, Iowa
John 0 'Donnell, Elgin, Illinois
Vera Olson, Madison, Wisconsin
Ralph Pena, North Hollywood, California
Lynn Peters, Bloomington, Indiana
Ellsworth Peterson, Lansing, Michigan
Frank Pinkerton, Anchorage, Alaska
Henry Pinter, Geneva, Illinois
Daniel Pliskow, Oak Park, Michigan
William Plummer, Lake View Terrace, California
Ivan Policoff, St. Paul, Minnesota
Henry Portnoi, Newton Center, Massachusetts
Frank Proto, Cincinnati, Ohio
Edward Rainbow, Denton, Texas
Mark Ressler, Jacksonville, Florida
Paul Rickmeier, Milwaukee, Wisconsin
Paul Robinson, Muncie, Indiana
Edna Rollin,
Emmett Rothe, Bowling Green, Ohio
Raymond Rozelle, Wausau, Wisconsin
Roger Ruggeri, Milwaukee, Wisconsin
16
Armaud Russell, Honolulu, Hawaii
Clyde Russell, Jr., Milwaukee, Wisconsin
Robert Sattler, Rochester, New York
Dale Schmidt, Arlington, Virginia
Kurt Schuster, Evansville, Indiana
Paul Scimonelli, District Heights, Maryland
Roger Scott, Lansdowne, Pennsylvania
Arlene Seaman, Royal Oak, Michigan
David Seymour, Plano, Illinois
Harry Shuman, Detroit, Michigan
Richard Simons, Springfield, Ohio
James Smith, Stephenville, Texas
John Smrekar, Wausau, Wisconsin
Johnny Solvberg, Copenhagen, Denmark
Felix Spooner, Jr . , Bemidji, Minnesota
Carleton Spotts, Columbia, Missouri
Neil Stannard, New York, New York
William Stansell, Lakewood Club, Michigan
Robert Stewart, Lexington, Virginia
Roy Stock, Bainbridge, New York
S. Daniel Swaim, Wichita, Kansas
Kenneth Swanson, Springfield, Missouri
Margaret Swett, Lombard, Illinois
James Tabbert, Sheboygan, Wisconsin
Bert Thomas, Columbus, Ohio
William Tisdall, Lexington, Kentucky
Marvin Topolsky, Brooklyn, New York
Sidney Townsend, Reymondsburg, Ohio
Patrick Tully, Milwaukee, Wisconsin
Alexis Valk, Bostoil, Massachusetts
Sister St. John Ven Horst, Ottumwa, Iowa
Walter Voyvodich, Pittsburgh, Pennsylvania
Gregory Walsko, Muncie, Indiana
David Walter, New York, New York
James Weber, Marshfield, Wisconsin
Jane Wedeking, Bellevue, Washington
Marian West, San Francisco, California
Joseph White, Tel-Aviv, Isreal
Joseph Willens, Chevy Chase, Maryland
Kenneth Winstead, Los Angeles, California
Robert Wiseman, Castro Valley, California
P. Stephen Woerner, Indianapolis, Indiana
Wofford College, Spartanburg, South Carolina
Lyle Wolfrom, Richmond, Kentucky
David Wundrow, Brandywine, Maryland
Larry Zgonc, Portland, Oregon
Oscar Ziegenbein, Ashland, Nebraska