TRUMPET TRANSCRIPTIONS Etec by JAY ARNOLD L Xr ROBBINS MUSIC CORPORATIONsz LEON BISMARCK BEIDERBECKE was born on March 10, 1903, in Davenport, Iowa. There was an abundance of musical talenc in his family. His grandfather was leader of a vocal group in Davenport. His mother performed on both piano and organ, and his uncle, Al Peterson, was alocal band leader and cornetist. At the age of three, “Bix” was already picking out melodies at the piano. During his youth, Bix was first a student of the piano, preferring, how- ever, to play by ear rather than from the printed page. Later he was inspired to transfer his musi- cal activities to the cornet, which he taught himself to play. Ae this time Bix used to like to play slong with phonograph records. While he was in high school, he used to go out to the Poppy Gardens roadhouse, near Geneseo, Ill, and sit in with Carlisle Evans’ band. In the Fall of 1921, Bix entered Lake Forest Academy in Chicago where he was much more successful musically than schol- astically. During this time Bix headed his own dance orchestca. His stay at this school was short, and was followed by a period during which he did odd musical “jobbing” around Chicago. In October, 1923, Bix obtained a steady job in Stockton, Ohio, with a small band, at the Stock- ton Club. Tc was during the long hours of playing on this job chat Bix had ample opportunity to improve his playing. The club catered, to quite an extent, to a rather low-brow crowd. On New Year's Eve, certain rival underworld factions were attending the club, and a fight started which ended in a riot. During the excitement the band played China Boy continuously for over an hour. This disturbance was the climax of the job, and resulted in the place “folding.” Arrangements were quickly made for the band to move to another spot, and, about two weeks later, they opened at Doyle’s Dance Hall, in Cincinnati, Ohio. During this engagement, their first Gennett records were made, The boys had to leave after their night session at Doyle's and drive to Richmond, Indiana, ‘Through the efforts of Hoagy Carmichael, the band was induced to leave after about three months at Doyle's to do some “‘jobbing” at the University of Indiana, ‘The band also played at the Casino Gardens in Indianapolis during this period. Starting in August, 1924, the boys played for about five weeks at the Municipal Dance Pavilion at Gary, Indiana. After this stay, the group moved to the Cinderella Ballroom in New York City. Bix played at this spot for a month or so, and then left the band. ‘The small group with which he had spent the “polishing-up” period of his playing life, and made musical history, was the Wolverines, eles From New York, Bix made a move back to Chicago, and went to work at a spot called the Ren- dezvous, with Charlie Straight’s band. At this time Bix used to listen after hours to many of the colored performers in Chicago at that time, such as King Oliver, Louis Armstrong and Bessie Smith, the blues singer. ot3 ‘This period lasted only for a few months, and was followed by a stay in Detroit, during which Bix became acquainted with some of the boys working for Jean Goldkette. This was followed by 4 year’s engagement in St, Louis, where Bix worked at the Arcadia Ballroom in a group headed by Frankie Trumbauer. This was the beginning of a very significant association, because much of Bix’s best work on records was done Iater in groups headed by Trumbauer. During this time Bix had the opportunity to attend many symphony concerts. In the realm of serious music, his taste wat in the direction of the modern composers. The whole-tone scale, used so much by these composers, impressed Bix profoundly. Proof of that lies in his piano solos and in much of his improvising on the cornet. The St. Louis period was ended with Bix and Trumbauer moving into the Goldkette band, which had in ic many other stars. With Goldkette, Bix played at the Blue Lantern Inn, at Hudson Lake, in Indiana; Castle Farms, Cincinnati, ©. Roseland Ballroom, New York Citys Greystone Ball- room in Detroit, and many other places. ‘When the Goldkette Band finally broke up in the fall of 1927, severil of its members joined Adrian Rollini to form a band that opened the New Yorker Club. This spot closed after two weeks, and Bix began a new chapter in his life by joining Paul Whiteman in November. Many of the Whiceman records feature Bix as soloist; some of them only as leader of the brass section in rhythmic passages. At this time Bix was also recording with smaller groups assembled e:- pecially for the record dates. ‘The hard work with the Whiteman group seemed to be too much for Bix, and his health began to fail. He was forced to take a leave of absence to try to recuperate, Part of this time was spent in his home town, Davenport, where he played for a short time with a local band at the Le Claire Roof Garden, in the fall of 1930, In the spring of 1931, Bix returned toNew York, but never rejoined Whiteman. He “jobbed” around the city, made records, did a lirele radio work, and even played for 2 few nights with the Casa Loma band. One night during the first part of August, 1931, Bix got out of a sick bed (he was suffering from a bad cold) and drove to Princeton to play a job. The drive there and back and the job itself were too much for Bix’s weakened system, He contracted pneumonia and passed away a few days later, on August 7th, 1931,In his comparatively short life, Bix Beiderbecke not only rose to fame in the annals of modern rhythm music, but in the hearts and aspirations of a new generation, his creative genius has become paramount goal toward which all musicians strive, To those who inherit the future of modern rhythm music, Bix left a rich legacy of recorded music by which the standard of style perfection is measured. ‘The best of this music has been faithfully transcribed from his recordings onto these pages to afford the ambitious musician an opportunity to imbibe this brilliant, inspiring style of trumpet virtuosity.FIDGETY FEET 5 It is generally agreed that this is the first record that Bix made, Originally recorded for Gennett, ic has been re-issued as HRS No. 22. A playing of the record reveals that Bix’s tone and vibrato were not yet developed fully, ‘The tone is not the pure round flow of sound that you hear on later re~ cordings. The vibrato is very rapid, with a nervous quality. Bix’s unerring good taste is shown by the fact that he quickly remedied these faults, as shown on the records made at a period not much Jater than this. The simplicity of the melodic line, also, does not display the technical facility and flow of ideas that are evidenced in later records. A few phrases, the measure numbers of which are listed below, are prophetical of the more ambitious improvising to come, Measures 13 and 145 51 and $25 67; 71 and 72; 77 and 78, show a fine feeling for the construction of a phrase with chyth- mic drive from the simplest melodic material. FIDGETY FEET Gennett Record 5408-A. Recorded Fall 1923 D.J. LA ROCCA LARRY SHIELDS Of the Original Dixieland Jozz Band @ Bb &b 8b c-7 BS BS ¢ q] © q a & Q Rg R q g FF a TCR) 1918 ao Feet ne Maw Yor 19M. Coppi Yenewal 1946 eo Feit ne, Now Tor 17 NY. Cepyrign 1717 bao Fo, nc, 77? Savnt Aver, New Torn N.Y. Copyright RanowslT947 Lan Fi, ine 399 Sem rane, New York N. ¥ 4 Invamational Copyright Secee Node a S.A. ‘hi Bohs Rosrvd leclcing ule Prlormanen For Pot ‘Avy erongonest or adaptation f hs compentan whet the consent of the sweer is on takiagamast af copyhteee ete eee BL? Ff £b Bb" Bh Gt gb £b BLTEb Bs” Bey @ @ Here the record continues with a chorus and a half (forty-eight measures) of rather straightfor- ward playing, without enough of interest co warrant its inclusion. The last half of the last chorus is given below. 67 Ab £67 Ab abyTIGER RAG This record was originally made in the Gennett studios, but was never released by that firm, Many years after the original recording, it was released on the HRS No. 24, The first twenty- four measures of the record are not included in the music presented on the following pages, because they are of litele interest. This record, made months after Fidgety Feet, shows a remarkable improvement in the tone quality and vibrato. The latter, especially, had already become smooth and relaxed. Ic is presumed that Bix profited by listening to his work on the earlier record, and his ear was critical enough to indicate to him any defects there may have been in the earlier playing. Measures 21 and 22 show a fine feeling for interesting rhythmic structure, and have a definite Negroid influence, Measures 31 and 32 constitute a two-measure break, played with excellent ac- cent and nuance. The solo from measures 41 to 72 is not too lively, but has some interesting bursts of improvising. An example of this is the passage from measures 49 to 52. In measure 53 you see a figure that would have sounded very “corny” except for the excellent accenting and thythmic phrasing. Measure 60 shows that Bix had already learned the usefulness of short scale pas- sages played with drive and accent. In measure 65, you have a short passage showing Bix’s fine feel for interesting intervals and the use of neighboring notes, The last passage, from measures 73 to 106, is more in the spirit of the improvised passages heard on later records. Here the playing is ‘warm, fluent, rhythmic, ingenious, and well-phrased; in short, it is everything that a fine impro- visation should be, This is Bix hitting his stride,Racorded September 1924 wd = 120 c ® TIGER RAG , Hot Record Soctety Record No. 24 ‘THE ORIGINAL DIXIELAND JAZZ BAND a c ® Oza CCoprigt P17 Lee Fai nes Now Yor. N.Y. Copyright remot 1945 Lao Fait ine, New Yor. N.Y ‘nerrinal Copyright Secured Mode in U. 5.4. "Ai Hig Revanned incding bic Palomonce For Pot ‘Any stangumas! ot edptaton of this conpontion wow he conte of fhe owner it 8 Intingomeat of copycightc7 D7 By ¥7_Be BeAt this point the record continues with a thirty-two measure chorus of an uninteresting concerted ensemble. In the final chorus, given below, Bix plays lead in the ensemble. q Bb @ @ ®2 SENSATION ‘This old Gennett record has been re-issued as HRS No. 23. ‘The first thirty-two measures are simple and vigorous, and stay rather close to the original melody. In the next strain, from measures 33 to 48, there is a fine passage played as a solo, Some of the figures are interesting enough to be worth analysing. In measure 33, the Cé is a passing note between the seventh and the root of the chord. In measure 34, the accented Eb is the upper neighbor of the root of the chord (D) from which ic is separated by the unaccented seventh of the chord (C). Measures 35 and 36 use pro minently the ninth (A) of the G7 chord, which is carried into the C7 harmony of measure 37, acting here as the thirteenth of the C7 harmony, In measure 40, the notes are: (E) thirteenth of G7, (Eb) passing note to fifth (D) of G7, (C) anticipation of root of C7, (F) eleventh of C7. Measure 42 has the typically Negroid use of the half tone upper neighbor of the root of a seventh chord. In measure 46, Di is the lower neighbor of the third (E) of C7, and the third note (D) fs the ninth, Measures 49 to 64 are rather similar, although of simpler structure, to measures 33-48. In the next strain there is a two measure break (77-78) played in a whimsical vein. The rest of the number is played vigorously and not too involved. SENSATION * Gennett Record 5542-4, Recorded October 1924 by i the Original Dixioland Jaz= Bend wnt ds ue GF Be. er Bb © © @ Copyright 917 Leo Fea nc, New Tort, N.Y. CCopyiht row 195 lao Felt nee New Yor Ma Invrrtional Copyiah Sacred Made in US. A. ‘AI Ripe Revered icing Nbc Palomance for Pott ‘Ary arrangement or econtaten of ths conpenen witout the conte ofthe oweer it ot ilingement of eseyight@ c7 Fy BL? @ = fo BF FP Broce ry 8 @_ BbT iB BBY ES ®@ ao) ? tAb Ob Ab FY £b7 Eb Ab FR Bb7 AB Eby Ab OD Ab FF Bz £b7 Ab ELT @ '@ Ear | far ee eee oe ao =a Lae a® Ab 0b OAL OFF @ @ ay 67 AL ALT @ @ éL BF Fe BL? cz e |e | & @ bby th Bb2 Lb @ @ @ ©16 DAVENPORT BLUES ‘This cune is Bix’s own composition, Made for Gennett in 1925, it has been reissued a HRS No. 22. The first part is rather straightforward. In measure 30, Bix plays a very ingenious figure in triplets. Although in the figure there is actually no syncopation, the effect upon the ear is like syn copation, because the measure consists of a four- note group (Ab, F, G, F) played three times to make up four triplets, Notice that the first note in the four-note group (Ab) is accented each time. Measure 35, the first measure of the two-measure break, (35-36) shows Bix’s liking for the whole- tone scale. This has been evidenced more in his piano solos. In measure 37 the Negroid lowered third of a major chord (F) is used, and again in measures 38 and 40. The short breaks in measures 45, 46, and 47 are very interesting. Notice how the parts of the F chord are used in open harmony, swith the lower neighbor of the third interpolated in measure 45. In measure 46, the Ab is "passing note between the root (A) and the seventh (G) of the G7 chord, but with the third of the chord (Cz) thrown in before the seventh is reached. In measixre 47, the construction is closely re- Jated to that of measure 30, discussed above. Here the four-note group is F, G, F, Ap, stated once and then repeated. In measure 48, the prominent use of E together with parts of the F dim. chord sive the figure the harmonie flavor of a G 139 chord. Measures 51 and 52 show a rhythmic figure based almost entirely on two notes, F and G. The mext passage is rather simple in design. In sev- eral cases the lowered third of a major chord is used. Measure 78 is a neat figure in triplets, employ- ing the fifth (F) of the Bp chord, then the sixth (G), next a passing note (Gp) back to the fifth, then through the sixth to the seventh (Ab). In mesure 82, the third (B) of the G7 is followed by two chromatic passing notes (C and CZ) leading to the fifth (D) of the chord, but with the in- terpolation of the fifth’s upper neighbor (E). “These first four numbers included in this volume are representative of a definite period in Bix’s life, and also in his playing. The numbers which follow show rather a definite development. A larger store-house of musical ideas has been acquired from which to draw melodic fragments for the crea~ tion of improvisations, Ingenious rhythmic ideas are used more frequently, The use of accentuated notes is more striking, The technique is more facile, The effective use of rising and falling inflection is seen more often. More figures of a whimsical nature are used. Bix's playing in the period we are approaching makes the listener feel that he exploits to the full all che possibilities of the instrument, and plays always with utter confidence. His constructions are even more logical than before. ca Oa Le eT I TT TTDAVENPORT. BLUES ° Hot Record Society Record No. 22 Recorded March 1925 BIX BEIDERBECKE BLz wa d re eb c- FF Bb &b a a oe — Copynant 1727 Retains Mua Conor oyrght travel 1955 Rabbis Muse Coee? ee ) ® o ® a oF éb2 Eb pb wb- BBC bh2 es 287 &b bb2 eb F2 27 & Ge £b2 Ab Be Fe éb Ab & Ab Bz 18- Bb2 Ww e | e | & & g & ™ a 2 é eb? Ab ef R Fz abe @ © ch BBR EB wb? ch £42 Ab he Ab bP a ® ® ® eb pea Bb Ebibre- £b —— ¢] | @ @ LLL ALLL td :CLARINET MARMALADE ‘This record was released first as Okeh No. 40772, later as Vocalion No. 4412. This is perhaps the finest example we have of Bix playing at a fast tempo. His agility in handling his instrument, the rapid and unerring flow of fine ideas, and the rhythmic drive are superlative in every way. The composition itself is an excellent vehicle for Bix. It gives him the finest kind of opportunity to show his com- plete mastery of the idiom of improvised rhythmic music. The first part, up to measure 40, is somewhat simple. ‘This is Bix leading an ensemble in the finest taste, Measures 21 and 22 show Bix’s strong leaning to the prominent use of the ninth of aseventh chord, In measure 24, the D2 is a passing note to the ninth (E) of the D7 chord. The G the eleventh. In measure 30, the D is the upper neighbor of the root (C) of the Cm chord. In measure 32 there is used a fragment of a scale in thirds, In later solos you will see an even more ex- tensive use of this very effective melodic device (for one example, sce measure 9 of THREE BLIND MICE, p. 33). The use of 2 diatonic scale, eitherin its simple form or in thirds, tb create a melodie idea to pass over dominant seventh harmony, is based on the fact that the chord notes of a seventh chord plus the ninth, cleventh, and thirteenth, take in all of the notes of the major scale. Measure 38 is another instance of the same thing. ‘After the trombone solo and piano solo, there is a twelve-measure interlude (45 to 56). ‘Measures 53 and 54 of this passage show a very interesting technical outburst. Notice that the three accented notes of this figure are part of a downward diatonic scale. The figure has its beginning in the last two notes of measure 52, which are anticipatory of the D7 harmony about to be played. The notes of measure §3 are parts of the D7 harmony with the addition of passing notes. E.is the ninth, Bis the thirteenth, C is the seventh, C¥ is « passing note to the root D, F# is the third, G is the eleventh. ‘Measure $4 shows something discussed above: the use of'a diatonic scale passage over dominant seventh harmony. ‘The passage from measures 57 to 72 has many smart figures constructed from chord notes and their neighbors. ‘After the saxophone solo comes a passage that is the high spot of the record, from measures 77 t0 92. In measure 79, notice that only the ninth of the E7 chord is used. In measure 80, the figure is derived from the neighboring notes of the fifth (B) of the E7 chord. The break in measures 83 and 84 is simple but powerful. In measure 86 the upper neighbor (C) of the fifth of the chord is stressed, The movement to the fifth is implied, but never actually realized, ‘The high spot in the balance of the music heard on the record is the break in measure 111, which is imposible to describe adequately on paper.= i a CLARINET MARMALADE. q a a sab ogg een Port — rt 1 -_ ae S @ a ‘Next follow a Trombone solo and a Piano solo. Copyrete it Cope reaewal ‘win. Iarncioral Copyright secures A eghs Revered Inc ’ ‘Any eronganaet or adaptation ef this conpeation wnt Tha conse ofthe ewser i on nngemert ot cooyight anD- & Tpumpet = Il noe lel el el el le L ell sal” + q eels i ‘The record continues with a Saxophone solo. a | |Dp soos @ ‘Next the record continues with a Clarinet solo. J 2 8 cee | a & al a a Az 23Ter ee ® @25 OSTRICH WALK ‘This old Okeh record has been re-issued as UHCA No. 29, and has a great many points of in- terest. Notice how the D at the end of measure 61 is held into the next measure to become the upper neighbor of the root (C) of the Cm7 chord. ‘The A at the end of measure 62 is an anticipation of the third of the F7 chord. ‘The rest of this measure shows stress laid on the eleventh (Bp) and the | inch (G). In measure 64, the Ci is the lower neighbor of the third (D) of the Bb chord. ‘The ase note (C) in this measure is the upper neighbor of the Bh which is emphasized by repetition in meas- ure 65. The break in measures 73 and 74 show Bix’s genius for concocting unusual melodie lines. Passing from the diminished harmony of measure 73 to the C-natural at the end of the measure, { isa colorful surprise. This is further heightened by repetition, an octave higher, in measure 74. The half-note D is anticipatory of the harmony of measure 75. Measures 77 to 81 show how a simple melodic line may be made extremely interesting by the simple devices of repeating notes and vary- ing the rhythmic patterns. Measures 93 and 94 are noteworthy for the vigorous simplicity of the figure, In measure 99 there is another example of the use of the element of surprise, To finish the cighth-note group, Bix uses the lower neighbor of the third (Bb) of the chord, rather than the more obvious root (G) of the chord. The break in measures 113 and 114 is fascinating in that it uses only the simplest of melodic material. It is the expert treatment of this simple material that puts the re- sulting figure on such a high plane. Ot RL* OSTRICH WALK Okeeh Record 40822 Recorded Summer 1927 by the Original Dixieland Jazs Band £h B F-7 abr MM d= 108 © ® @ @ S Foe-Foch rz Bb7 FV G- rodir bb tb (gtd cep 7 oll eb ‘7 BT th Pecans Ab Ab Bb) kb ad F-7 BbY ES & = ER kbs kb Bb? tb elo@ & @. ie. New Yer. NL Mode in U5, vlomarce fer Pott 0 he gras it on Iningemect ef copyright ee ee27 <7 Abe 887 & @ 2 ® = £2 Ab bb7 247 Ah 4b? Trumpet] = | Bb-Z £67 Ab 06-2Fe G-F7tb FR 6b2 FRG- FRE FR Bb? £6 ® @ Tae Salo ee = zb bg 4h pb-6 BrEb @ © cooyign 1928 Roto Munk Coportian, 799 Seventh Avena, New Yor, N.Y conpiant renews 1954 Reine Mine Caroratin, 749 Severth Avan, New Yar NY. Internation Capea Seared ‘aoe in USA "Ai Rights Reserved Inching Pe Pearson Fer PottHIGH UP ON A HILL-TOP “This all too shore solo is the bridge of the chorus of the composition. Measure 1 shows the te of the thirteenth of the F7 chord, D, Measure 2 shows an emphatic repetition of the same usage. The grace notes in measure 4 are interesting and typical. Measure 5 has the ninth, A. The Bp is a passing note between this ninth and the third of che chord, B, The C at the end of measure 6 is an anticipation of the root of the approaching chord. HIGH UP ON A HILL-TOP Okeh Record 41123 ABEL BAER IAN CAMPBELL FT Bb GEORGE WHITING ® © Cooyigh 1928 Rotbin tuae Copeatlon, 798 Severn menue, New Yet N.Y Ceoyignt ranged 1936 Raohira Muse Corporation 798 Severth Avenue, New York MY. Intermationl Copy Secured Thode in USA, "Ai Rights Reserved Including Publ Pertrmence Fr PatitPn CHANGES ‘This brilliant half chorus is one of the rare muted solos Bix played on records. The use of the half tone upper neighbor of the fifth of a seventh chord as in measure 1 is an example of a ery essence of the rhythmic style. It has feeling, color and move~ construction that represents the v‘ revolve about the ment, In measure 2, the F and D, which are cleventh and ninth of the C7 chord, E, acting as upper and lower neighbors, respectively. Measure 5 shows emphasis on the sixth ofa + chord, the D being the sixth of the F chord. In measures 5 and 6 you have a very fascinat- majoi plus the ninth, eleventh, and thirteenth. ing phrase which includes all of the notes of the C7 chord, F is the eleventh, D is the ninch, and che A's are thicteenths. In measure 8, the third of the F7 chord lower neighbor. Tn a cate like this the note is said to be “inflected” downward a half ‘one, Here i another example of a usage typical of this music, showing unmistakeably the in- uence of the Negro. In measure 11, che first note, F, is the upper neighbor of the root of the chord, E>. The C isthe sith. In measure 12, Bix used the third of the chord, G, as its lowes neigh~ bor, FZ, ‘The root of the chord also appears as its lower neighbor, D. The C’s in measure 15 are inchs of the Bh7, and the Cf is a passing note to the third of the chord in the next measure, In vs the lower neighbor of che third of the chord, and D is the upper of the sixth of appears 4 measure 15, FS of the chord, C. CHANGES Victor Record 25370-A Recorded Nov. 23, 1927 mw d= 104 (Bfuted) @- > ® Feit, ne, 799 seventh Aven, New Yet, N.¥ ?, Jap saveth Aver, New Yor H.¥ Tage mn USA aoyaht 1927 Lao Conant rnevol 1735 Lm F Internati! Capea Sere uc Peformance For Prt igs Reserved Inling aT Re our the convert of he curr on iitgeant of cpriaht ny erongeent or oases WALTER DONALDSONCHINA BOY : a ~ This half chorus, made wich Paul Whiteman’s orchestra, is one of the “neatest” passages that Bix er recorded. ‘The use of the hat, which gives the cornet a tone quality slmost like a saxophone, ts to the solo a wonderful feeling of relaxation, In measures 1 and 2, the D+ chords, played by | the rest of the orchestra, have been disregarded. In measure 5, note the prominence given to the eI “Fe's, in this case the upper neighbor of che sixth of the G chord, The last eighth note the measure, the AZ, is the augmented fifth of the D+ chord, and is suspended into the next meas: “ure, Here i is the lower neighbor of the third of the G chord, In measure 7, notice the character- "istic prominence given to the ninth of the E7 chord (F4). In measure 8, the AZ is the lower neighbor "of the fifth of the E7 chord. In measure 9 is another example of stress laid on the ninch. ‘The B's are the ninth of the A7 chord. In measure 10 is a wonderful example of an unusual melodic line that an result only from the finest creative ability and taste. The Ef is the lower neighbor of the Ff, "on which Bix Isid considerable stress, ‘The F¥ is the thirteenth of the A7 chord. In measure 11, you have a repetition of this usage, as though for emphasis, Measure 12 has & recurrence of the same | thing, an octave lower.’ In measures 13 and 14, the use of the Fk asa lower neighbor to the Gis very colorful and is “typical Bix.” CHINA BOY Columbia Record 1945-D eorded Fall 1929 DICK WINFREE, MM ds 112 PHIL BOUTELJE G D+ ® @. ~ ® ay SS ome SERIE 9 es 77 Sa fr, Nw Yor cayign ronal Wb ew tls ney Sav teeny Now Inca Copp bere ae te, hon vrei Hes Rear Indoing Rise Pemanc fer Mett conn! cr edapoion at is eenpron wit the eae oh ona hngemeet of copyee eee) Ty hay ee) UL La Eh ALTO SAXOPHONE: - Pree Ye 020 byt a Each collection contains 20 world-famous popular standard hits, with easy orangements by Jack Nason, indudng piano eecompaniment- Contents of each boot @ LOVE IS A MANY-SPLENDORED THING @ TAKE MY LOVE © I'LL NEVER STOP LOVING YoU © TEMPTATION @ SAM, THE OLD ACCORDION MAN © MAYBE @ A KISS TO BUILD A DREAM ON @ | UNDERSTAND © THE HOUSE OF BLUE UGHTS je HOW ABOUT YOU? © STAY ON THE RIGHT SIDE, ‘SISTER © SO RARE © WHEN THE MOON COMES ‘OVER THE MOUNTAIN © MOONLIGHT SERENADE @ DOWN AMONG THE SHELTERING PALMS: © SOMETHING'S GOTTA GIVE © DON'T GET AROUND MUCH ANY MORE © CHATTANOOGA CHOO Hoo © ON THE ATCHISON, TOPEKA AND THE SANTA FE @ HIGH NOON met 1,25 Barrie Le cones ee CORPORATIONCTION 2 Meny musictanstudents fall to rellze that gout DIRE (isgas tect ecfsiin pope ow’ Joct wey earios huain eve become od @ fashioned. 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