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October, 1956
INTRODUCING

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Cundy-BETTONEY is America’s oldest and largest manufacturer of Clarinets, Flutes and Piccolos.

a4 The Instrumentalist
TRAUGOTT ROHNER, Editor, publisher
VINCENT MALEK, Editor, advertising mgr.
VIRGINIA EICHHORST, advertising
ANNE SCOTT, circulation
E. M. JACKMAN, promotion
EASTERN REPRESENTATIVE: The Mac-
farland Co., 150 Broadway, N. Y. 38, N.Y.
REctor 2-4723.
“Hastrumentali sf

CONTRIBUTING EDITORS ume XI OCTOBER, 1956 Number 2

ry ‘ ’ e . ° °
WOODWIND— The Cover: Catherine James is President of the Jefferson,
George E. Waln, Oberlin Conservatory,
Oberlin, Ohio Georgia, High School Band, head majorette, and an excellent musician
BRASS— clarinet and piano. Backg-ound formations are by the U. of Illi-
Contributors and Staff
STRINGS nots Band.
Gilbert R. Waller, U. of Ul, Urbana
PERCUSSION—
Robert W. Buggert, U. of Wichita,
Wichita, Kans.
NEW MUSIC— ARTICLES
John Paynter, Northwestern U., Evanston,
Ill.; and staff
Five Half-Time Football Band Shows, James S. Kerr.... 20
FLUTE FACTS—
Laurence Taylor, New York City Take Movies of Your Band, Leonard Gutkowski ....... . 21
FILMS AND VISUAL AIDS— Rehearsal Procedures, Reid Poole .................. 25
Elwyn Schwartz, U. of Idaho, Moscow
MARCHING BANDS— Bibliography of Band Recordings .................. 60
Al G. Wright, Purdue U., Lafayette, Ind.
ARRANGERS’ CLINIC—
David Baskerville, UCLA, Los Angeles
BEST IN BAND MUSIC—
Bruce Houseknecht, Joliet, Hl.
Pe I os ok kK oe ew ae ee oee es ace 4
BOARD OF ADVISERS I ons. ke aie 'e-i8-0,48 i ee weg ak a eee 6
T. FRANK COULTER, Joplin, Mo. a ETT ETS CT eT CT eT Tee eee 8
RAY DVORAK, U. of Wisc., Madison RTT STE CTT TT eT eT ee 10
FREDERICK FENNELL, Eastman School Pee Te ok eds ke OAKWe KERR REE 10
of Music, Rochester, N.Y.
BERNARD FITZGERALD, U. of Kentucky, ek I is cnn cg be ea Rae eR Mae ee 12
Lexington
Brass Clinic, William C. Whybrew .................. 22
JAMES C. HARPER, Lenoir, N.C.
D. L. HARRINGTON, Seaford, L.I., N. Y. String Clinic, Alfred W. Bleckschmidt .............. 26
MARK H. HINDSLEY, U. of IIL, Urbana Woodwind Clinic, George Waln ...................4. 30
WILLIAM E. KNUTH, State Teachers Col- Marching Bands, Kenneth Carpenter ................ 33
lege, San Francisco, Cal.
A. D. LEKVOLD, Miami U., Oxford, Ohio Plate Pacts, Lasramee TOG once ici eswedvaas 38
JOSEPH E. MADDY, U. of Mich., Ann Percussion Clinic, Robert W. Buggert ................ 42
Arbor
HUGH E. McMILLEN, U. of Colo., Boulder New Music, John Paynter and staff ..............-... A7
THEODORE F. NORMANN, U. of Wash., The Best in Band Music, Bruce Houseknecht .......... a9
Seattle
GERALD R. PRESCOTT, U. of Minn., Min- Selections by, William A. Schaefer .............. 36
neapolis PPE POPTTTT eT eee ee ee 71
WILLIAM D. REVELLI, U. of Mich., Ann
Arbor
CHARLES BOARDMAN RIGHTER, U. of
lowa, lowa City
DAVID R. ROBERTSON, Oberlin College,
Oberlin, Ohio
RALPH E. RUSH, lt . of Scuthern Cal., Los RRO WUD 6c ec ke icc wdsr cde nce tmmedawes 29
Angeles Band Betterment Conference ..................++2- 40
CLARENCE SAWHILL, U. of Cal., Los
Angeles ee ee i PPP TPE CT ee ee 53
JOSEPH E. SKORNICKA, Milwaukee, Wisc. eg ae ee ee 71
IRVING TALLMADGE, Maywood, III.
PAUL VAN BODEGRAVEN, New York U., ok 8 nner a 72
Nt.
JAMES E. VAN PEURSEM, Eastern Ky. ee 72
State Teachers College, Richmond
LORRAIN E. WATTERS, Des Moines, Iowa
LOUIS G. WERSEN, Philadelphia, Pa.
AL G. WRIGHT, Purdue U., Lafayette, Ind. SUBSCRIPTION RATES
| year (10 issues) $3.00; 2 years $5.00; 3 years $7.00; 45¢ per copy.
Put t A 418
Lak I Av ter Canada, add 25¢ per year per subscription; foreign countries, add
time 1 year (rn hly from Sept. 1 is ine) 30¢ per year per subscription. LIFE SUBSCRIPTION $44. GROUP
Enteré IS sé { Is matter October 54 at
the t stor J try at SUBSCRIPTIONS—5-9 copies mailed to the same address and paid
Wa M/A he in advance $1.80 each; 10 or more copies $1.50 each. The Instru-
mentalist Co., 1418 Lake St., Evanston, Ill.
THE INSTRUMENTAL n T: member, Educational Press Association of
Copyright 1956 by THE INSTRUMENFALIST Co. America; fully indexed in THE MUSIC INDEX to periodical literature.
None of the content may be duplicated or re-
Printed without written permission in advance

October, 1956
 rs
Keade
Our
From

fund

New Music Filing Cards semble music print baritone parts for
both treble and bass clef? During the
Please place our standing order of past four years we have had just three
New Music Cards for Band and bass clef players out of fourteen in our
raising

Wind/Percussion Ensemble. This is a college band program. To save money,

wonderful idea and I do not wish to
miss a title. Your service to the music
teacher is and has been of infinite help.
I believe that a lot of the progress in
that’s
band education can be attributed to the
pages of The Instrumentalist.
Your first issue came off the presses
about the same time I started teaching
in 1946. The guidance and reassurance
that I got from the pages of your mag-
azine was a tremendous aid in that try-
fun!
why could not the treble clef part be
printed on the back side of the bass
clef part? Since we encourage en-
semble playing, the problem of no
treble clef baritone parts slows us
down considerably because often we
have to recopy the bass clef parts
Herbert E. Owen, Director of Bands,
Mankato State Teachers College, Man-
kato, Minn.

ing first year. I have not missed an is- Impressive Occasion!

Your band, orchestra or
choir can raise $300 to
$2,500 selling famous
Mason 10¢ Candy Bars.
e We supply all candy
e You pay nothing until sold
e Personalized with your or-
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e All unsold candy returnable
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e Famous “MASON” Brand
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sell. Candy is sold at regular retail
price. On every box sold you keep $6.00
and send Mason $9.00 (6673 profit
on cost). There’s ,
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and samples.
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Mr. EDWARD STOY!I
Fund Raising Dept. (Dept. M-26
Mason. Box 549, Mineola, N. Y.
Gentlemen: Please send me with
out any obligation, samples and
information on your Fund Ratsing
Plan
NAME
GROUP NAME
ADDRESS
cITyY STATI
sue since and use your volumes con-
stantly as references. The presentation of the John Philip
The Instrumentalist cannot be beat. Sousa Band Award was very im-
Keep up the good work.—John E. Tho- pressive and created a deeper interest
man, East Moline, III. and inspiration in the band students.
Let me compliment you on your ex- You may look forward to our orders
cellent idea of the New Music Filing annually as this presentation will be
Cards. This is the sort of thing that so an annual occasion.—Abram Miles, Jr.,
many of us miss after we have left Band Director, Silsbee, Texas.
college and yet need so badly. Place my
name on the standing erder list.—C. Likes Sousa and September Issue
Bonner Ruff, Camden, Arkansas. Last year we ordered two John Philip
Please enter our order for a complete Sousa Band Awards. We were very
set of new publication cards as they are pleased with the results and already we
issued. I am sure that this will prove to are looking forward to see who re-
be a very worth-while service to direc- ceives this award next. I sure enjoyed
tors and publishers alike.—Robert Dah- the September issue. It’s one of the
nert, Summy Pub. Co., Chicago. best yet!—William Root, Vicksburg,
Mich.
To Publishers
Best Periodical
Why don’t publishers of brass en-
I have been reading your wonderful
magazine for many years and can hon-
estly say that it is the best all around
FOR periodical that I have ever seen. Please
keep up the good work!—Raymond M.
Meidl, New Ulm, Minn
Emergency Repairs
Continue to Improve
use our Though you've heard this a thousand
times, your magazine is the most prac-
tical one the instrumental teacher can
Master Repair Kit read, and I hope will continue to im-
prove as you have the past five years.
Raymond Terfler, Davenport, Iowa.
Complete Set
Enclosed you will find a check for
EricK BRAND $7.00 for a three year subscription to
your very fine music magazine. I
1117 WEST BEARDSLEY
thought you might be interested in
ELKHART, INDIANA knowing that I have every copy of The
Instrumentalist from Volume 1, Num-
"Good Tools Since 1945" ber 1 to the present day.—Charles Mi-
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| <a .
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The Instrumentalist
 New

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October, 1956 5

Idea Exchange
Are They Learning to Read the
Music?
Going out to teach for the first time?
There are many discouraging things
about going to a new school and teach-
ing instrumental music, particularly if
you are going to a small school with
limited funds. Often enough you will
find broken down music stands, make-
shift equipment of all kinds, little or
no storage space, inadequate rehearsal
facilities, and the larger instruments
will probably be badly dented, worn,
and without cases.
Still, these things—in the final analy-
sis—are not the basic causes of dis-
couragement. I have talked with a
number of instrumental teachers who
were discouraged, and their complaints
all seemed to center around the fact
that their students did not have the
ability to react properly to the written
music before them. These teachers felt
hopelessly exasperated and defeated
because the young hopefuls just
couldn’t remember what they had
learned and they weren't able to un-
derstand and apply even the simplest
musical directions.
The teachers seemed to feel that this
was a matter of experience; it never
occurred to them that the fault might
be in their teaching. They placed the
blame on students who were not will-
ing to practice and who were simply
immature, both physically and as mu-
sicians.
What is the trouble? What is the
heart of the matter? These youngsters
are not being taught to read music!
They have not learned to apply their
musical knowledge, to put it together
into a semblance of organization and
understanding, so that they may react
correctly to the notation they see be-
fore them, and to the beat of the con-
ductor.
They have no confidence in their own
playing, and the morale of the group
is correspondingly low. They pull
against the director and cringe from
his sarcasm. They lose their places af-
ter the first four or five measures, then
try to catch up, ending up by playing
timidly at just any place at all.
A familiar situation? What to do?
You stand there exasperated at the
smallness of their musical conception.
In my own situation I persuaded myself
that the most important thing that the
youngster could learn would be to
sightread accurately. I would teach
them this, at the cost of everything else.
The very first lesson I began with a
metronome, counting off the beats.
Gradually we understood the relation-
ship of one note to another. We clapped
some rhythms. As time went on, read-
ing a whole measure at a time was
stressed, to establish the relationship of
each note to the other, in terms of the
allotted number of beats. Then I sug-
gested that the students learn to read
ahead of themselves, that is, to look
ahead at the next measure while still
playing the present one. Each day I re-
quired a prepared exercise of the most
difficult rhythm to be found on the as-
signed page to be played individually.
Periodically I tested them on their abil-
ity to read a new exercise, be it com-
pounded of only the simplest note and
rest arrangements.
Before allowing them to move to a
more advanced group, each student had
to satisfy me that he could read an ex-
ercise correctly for the first time. With
this teaching of the students to read, I
found a number of rewarding things.
Of course, they enjoyed their playing
much more. They welcomed new music
gladly, for they had ability and confi-
dence. And, I was not sorry that I had
emphasized this point beyond all oth-
ers, because I discovered that with this
basic ability my students were far more
receptive to criticism of their technique
and tone. Their attitudes were good,
their understanding alive, their skills
organized in their minds so that they
welcomed help on their instruments
Rosemary Miller, Benzonia, Mich.

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The Instrumentalist
 TODAY—AS FOR OVER A HUNDRED YEARS

. Yo. bust

a9 Besson.

UNIVERSITY OF ILLINOIS

CONCERT BAND

MARK H. HINDSLEY, CONDUCTOR

Besson instruments with compensating valves are featured in the

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Besson instruments are preferred by America’s foremost educators not only for

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October, 1956

George E. Waln is Professor of
Woodwinds and of Music Education at
the Conservatory of Music of Oberlin
College, where he is also Associate
Conductor of the Symphony Band. He
holds a Bachelor of Science degree
from the U. of Iowa and Bachelor’s
and Master’s degrees in music from
Northwestern U.
He has taught in the public schools
of Cedar Rapids, Iowa, and Urbana,
Illinois, and has held appointments at
Coe College and at the U. of Illinois.
Summer assignments include North-
western U., New York U., Ohio State,
the U. of Idaho, and the U. of Wyom-
ing.
Waln has been active in the Ohio
Music Education Association and in the
MENC. At present he is chairman of
the committee on “Literature and In-
terpretation of Music for Instrumental
Ensembles.” As editor of the Wood-
wind Clinic column in The Instrumen-
talist since the inception of this maga-
zine, he is the author of numerous ar-
ticles dealing with the pedagogy of the
woodwinds
His publications include solos and
ensembles for the woodwinds published
by Kjos, Belwin, and the Gamble
Hinged Music Co. His latest work is
the “Waln Elementary Clarinet Meth-
od” published by Belwin this year.
Mr. Waln has been particularly active
in the promotion and development of
small ensemble playing throughout the
country and has served on various
music selection committees in the com-
pilation of booklets for contests and
the NASM college solo lists
He is the immediate past National
Chairman of the “National Association
of College Wind and Percussion In-
structors ”
BILLY MAY writes special band arrangement
for Westlake to send to Hi Schools. Westlake
same ear training method used by Billy May
Free 814 x 11 Catalog. Appr
for Vets, too. Write
Westlake College of Music
a" 7190 Sunset Blvd
Hollywood, Calif
Name
Address
Men ot NOTE—
William A. Schaefer is Associate Pro-
fessor of Music, Director of Bands, and
Chairman of the Wind Instrument De-
partment of the University of Southern
California. Previously he taught in the
public schools of Newell, West Virginia,
at Miami University, and at the Car-
negie Institute of Technology. At the
latter school where he was Assistant
Professor of Music Education and Di-
rector of Bands, he established the fam-
ous Kiltie Symphonic Band.
From 1950 to 1952 he was President
of the Pennsylvania College Bandmas-
ters’ Association, and he is currently
Chairman of the California Division of
the College Bandmasters’ National As-
sociation.
Mr. Schaefer is a graduate of Miami
University in Ohio from which he re-
ceived his Bachelor of Science and Mas-
ter of Arts degrees. While in the service
he was for five years Bandleader with
the 81st Division and the 8th Army
Bands. He has been in his present po-
sition at Southern California since 1952.
He has made numerous appearances
as guest conductor, clinician, and ad-
judicator at concerts and festivals. He
is also well-known for his many excel-
lent arrangements of band numbers.
Beginners don't need
their violins-vi
are never “‘right’
the right SIZE
‘speak’’ easy, “‘si
(AND!) stay in
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«a VARITONE, INC., 545 5th Ave., N.Y. 17
Since 1946 Jonn P. Paynter has been
closely associated with Northwestern
University where he was appointed Di-
rector of Bands in 1953, the youngest
band director in the Big 10 Conference.
He is a Bachelor’s and Master’s grad-
uate in theory and composition from
Northwestern. His compositions include
works for solo winds, band, wind in-
strument ensembles, string ensembles,
and orchestra; and his “Sonata for
Clarinet” was a winner in the 1950
American Federation of Music Clubs
competition. Many of his works, in-
cluding his “First Symphony” have re-
ceived numerous public performances
and several have been published.
At present Paynter is Assistant Pro-
fessor of Theory and Coach of Brass
Ensembles at Northwestern in addi-
tion to his duties with the concert and
marching bands. He has been active in
clinic and adjudication work through-
out the middle west and in Pennsyl-
vania, Arkansas, and Texas. On the
unique side, he has twice designed and
directed car displays for the Ford Mo-
tor Company, using a “200 piece band”
of automobiles in driving formations
on the football field.
Paynter has served as Illinois Chair-
man for the College Band Directors’
National Association and belongs to
Phi Mu Alpha, Phi Eta Sigma, and Pi
Kappa Lambda. He has also served on
committees for the MENC and was re-
cently elected to active membership in
the American Bandmasters’ Associa-
tion. For the past year he has been con-
ducting the Band and Woodwind En-
sembles portions of the New Music
column of The Instrumentalist.
Pirastro
sters
f the Ma
String o
The Instrumentalist
 \

mm
sca Mt
™ _: =—_ . = SS. =
/

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ere
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response, flexibility in every instrument that quickly
promotes faster progress in every student — improves
ensemble performance in tone quality and technique—
at student-budget prices.

For “First-Line” performance — try, buy, recommend

) HOLTON COLLEGIATES this year. Check them
Holton at your Holton dealer.

Frank HOLTON & Co.

320 N. CHURCH STREET sd ELKHORN, WISCONSIN

PREFERRED INSTRUMENTS FOR OVER HALF A CENTURY

October, 1956 9
 The Most Respected Name Calendar of Events FREE for the asking
For over 30 Years
With Music Supervisors NASM
Who Demand Saxophone, Clarinet
SERVICE, DISCOUNTS National Association of Schools of Notebook
Music Convention. Statler Hotel.
RAY LAMMERS Cleveland. November 23-24. This booklet deals with such prac-
tical points as selecting a mouth-
MUSIC HOUSE piece and reed. tone production, in-
Band Betterment Associates
610 Walnut Street tonation, vibrato, tonguing. and fin-
Conference
Cincinnati 2, Ohio
gerings. Of special significance is
WRITE FOR CATALOGS High School of Fashion Design.
RENTAL OF ALL INSTRUMENTS the man who wrote it. Alfred Gallo-
New York City. November 23-24.
doro, first saxophonist of the Ameri-
can Broadcasting Company in New
Mid-West National Band Clinic
York. As_ soloist he has appeared
Hotel Sherman, Chicago, Decem- with many oustanding conductors,
ber 5-8. and as a clinician he is currently
TO UNDERSTAND
receiving much favorable comment.
THEIR CBDNA Free copies of this very useful book-
College Band Directors’ National let are available to teachers from H.
APPEAL
Assn. Convention, Conrad Hilton, & A. Selmer. Ine.. Elkhart. In-
Chicago, December 14-15. diana. Copies in quantity for students
TAKE A LOOK will be available thru local music
AT THEIR dealers.
MTNA Convention
VALUES
Music Teachers’ National Associa-
tion Convention, Chicago, Febru- Outstanding Catalog
ary 10-13. \ four-color catalog of unusual
AMERICAN PREP" attractiveness and containing a con-
ABA
/* age), [3 -j45 siderable amount of informational
American Bandmasters’ Associa- material is available from the C. G.
a3 tion Convention, Pittsburgh, Pa., Conn Company. Ltd.. Elkhart, In-
THE BASIC TEACHING TOOL IN March 6-9. diana. In addition to almost. sixty
ELEMENTARY MUSIC CLASSES different standard models of instru-
FASC/nay MENC Conventions ments. ranging from piccolos — to
CAM 20 individual sousaphones, also shown are the
Eastern, Atlantic City, March 1-5
tone bars give rhythm band instruments, song flutes.
20 youngsters a featured part in North Central, Omaha, March 15-
and Lektro Tuner, Stroboconn, and
making melody. Keeps them 19
_, alert, makes training fun. Strobotuner. This 48-page compila-
Southwestern, Denver, March 23-
tion is available from a company
27
which has been making band in-
Northwest. (location to be = an-
struments for 81 years. \ 2¢ post-
nounced), April 2-6
Accurately pitched in normal card will suffice to bring you this
Western, Pasadena, April 14-17
singing range of youngsters. Ideal expensive catalog. P| ease mentio
mention
Southern, Miami, April 26-30
for voice as well as instrumental The Instrumentalist!
National in 1958—Los Angeles.
training.
March 19-26
Percussion Catalog

A very colorful 56-page catalog of

Clearly marked sharps and flats, interesting items such as complete
black and white as in piano key- FREE SAMPLES on al
drum outfits, Latin American instru-
boards, develops sound under-
standing of tone relationships. @eeeeeee2ede 8 ments. regular snare drums, bass
THE MOST PRACTICAL drums, timpani. swing flags, twirling
SIGN MERE TIME -SAVER batons. bugles. and all the things
FREE FOR YOUR EVER DEVISED for the needed by the percussion section are
TEACHERS’ GUIDE copy
BAND and ORCHESTRA DIRECTOR, displayed in the new Ludwig catalog.
TARG & DINNER, Inc. MUSIC TEACHER or MUSIC EDUCATOR For a free copy write to Ludwig
The Wholesale Music Center
e M-F STUDENT RECORD CARDS: and Drum Co., 1728 N. Damen Ave.. Chi-
425 S. Wabash Ave., Chicago 5, Ill. MUSIC LIBRARY CARDS select wonted
Send me FREE copy of the American Tahiclasil hills ia EE tp he Oe Easy to use, cago 47, Tl.
practical, amazingly efficient
Prep Teachers’ Instruction Guide. and INEXPENSIVE
NAME Send post card
for complete details Music is such a perfect expression
ADDRESS Please state your position of human emotion that we can almost
CITY, STATE __ . THE M-F CO., BOX 351 deduce from it a moral science. a
Tl
se ~ s +. * . . - - . - = ] . + > ° oe + — . — . + e
LMl—l
SSSeeeSSSSSSOSSSse
TT e EVANSTON, ILL.
a?Ze rule ol life. Goodrich

The Instrumentalist
 ‘G cote we Meg ceo]
fie igs i iiBe
52 acai:

WOODWINDS

, 5 AND

) | BRASSES

..GiIve your students that

‘want-to-join-the-band" spirit!

AT YOUR DEALER’S!
LaMonte Clarincts

LaMonte Fiutc and Piccolo

LaMonte Trumpet, Cornet, Trombene

t LaMonte woodwinds and brasses keep student interest high...
because players progress quickly, integrate with the entire
a a ensemble more easily. LaMonte instruments blow freely, give
a excellent tone production, require minimum attention
whether bought or rented. Ask your dealer to show you the
€ LaMonte SUPERIOR Ca:ophcnes complete LaMonte line. Compare it with other instruments.
é Write for free literature today.

Distributed by:
MARTIN FRERES WOODWINDS * LAMONTE

BUEGELEISEN & JACOBSON, INC. —5 Union Square, New York 3, N. Y. - JEAN MARTIN
™n Canada: 720 Bathurst Street, Toronto 4, Ont. bad COUDET
 Order
IT’S NEWS

WENGER STANDS
Now! ....
TO US!

$7.65
Carton of six
$45.90
The new Conn 38B Connstella-
tion Trumpet is “entirely new;
Lifetime nothing similar has heretofore been
Guarantee made.” Thru the assistance of Conn
o research engineers several improve-
Adjustable
a ments and changes have been effect-
Sturdy ed. Of special significance are “the
and new acoustically proportioned bell”
A Rolled edges top and bottom add Durable . and the mouthpipe. which is gen-
strength to desk. bad
B Desk can be permanently ad Non-Glossy erally considered the “heart” of any
justed for height with lock
washers and hex-nuts. No student Grey brass instrument. The finish is “dur-
adjusting necessary. Finish able hot nickel which gives the in-
C All desks tilted at same angle
for uniformity. strument a solidity of tone produc-
tion unexcelled.” $299.50. For addi-
Wenger all-metal hammer grey music stands tional information write to C. G.
are built rigid and strong to withstand hard
student use. Heavy 20 gauge metal with rolled Conn, Ltd., Elkhart, Ind.
edges on top and bottom add strength to desk
which can be adjusted to proper height for in
dividual players. Measures 13” x 18” x 2” lip.
Also available in black. Check your stand re
quirements and order now. Immediate delivery.
Ask about our matching conductor stands. The New Van Doren Oboe
Reeds are distributed by the G. Le-
WENGER
MUSIC EQUIPMENT CO. blane Corporation and come in three
10 Wenger Bidg. Owatonna, Minn. different strengths, hard (red bind-
ing). medium (blue binding). and
soft (black binding). Formerly only
UNIVERSITY OF ROCHESTER the medium strength was available.
They are also made “with a special
silver wire resonator band which al-
EASTMAN
lows minute adjustment of the reed
SCHOOL OF MUSIC opening.” Van Doren oboe reeds are
individually packed and are priced at
HOWARD HANSON, Director $2.00 each, $2.25 with the silver
A. |. McHOSE, Dir. Summer Session resonator band. G. Leblanc Corpora-
tion. Kenosha. Wisc.

Training Young Musicians

for Professional Careers
The new Holton) Symphony
Courses of study with majors in Trumpet (No. A-47) is “entirely
Applied Music, Public School new in design. achieves new and
Music, Theory, Composition higher standards of intonation.”
and Musicology It has first and third valve slide
tuning adjustment “triggers.” Pis-
RESIDENCE HALLS tons are made of special monel met-
for Men and Women al which requires no plating and
has a “special oil retaining finish.”
The bore is medium—.459 inch: and
APPLICATIONS NOW BEING the bell is made of one-piece rose
CONSIDERED FOR 1957 brass. A companion trumpet to the
model A-47 is the No. B-47 which
For information write contains a slightly smaller bell
EDWARD H. EASLEY throat to provide for greater brilli-
Director of Admissions ance of tone. $300 in Gladstone case.
For more information write to Frank
Eastman School of Music
Holton & Company. Elkhorn. Wise.
ROCHESTER 4, NEW YORK
(Continued on page 14)

The Instrumentalist
¢ Mendez and his Olds

Star in

Concerts on oft’ featuring

Ralph and

Robert Mendez

“The Trumpet” stars Rafael Mendez, virtuoso of the trumpet,

and his Ops... featured, too, are Ralph and Robert Mendez
with their Mendez model trumpets. Once again, in this
celluloid rendition, is proven the incredible talent and ability
of this fine artist . . . and in creating a greater understanding
and appreciation of the trumpet, this film demonstrates the
4 versatility and range of the Mendez model. Write about
availability of the film, ideal for entertainment value or
educational use.

F. E. OLDS & SON, Fullerton, California

October, 1956 13
 IT'S NEWS TO US—(from page !2)

\ new Linton Plateaux Oboe

is now available which retails for
$250. It is crackproof because it is
made of composition material. (The
erenadilla wood model of this oboe
retails for $297.50.) The covered
finger holes make it easy to finger
“Now every school or student can
afford a plateaux system obve em-
bodying the finest craftsmanship.”
savs Jack Linton, Pres. of the Linton
Mie. Co.. Elkhart. Ind. For more in-
formation about this new oboe or
Che
about other instruments in a com-
plete line of woodwinds, write to the
John Philip Sousa Linton Co.
BAND PLAQUE AND AWARD

Plaque 12”x15” ....$19.50

Award, Certificate, The Selmer Concert Band
Button or Pin Stand has an automatic tension
(state which) ..... $6.50 mechanism which permits — placing
Award alone ....... $6.00 the stand at any desired height from
Button or Pin alone . .$.90 L3 to 68 inches. without turning any
Certificate alone ....$.90 screw or knob. The 20-inch wide
desk likewise remains in any desired
A non-profit enterprise
Satisfaction Guaranteed position automatically. This — steel
stand is fitted at the base and the
THE INSTRUMENTALIST CO. desk with wing nuts that can easily
1418 Lake St., Evanston, Ill. be loosened to facilitate moving of
stands when dissembling is desired.
$14.25. For additional information
write to H. & A. Selmer. Ine... Elk-
hart. Ind.
SAVE FILING SPACE & COSTS

IQ
1S.
NORREN FILING CABINETS will save
you up to 200% in space (for quick
step band music). Fewer cabinets do
the job, so you save money too!
The Clarin Chair is especially de-
signed for use in the music room. Its
unique feature is that the tablet arm
may be folded down alongside the
chair so as not to interfere with
singing or the plaving of an instru-
ment. The seat is pitched only 4%
inch from front to back. making it
difficult for students to slouch. For
complete information write the Clar-
in Mfe. Co.. 4640 W. Harrison St..
Chicago 44. Ill.

The Merson Musieal Chalk-

board is a durable demonstration
board for music instruction. “This
ereen porcelain enameled chalkboard
Please send information on music filing with treble and bass staff enduringly
cabinets. fired-in to last practically forever
Name has a superior writing surface...”
Address 24 x 36 inches. For further informa-
City State tion write to Merson Musical Prod-
ucts Corp.. Dept. I. 6 West 20th
NORREN MFG. CO. Street. New York 11. N. Y.
Pasadena 8, Calif.
(Continued on page 1/6)
The Instrumentalist
 youngster in
| | f/ every

, o your band or orchestra

can have a NEW CONN instrument!

NEW “CONN TIME PAYMENT”

PLAN AVAILABLE ONLY
FROM YOUR CONN DEALER

Now you and your students can enjoy better

sound, better performance—for a finer band
or orchestra—because anyone can now afford
a new CONN instrument. Ask your CONN
dealer about the new time payment plan—the
first and only one of its kind in the band
instrument industry! For as little as 10%
down ...up to 20 months for the balance
... your CONN dealer will deliver a new
CONN instrument of your choice.
Help yourself while you help your stu-
dents ... you can recommend CONN with
complete confidence.
BAND INSTRUMENT DIV.
Cc. G. CONN LTD...
Dept. 1091, Elkhart, Indiana.

BAND INSTRUMENT DIVISION, C. G. CONN LTD.

Dept. 1091 Elkhart, Indiana
Send NEW 1956 CONN Catalog, free and without obligation.
MAIL COUPON FOR NEW “
CONN CATALOG. SEEYOUR ® a
DEALER FOR “TIME PAYMENT
PLAN” DETAILS. Address

School

October, 1956 15
 flashing IT'S NEWS TO US—(from page !4)
beauty!

superb The new Ludwig Tenor Drum

tone! “Verti-Holder” is designed to hold
the drum in a vertical position “for
years of ,
complete control at extremely fast
service! tempos.” It is tuned about a 5th
higher than the Scotch bass drum and
is intended “to add show and a solid
heat to the drum section.” For addi-
tional information see your music
dealer or write to the Ludwig Drum
Co.. 1728 N. Damen Ave.. Chicago
17. Ill.

GRETSCH
\ new Wittner Maelzel Metro-
nome-Lamp_ is 22. inches high.
PAR ADE
weights 342 pounds. has a_ shade
12 x 10 x 9 inches with “black drum
DRUMS tortoise shell finish and base of hard-
wood brass satin finish.” The front
‘*Tournaments’’ with double flanged
can be closed. $32.50. Targ & Dinner.
metal hoops, or ‘‘Parade Kings”
Inc.. 4225 S. Wabash Ave.. Chicago 5.
with wood counter hoops, add color
and excitement to your marching
band and drum corps.

Both boast exclusive Gretsch 3-ply

molded plywood shells (perfect
round guaranteed for the life of the \ new line of Kay-Silva Banjos
drum)—AND —‘that great Gretsch was recently introduced by the Kay
sound.” Musical Instrument Company of Chi-
cago. Ranging in price from $150 to
Chrome plated metal parts on
EVERY Gretsch drum at no extra $2865, “this premium line features
cost. Tops for durability, tops for the new patented Kay Vari-Tone. an
flashing beauty, and weatherproof ! exclusive resounding device that al-
+ lows the performer to attain the
traditional biting banjo ‘twang’ or
Now! YOUR SCHOOL an unusually sweet and melodic
COLORS available in tone.” Shown in the photograph are
polished lacquer or
the long-lived “Kay.” the attractive hostess at last
vibrant new finish summers N.A.M.M. convention in
GRETSCH NITRON
New York. and Jose Silva. famous
banjo artist.
=== SEND FOR FREE NEW CATALOG ----~.
'
The FRED. GRETSCH Mfg. Co. IN-10568
60 Broadway, Brooklyn 11, N. Y. ‘ The Designeo Crown is for your
Please send new Gretsch drum catalog to hand queen, homecoming queen, etc.
Name It is “made of light weight gold fin-
Address ish metal. diamond satin stripe pat-
City Zone tern.” A nameplate for engraving
State the queen’s name and title is per-
manently bonded to the crown. Fully
FREE! Send for the Free Gretsch adjustable. $7.50. For further in-
Drum Catalog, the picture-packed book
that tells you all about Gretsch drums formation write to T-M Designco.,
and drum accessories. Box 736. Claremore. Okla.

a
™ FRED. GRETSCH =

Fine Musical Instruments Since 1883 (Continued on page 18)

16 The Instrumentalist
 IN FAMOUS BANDS

OF THE LAND

...top

professionals

play

DIZZY GILLESPIE’s trumpet section show

off their special ‘‘up-do”’ Martin trumpets.
Left to right: Joe Gordon, Ermet Perry,
Dizzy, Carl Warwick and Quincy Jones.
The''up-do”’ is Dizzy’s own idea.

No trumpet could be so popular as

the Martin Committee Model
Trumpet... without just cause.
Professionals and students both find
it the extra range trumpet that sets
no limits to their development. Its

MicroMagic valves, nine times

smoother. Its quick, easy response
even in the high registers. Its beau-
tiful appearance. All combine to
make it the trumpet you, too,
should play. Try one at your near-
est Martin dealer’s...or write for
full particulars.

x WOODY HERMAN’s trumpet section plays the“ Blue

Flame” theme on regular style Martin Committee
models. Flanking Woody from left to right: THE MARTIN BAND INSTRUMENT CO.
Burt Collins. John Cappola and Dudley Harvey. Elkhart, Indiana

October, 1956 17
 IT'S NEWS TO US—(from page 16)

Perfection

In Percussion

@ Tonal Brilliance and

Response
@ 35°, More Non-Ferrous
(Non-Rusting) Metals
Than Average Drums
@ Selected Hand Shaven
Heads
@ Mirror Like Plating—
Hand Rubbed Finishes
The Beautiful new @ Used By The Vast
SLINGERLAND RIM os
SHOT COUNTERHOOP Majority
—gives you the best
stick protection and
the strongest hoops fp
in the industry—guar-
antees even tension

| @ Deepest Parabolic Bowls @ Finest Tympani Heads

@ Power Grasp Tuning Handles @® One Screw Set Up
@ Micro-Clutch Pedal Action @ Easy to Get—Complete Range

Send for FREE Drum and Tympani literature and catalogs.

Free to directors—Rudimental Wall Charts, Drummers
rhythm sheets, and Baton Twirling helps and information | THE ARTISTS’ CHOICE t (

| | ozs.
Slingerland Daum Ca. cricacois,ituinois | | Wicolowe

| | | STRINGS

The Instrumentalist
 The new Conn Bass Trombone
72H is in By with a valve change to
F. The rotor pivots “on bearings that
are so accurately made that there is
no friction because the rotor does ar BALANCE YOUR SAX SECTION
not touch the valve casing ,
Le
Springs in slide receivers permit play- ~~ _ AND YOUR BAND BUDGET
er to control pitch in the first post- ae
tion. Including case and tax
$399.50. For additional information
write to C. G. Conn. Ltd.. Elkhart.
Ind.
<(/ MONOPOLE

4 SAXOPHONES

The Mareth Custom-Made Mu-

settes “are musically correct and are Custom-built in France
easy to learn to play. They add tone
color and novelty to any marching
hand or drum and bugle corps.”
Schools today are buying more
Available in Eb. E. F#. G. and Gt.
The range of the Musette is approxi- Monopole Conservatoire Saxo-
mately 114 octaves and it is fingered phones than ever before. Reason?
like a saxophone. Model shown here They provide a perfect tonal bal-
is pitched in E and sells for $37.95. ance with your other reed instru-
Other models range from $32.50 to ments. And they’re beautifully
$44.75. For further information budget-priced — actually one-third
(0 write to Mareth Musical Sales Corp.. less than instruments of equal
1208 Glenlake Ave., Chicago 40, IIL.
sound and playing qualities.

These superb, professional saxo-

The Dunean Rhythocyele is an
audio-visual aid “designed primarily
to aid students in acquiring a sound
rhythmic vocabulary ... There is no
series of notes which cannot be dem-
onstrated by the Rhythocyecle so that
they can be both seen and heard.”
Vetal clips are inserted into the face
of the instrument in the desired
places. A sweep hand brushes against
them and produces resonant clicks to
illustrate even the most complex
rhythms. Finished in mahogany
sells for $69.50. For further informa-
tion write to Duncan Rhythoeycle.
Inc.. 1616 Walnut Street. Philadel-
phia 3. Penna.
phones, tone-matched through
. Alto, Baritone and Tenor, are
’ custom-made by the famous firm
of Couesnon, S.A. of France. Each
Monopole is tested and approved
by a well-known French artist, and
receives final adjustment and reg-
ulation before shipment to you.
Monopole Saxophones fit ideally
the need, and budget for a school
instrument built to highly-critical
it artist standards. They speak
clearly without pushing or strain,
throughout their full range. Re-
sponse and key action is excellent.
A

Don’t miss this bargain “bandwagon”

If your ‘‘all-strings’’ ( Bese Write for FREE Gretsch Woodwind
method) classes have completed Album describing Monopole Saxophones
Book One — write us concerning
materials in advance of publica- and fine Gretsch imported woodwinds.
tion of Book Two. If you teach
strings, and have not seen Book
One, write for FREE Full Score!
The FRED. GRETSCH Mfg. Co., Dept. |N-1056
RETSCH 60 Broadway, Brooklyn 11, N.Y.

October, 1956
 Five Half-Time Football Band Shows

James S. Kerr
University of Wichita

Famous Dance Bands 8 Risi < | Election Show

» ising Sun \ P
1. Crown “Sunrise
“The Waltz Serenade” i —
ou Saved “le . Elephan
i oe sn ™ “Republican Oo
(Wayne Theme
King)

2. Donkey
2. Trumpet lL. Notes “Donkey
“Sugar Blues” “Artistry in Serenade”
(Clyde Rhythm”
McCoy ) (Stan
Kenton ) (Continued on page 29)

ey

10 ghedgaetut! -seeneet?
oF ttt,
tt’ 4dr 1 * 4“ >
? (ew 3

4 re, one 4 Hee, Peed

Ppa Padi i Wb;
EET ATT pt +
a ce (9

LH 55 Er,”
FOOTAL
>

7 as ee eae
ats

y, a EY ye TLL ~~
saan Pe| ee a & i = \ wn fe |
ao tay PHLNAMey i
Fe, ; Wiser
iGOi, rt coe \ yeebeebeee Teh yeh .
perils ai On Samara
ese x

“i mama
tedhd ss shbbddr., cee

The Wichita University Band under the direction of James Kerr shows how some of the formations illustrated in the accompanying article
actually appear on the football field.

20 The Instrumentalist
 Take Movies
Film band
4
7. SURF THAT no one need convince
you of the many advantages of
taking motion pictures of your
marching band: nevertheless. for the
sake of codification, here are a few
anyway:
1. To analyze drills, formations, tim-
ing, ete.
rp To show how carelessness. by even
a single individual, can impair the
team effort of the band.
3. For use in public relations work;
show the movies to P. T. A.
groups. civic groups, etc. Music
can be played on a tape recorder
during the show.
1. For use in recruiting new musi-
cians. (Remember these will be
movies of your own community
school group. not commercial re-
cruiting films or ones made by
distant universities. There is a dif-
' Leonard Gutkowski is the instrumental music
ference! )
5. To keep a visual record of prog-
(0
ress.
6. To serve as a morale builder and
incentive for the students.
7. To use in various other ways, such
as in fund-raising campaigns.
Cost of Equipment
How much will it cost and what
equipment do you need? A 16 mm.
movie camera with a wide-angle lens
would be the best camera to buy if
you can afford it, or if the school
will purchase one. The camera and
lens cost about $200, or more. The
advantages of a 16 mm. camera are:
1. The school probably already has a
16 mm. projector.
2. 16 mm. film comes in faster speeds
(especially the black and white
Tri-\). allowing movies to be tak-
en even if the light is not too good,
3. Many free or inexpensive 16 mm.
movies can be borrowed from film
libraries,
The disadvantages of 16 mm.
equipment are:
1. The film costs about three times
more than does 8 mm.
2. 16 mm. equipment also costs more
than does 8 mm. Silent projectors
are about $200, and sound projec-
October, 1956
of Your
shows even on a limited
Leonard Gutkowski
instructor in the Public Schools of Lorain,
Ohio. He is a graduate of Ohio University
and was a member of the 365th Army Band
while in the service.
tors are still higher. Thus, a 16
mm. camera and silent projector
would cost about $400. All 8 mm.
projectors are silent.
What about 8 mm.?
If a school bought an 8 mm. pro-
jector, it could probably be used
only for band or other analysis work
because 16 mm. is standard. The
movies would have to be shown to
smaller groups, since 8 mm. projec-
tors give smaller images. But if
money is the problem, the 8 mm. is
better than nothing.
If the band director bought the 8
mm. movie camera himself, he would
have his own equipment; and _ the
school could purchase the film for
the band movies.
The necessities and approximate
prices for 8 mm. equipment are:
1. An 8 mm. camera with a 1.9 or 2.7
lens needs careful selection. A promotion
smaller lens makes possible a
larger lens opening, thus buy a 1.9
if you hope to get any night mov-
ies: 2.7 is good only in the day-
Band
budget.
time. Prices range from $40 to
$120. You must be able to attach
a wide-angle lens to the camera if
you are to get the whole band for-
mation without moving hundreds
of feet away. Kodak makes just
such a camera at the economy
price of $79.95. This includes
lenses on a turret for fast changes
from standard to wide-angle to
tele-photo. This camera uses a 50-
foot roll of film, but it must be re-
versed at the 25-foot mark. Maga-
zine loading cameras are loaded or
reversed in seconds, but the film
and the camera itself are slightly
more expensive.
ho. The projector costs from $62.00 to
$125.00, or higher. Your dealer
will explain the differences, but a
$62.00 projector will do fine if
you're on a limited budget.
3. A splicer is desirable with both 8
mm. and 16 mm. film to connect
the film after editing. The cost
ranges from $4 to $8.
1. A screen costs anywhere from $13
to $25 depending upon the size.
5. Film for about 4 minutes costs
$3.75. This is for colored film and
includes developing. Black and
white costs about $3.25. It must
be used for night games.
All in all, one can take 8 mm.
movies for as low as $115, with limi-
tations: for $200 you can do much
more. Hope you try it. It’s not only
useful, but enjoyable as well.
FINE
Frank Reed to NPMA
The National Piano Manufacturers’
Association has just announced the
appointment of Frank L. Reed as
executive vice-president in which
capacity he will direct a program of
for the piano industry.
For many years Reed has been con-
nected with the C. G. Conn Co. He
has also been president of the Ameri-
can Music Conference.
21
 Singing Approach to the Brasses

William C. Whybrew
- IMPORTANCE of a good method
of tone production cannot be
overemphasized. It is the foundation
upon which all phases of brass in-
strument playing rest. Beauty of tone,
technical facility, range, and even ex-
pressiveness are all largely dependent
upon good tone production.
If the brass player is to develop
the ability to move quickly about his
instrument over a wide range with
accuracy and delicacy, if he is to play
musically with expressiveness, he
must be able to produce a sound
which is light and free in quality, a
sound which flows unhesitatingly
from his instrument and which, con-
sequently, can be freely manipulated.
<a ) The first essential of
BRASS
Other factors cannot, of course, be
disregarded, especially the speed and
agility of tongue and fingers and the
maturity of the performer’s musical
taste. Yet, high degrees of ability in
these respects go for naught if the
sound is tight and stiff, if it comes
from the instrument reluctantly and
only thru the expenditure of great
physical effort by the player. Many
apparent deficiencies in tonguing
can, indeed, be traced to faulty tone
production rather than directly to
inability of the tongue itself.
Awareness of the importance of a
good method of tone production,
however, is only a first small step
along the road toward solving the
problem which confronts us. It is
more to the point at the moment to
consider some of the common de-
ficiencies in this respect and to find
ways of remedying these.
Breath Support
good tone
production on any wind instrument
is, of course, adequate breath sup-
port. Increasing attention has been
called to this factor in recent years,
and it seems that awareness of its im-
portance has spread accordingly.
Diaphragmatic support of the tone
is indeed an essential of good tone
production, and it is one in which a
great many school players seem de-
ficient. Actually, however, it is only
one important aspect in the proper
use of the breath. Of equal impor-
tance is the flow of breath.
Conceivably, one may have ade-
quate support and still not be free
of the pernicious habit of blowing a
separate puff of breath for each note.
Indeed, it is possible, by emphasizing
support in a narrow and superficial
manner, to induce in the student a
mechanistic concept of tone produc-
tion which may be as erroneous as
lack of support.
It is often difficult. too. for the
fifth or sixth grader to grasp the
concept of proper diaphragm sup-
port. when it is couched in terms

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The Instrumentalist

William C. Whybrew is a member of the
faculty of Ithaca College (Ithaca, N. Y.)
where his duties include the organization and
conducting of brass ensembles. He holds
Bachelor's, Master's, and Ph.D. degrees from
the Eastman School of Music. Previous to
his position in Ithaca, he was band director
at Sodus, New York, and brass instructor in
the Rochester, New York, Public Schools.
Then for four years he taught tuba and brass
methods at Eastman. He also served as tuba-
ist in the Carbonrundum Band of Niagara
Falls, the Rochester Philharmonic Orchestra,
the Rochester Civic Orchestra, and the East-
man-Rochester Orchestra.
more or less technical. Yet it is im-
portant that the groundwork for de-
veloping a good method of produc-
$ tion be laid in the early months of the
child’s playing career.
Flow of Sound
In listening to hundreds of young
brass players over a period of years
with exclusive “steg
and recommended by
October, 1956
I have been sadly impressed by the
large number who fail to maintain a
flow of sound, who puff or blow at
individual notes in succession. Many
of these same players, if asked to
sing the melodies which they puff out
so laboriously on their instruments,
would not respond with a series of
disconnected sounds, each emitted
with a separate puff of breath. Even
more surely they would not, in speak-
ing. deliver their sentences word by
word in the same disjointed manner
in which they play.
It is this concept of flow which
must be transferred to the playing of
the brass instrument, and one way
in which this can be done is by the
analogy to singing. Emphasis on
“singing the tone” is perhaps the
most inclusive and effective way of
developing good habits of tone pro-
duction.
In playing a brass instrument the
performer should experience all of
the sensations in the mouth, the
throat, the chest, and the diaphragm
that he would if he were singing the
same line, with one exception: notes
must be articulated by the tongue
when playing instead of by the lips LOW
as in singing and, consequently,
there should be no movement of the PRICES!
jaw when articulating on the brass
instrument.
The “singing approach” subsumes Selmer
the use of adequate support. How-
ever, support is not emphasized in an STYRATONE MUTES
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23
 WHYBREW—(from page 23) soon as possible, the student should be free in character, although it need
isolated fashion but is included in a be asked to play on the same pitch not be an example of beautiful sing-
more comprehensive concept, thus two notes of two counts each, keep- ing.
lessening the chances of a mechanis- ing the continuous flow of breath as
Staccato
tic concept of support and providing in playing the single long note.
a more effective means of attaining No concern need be given to the It may seem to some that such
this end with younger players. termination of the first note, only to heavy emphasis on a flowing tone
the beginning or initiation of each completely neglects the staccato. This
Developing Flowing Breath note. The next step is to play four is not so. It must be understood that
equal notes using the same procedure. flow of breath and sustained support
To establish the flow of breath it is. The essential point is the transfer of are basic to all phases of brass in-
perhaps, best to start with a note of the flow of breath from the single strument playing. Until this has been
moderate duration, four counts at a long tone to the succession of short- established a really good, light stac-
moderate tempo. This should be done er tones. cato is impossible. Thus, I feel that
as soon as the student produces a With each of these steps the teach- staccato should not be emphasized too
sound on the instrument. Then, as er should illustrate what he wishes early, as is so often the case. Fur-
the students to do. Actually singing thermore, the staccato may well be
the notes, articulating with the best approached by beginning with a
Recently Issued tongue, using a “tah” syllable, and fairly rapid reiteration of notes
sustaining the “ah” is desirable. Hav- rather than with an attempt to play
Original Compositions ing the students sing the notes in the detached notes rather slowly. Too of-
same manner, then play them is fre- ten the more conventional approach
For Brass Instruments quently helpful. of emphasizing shortness of rather
Cornet (Trumpet) and Piano The concept of flowing tone should slow, spaced notes leads to, or con-
Arban Variations Brillantes $1.00 be carried over to all playing which
(on a Fantasie by Mercadente-Tolou) firms, the notewise concept of play-
Ostrander..On The Fair Grounds .80 the student does. Phrasewise playing ing which results in the “blowing at
Horn and Piano should be emphasized from the be- notes” found in so many school brass
Saint-Saens...Romance . . 60 ginning lessons. If the student is»un- players.
Trombone and Piano able to play thru complete phrases, At a moderate or moderately slow
Ostrander..On The Fair Grounds .80 then he should at least think and play tempo, alternate beats should be
Two Trumpets groups of notes with the constant divided into four equal notes, the
Desbordes Duo Concertants . 1.50
effort to extend these groups into other beats serving as terminals for
Trumpet and Trombone complete phrases. The essential point
Alan Raph. . Three Display Duets .75 the groupings. Emphasis should be
here is to avoid playing note by note. placed on the flow of breath and the
Horn and Trombone
Kahila. . Andante-Allegro 15 It is frequently helpful, with stu- articulation with a well pointed “T”.
Two Trombones dents who lapse into notewise play- Termination of each note is best ig-
Raphling. .Sonatina 80 ing, to have them sing a phrase and nored.
Brass Quartets then repeat it with the proper articu- Similar devices may be employed
(If'wo Trumpets, Horn, Trombone) lation. The device of singing a phrase as remedial techniques with students
(Two T rumpets, Two Trombones)
Werle before playing it is another which who have difficulty in developing a
March, Choral, Fugue . .sc-pts.. .$1.00 can be used advantageously at all lev- light, free, well-controlled tongue. In
Maganini els of advancement. To be of help, of
Lament sc-pts. 80 many such cases, the fault lies with
U ber course, the vocalized rendition must the breath rather than with the
Beachcomber's Dance sc-pts. 1.50 tongue.
Five Brass Instruments Tonguing difficulties. particularly
(Iwo Trumpets, Three Trombones) heaviness and stiffness, can frequent-
L ber
Beachcomber’s Dance .. .s« pts 1.60 Specially ly be aided in more advanced players
Six Brass Instruments by reverting to the slur. Thus, in
Raphling refined using a scale exercise, the student
Little Suite . $C-pts. 1.50 might first slur it. Then, keeping the
(for Three trumpets, three valve
trombones) same feeling of flow of breath, he
(or for Three trumpets, horn, oil might tongue the same scale using a
two trombones)
Uber. .Beachcomber'’s Dance 1.75 light, but pointed “T” articulation.
ASSURES Thinking the total pattern instead of
(for two trumpets, three trom
bones and tuba) individual notes will also help.
Large Brass Ensembles FINEST
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North Easton

24 The Instrumentalist
 most effectively thru extensive legato
playing, including both slurred and
tongued legato. Printed material in
considerable quantity is available
for this purpose. Familiar songs are
suitable at various levels of advance-
$ ment, according to the other diffi-
culties involved.
For players in the various stages
beyond the beginning level, vocalises
such as those by Concone and, for
the lower brasses, those of Bordogni
transcribed by Rochut—provide ex-
cellent material for work on this im-
portant element of brass technique.
Chorale and song material also serves
well with ensembles of various sizes.
It must be remembered, however.
that no material can by itself develop
any phase of instrumental playing.
The material merely provides exer-
cises in the use of a particular pro-
cedure or technique. The proper con-
cept must first be grasped and passed
from teacher to student.
Flow of breath and maintenance
of support provide no easy formula
for quick success on a brass instru-
ment. Performance on any music in-
strument is a highly complex affair
composed of many co-ordinated ele-
ments. Deficiency of the tongue. of
the fingers, of the lips, or of the ear,
and immaturity of musical taste all
C)
can and do inhibit success in wind
instrument performance. Yet, basic to
all of these is the proper use of the
breath. It is in this respect, more
than in any other, that the majority
of school players are deficient. The
singing approach, relating the
strange to the familiar, the unnat-
ural to the instinctive. offers a hope
that this circumstance may yet be
relieved.
FINE
It is in music, perhaps, that the soul
most nearly attains the great end
for which, when inspired by the
poetic sentiment, it struggles—the
creation of supernal beauty.—Ed-
gar Allan Poe
Blessing with T. & D.
The E. K. Blessing Co. of Elkhart.
Indiana, has recently given Targ &
Dinner, a Chicago wholesale distrib-
utor “exclusive distribution in a
limited territory.” The Blessing Band
Instrument Company is administered
by brothers Earl and Karl Blessing,
sons of the founder.
October, 1956
Rehearsal
for the half-time
Reid
Reid Poole is Assistant Professor of Music
and Assistant Director of Bands at the Uni-
versity of Florida. He holds Bachelor's and
Master's degrees in music from the Univer-
sity of Chicago. Prior to his position at the
U. of Florida he taught at Roosevelt College
of Music and at the VanderCook School of
Music, both in Chicago.
sxe FIRST REHEARSAL for a march-
ing band show should be devoted
to learning the music. Familiarity
with the music routine for a show is
essential to field rehearsal. Students
gain a concept of how the entire
show goes and hangs together. Hav-
ing an idea of the whole, they will
be able to work more effectively in
getting the details.
At the second rehearsal, use charts
and have the players go through their
formations piecemeal or one at a
time. Don’t play but keep the music
in mind (players enjoy singing or
whistling as they go through the for-
mations with instruments). Several
repetitions on a difficult formation
are effective at this point.
At subsequent rehearsals put
playing and formations together. Drill
on needed spots in the show. Close
the final rehearsal with a complete
run-thru of the show if time makes
it possible to do so.
Plan Carefully
The biggest part of the work on
any show is in the conception and
planning. Most effective use of the
Procedures
show.
Poole
rehearsal time can be attained only
by means of careful planning in ad-
vance. However, in rehearsal look for
any changes which can be made
which will be an improvement in
the show. Cutting repetitious rou-
tines or making things more direct
will often improve the show and
make it easier to produce.
When the music is being rehearsed,
a recording may be made of the
whole show. Thus, the band may
practice its drilling and formations
to its own music played over a P.A.
system at the drill field—-without
carrying instruments. Should a P.A.
system not be available, this same ob-
jective can be achieved merely by
having the band members sing or
whistle the music as they march
thru the formations without playing.
Spotting Locations
For a particularly difficult forma-
tion which has few check points on
the field, such as yard lines, etc., an
effective device for saving time in
rehearsal is the use of numbered
blocks of beaverboard or wood, one
block for each man in the band. The
difficult formation may be laid out
on the field with these blocks before
the rehearsal. Each man can quickly
find his place in the formation by
going directly to his number. In the
event a show contains more than one
difficult formation, you can set up
one of them one day and another
one the next. Or, if you want to re-
hearse all formations on the same
day. different colored blocks can be
used — a different color for each.
Learn thru Experience
The director should observe and
learn from performances what could
have been rehearsed more effectively,
so that the experience can be applied
to future shows. Still pictures and
movies can be invaluable to both di-
rectors and students. The students’
observation of crooked ranks or un-
even spacing in a movie or a picture
of themselves will do much to im-
prove their next performance. os
FINE
25
 Common
String
Alfred W. Bleckschmidt
wn THE UPSWING in_ string
music education taking place
across the country. music educators
who are vitally interested present-
ing balanced music experiences for
boys and girls are beginning to see
the fruits of their labors. Schools that
boasted only of a band program for
years are inaugurating string instruc-
tion with marked success.
\ recent orchestra clinic which |
conducted provided some interesting
observations in this respect. \ splen-
did group of over 135 elementary
and high school students was. as-
sembled from five schools in the hills
of Missouri. Eighty-six of the musi-
cians were string players. Of unus-
ual significance was the fact that
schools
none of the participating
could be considered large, and none
of the orchestra directors were string
specialists.
The orchestra music performed
was considerably beyond the in-
struction book level. and the perform-
ance reflected a quality of instruc-
tion coming from teachers inspired
to give the boys and girls a_ well-
rounded music experience, including
orchestra.
Faults in the various aspects of
string players can be expected among
students whose teachers probably are
not string specialists. I have ob-
served the following general weak-
nesses among the string players in
the clinics | have conducted:
Failure to Rosin the Bow
Strange as it may seem, a sizeable
group of string players invariably
forget to rosin the bow. Good teach-
ing helps instillgrood habits. not on-
ly in playing an instrument. but in
cemaiaiian to play. Poor tone qual-
ity is often caused by bows inade-
rosined. The alert teacher
quately
Charistmamas
for Ist position strings by Srorge Bact
26
Faults of
Players
Alfred W. Bleckschmidt is State Supervisor
of Fine Arts Education in Missouri. He is a
graduate of Central Missouri State College
and of Northwestern University. He was sup-
ervisor of instrumental music activities in the
Normandy Public Schools of St. Louis County
and taught violin at Central Missouri State
College and at Converse College in Spar-
tanburg, South Carolina. In his present posi-
tion he frequently gives string demonstrations
and conducts orchestra clinics.
carefully demonstrates the proper
method of applying rosin to the bow
the first time beginning students are
met. A cautious eye kept on the stu-
dents. together with frequent remind-
ers. are in order until the students
have carefully established the habit
of properly preparing the bow for
playing.
Skating Bows
\lthough faulty intonation is an
ever-present problem with beginning
string players, it seldom seems to be
as acute as the problem of poor tone
quality. The string player has many
things to think about in order to pro-
duce a tone or a series of different
tones. Because of the many moto!
functions necessary. it is understand-
able that some body movements.
such as the arm bow stroke. may be
IF YOUR STRINGS CAN PLAY do, re,
mi, fa beginning on each open string
(Basses do, re, mi) they can play
Fantasy
etiam
School
quite faulty until the student has ac-
quired the habit of properly manipu-
lating the bow.
Because of the failure to acquire
the proper feel for drawing the bow
in a straight manner, students quite
frequently allow the bow to skate
over on the fingerboard. \ good tone
cannot be produced if the bow
touches the strings over the finger-
board. For all general purposes, the
bow should be placed on the string
halfway between the bridge and the
fingerboard. It should remain there
whether the player is bowing at the
frog or tip. A constant reminder from
the teacher proves helpful.
Limited Bow Stroke
String students, especially those of
limited experience, seem apprehen-
sive about using sufficient bow to
produce a good tone. Their mental
facilities seem to be largely con-
sumed with concentrating on left-
hand technical manipulation, and
they give only secondary considera-
tion to the right hand and arm. For
this reason, the alert string teacher
will offer a constant reminder to
string players to play all notes de-
manding breadth with a broad bow
stroke. A warm-up exercise consist-
ing entirey of full bow strokes is
generally helpful.
\ warm-up with full bow strokes
on open strings allows the student to
concentrate entirely on the bowing.
| have found the following to be an
excellent bowing warm-up since it
permits the student to use a full bow.
It also provides wrist development
for playing at the tip and frog, all
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The Instrumentalist
 general pitfalls for the beginning stu-
dent.
a) vA Vv AV
(0 Full Bow--Upper |/4--Full---Lower 1/4
This bowing pattern may be adapt-
ed to many variations. The full-bow,
however, must be handled judicious-
ly with children with short arms. Ob-
viously, small children cannot utilize
the full-bow as can players with long-
er arms. All string players, neverthe-
less, should be encouraged to use as
much bow as they can. The use of the
full-bow will aid immeasurably in
helping to develop a tone of strength
and solidity.
Right Hand Bow Control
\ violin pedagogue once remarked,
“Any fool can learn to work the left
hand on a violin, but it takes a real
artist to work the right hand.” Some
may disagree with this observation,
but it does point up a weakness gen-
erally found among string players.
The tendency for a student, who has
not had preliminary guidance from
the teacher, is to grasp the bow with
rigidity.
Unfortunately, many string stu-
(@
l
l
a
VARITONE..-
October, 1956
dents allow the fingers to be straight
and rigid. There is an unwritten law
in musical performance that fingers
are never straight nor rigid in play-
ing any instrument. To the contrary,
the fingers are always curved and re-
laxed, whether it is a keyboard, wind,
percussion, or string instrument be-
ing played. If the string student’s
fingers are straight and rigid, one
can expect him to produce nothing
but tones that reflect the rigidity
found in the fingers.
A quick observation of the stu-
dent’s right hand can generally be
made by the teacher. If the right
thumb and little finger are curved
slightly out, the student is on the
right track. Too frequently, the
thumb and little finger become
straight, rigid posts, and this rigidity
is reflected in the entire arm, which
in turn hampers the entire bow
stroke.
Beginning students are often aided
in acquirin e the feel of curved fin-
gers by placing a small ball, the size
of a golf ball, in the palm of the
right hand. Ask the student to wrap
his fingers lightly around the ball,
bringing the tips of fingers and
thumb together on the side of the
ball opposite the palm. All fingers
&
n
i
r
t
S
-
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must be curvel out to do this.
The next step is to have the stu-
dent form an “O” by placing the tip
of the right thumb against the first
joint of the second finger, both fin-
gers arched out. The spot the thumb
touches the second finger while
forming the “O” is where the bow
is placed. It is practically impossible
for a student to acquire a rigid right
thumb if he continues to form the
“OQ” with the thumb and second fin-
ger.
Just as a wind player needs prop-
er breath support to produce a tone
of good quality, the violin and viola
player needs the support supplied by
the right index finger as it rests on
the bow. A relaxed but firm pressure
is exerted thru the index finger
which utilizes the entire arm up to
the shoulder in helping to produce a
tone of strength and solidity.
Lazy Fingering
Students do not intend to play
with a lazy hand, but they often do.
The lazy left hand cannot help the
player produce a tone that is clean,
firm, and solid. The alternative, how-
ever, does not mean that rigid, heavy,
hammering of the left hand is neces-
sary. The suggestion from the teach-
s
g
METHOD
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27
 er for the student to use crisp, clean, when he goes to higher positions never touched by hands, (1) the por-
fingering with neatness and precision that the vibrato is often abandoned. tion of the strings between the
often helps. It is difficult to prescribe a single. bridge and fingerboard, and (2) the
Failure to Use Vibrato foolproof method of teaching vibrato. hair on the bow.
Students generally try using the There are many approaches, tricks. There are, of course, other prob-
and devices used. Many have mer- lems that present themselves as
vibrato when they have become ac-
quainted with the 3rd position. The it. and all probably result in success stumbling blocks to string students.
for some students. Regardless of the These are only a few. but they seem
also apply the vibrato to the Ist
position with which they are familiar. approach, the vibrato helps bring to be the persistent ones.
But the student’s mind becomes so about a firm contact of the tip of the
FINE
absorbed with the attending problems left-hand fingers to the string, and a
firm contact is a prime requisite for
a firm tone. Good Budget in Georgia
It is said that Fritz Kreisler re-
Mr. William T. Verran, band di-
marked that he tried to vibrate on as
rector, of Cairo, Georgia (pop. 6,-
many tones as possible, even though
some notes may be quite short. Such 800) has some financial figures rela-
tive to his band which may interest
advice might be given to all string
others in comparable situations. The
players. Students who have a knowl-
high school enrollment is 650 and
edge of fingering in upper positions
includes grade 8, as well as grades
generally find their tone quality is
9 thru 12. There are 65-70 high
considerably improved if they are re-
school instrumental music students
AN minded to use the vibrato.
and one teacher only, Mr. Verran.
“The budget, which is subscribed
HONEST Care of Instrument to by the people up-town, the busi-
ness concerns of the city, and the
Leopold \uer is reported to have
VIOLIN service clubs of the town. follows:
refused to let his students put their
Repair of instruments, $300; music,
violin cases on the floor. He consid-
SOLD AT $150: buses for out-of-town football
ered the violin and bow too sacred to
trips. $500: deficit for a one-week
have anything but the finest of care.
- AN concert tour, $450-$8500; and = mis-
and wanted them on a table. even
cellaneous $100.” Total $1500.
tho they were in a case.
HONEST No matter how one may regard
the violin, the instrument cannot pro- $1,000 or a
PRICE duce its best results unless given
Debut Recital
MN
ye proper care. A single glance at the
violin and bow quickly — reveals For young people between the ages
Your talent whether the student has had proper of 20 and 35 who play violin, piano,
deserves euidance in the care of the instru- chamber music or who sing. the 22nd
ment. A quick evaluation of the man- Biennial Young Artist Auditions of
the best violin
ner in which the violin has been the National Federation of Music
you can buy—
cared for may be made by observing Clubs will pay 31.000 in cash to each
a Roth—
if rosin has accumulated on the top winner, or the option of a debut in
exquisitely New York’s Town Hall or its equiva-
of the violin and the fingerboard. and
crafted if the bow is dirty or clean. lent. For details. write to Mrs. Flor-
to give you Jascha Heifetz frequently has been ide Cox, Belton. South Carolina.
Ny
wonderful observed to wipe off his violin and
tone and bow while acknowledging the ap-
i Old Master plause for a number he has just ren- VE +
Comprehensive and
performance! dered, rapid approach
IN

Of primary importance is the re- far by Jay Spalding

minder to students that there are two $1.50 postpaid
7, scenes VARITONE, INC.
parts of their equipment which are IILTTESAY VARITONE, INC.

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28 The Instrumentalist
 KERR—(from page 20) 2. Head with
Big Nose q
2. Baby Buggy
“Hinky, C
“Rock-a-by_
My Baby” Dinky. Dink”
i dit
= (Juestion Mark ( Jimmie -
“Who?” Durante )

> Boat
“Swanee”’ 3. Tube of
Toothpaste
“Thanks for
Flag the Memories”
—_ sod Bless ( Bob Hope)
ae. Rainbow
America”
“Rainbow
Round My
Shoulder”

. Fiddle
Victor Herbert Favorites Comedians Quiz Show “Love in
Bloom”
a Map of
(Jack Benny)
Indiana
. Mill “Back Home
**Because (gain in
Youre You” Indiana”
(from The
Red Vill)
tt

~ . Crystal Ball NACWPI Workshopat Interlochen

“Gypsy Love
Song” “ Byobaes \ ASE RO ing ey
mam .
(@ (from The a & ir>: +--+ F r ‘
7
Fortune
Teller) e

° \rrow and
Heart
“I’m Falling
in Love with
Someone”
(from
Vaughty W

Varietta)

. Toy Soldier
“March of the
Tovs”

(from Babes
Approximately 15 members of the NACWPI (National Association of College Wind and
in Toyland) Percussion Instructors) gathered at Interlochen during the week of August 21-28 and
e
participated in an intensive workshop meeting under the general Chairmanship of William
H. Stubbins.
A stimulating series of reading sessions, clinics, discussions, and concerts held the sustained
interest of members and associates. Prominent in the sequence of meetings were a Clinic
on Trumpet Materials, a Woodwind Quintet Concert, and a Concert featuring varied string,
Memories of Al Jolson wind, and percussion pieces.
Other organizations whose meeting dates ran concurrently with NACWPI at Interlochen
were the American String Teachers’ Conference, the National Chamberre, and the Civic
Orchestra Workshop.
Several business meetings were held by the NACWPI, with National Chairman Newell
\ Umbrella Long presiding. It was agreed to re-institute the annual composition competition, and tentative
“April plans were discussed for a similar workshop meeting to be held during the summer of 1957.
Showers Shown in the photograph (left to right) are William H. Stubbins, Associate Professor of
Clarinet at the University of Michigan, and Newell Long, National Chairman of NACWPI
» and Professor of Music Education at Indiana University.

October, 1956 29
 Playing Maturity Requires

Training and Careful Listening

George Waln

(See “Men of Note” on page 8.)

H°" rO GAIN MATURITY of ex- (A) shows the dropping of notes

reef f
pression on a music instrument short and abruptly at the ends of
gives cause for speculation and phrases or at the ends of groups. In
analysis. Recent experiences with (B) the faulty interpretation fails
high school players from wide geo- to space the notes and convey the
bes
Se== fore ere“m
graphical areas cause one to wonder = yed goes
incorrectly mood characteristics of the music.
as to why so few play maturely and (C) shows the wrong emphasis on
why so many ignore phrase endings. rhythm. In (D) we find the common
rhythms, expression marks, and note Allegro (Martial) misinterpretation of the staccato dot
lengths. Why do so many develop a Gereee rier = 4 over a_ note. Many more examples
note technic, but so few understand Nritten could be given to convey the scope
what they are doing with the notes ¢ of inaccuracies.
There is too much note playing and ee Inasmuch as mature’ expression
not enough music making. [ am re- Played incorrectly sounds so much better and more sat-
ferring to examples such as the fol- Cc isfying than note playing. why do
lowing: err if === students choose the poorer way of
ed incorrectly 7 performing—the immature _ rathet
than the mature?
Until recent years it was my belief
D wr. 0 é . ; : that musical maturity came only

eee
written shinies
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WOODWIND

ge er eb grstie a | a
Played incorrectly wey Clinic |
e =A

q.

it 66 99
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R
Clarinet Mouthpiece Was
Designed to Improve

Tone Quality, Intonation

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WRITE FOR FREE DESCRIPTIVE BOOKLET TO
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906 Church St. Evanston, Ill. The REGINALD KELL Company, Aspen, Colorado

30 The Instrumentalist
 with chronological age. There have
been many examples of youngsters
who have disproved this theory. We
know, for example, that at the age of
eleven Yehudi Menuhin astounded
all the New York critics by his mag- Otto Li
(0 nificent debut at Carnegie Hall, play- edbas!
ing the Beethoven Violin Concerto give
Here was maturity of expression perte
they thought possible only from the plete
artist of mature years. Tone]
and t
Obviously we cannot set up Menu- Tone Edge
hin as typical of American youth, tenor). Link m
but thousands of normal children able in
have come up through the ranks in special
the schools and found it normal and
natural to express music according
to mature principles. I believe this is
because mature expression was more
satisfying to them. The following
question arises. Is musical expres-
sion felt naturally or must it be
taught ?

Positive Approach

The above-mentioned negative ap-

proach to the problem of immaturity
in playing would seem futile unless CLARINET
some suggestions were attempted to
better the situation. 7) & SAXOPHONE REEDS
1) First of all. I believe two “
(@ things must take place in the per-
former's mind if he is to express mu- :
er
sic as he should: (a) he must be +”
taught to listen as he plays—both to
himself and to others with whom he
performs: (b) he must be directed
as to “what he is listening for” as he
plays. Is it pitch, tone quality, pre-
cision, holding and rounding phrases.
%$
etc.. or a composite of all of these?
Tessionals
2) This listening must be started
in his earliest basic training. Good
teaching is of the utmost importance
world. over!
in this stage. The effectiveness of this
early work will have a vital bearing
on his ability to hear and feel what
sounds right. It is in his private or
small class lesson that he learns the
feeling of holding notes their pro-
per values. It is here that he learns } acl
the interest which comes from the ex- 4 40n°
pression marks carefully observed. mavt GRECORY
It is here that he will learn to space Precision Mouthpiece for a precis
the notes and interpret the com- ance. All Chambers and Facin are entirely
hand finished to related specifica
posers intended mood for the music. tions. 25 years in design and mak .
ing of quality mouthpieces
It is here he will develop his pitch for America’s outstand
ing reed artists
discrimination. In fact, these de-
veloping processes will be most ef- For Sale at Leading Music Dealers throughout the world
@
fectively started in the earliest grades
in the vocal program. Successful and RICO PRODUCTS
inspiring teachers in grades 1-5 will 155 N LA BREA HOLLYWOOD 36, CALIF
(Continued on page 32)

October, 1956 31
WALN—(from page 31) 4) Of no small importance in this more quickly than in normal relaxed
do much to determine the student’s formative stage is to teach the stu- practice. Secondly, the player under
development in and love for music. dent the sound and feel of a good tension often lacks the confidence to
3) Another basic need which must tone. Such a feeling from the em- preject his tone to the very end of
be taught is rhythm. Duple~ and bouchure and breath and such a con- the phrase. There seems to be a tim-
triple rhythms must be practiced to ception or recognition of quality idity on his part that he may sud-
be heard and felt. | become more and sound will eventually hold even when denly expose his own tone.
more convinced of the importance of a student goes “all out” for technic 6) As I and many others have
associating word phrases with certain in his group playing. Some players said repeatedly, one of the surest
rhythm patterns. A few examples gain this quality recognition easily ways to build maturity and accuracy
follow: and very early while others learn in an individual player is thru the
slowly and only at the insistence of small ensemble. The easiest duets
capable instructors. A few never seem plaved with the teacher in the first
=
Mis-sis-sip-pi Steam-boat to gain such discrimination. Early lessons are a good start at independ-
training for careful listening as to ence and listening. The elementary
tone quality, pitch, note lengths, school is not too early to encourage
stvle, expression, etc. will naturally ensemble participation. Progressing
« Day-to-Day-to-Day lead early to good ensemble listening onward into junior and senior high
for precision and balance. school all students in the large groups
Emphasize the shortness of "to,"
5) A continuous insistence on the should be given small ensemble train-
3 3 part of the teacher or director must ing, not just the few selected ones.
Cre ea; be made regarding the holding of Thru this kind of participation and
note values at the ends of phrases thru the use of good music chosen
Beau-ti-ful or Trip-o-let if the player is to feel and hear the by the director or the teacher, a
Stress the lst syllable to correctness of this practice. Unless quicker and surer development of
avoid the immature error of this consciousness is developed over maturity in performance will come to
a fairly long period there is danger the player. The idea should be defi-
fy] in public performance of immature nitely on a sustained plan of instruc-
violations which | believe come from tion, not just preparation for a few
two main causes. First, the player weeks for a contest.
under the excitement and tension in As a musician friend said to me
Hop-a-long Cas-si-dy a concert will run short of breath only yesterday, any teacher from any
area of the country may secure good
CHIRON music if he will use the facilities of
our leading music jobbers. If the
teacher will state his needs accurately
in a letter to the jobber and ask for
VI
a dozen numbers to examine, with a
view to buying six or eight, he will
BR
AT
O!

nearly always find a trained person

REEDS
to assist in the music selection and
For will be assured of receiving the ma-
Saxophone terial well-adapted to his wishes.
and Good music plus mature performing
Clarinet insure lasting joy to performer and
Modern Design
listener alike.
The Exclusive Grooving FINE

When writing to advertisers

Flexible . . . iene . Lasting
please mention THE INSTRU-
MENTALIST.
For Tonal Brilliance

Specialist in the
REPAIR of OBOE and BASSOON
EDMUND NIELSEN
727 Kimball Bldg.
306 S. Wabash Ave. Chicago 4, Ill.

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Stre ngths High Grade Reeds for
Clarinet and Saxophone
Ask your DEALER 844 W. School St
¢. « 1650 Broadwoy + New York 1‘ France Chicago 13, Illinois Buy American

The Instrumentalist
(0

| presi ON THE premise that counting to eight aloud while mark-

there is no time to waste during
marching band rehearsals. we can
very profitably do some advance
planning in detail. Here are some
suggestions to help eliminate lost mo-
tion and extra effort. These ideas are
based upon the assumption that the
band will march eight steps to five
yards, with the first step forward,
rather than a step down in place.
First Rehearsal
For the first rehearsal do not use
tubas or bass drum, and ask all other
players to leave their mouthpieces
and drum sticks indoors. Have all
band members fall in on two stripes
(goal line and 5 yard line) facing
each other. with the director be-
tween them. Get the field freshly
striped in advance and keep it that
(0
way, whether it is the football field
or a practice field, a playground, a
parking lot, ete.
Teach instrument carry positions
NMiarcaine
CONDUCTED
Kenneth Carpenter is the high school band
director at Storm Lake, lowa.
first, followed by Attention, At Ease,
and Rest. After drilling these, teach
Left Face, Right Face, and About
Face. Next. work on Mark Time and
Halt, with all players repeatedly
Banps
BY AL WRIGHT
ing time. The 8th count is to be ac-
cented as they count.
Have the players on the 5 yard
line About Face and teach Forward
March, gauging the step so the right
toe touches the next stripe on every
8th count as they shout EIGHT.
Make sure they pick up their feet
high and point their toes. Repeat
Forward March and Halt many times
in short stretches until reaching the
other end of the field, then give
About Face and continue. If there is
time left, work on the Play signal and
have a dry run response of raising
instruments. If there is a shortage
of time, try at least to get a quick re-
view drill of all commands learned.
At the end of the rehearsal, dis-
tribute a mimeographed sheet of the
fundamentals they have had, for
memorizing. Something like the fol-
lowing:
Ten Marching Fundamentals
to Memorize
1. Know your instrument carry
position ; hold it level.
2. Attention—Stomp left foot, slap
side, (drum beat), FREEZE.
3. At Ease—Stomp left foot out 18
inches to the side and _ instru-
ment down arm’s length in

i
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Free: Write for color catalog, sample SS 132 North Sth Street Su; rior uniformsS jn@ £O., INC.
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October, 1956 33
 front. Relax, but no talking. to side. Be showy and proud; Second Rehearsal
(Drum beat). SWAGGER!
1. Rest—Speaking permitted. Move —. Halt—-Whistle, whistle. (shout) Drill on Fall In and help the
about, but right foot must NOT “halt. kick, klick.” On kick bob players find their positions as
move or twist. (This is the only instrument UP and kick out left charted. One good method of han-
time a good marching band foot. dling attendance cards is to have it (
ever does any talking.) LO. Forward March Same as Mark understood that at the command
5. Left Face—Weight on left heel, Time except on up lean forward Fall In the student should hand them
right toe pushes you LEFT as and on step be sure to make the in to the right guide of the rank, and
you shout one; stomp right foot first step a good full step. It is the Drum Major collects them from
beside left as you shout two. number | and you keep counting the right guides.
to 8 aloud. Your right toe to Explain the meaning of rank and
-~~ . Right Face—Weight on right
touch the next stripe on the file—then stress the principles of
heel, left toe pushes you RIGHT
field when you shout “8” each guiding right and front, with 215
as you shout one: stomp left foot
time. The trick is to develop a yard interval and distance between
beside right as you shout two.
perfect uniform length of step people. Drill Dress Right and Ready,
7. About Face Weight on left and NEVER fail to hit the Front.
heel, stomp right toe straight stripe on the “8”!
down behind and slightly to left Explain that since alternate ranks
Ask the players to keep thinking (even numbered) are starting from
of left foot as you shout one; about the all-important uniform
swing around to your right on mid-way between stripes, those ranks
length of step, and have them try it will always arrive on the next stripe
right toe and left heel as you at every possible opportunity on some
shout two. on the 4th count. These people will
temporary chalk marks on the side-
be called “4 Men” and the ones in
ae~e. Mark Time - - - - Whistle, whistle, walk by your band entrance. the odd numbered ranks will be called
whistle, (shout) “let’s go, up, Before the next rehearsal, hold a “S Men.” At all times while not
step las Each foot MUST go up drum sectional practice so that the
playing. all band members are to
as high as other knee, with toes cadences will be in good shape. Also
count aloud, shouting their number
pointed. Swing arms and prepare a block formation chart for
as they hit each stripe. Distribute a
shoulders so that free hand the bulletin board, so all band mem-
goes clear across front of body bers can look up their position as (Continued on page 36)
and instrument bobs from side they enter the room.

enti —
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with Gene Gamble's
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aka reading of music with 7 for Band Uniforms
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Only in CRAD-O-CORD do you enjoy these out-
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ai F Glo-Light type provides Superior 100% virgin wool worsted
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. translucent color Drapes perfectly for smarter fit
Retains shape . . . holds press longer
Finer weave assures longer wear
Light-weight duraluminum. Instant Variety of popular colors
changes of color. For details refer to
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page ad (p. 71) and “It’s News to of this luxury fabric — pioneered by Craddock.
Us” (p. 20) in Sept. issue of this Colorful Lighting Makes the and available only from
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magazine Difference Immediate delivery for
* both new and replacement
Lights complete with batteries and uniforms. Write today.
1 bracket—$1.23 each. Color domes, Twinkle Toes for Feet— Ask also for a copy of
Pom or Pin Style Light THE CRADDOCK BANDS-
plastic—75¢ doz. For Hats MAN — new, colorful, filled
with valuable information
Light up the band with Gene Gam-
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MOVING ! °° and after Lights, without batteries, $1.25 each

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Batteries—Per Doz.—$1.20
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7 UNIFORMS ‘|

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22nd & Oak Streets @ Kansas City 8, Mo-

34 The Instrumentalist
 5 0 = CO | . BABY and JUNIOR
(0
SOUSAPHONES umn
BBb — $475.
Now you can select a Sousaphone of the right size
and weight for any player, boy or girl.
BABY MODEL is 12 weight of Standard Size.
JUNIOR MODEL IS Yard lighter than Standard Size.
But just as powerful — just as accurate in intona-
tion and response throughout the entire range.

standard size instruments.

IDEAL FOR GRADE AND JUNIOR HIGH SCHOOL BANDS—
BUDGET PRICED Eb — $395.
e BARCONE SOUSAPHONES wiil give your Elementary Bands a BBb — $429. SIZES AND WEIGHTS
real foundation.
BARCONE STANDARD
e Encourage proper instrumentation and better balance in your BABY i JUNIOR SOUSAPHONES
beginner groups.
e@ Make a wonderful appearance in your Marching Bands. Eb SOUSAPHONES
e Will enlarge your “manpower” pool of potential players. 10's. © 4 Bs. 20 Ibs.
18” Bell , 1934” Bell 24” Bell
Your regular dealer can arrange for you to see and hear these \ 40” High ' 50” High 53” High
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sy OSTWALD

‘
This is the PurpuE Universtry BAND—At G. Wricut, Director
wearing their OsrwALp uniforms. See
vour local OstwaLp representative for Tl
guidance in selecting styles, fabrics, b
' 7 eae VOUS 9
colors, accessories for your new uniforms. tJ
0 OstTWALD gives custom-tailoring attention
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promises—confirmed in writing—are de- INC.
pendable. Phone or write for tree booklet OSTWALD BUILDING, STATEN ISLAND 1, N. Y.
“Fund Raising Ideas.”

October, 1956 35

PORTABLE YARDLINES
MAKE ANY AREA A DRILLFIELD
Non trip: Windproof: Durable
9 - 17'/4 yard long strips with
'/3rd markers $25.00
27 strips complete $65.00
MUSICAL SPECIALTIES MFG.
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Norfolk, Virginia
MARCHING BAND
Richard Lee Schilling
Halftime shows, pag-
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shows for low bleachers,
entrances, drills, colored
lights, mike suggestions.
Every idea tried out by a reader of The INSTRUMEN-
TALIST before publication. Music cues and directions.
Published 1952. 147 diagrams and photos, 59 pp.
Price, $2.00
The Instrumentalist Co.
1418 Lake St.
CARPENTER—(from page 34) Wheel Turn
~ mimeographed sheet of Fundamental The common Wheel Turn is best
Vaneuvers and ask them to. refer left until the next rehearsal because
constantly to the sheet as each new it is a trouble-maker. While all of the
above maneuvers can be presented
maneuver is drilled. The first half
of this rehearsal could be without in- and drilled intensively without puzz-
ling the students, the Wheel Turn
struments.
causes all sorts of problems. Unless
Drill Forward Varch to drum
needed specifically for contest pur-
cadence. halting often to check
poses or other reasons, it is recom-
alignment. \lwavs re - emphasize
mended that the Wheel Turn not be
counting aloud and shouting the 4 or
used, but that the Block Turn, Square
8 according to rank. When the band
Turn, or Minstrel Turn be = substi-
CO. reaches the end of the field each
tuted. If it is decided to use the
time. give About Face—allowing Wheel Turn, one whole marching
others a chance to be in the front
session could largely be on this sub-
ranks, ject. interspersed with doing the
\fter the uniform length of step most needed other maneuvers while
MANEUVERS shows sufficient improvement. dem- playing.
“ onstrate baton signals and continue Some warnings to be repeated over
“al on down the fundamental maneuvers and over are:
chart in order. reminding the band l. Everybody HALF STEP imme-
that the preparatory signal and diately after the signal on the
whistle is always given on the 3rd 3rd and 7th counts. (And _ all
count. and the whistle of execution is are now temporarily “t )5 Men”
always on the 7th count. The pivot because it takes twice thru o »
is made on the 8th count. and must counts to go 5 vards, }
be sharply done with snap and style. 2.~ When you arrive on the stripe
As each maneuver is demonstrated. of execution, STEP OFF into
have the players try it first at Mark the turn, adjusting the length of
Time a few times before doing it at step as you guide BOTH left
Forward Varch. After all the ma- and right while going around.
neuvers down to Countermarch are DO NOT shy away from the
improving satisfactorily, have them pivot point, swelling your file
use instruments so that they may be- out into the outside cuide.
come accustomed — to maneuvering 3.~~ Outside cuides stretch the step
Evanston, Ill. while holding instruments in cor- WIDE temporarily while taking
rect position, They can also use a your rank around the 16 steps
little preparatory back swing and of the turn. then resume the
bob their instruments around on half-step until signal to full step
each pivot. by Drum Major.

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Oi Movements explained in detail with many illustrations

\
$08%,¢ steps

The MINNESOTA BAND and maneuvers

+..an outstanding university band,
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Dr. Gerald R. Prescott ..... is
marching band
UNIFORMED BY
At/y

Stanbury

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Stanbury quality uniforms
can do for YOUR band?
Write for complete infor-
mation to: Published by by julian e. opsahl
The INSTRUMENTALIST Co.
~~ 1418 Lake St. Evanston, Ill.
STEPS
first prin twe years age. It is practical’ it can beBANDused hasby either
AND MANEUVERS FOR THE MARCHING been very
the successful
small or the since
large itbandwas
Dept.G, 720 Delaware, Kansas City 5, Mo. Money-back guarantee. 54 pages and 52 illustrations and diagrams

36 The Instrumentalist
 1. Pivot man of each rank execute
a 90° pivot on the stripe of
execution and take one full step
in the new direction, followed
by very short steps while his
rank is coming around the turn.
(0
then resume the halfstep until
signal.
Fundamentals
Although most college half-time
shows never use or need many fun-
damental maneuvers, high school
bands do need them for marching
contests. football games, and other
public ceremonies. It therefore seems
reasonable that high school bands
produce half-time shows that include
both precision drill and a timely lit-
tle story theme.
The 8 to 5 system is applicable to
all sorts of evolutions, multiple pin-
wheels, moving trains with revolv-
ing wheels. and various animations
of figures. When charting shows, the
system is always foolproof because
it is always known in advance just
what bar of music will have the band
in a given location. Also, when float-
ing a formation of a shape like a
boat or a football down the field with
long lines parallel to the audience,
perfect individual spacing is always
assured, because in addition to all the
“8 Men” and “4 Men” there will be
temporary “6 Men” and “2 Men” be-
tween them if you use one man on
each stripe and three evenly spaced
in between.
After a reasonable amount of drill
without playing but with shouting
“eight” as they hit the line, they'll
be sailing smoothly down the field
with even spacing while playing!
FINE
« 24-page 75¢ booklet provides a handy
Gamble to Missouri
Gene Gamble. President of the
Gene Gamble Company, is moving
from Chicago to Missouri. effective
October 5. Please address corres-
pondence and orders for his cap
lights et al.. to his new address: Lake
Rd. 19A, Osage Beach, Mo.
NOW Crown your Band Queen
with a permanent CROWN
of lasting beauty.
For sample of metal and price
write:
T-M DESIGNCO
Box 736, Claremore, Okla.
Marching and Dancing
Bandsmen
The Ludwig Pub. Co. of Cleve-
land has just released a new march-
ing band booklet by Orin “Dykae”
Ford called “Marching and Dancing
Bandsmen.” Its purpose is “to give
the bandsmen a definite guide to the
correct procedure of preparing for
the parade and football field work.”
All of the basic commands and steps
are explained and _ illustrated; also,
fourteen dance or rhythm steps. This
reference manual for the individual
band member.
Purdue Band Films
Films of the Purdue University
band taken at all pre-game and half-
game performances are available, in-
cluding a teaching guide, from L. D.
Miller, Audio-Visual Aid Depart-
ment, Purdue University, Lafayette,
Ind. A charge of $1.00 is made
when these films are borrowed by
schools outside of the state of In-
diana. Fifteen sound films covering
the 1954 and 1955 football seasons
are available.

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October, 1956 37
 The Strange Alliance of Flute and Guitar

Mr. Marx points out, the first-class

Flu te
Laurence
T MUST HAVE been in the early
1940’s when I saw an astonishing
announcement of a flute recital un-
like any I had ever attended—or even
heard of. It seemed that a well-known
New York flutist would be assisted by
a guitarist in two of his numbers. In-
credible! My curiosity was thorough-
ly aroused and I made sure that
nothing should prevent my attend-
ance at such a rare event.
Greatly to my surprise, I must
confess, it proved to be a very de-
lightful evening. The piquant pluck-
ings of the Spanish guitar, faintly
reminiscent in a gentler way of the
bolder-toned harpsichord, proved a
perfect foil to the sustained wind-tone
of the flute. The two numbers I heard
were Schubert’s Quartet for flute,
euitar, viola, and cello, and_ the
Entra’acte for flute and guitar by the
contemporary French composer,
Jacques Ibert.
facts
Taylor
How came these two strange bed-
fellows together the “classical”
flute, the “popular” guitar? It was
a fascinating topic for further re-
search, but I was unable to delve into
the matter at the time. Just recently,
however, that concert was recalled
to me when the Schubert Quartet,
long unavailable for purchase, came
to my desk in a brand new edition
complete with score and parts. (C. F.
Peters Corp., New York, 1956. Score
& parts complete, $3.00.) A scholar-
ly foreword by Josef Marx sets the
background for the getting together
of flute and guitar.
By the first decade of the 19th
century there had developed in
Vienna a school of guitar playing
which gave a distinct character to
the musical life of that city. In the
hands of outstanding players like Ma-
tiegka, von Call, Molitor, and Dia-
belli, the guitar found no difficulty
in being welcomed into the best sa-
lons. It became a “fashionable” in-
strument, and many of the wealthy
and influential studied the guitar. As
players named above extended the
facilities of the guitar to achieve a
brilliant blend of the old Viennese
classicism with the emerging elements
of early romanticism.
This, then, was the musical atmos-
phere in which Schubert. born in
1797, grew up. It is not surprising
that he should find it perfectly pos-
sible to consider putting the flute
and guitar together in a_ serious
chamber music composition.
According to the eminent Schu-
bert scholar, Otto E. Deutsch, Schu-
bert based his Quartet on a Terzett
for flute, guitar, and viola by the
Bohemian composer. Matiegka.
Schubert made it into a quartet by
adding a cello part, thereby making
the work performable by the domestic
group in which his father played the
cello.
The Schubert Quartet is certainly
the cornerstone and piece de resis-
tance of the slender literature in
which flute and guitar join. I can
heartily recommend it as a most un-
usual and interesting program num-
ber. The flute part is about Grade
I1I-[V, not more; the guitar part is
more difficult, containing chords.
leaps of 8va’s, 10ths, 12ths, ete., ar-
peggios, and extensive use of the
so-called “Alberti bass.”
Flute and Guitar Today

WHAT ARE YOUR STANDARDS ... To bring the flute-guitar alliance

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Whatever your standards for judging important qualities
in popular-priced flutes and piccolos, you'll now want to
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qualities, so many features of Gemeinhardt flutes and
piccolos remind you of muchmore costly instruments; so many
points of superiority have resulted from Gemeinhardt's
150-year flute-making tradition that you'll find a new
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FLUTES AND PICCOLOS BY—
Ge mel nhoe dt
Road 19 South Elkhart, Indiana
completely up to date, it is interesting
to point out that right now the Span-
ish guitar and flute are getting to-
gether in the performance of Baroque
(17th and early 18th century) music,
not publicly perhaps, but certainly in
private homes.
This old music, whether played on
recorder or flute, gains a charmingly
quaint, old-worldish effect thru the
use of an accompanying guitar play-
ing from the figured bass part. In
Baroque times it was a lute which so
often reinforced the keyboard part:
today, when lutenists are almost im-
possible to find, the guitar is prov-
ing a delightful substitute. Some re-
corder music publishers are now pub-
lishing guitar accompaniment parts
to their recorder editions.
Inasmuch as I am not likely to
write upon this subject again for a

38 The Instrumentalist
 long time (!), it seems worth-while
to take this opportunity to append a
list of a few more chamber music
works in which flute and guitar fig-
ure together.

Flute and Guitar

Bischoff, H.. Salzburger Sonatine
( Voeck).
Call. L. von, Serenades, Opp. 19. 65.
128 (Simrock); Opp. 54, 55, 143,
144 (Schlesinger). Op. 65 is “very
easy, as is the Duo, Op. 87 (Sim-
rock).
Carulli, F.. 5 Serenades (McGinnis &
Marx).
Cramer, F.. 3 Themes varies ( Breit-
kopf & Hartel).
Furstenau, K., 12 Original Pieces,
Op. 35 (Nagel).
Ibert, J.. Entra’acte (Editions Societe
Internationale). Modern.
Legnani, L., Duo Concertant, Op. 23
(Weinberger). Also Gran Duetto
Concertante, Op. 87 (Ricordi).
Reusner, E., Suite in E Minor (Me-
Ginnis & Marx). Composed in
1670.
Teichmuller, J.. Potpourri in G, Op.
7 (Breitkopf & Hartel).

(Continued on page 40)

(9

Painstaking craftsmen, exercising unparalleled

<) experience, are the key to the finer musical and me-
chanical qualities of Armstrong flutes and piccolos.

ARMS TRON G COMPANY ee ee ee a

October, 1956 39
 TAYLOR—(from page 39) part for clarinet in place of violin. Band Betterment
An enormous number of pieces for Modern.
Conference
flute and guitar, mostly rubbishy ar-
Flute, Guitar, and Viola
rangements of operatic airs, were
The second annual conference of
published in the first years of our Call, L. von, Serenade, Op. 75
Band Betterment Associates will be
own 20th century. One of the most (Vieweg). Notturnos, Opp. 85, 89,
held immediately after Thanksgiving,
amusing,,to me, was this item: Sousa, 93. 134 ( Vieweg).
November 23 and 24, at the High
J., Washington-Post, Marsch, pub- David, J. N.. Sonata, Op. 26 (Breit-
School of Fashion Design, 225 West
lished in Florence, Italy. at 1.25 kopf & Hartel).
24th Street, New York City. There
francs! Hunten, P. E., Trio in D Minor, Op.
will be a series of concerts and dem-
20 (Simrock).
onstrations under celebrated guest
Two Flutes and Guitar Kreutzer. J.. Trio in A (Zimmer-
conductors, with timely exhibits cov-
mann). Alternate part for clari-
Call, L. von, Serenade, Op. 69 (Sim- ering the entire field of band music.
net in place of viola.
rock). Very easy. Visiting bands will include three out-
Matiegka, M. W., Serenade, Op. 26
Furstenau, K., 12 Easy Pieces, Op. standing organizations representing
(McGinnis & Marx).
LO (Simrock). school and college students at various
Knab, Armin, Pastorale & Allegro age levels: the Grade School Band of
Flute, Guitar, Violin, Viola,
( Barenreiter ). Waukegan, Illinois, directed by Ber-
and Cello
Stetka, Franz, Aleine Suite (Univer- nard H. Stiner: the High School Band
sal Edition). Modern. Call, L. von, Serenade, Op. 9 of Cleveland Heights, Ohio, directed
(Schlesinger). Quintet, Op. 130 by John Farinacci; and the Carnegie
Flute, Guitar, and Violin (Simrock). Institute Kiltie Band from Pittsburgh,
FINE directed by George E. Reynolds.
Kummer, K., 3 Divertissements, Op.
In addition to the student bands,
92 (Andre).
When writing please mention the conference will hear, as last year.
Lechthaler. J.. Freudliche Abendmu-
THE INSTRUMENTALIST. a special group of professional in-
sik, Op. 53 (Bohm). Alternate
strumentalists, gathered and _ re-
hearsed for the occasion and_per-
forming under the batons of inter-
nationally known conductors and
composers of band music. The two-
day program will include other fea-
tures of general interest, with em-
phasis on current problems and activ-
ities in this significant field of music
education and entertainment.
Win. >. Haynes Co.
SOLID SILVER FLUTES — PICCOLOS Chairman of the Executive Com-
12 Pirdmoant Street, Boston 16, Mass mittee for Band Betterment Asso-
ciates is J. Tatian Roach of the Music
Publishers Holding Corp. Clifford
Carter, of Carl Fischer, Inc., heads
the Exhibits Committee: and Philip
J. Lang. of Edwin H. Morris & Co.,
is in charge of the program.

LIKE YOU'VE NEVER

HAD BEFORE | NASM to Meet in
/ Cleveland

The National Association of

playing ease Schools of Music will convene at the
tonal perfection Statler Hotel in Cleveland on No-
vember 23-24. Representatives from
beauty
over 200 leading music schools and
rugged dependability departments of music of colleges and
FLUTES and PICCOLOS
universities are expected to attend.
and the right price and their smart new cases
This group is the one which is re-
sponsible for the music standards in
this country and for determining
D. & J. ARTLEY, INC. which schools are eligible for mem-
ELKHART, INDIANA
bership in NASM.

40 The Instrumentalist
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October, 1956
4!
 Developing Precision in the Marching

Band Drum Section €

Robert W. Buggert

NE OF THE FOREMOST problems in the last three notes ahead of time.

O%. training of the marching thereby creating a rhythmic distor-
band drum section is that of achiev- tion as illustrated in Example 2.
ing articulate precision. Several fac-
tors must be taken into account in
the treatment of this problem.
First and probably most impor-
tant is the acquiring of absolute ac- -= = i a oe Ce oe i se | F
curacy in the execution of simple
rhythms. It is wise to test a section Two solutions are possible: 1) use
on these rhythms, note any discrep- a metronome, and 2) make the stu-
ancy, and correct it immediately. Us- dents count aloud subdividing each
ually the high school drum section beat as follows—1 and 2 and, ete.
tends to anticipate the beat after Continued practice with constant at-
any short rests which may occur. tention to a steady beat will improve
Test a section using Example 1 and the section’s precision. It is also very
observe any hurrying which may ex- likely that if this basic rhythm is in-
ist. There will be tendency to play accurate, other more complicated pat-

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The Instrumentalist
 terns will be carelessly played and 3 FLUSH BASE STANDS and
such inaccuracies will pass by unno-
ticed. HI-HA TS

fh) Causes of Poor Precision

Poor precision often results when

players are trying to execute patterns ae : i MODERN, PRACTICAL, STRONG
which are too difficult for them.
Any street beats used should be with- ) : | QUICK-FOLDING
in the technical grasp of all the mem- UNEQUALLED CHROME FINISH
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ANGELES15
music being played. Avoid long pas-
sages of after-beats and use rhythmic
patterns which are flowing and solid.
Another factor in the improvement
of precision is the establishing of
uniform and logical sticking patterns.
Drummers will not play well if a cer-
tain street beat is played with a dif-
ferent pattern each time it is execut-
ed. Decide upon a pattern feasible for
the section and then dogmatically
adhere to it. The sticking patterns
used should be easily executed, uni-
form. logical, and technically coher-
ent.
Many drum sections play poorly,
unrhythmically, and without preci-
sion simply because they are trying
(9 to play too loud. A section which
plays correct rhythmically and well
together will carry farther and
sound louder than a section playing

sion and accuracy should be more

important than sheer volume for the
sake of volume. ; ROBERT F. O'BRIEN director
Se aeue

a a, ONAL PARADE DRUNS

\ drum section which plays well \N
and correctly will look good: there- Na
- *
fore, emphasis upon style without
articulate playing renders the section The nationally famous Notre Dame Band 4°
inefficient. Good style can be achieved has been a constant user of Leedy Drum a
only as a result of accurate position, equipment. | F
correct stroking, and proper playing. They use the Leedy National drums illus-
Excessive flaunting of the sticks ham- trated below. Z Cerf,
r a. oe . F Proms, 5
pers the precision, while at the same [ites liaig
time it creates an awkward appearing
section.
\n incorrect position of the sling- —_—— —_-—-— ——— 7
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October, 1956 43
 |

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BUGGERT—(from page 43) position for the field drum on a ent and work toward the establish-
sling. ment of an absolute tempo. He must
not allow a band to march a differ-
of the player, thus rhythm and preci- Director’s Part ent cadence at successive rehearsals.
sion
sai might
Sane suffer. Figure 8 in the = ; a : Much lack of precision in the
Beginning Snare Drum Vethod by lo obtain precision from the drum marching band is not the sole fault
Paul Price is representative of a good sect the irec . < _ oO ict- : ‘ _
ection the director must be consist of the drum section. The drummers
cannot be expected to be the “assist-
ant director:” if the band as a
Se 3 whole is rhythmically inaccurate, the
» drum section can do little to remedy
/ | the situation. The section must not
lead and superimpose itself upon the
|
band: it must be an integral part of a
, |
musical ensemble.
From the technical point of view.
the drum section must have the facil-
ity to execute the basic rudiments
used and, above all, must be well ac-
quainted with the fundamentals of
marching. The drummer has little
time to think about marching ma-
neuvers. He must know them well
enough to execute them spontaneous-
ly.
Concentration on these points will 4
im rove a marching band drum sec-
tion and aid in the development of
t yp-notch precision,
Levins)
FINE

44 The Instrumentalist
g MENC to Washington R
) | ent Releases b
The famous address of 64 E. Jack- ec y
son Blvd.. Chicago, for the Music MUSIC FOR PERCUSSION
} Educators’ National Conference is no
i more. As of this month the new ad- ENSEMBLE SERIES
dress for the MENC is 1201 Six- THREE DANCES (3 players) by Jack McKenzie .................--- $2.50
‘count Gtieet WA. Wacidesion 6 DUET FOR SNARE AND BASS DRUM with CYMBALS by Richard Paschke .75
ila - : DRUMS ON THE ‘PHONE (a novelty duet) by Joel Thome .......... .75
D.C. PRELUDE AND FUGUE (4 players) by Charles Wuorinen ............ 4.00
MENC was founded in 1907 and SNARE SERIES
became a department of NEA (Na- SNARE DRUM SOLO NO. 1 by Thomas Gauger (difficult) ............ 75
ee
tional Educati
Education A ssociation)
ssociati of : SNARE DRUM SOLO by Jerry Hartweg (difficult)
ao ................4.-- 75
; am <s ‘ a SNARE DRUM SOLO by Albert Payson (difficult) ................44. 75
Washington, D.C. in 1940. Since EXHIBITION SNARE DRUM SOLO by Paul Price (difficult) .......... 75
1930 MENC’s headquarters were in BASS DRUM SERIES
Chicago. A liaison office was main- BASS DRUM SOLO NO. 3 by Paul Price (difficult) ...............---- 75
tained in Washington since 1951 un- BASS DRUM SOLO NO. 4 by Paul Price (medium) .................--: 50
der the supervision of Vanett Law-
OTHER PUBLICATIONS
ler. then Associate Executive Secre-
an * TEXT SERIES
tary of MENC and now Executive T ‘ , ,
echniques and Exercises for playing
Secretary. TRIANGLE, TAMBOURINE, AND CASTAGNETS by Paul Price ......... $5.00
ENSEMBLE SERIES
THREE BROTHERS (9 players) by Michael Colgrass ................ $5.00
, ; f INTRODUCTION and ALLEGRO (4 players) by Jack McKenzie ...... 3.00
Lung Cancer for NONET (9 players) by Jack McKenzie ............. 0.00 ceeeeeeeeees 2.50
One of 1] INVENTION (4 players) by Paul Price .... 2... cccccccccccccccscccees 2.00
TIMPANI SERIES
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that “one heavy smoker in 11 may be Send for free list of all available publications!
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 BY...

~ HOLLYWOOD’S LEADING

COMPOSERS and ARRANGERS

Headed by

HARRY ZIMMERMAN

Transcribed for School Bands and Orchestras

by David Baskerville

NEW MARCHING MUSIC

JAZZ ON THE MARCH

— SERIES No. 1

A startling different concept of music for marching and show bands. Voiced for conventional instrumentation. Also play-
able by your school dance band. Modern and easy to play. The response to the LP record* of these arrangements shows
that there is an eagerness for this new sound in educational music.

HIGH VOLTAGE

GRAND ENTRY SWING MARCH *THESE ARRANGEMENTS AVAILABLE ON HI-FI RECORDS

by HARRY ZIMMERMAN’S “BAND WITH A BEAT”
MAMBO AMERICANO ASK FOR “HI-Fl RECORDS” LP No. R-602

GO, GO, GO ° Band and Rooting Section At Your Dealer

BUGLE BOY MARCH

BIG BAND SWING

WASHINGTON POST °- A Swing March WATCH FOR A BRILLIANT NEW

ORIGINAL CONCERT BAND NUMBER
HOT ROD HOP

PRINTED ON HEAVY, MARCH-SIZED PAPER

“HIGH TOR”

(Double pages) FULL BAND. ae by i

HARRY ZIMMERMAN
Free Conductor Paris are Available to
Band Directors. Use Your School Letter Head. Excitingly Different

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TAFT BUILDING, HOLLYWOOD & VINE : HOLLYWOOD 28, CALIFORNIA

46 The Instrumentalist
 would be highly effective for band and chorus and should find
its way to many combined programs this season. The choral parts
are very easy with much unison, some two-part writing, and very
New Musie little four-part score. The parts also contain a few sound effects
from the singers. The band parts feature step-wise motion, moder-
A” NEW MUSIC FOR BAND, ORCHESTRA, AND ENSEMBLE ate ranges, and no technical difficulties other than a simple
rhythmic syncopation. Ideal music for the small school situation,
(not solo and piano) is listed below for which pub- and music with a popular appeal. Duration 4:30 min. Grade II.
0 6 lishers have sent a complete set of parts. Full $5.00, Symphonic $7.50, Choral parts 25c. 1956.
New Music Filing Cards are available for each set of 50
Liszt, Franz Liebestraum Kendor od
titles (see page 52). The beginning of each set of 50 arr. Dedrick,
titles is notated in the listings below. Art
One of the prettiest melodies of all time is used here to form
The five grades of DIFFICULTY are: the thematic material for an easy little waltz for band. Almost
playable by Grade I except for a rather frequent use of accidentals
Grade I—mainly for first year instrumentalists. and a counter-melody for trombones, horns, and baritones which,
to be phrased properly, requires somewhat advanced lip flex-
Grade II1—for those definitely beyond the beginning ibility. Offers little in the way of dynamic contrast, but permits
Stages. exceptional opportunities for the young to tune properly and
play in balance. No afterbeats except in the drums. All other parts
Grade III—for those who have acquired some technique. are melodic. Duration 2:15 min. Grade II. Full $3.50. 1956.
Grade 1V—for advanced instrumentalists.
Grade Luther, Martin A Mighty Fortress Staff oO
V—mostly for college or professional players. Is Our God
arr. Gardner,
Maurice
BAND \n arrangement of the famous Luther chorale that may com-
bine the band with a S.A.T.B. choral arrangement of the same
COMPOSER- publisher (choral parts are 25¢ each). The band doubles the
ARRANGER TITLE PUBLISHER SIZE lines of the voices plus adding counterpoint and countermelodi
material to the chorale. Although playable with band alone, the
parts are less interesting without the chorale addition. Technically
GRADE 1 easy, but musically difficult, as all music from this period must
be for youngsters. Exceptional material for phrase study, and
Rameau, Jean- Two Courtly Dances Shapiro- Cc music with definite seasonal program appeal. Duration 2:30.
Philippe Bernstein Grade I. Full $5.00, Symphonic $7.50. Choral Parts 25¢. 1956.
arr. Gordon,
Philip
arr. Mesang, Ted March-O-Rama Robbins M
These two dances are contrasting in style; the first slow and Band Book
stately, the second a rather lively allegretto. Scoring is rich and
full with parts provided for a full division of standard band, yet \ new march book arranged for a band of standard instru-
careful cues allow performance by less than full instrumentation. mentation and including marches by several well-known radio
Parts for Clarinet III are designed for those players who cannot and movie composers. Fifteen marches in all. Scoring has been
00 go above the break. All parts are rhythmically simple and con- done with practical outdoor as well as indoor use in mind. Wood-
servative in range. Here’s some good music for the elementary wind embellishments have been removed and there are very few
group. Duration 3:15 min. Grade I. Full $4.00. 1956. break strains. Ranges are moderate to easy. This would challenge
a Grade II band and be completely functional for Grade III. Book.
Grade II. Cond. $1.00, Parts 50¢. 1956.
GRADE II
Nyquist, Morine Flashing Brass Summy M
Barr, Robert M. Athenian Festival Ludwig c
Overture \ fast cadence 6/8 march designed to be played at an extremely
It would be difficult to find a Grade II overture for band that rapid tempo, and ideal at a more moderate speed for Grade I
offers much more in the way of concise form and variety of styles groups. Rhythmic interest centers on the use of sustained tones
than this one does. ‘The themes, although far from profound, are and much scale-wise motion helps to simplify the melodic lines.
clean-cut and easily defined, and lend themselves to good develop- Few repeats in a slightly altered march form. Scored with single
ment, a compositional technique too seldom found in the “easy” divisi parts for horns and trombones representing a compromise
overture. There are two contrasting tempos used several times, between standard score and the six-way method. Duration 2:15.
with a legato and expressive andante pitted against a lively allegro Grade II. Full $1.50. 1956.
that represents a real change of stvle. Harmonically, the work is
better than average while retaining a classical sound. There are Nyquist, Morine Parade Precision Summy M
many nice enharmonic changes, and these pose the biggest prob
lem for the Grade II band. Best of all, it will be a piece that the \ 6/8 march in standard march form for a modified instru-
students can learn from, with a fine sense of musical proportion mentation using less than the usual division of parts. Single
and endless opportunities for employing fundamentals of all styles parts written divisi are provided for horns and trombones. Dia-
of playing. Looks like excellent contest or program material and tonic melodic lines and simplified rhythm make the march play-
printed with a full score. Duration 4:15 min. Grade IL. Full $6.50, able by Grade II at a near normal tempo and valuable to the fast
Symphonic $9.00, Full score $2.00. 1956. cadence Grade III and up band. Good material for the street
parade or football field for straightforward marching. Duration
2:45. Grade IL. Full $1.50. 1956.
Borich, George Avon Overture FitzSimons c
\ descriptive little overture that attempts to portray the river arr. Tolmage, Londonderry Air Staff °
Avon in England. The river changes its course three times to Gerald
allow for a maestoso, a waltz, and an allegro. Scoring has been
done with the band of limited instrumentation in mind. Cues are Whether you call it “Londonderry Air,” “Danny Boy,” or as
plentiful for horn parts, and none of the color instruments are Percy Grainger has, “Irish Tune from County Derry,” this melody
required. Melody is often doubled in the lower reeds and brass for remains one of the most loved and popular folk songs of all time.
better depth and sonority. Printed with 8-line score. Duration The scoring in this arrangement is straightforward and full, with
1:45 min. Grade II. Full $4.00, Svmphonic $6.00. 1956. a minimum of “trip-ups” in tempo, rhythm, or moving parts
under holds. It is certainly easier than the Grainger version, al-
Cornwall, Ardon, Steamboat Comin’ Marks c though somewhat less effective. Its strongest merit is in the studied
& Myers, Helen approach to the legato line, expressive playing, and balanced dy-
namic contrast. It’s sure to please every audience and, if played
\ really functional little piece that may be performed with band well, has musical value too. Duration 2:30 min. Grade Il. Full
and mixed chorus, band alone, or mixed chorus and piano. It $4.00, Symphonic $6.00. 1956.

October, 1956 47
 Tschaikowsky, P. Pathetique Staff ° Haydn, Joseph
arr. Toimage,
Gerald
Using the familiar and lovely theme from the Andante move
ment of Tschaikowsky’s “Sixth Symphony,” the arranger creates a
short study in tone and melodic expressiveness. The scoring is rich
and full throughout, and the syncopated rhythmic difficulties of
the original have been eliminated. There is no demand for solo
tone quality, but rather an emphasis on tutti playing and a mild
dynamic level. The musical conductor would use this to good ad
vantage in training for flexibility, ensemble balance, and purity
of tone. Duration 3:15 min. Grade II. Full $4.00, Symphonic
$6.00. 1956.
GRADE III
arr. Beeler, Peter Pan Medley Morris Cc
Walter
This may become one of the most popular medleys of the year.
It combines four good songs from the TV presentation of ‘Peter
Pan” based on the Broadway production. Scoring, perhaps a trifle
thin, captures the style of the original sound and the music is
authentically reproduced for band. The songs are “I’ve Gotta
Crow,” “I Won't Grow Up,” “I’m Flying” and “Captain Hook’s
Waltz.” The format and design of the medley is easy to compre
hend with only an occasional elusive transition. Harmonies are
very interesting and percussion parts are particularly well done.
Young people will love the familiar melodies and they are scored
to sound without forcing. Timely program music. Duration 5:00.
Grade III. Full $6.50, Symphonic $8.50. 1956.
arr. Case, Gass, The Golden Baton Hansen M The scoring is solid and simple with little to bother the player
Nelson, Sawyer, Band Book
Warrington, &
Yoder
\ new band book composed mainly of currently popular songs
and designed primarily for use with the football or basketball
band. Includes swing march arrangements of “Lullaby of Bird
land,” title theme from “The Man with the Golden Arm,” “Hot
Diggity,” “Night Train,” “Glendora,” “Mr. Touchdown U. S.
\." and five more. Each tune has an accompanying formation
suggestion with the field chart printed in the conductor's book.
Ihe arrangements are interesting and varied, although con
taining the usual difficulties in correct rhythmic interpretation for
real swing music. Drum parts are especially well written, for solid
outdoor performance. This could be a valuable asset to show
building if used this year, since the pop tunes are now popular.
Book, Grade III. Cond. $1.50, Parts 50¢. 1956.
Davis, Al, & The People's Choice Leonard M interval skips in all parts. Particularly fine counter-melody writ-
Polhamus, Al
\ complete halftime football band show based on the current
political theme. Includes music and charts for eight formations
and several “gag” ideas. All music is familiar and timely and the
general theme is certainly appropriate. Charted for the 66-piece
band. Duration 5:30. Grade III. Full $4.75. 1956.
Dilley, Joe Rhythm a la Mode Leonard Cc
\ light novelty that presents problems in proper staccato as
well as rhythm. The dotted 8th followed by 16th is the basis of
the theme and, if for no other reason, will be valuable as a
study in the correct execution of this abused rhvthmic funda
mental. There is rapid interplay between various sections and
a good deal of syncopation in accompanying parts. Takes a deli
cate, accurate style. Duration 2:30. Grade III. Full $4.00. Sym
phonic $6.00. 1956
arr. Hawkins, A Starlit Fantasy Robbins Cc
Robert
\ new medley-like fantasy based on themes from “You Are
My Lucky Star,” “I Saw Stars,” “Stairway to the Stars,” and “The
Starlit Hour.” Rich and full in the scoring with an emphasis on
tutti playing with none of the usual exposed and treacherous
transiuions. Requires no special instrumentation but will sound
best where low brass and reeds are available. Melodic interest is
passed around to middle and low parts as well as treble. Many
changes of tempo, style, and mood, with good opportunities for
rubato style and expressive use of dynamics. Light contrast for
program planning. Duration 5 min. Grade IIL. Full $8.00, Sym
Phonic $12.00. 1956
48
Toy Symphony Staff 1°)
arr. Gardner,
Maurice
This is one novelty that even your “long hairs” will have to
approve. One of the rare classical musical oddities has been
transcribed for band, and should find ready acceptance. The
score specifically calls for toy trumpet, cuckoo, nightingale,
ratchet, toy drums, and quail. The imaginative conductor will 0
find many more toys to add to both the fulfillment of the score
and to the desires of his players. There are three short move-
ments: allegro, minuetto, and finale. Each provides enough in
the way of technical difficulty and musical style to challenge the
Grade III band, and if done with care, this work could be a good
contribution to any band program. Particularly worth-while in
the teaching of light staccato and careful blend and balance of
parts Duration 10 min. Grade III. Full $6.00, Symphonic $9.00.
1956.
Hunter, | Almost Lost My Leonard M
Ivory Joe Mind
\ “pop” tune arrangement with an easy drill routine included.
Wide interval skips in the upper woodwinds, but otherwise easy
for all instruments. Uses hand-in-bell for the cornets and trum
pets. Duration 2 min. Grade III. Full $1.50. 1956.
Jessel, Leon Parade of the Marks Cc
Wooden Soldiers
\ fine old favorite dressed up in a new arrangement by Mor
rissey. (Incidentally, this represents his first published tran-
scription after a long series of fine originals for band.) It is the
familiar work unchanged except for a lengthy introduction and
ending cleverly composed around the idea of the main theme.
in either range or technic. Interesting melodies and counter
melodies are plentiful for baritone and trombone, and there is one
surprise change of key. Morrissey has made a short concert piece
out of a novelty march without losing any of the piece’s orig
inal charm. Duration 4 min. Grade III. Full $5.00, Symphonic
$7.50. 1956.
Kosloff, Ira | Want You, | Need Leonard M
You, | Love You
\ “pops” arrangement that lasts only a little longer than the
title. Includes a formation idea for football band presentation,
with a few moderately difficult rhythmic problems and the use of
hand-in-bell cornets and trumpets. Medium tempo. Duration
2:30. Grade IIL. Full $1.50. 1956
Nyquist, Morine Skymaster March Summy M
\ lively 6/8 march with moving diatonic lines and sections of
ing for baritone and trombones. Uses a full standard instru-
mentation with harmonic interest for every section. A good break
strain. Good contest march material. Duration 3:30. Grade IIL.
Full $1.50. 1956.
Saylor, Richard S. Prisoner of War Kendor Cc
\ descriptive concert march based almost throughout on a
repeating rhythmic motive that begins in the percussion. Strong
use of the harmonic style of chords of the 4th in shifting tonal
centers. Dissonance is palatable in its use to describe the imagin-
ary scene, and parallel motion is common. Ranges are not ex-
treme and most of the difficulty may lie in proper rapid articu-
lation required of all players at one time or another. Drives to
an exciting climax at the end. Duration 4 min. Grade HII. Full
$6.00, Symphonic $8.50. 1956
Van Auken, Zane Broadway Leonard c
arr. Paul,
Robert
Iwo general styles are presented in this litthe modern tone
poem for band. In a slow tempo the interest is built on pedal
point in the bass with shifting harmonies above, which often
are dissonant with major 7ths, augmented 13ths, and flatted 9ths
The effect, if not original, is still a good one. In a faster tempo
the scheme is not unlike Leroy Anderson in the presentation of a
simple melody against a sustained counter-line with a “bouncy”
little rhythm. The complete success of the piece relies on strength @ |
in all of the lower reeds and brass to hold up the completion of
four and five note harmonies. A problem in perfect balance re-
sults. Colors are nice, and the scoring is rich and full. Duration
1:30 min. Grade III. Full $5.00, Symphonic $7.50. 1956.
(Continued on page 50)
The Instrumentalist
 You've seen him . . . The fellow who puts on a whole show by himself. Quite
a stunt. But interest wanes fast. Not enough variety in his act. He knows he
can hold an audience for only two or three numbers. So he bangs his cymbals
and makes a lot of noise for a short time . . . and leaves the stage.
Not so easy is your job. You have to co-ordinate a lot more instruments than
a few drummers’ trappings, a squeeze box and a horn. You have to make
0 0
amateurs sound like a semi-pro band. You have to present a complete, bal-
anced program of highly appealing numbers. And nobody but the director ever
knows the hours it takes just trying to find material to put a well-balanced
program together.
LE A director friend of ours, with problems just like yours, came to us for sug-
gestions. We loaned him several scores to try over with his band. In a few
days he came racing back to us.
your joo “Why haven’t I seen these numbers before?”, he demanded. “Band men are
looking for music like this!”
We tried some other numbers on a few other band director friends, with
were only similar result.
“We could use a dozen numbers like these in a season,” they said .. . “if they
didn’t cost too much.”
as simple!
So an idea was born .. . The Summy Band Subscription Service. We’d go to the
top band composers and commission twelve special numbers a year. They
would be written for class “B” and “C” bands. These could be no “run-of-
the-mine” numbers, but vibrant, interesting, infectious music . . . and though
“B” and “C” band caliber, music in excellent taste . . . good sight-reading
material for “A” bands, too.
We talked to composers like William Latham, who wrote “Brighton Beach,”
Fred Kepner (“Cuban Fantasy”), William McRae (“El Dorado’), Clifton
Williams (“Fanfare and Allegro”) and several other equally good men. The
idea clicked with them, too. And they began producing some of the best band
music of their careers . . . concert marches, novelty numbers, all you’d want
of fresh new variety to build a terrific program.
We launched the service last March, and response has been more than grati-
fying. The °56-’57 season starts with first releases in November and each
month through April.
Here’s what you get each month: 2 complete sets for Symphonic Band. Each
will sell over-the-counter for $9. But as a subscriber you get both numbers.
an $18 value, for the price of one . . . $9 plus postage and handling. You will
be the first in your area to see them. After their introduction, through the
Summy Band Subscription Service, they will be distributed through regular
retail dealers and will not be available again at this price.
Fill in the coupon at the bottom of this page and start your subscription with
the November issue. Keep supplied with music that will be an inspiration to
your band, your audience and yourself. And save hours and hours of your time
that might be spent in searching for fresh program music. We’ll deliver to your
doorstep. You have the right to cancel your subscription at any time .. . so
you can’t lose. Mail the coupon today.

Summy Publishing Company

235 So. Wabash Ave
SUIMMy Chicago, Illinois

Please enroll our school for the Summy Band Subscription Service. You
will bill us $9 plus postage and handling each month for 2 complete
Publishing band sets.

id)0 =a 2
Company

235 SOUTH WABASH AVENUE

CHICAGO 4, ILLINOIS ee ee a eeee ee eee ee eee eee ewe

October, 1956
 NEW MUSIC—(from page 48) GRADE III
arr. Dedrick, Art Assembly-Dance Kendor Cc
GRADE IV Special
Bizet, Georges The Pearl Fishers Fox Cc An arrangement for student dance band of the “Star Spangled
arr. Cailliet, Overture Banner,” “America,” two fanfares, and a “dance kicker” pub-
Lucien lished to supplement the publisher’s PROM SERIES. Scored for
Although listed Grade IV, this new transcription would offer five saxes, six brass, four rhythm, plus parts for tuba and con-
a fine challenge to the Grade III band which is in need of some ductor. Duration 4 min. Grade HII. $2.50. 1956.
thing musically worth-while, of significant length, and technically
workable. It is excellently arranged with only essential cues and a Goodman, Benny Soft Winds Kendor Cc
fine score. Because of the nature of the scoring, the overture will arr. Dedrick,
sound more difficult than it actually is. Much of the rapid tech Art
nique required of both woodwinds and brass is placed in the \n arrangement designed for the student dance band from
natural scale of the instrument for easy playing. There is good the PROM SERIES. Scored for five saxes, and four rhythm, plus
contrast in styles with four different meters and many tempo parts for conductor’s guide and bass tuba. A modern style without
changes. An opportunity for some really expressive playing with extreme difficulty either in range o1 rhythm. Duration 3 min.
music that has good form and contour. Excellent contest material, Grade IIL. $2.50. 1956.
as it flatters the band and provides for a real display of mu-
sicianship, variety, and style. Duration 8 min. Grade IV. Full Harr, Haskell Duo for Drums Ludwig Cc
$9.00, Symphonic $12.00, Full score $3.00. 1956.
\ more advanced snare drum duet in 2/4 with piano accompani
ment. All sticking has been carefully notated with alternate sug
gestions in many places. Uses the press roll and cross accents
WIND OR PERCUSSION effectively. Good interplay between drum _ parts. Effective contest
ENSEMBLE material. Duration 3:30 min. Grade IIT. $1.00. 1956.

Meacham The American Kendor Cc

COMPOSER- arr. Dedrick, Patrol
ARRANGER TITLE PUBLISHER SIZE
Art
\n arrangement in the PROM SERIES patterned after the
(B-3, Band Set No. 3, of 3x5 filing cards starts here.) Glenn Miller version of the same tune and designed for the stu-
dent dance band. Scored for five saxes, six brass, four rhythm, plus
GRADE Il parts for conductor and tuba. Emphasis on =syncopation makes
this arrangement tricky and effective Well scored without tech-
Harr, Haskell Jerry and Terry Ludwig c nical problems of fingering or range. Duration 3 min. Grade III.
$2.50. 1956
\n easy 6/8 drum duet with piano accompaniment. Uses the
flam accent to good advantage with nice interplay between the Wilder, Alec I'll Be Around Kendor c
two snare drum parts. Better dynamic contrast than with many arr. Dedrick,
drum ensemble pieces. Good contest material. Duration 2:30 min Art
Grade II. $1.00. 1956
\n arrangement designed for the student dance band from the
PROM SERIES. Scored for five saxes, six brass, and four rhythm,
Lawrence, Gross, Play or Sing with Melrose c plus parts for conductor’s guide and bass tuba. Contains a trum-
Ballard, et al. the N.B.C. Rhythm 0 |
pet chorus and optional vocal. Easy and effective dance writing.
Section Duration 3 min. Grade IIL. $2.50. 1956.
Proving there’s always room for another idea, here’s a book of
popular dance tunes that includes a recording (7”” 33
ac 1/3 rpm)
of a four-man rhythm section using piano, guitar, bass, and drums ORCHESTRA
Books are available for By, C treble, Ey, and bass clef solo instru
ments, each book separate and each containing a recording. The COMPOSER-
ten melodies are presented “straight,” then written out in an ARRANGER TITLE PUBLISHER SIZE
“improvised” chorus. May also be used by a singer or instruments
in combination. Affords an opportunity to play your own dance-
stvled melody over the recording of the chords and rhythm. GRADE II
Book. Grade II-III. Book with recording) $1.50. 1956
Alshin, Harry A. Television Suite Marks Cc
Lesinsky, Adam Second Fife-jug and Belwin M The interesting and descriptive short numbers in this suite are:
Bottle Band 1. Circus Stuff, 2. Puppet Love, 3. Ballet, and 4. March of the
Although I have not met many fife majors, I can presume there Quiz Kids. All string parts are in Ist position and can be played
are many jug and bottle enthusiasts who have been waiting for by a voungta] orchestra. As a change 5 in diet from heavier musi¢
this contribution to music literature. That is, if they got a buzz both students and teachers will like this descriptive novelty. Good
out of the first book. Adam Lesinsky tells all, and in his rare program material. No full score. Duration 5 min. Grade II. Set A
good-humored way has put forth a treatise on proper organization $5.00, Set B 87.50. Set C 810.00. 1956
of a band using fifes (2, both in C major), bottles, in B-C-D and
E-F, and G-A (which just about covers the subject) and jugs in arr. Walter, God Rest You Merry, Berkeley Cc
C, F, and G. The jugs presumably form the bass and resist wande1 Daniel Gentlemen
ing more than a half pint or so from the key of C, and then pretty This well-known Christmas song is given an effective treatment
generally control their passions to the performance of tonic, domi
nant, and sub-dominant root position, major or minor. Kidding without distorting the original theme. All string parts remain
in Ist position and are easy to play even by a young orchestra.
aside, it sounds like fun. Grab vour jug and let’s go! Book. Grade The full score helps the conductor to have an efficient rehearsal
Il. Piano score $1.00, Each Book 60¢. 1956
with a minimum of lost time. Duration 2:15. Grade IL. Full o1
chestra $4.50, Parts 20¢, Piano 50¢. 1956
Lester, Sonny Play or Sing with Melrose Cc
(compiled by) the All Star arr. Walter, Mother Goose Suite Berkeley c
Rhythm Section Daniel
Ihe use of a 7” 33 1/3 rpm recording of a rhythm section of The three numbers in this suite are titled: 1. The Little Nut
piano, drums, bass, and guitar to accompany the solo of yout Tree, 2. Litthe Jack Horner, and $. Baa, Baa, Black Sheep. Tho
choice. Books are available with ten “pop” tunes written out fon this music is printed from a hand written part, the parts are not
solo instruments in Bs, Es, C treble, and Bass Clef. In addition difficult, to read; the full score more than makes up for this de-
to a “straight” chorus there is an improvised arrangement fot ficiency. This is interesting music for young orchestras; it will pro-
each tune. Provides a chance to develop a jazz style with a pet oeram effectively. Duration 3 min. Grade II. Full $4.50, Parts
manent rhythm section to accompany. Book. Grade II-III]. Book 2%0¢ Piano 50¢. 1956
with recording) $1.50. 1956. (Continued on page 53)

50 The Instrumentalist
 LUDWIG's LATEST PUBLICATIONS
HASKELL HARR'S Two New Drum Duets with Piano INSTRUMENTAL
1. Jerry and Terry $1.00 2. DUO for DRUMS $1.00
Drum Duets are rare with Piano and fill a big need for Ensemble playing and ENSEMBLES
Contests, and offer a musical experience for young Drummers.
PERCUSSION ENSEMBLE
"INVASION" by A. E. McDonell
) An interesting ensemble with modern effect. Listed on the new Wisconsin Contest
List. 7 Parts & Score $2.50 For 4 Bb Clarinets with Score
NEW! MARCHING and DANCING BANDSMEN Manual ALICE BLUE GOWN
by Orin 'Dykae" Ford of Famous Massilon Tigers Band OVER THE RAINBOW
SAVE TIME and HARD WORK. Each Bandsmen and Director should get this DEEP PURPLE
valuable booklet of 20 Standard Commands and Dance Steps. Movements in detail, WHEN | GROW TOO OLD TO DREAM
with clear illustrations. Send 75¢ for your copy Today. THROUGH THE YEARS
Get as many as you need for your Bandsmen
Send for our Descriptive List of 6 Great Football Band Shows & SAMPLE Miniature price $1 50 each
Scores of 1956 Ludwig BAND & Orchestra Publications BRASS QUARTETS
LUDWIG MUSIC PUBLISHING CO. For Ist and 2nd Trumpets, Ist and 2nd
557-59 E. 140th St. Cleveland 10, Ohio Trombones with Score
THROUGH THE YEARS
WHEN | GROW TOO OLD TO DREAM
price $1.50 each
AMP GUIDE POST to GOOD MUSIC SAXOPHONE QUARTETS
For Ist and 2nd Eb Alto Sax, 3rd Eb Alto
Sax and Bb Tenor (printed separately), 4th
Bb Tenor Sax and Eb Baritone (printed
Selected Instrumental Compositions seporately) with score.
RECENT PUBLICATIONS AUTUMN SERENADE
I'M IN THE MOOD FOR LOVE
LUDWIG VAN BEETHOVEN MORE THAN YOU KNOW
PRELUDE AND FUGUE IN C MAjJor, for String Quartet (#186). $1.50 SONG OF LOVE
PRELUDE AND FUGUE IN F Major, for String Quartet (#187).. 2.00 price $1.50 each
PRELUDE AND FUGUE IN E Mrnor, for String Trio (#188) 1.50 . TROMBONE QUARTETS
ELLIOTT CARTER For 4 Trombones with Score
SERING Q2UARTET (IDGD)) 2 6:o50ie ois ciciscs.suacie Miniature Score: £.50 OVER THE RAINBOW
(Set of parts available on rental—Prices upon request) MORE THAN YOU KNOW
I'M IN THE MOOD FOR LOVE
,% ERNST VON DOHNANYI LAURA
Concerto No. 2 for Violin and Orchestra, Opus 43:
price $1.50 each
Reduction for Violin and Piano ............ 5.00
(Orchestra parts available on rental -Prices upon request) STRING QUARTETS

HERBERT HAUFRECHT For Ist Violin, 2nd Violin, Viola, Cello

Erupes IN Biues, for Piano—No. 1—Toccata; No. 2—Quasi Ostinato; with Score
AUTUMN SERENADE
No. 3—Dialogue; No. 4—Nocturne; No. 5—Capriccio . Each: 65
DAYBREAK
BERNHARD HEIDEN IT’S A MOST UNUSUAL DAY
SONATA No. 2, for Piano (1952) . ; Sap kounem mais 2.00 MOONLIGHT MOOD
Quintet, for Horn and String Quartet (1952) . Miniature Score: 1.50 MOONLIGHT SERENADE
Set of Parts: 5.00 price $1.50 each
BRASS SEXTETS
DAVID KRAEHENBUEHL
VARIATIONS FOR Two, Winds or Strings or Keyboard in any For Ist and 2nd Cornets, Ist and 2nd
combination Score: WYhi Trombones, Baritone (Bass-Treble) and
Parts, Each: 20 Tuba with Score
GREAT DAY
WALLINGFORD RIEGGER DRUMS IN MY HEART
(with Drum Solo)
Concerto for Piano and Woodwind Quintet, Op. 53 6.50
WITHOUT A SONG
MIKLOS ROZSA TEMPTATION
STRING QUARTET, Opus 22 . : Miniature Score: 3.00 LAURA
Set of Parts: 5.00 BLUE MOON
Price $1.75 each
ALEXANDRE TANSMAN
Trio FoR D’ANcueEs, for Clarinet, Oboe and Bassoon 3.75
For 3 Flutes with Score
ERNST TOCH DOLL DANCE
SrRING TRIo, Opus 63 Miniature Score: 2.50 LITTLE RED MONKEY
Set of Parts: 1.50 TURKEY IN THE RAW
Write for Your Catalogue YANKEE DOODLE ON TOUR
price $1.50 each

ASSOCIATED MUSIC PUBLISHERS, iNC. THE BIG 3 MUSIC CORPORATION

Sales Agent for Robbins Music Corporation
Leo Feist, in« * Miller Mus Corporation
1 West 47th Street, New York 36, N. Y. 799 Seventh Avenue New York 19, N. Y

October, 1956 5!
 NOTEBOOK. | MA MUG MTL @-VdKs
Bind Your Own Copies
A handsome, sturdy cover for Two 3x5 cards (yellow and white) for each title
a year's copies of The /nstru- listed in the NEW MUSIC column. (see p. 85 of
mentalist. Heavy plastic, stamped Sept. issue for details.)
in gold leaf. Larger and heavier
than ordinary notebook covers Availab'e in sets of 50 band (inc. woodwind &
this item is comparable to those ‘ bI h . .
sald cocsunncdléliy af percussion ensemble) or orchestra (inc. string en-
$2.50 and higher.
a 9% semble) titles $1.50 Ppper set.
Locking lever pre- ames
vents accidental opening. Holes already punched in postage Purchase by sets or place standing order
the magazines. S|
THE INSTRUMENTALIST
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1418 Lake Street Evanston, Illinois

TEACH MUSIC
CARL FISCHER RECOMMENDS ....
by this
11 COLORFUL AND EASY PIECES by MERLE J. ISAAC
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MELODY BOOK FOR STRINGS METHOD FOR ALL

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A varied and tuneful group of pieces for young string players. May key, range or clef. Send $1 today for
be used for solo or group playing, with piano accompaniment. your copy (Reg. price $1.50). Quantity
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BOSTON @ CHICAGO e@ DALLAS @ LOS ANGELES SAMPLES

52 The Instrumentalist
 NEW MUSIC—(from page 50) expect, the brass parts, as a whole, are not too interesting. The
full score is done well and is very desirable. Duration 5 min.
GRADE Ill Grade III. Small orchestra with full score $6.75. Full with score
$9.50. Symphonic with score $11.00. Parts 75¢, Piano $1.25. 1956.
Luther, Martin A Mighty Fortress Staff °o
arr. Gardner, Is Our God Smith-Bernard Winter Wonderland Bregman, Cc
Maurice arr. Herfurth, Vocco and
This favorite religious song can be performed with chorus Cc. Paul Conn
also with band). The 6-line score indicates the parts fairly well,
considerably better than a piano-conductor part, but not as well Chis arrangement of the well-known tune has all notes but a
as a full score. The Ist and 2nd violin parts are printed on the few in the cello part in Ist position. However, enough passages
same page. All string parts, except a few notes for Ist violin, are and rhythmic figures are of a difficulty to warrant a III rating.
in position 1. Tho most of the parts are II in difficulty there Many students find a succession of dotted 8ths and 16ths more
are some passages which indicate a difficulty rating of III is more difficult to bow cleanly than, for example, fingering in 3rd_posi-
accurate for this number. It is desirable to have a full section of tion. Students will like this number. Duration 1:40 min. Grade
wind players. Key of C. Duration 4 min: Grade IIL. Set A $5.00, III. Set A $4.00, Set B $5.00, Set C $7.00. 1956.
Set B $7.50, Parts 35¢. 1956.
arr. Walter, The Bluetail Fly Berkeley Cc
Ravel, Maurice Pavane Fox od Daniel
arr. Reibold,
Bruno \ favorite tune arranged for the young orchestra. Tho this
number is rated as III in difficulty, most of the parts are of
This well-known and famous Pavane is arranged for full or- difficulty II, including all string parts except Ist violin. The
chestra (no part for percussion). Many parts are of II difficulty. “largo” introduction if effectively followed by a sprightly “al-
There are four violin parts not counting the advanced violin part legro.” This contrast is used several times with good effect. This
which is a duplicate (except for a few notes) on the Ist violin number makes an excellent program piece and will be liked by
part. There is much duplication among the other three the students. Duration 2:15 min. Grade III. Full $4.50, Parts 20g,
violin parts, too. There is no substitute viola part. As one might Piano 5O¢. 1956.

Status of Concert Music
The remarkably healthy state in
which American concert music finds
itself is highlighted in “Concert Mu-
sic U.S.A. 1956.” a booklet released
this month by Broadcast Music, Inc.,
589 Sth Avenue, N. Y. The pub-
lication points out that over 35,-
000,000 Americans are actively in-
terested in one form or another of
concert music, that they spent more
than $30,000,000 on retail sales of
printed music, more than $350,000,-
QOO on music instruments, and more
money for the purchase of recordings
of concert music and the equipment
on which to play these recordings
than they did for all spectator sports
in the year 1954.
\mericans’ musical tastes are pre-
is another yardstick applied by the In a June 1956 listing of long play-
BMI study to demonstrate Ameri- ing records issued on 265 labels,
cans’ increased appetite for concert 1.451 compositions by 238 con-
music. From a 1934 total of $75.000. temporary composers are reported
sales of classical recordings have available on 2,520 recordings. This
soared, according to a Wall Street contrasts to 776 works by 48 com-
Journal report, to “an astounding posers active during the first half of
35° ($70,000,000 plus) to 40% of the 19th century available on 2,548
the industry's total business. As _re- recordings.
cenlty as 1946 ‘long hair’ discs rep- The BMI booklet, now in its third
resented a modest 15°¢ of all record revised edition, was prepared first
sales.” in 1952. More than 25,000 copies
Contemporary composers — have have been distributed by the music
also come in for their share of in- licensing organization as a_ public
creasing serious music popularity. service.
|
‘
CSS

dominantly classical. In 1955 the

(\merican Symphony Orchestra ! \,
League reported that there are ap-
proximately 1,000 symphony orches-
tras in the United States, 34 of them =
I AN
major professional groups with an- ona
nual budgets of over $100,000. In ZAPSS
addition, there are 604 community
orchestras, 241 college orchestras, 35
symphonettes, and 35 youth orches-
tras, — 7~ ((.)
Radio’s important part in bringing
concert music to Americans is re-
flected in a recent inquiry. 1,279
I‘radio stations programmed a total of
«‘ 3.297 hours of concert music during
00 1955, an average of 6.5 hours per
week. A similar study five years ago
indicated that 300 stations were
averaging 3 hours per week.
The sale of phonograph recordings “WHY DIDN'T YOU BLOW YOUR HORN ?"

October, 1956
here’s “life” inside

your

Do your opening numbers sound like ‘theme songs''? Before you plan a con-
cert band program, consult Pages 50-57 inside your EMB Guide. You'll discover
a full listing of prestige concert arrangements—overtures, concert selections,
concert marches, waltzes, popular swing and rhythm tunes, humorous novel-
ties and music for your soloists with full band accompaniment. Order by title,
or write for an ‘‘on approval’’ selection of concert band music

EDUCATIONAL MUSIC BUREAU, INC.

30 EAST DAMS STREET + CHICAGO 3, ILLINOTS
sture © Band and estra nr e
 The Best
Solo Piano
® 9
Today's symphonic band, even
with the richness and variety of ef-
fects provided by modern and_ in-
creased instrumentation. has a tend-
ency toward a certain monotony of
sound after prolonged listening by an
audience. One of the most effective
devices used by conductors in pro-
gramming to relieve this sameness
of sound is the presentation of solo-
ists on instruments of entirely differ-
ent color—piano, xylophone, harp.
violin, and accordion. Of these in-
struments, the piano has the largest
amount of literature available for
performance, tho still small in com-
parison to solos for wind instru-
ments and band.
Nearly every school has an out-
standing pianist. perhaps from the
ranks of the band itself. who could be
a featured soloist.
Most bands, mainly because of
their size and constant doubling of
part-lines, have a tendency to over-
power and overshadow their piano
U0
soloist. Again, because of the thick
and complex fabric of sound due to
too much doubling, the piano has
much more difficulty in being heard
above the band than it does above the
orchestra. For this reason, the achiev-
ing of proper balance is a constant
problem for the conductor.
In the following list of outstanding
compositions for piano and band, it
is to be noted that the orade of dif-
ficulty indicated refers to the band
score and not the piano score, inas-
much as there is a_ considerable
amount of variance in the degree of
difficulty between the two.
Grade Ill
Bennett, David, Repartee, Fischer, con
cert size. Light, popular, with listening
appeal
Bennett, David, Spotlight on the Piano
Kjos, concert. Modern treatment of
Dark Eves.”
Cowell, Henry, Little Concerto, Associated
concert. Full score
In Ihree Parts
1 Introduction and Step) Dance
Il Rondo ; American School
II] Hornpipe
Gould, Morton, arr. by Philip Lang, The
Child Prodigy, Mills, concert, 3 min. A
clever novelty that would serve very
well as an encore to a longer and heavier
number
October, 1956
in Band
with Band Accompaniment
Bruce Houseknecht
Joliet, Hlinois
Klein, John, Night Piece (“On Seeing A
Shooting Star”), Bo & H, concert. Full
score. This is a very beautiful new com
position that should attain a place of
eminence in the repertoire.
McKay, George Frederick, Three Street-
Corner Sketches, Schirmer, concert. Part
I, No. 9, in the University of Michigan
Band Series, William D. Revelli, Editot
The scoring is extremely flexible. “It
has been so conceived that the con
ductor may experiment with various so
norities for balance and tonal effects.”
Part I, “A Window Shopper,” may be
performed by full band or any brass o1
woodwind quartet plus piano. Part II,
“Whistling Newsboy,” may be pei
formed by full band or any brass o1
woodwind trio plus piano. Part TI,
“Daydream,” may be performed by full
band or any brass and woodwind com
bination to replace voices 4, 5, 6, and
7 of the basic octet. By adding othe1
voices up to and including all 8&8 voices
of the basic octet, a variety of en
semble voicings may be experimented
with, and a complete harmonic unit
obtained by any group of band pe
formers
Lecuona, Ernest, arr. by Walter Beeler,
Ante El Escorial, Marks, octavo. An easy
and attractive Latin-American composi
tion
Walters, Harold, Etude in Boogie, Ru
bank, concert, 3 min. Easy band accom
paniment. Keep basses soft so that the
piano — left-hand stands out. Should
bring down the house
Savino, Domenico, Romantic Waltz, Rob
bins, concert, 4 min. A charming and
ingratiating number from the Modern
Williams, Charles, arr. by Philip Lang
The Dream of Olwen, Mills octavo
This is one of the most hauntingly
beautiful and inspired melodies ever
written. Lhe arranger has done a ma
nificent job of achieving balance in the
Musie
score. The tutti at letter “F,” indi
cated as ff, will have to be subdued
in order to hear the piano. This is the
type of composition that lends dignity
tO any program.
Grade IV
Much of our finest musical heri-
tage has come down to us in the form
of the piano concerto. Unfortunately,
only a few movements of these con-
certi have been scored for symphonic
band accompaniment; thus, a vast
new field of musical exploration is
opened to our band arrangers, al-
though, admittedly, the technical de-
mands of certain of these piano
scores would have limiting effect on
the number of performances that
would be possible.
Addinsell, Richard, arr. by Erik Leidzen,
Warsaw Concerto, Chappell, concert,
8:30 min. This music from the war-time
film “Suicide Squadron,” has become
a popular classic of the piano reper-
toire. The arrangement may be played
by band alone as indicated in the cues,
and it has been successfully pro
grammed in this way; but the perform
ance with solo piano is vastly more ef
fective. A great concert number de
manding an accomplished soloist.
Bath, Hubert, arr. by David Bennett,
Cornish Rhapsody, Fox, concert, 7:45
min. ‘This composition can also be
played by band alone by making the
following cuts: Letter L-M, and Letter
P-Q; but, again, it is much more effective
with the solo piano.
Grainger, Percy, Children’s March: “Over
the Hills and Far Away,” Schirmer,
concert. This clever march, scored in
1918, and one of the composer's best,
may be played by band alone by play
ing all cues marked “piano” in the
band _ parts.
Grieg, Edward, arr. by D. F. Bain, First
Movement of the Piano Concerto in A
Minor, Schirmer, concert. Full score.
Part II, No. 1, of Transcriptions of the
University of Michigan Band _ Series,
William D. Revelli, Editor, this is a
beautifully balanced arrangement of a
favorite classic.
Mendelssohn, Felix, arr. by Robert Dah
nert, First Movement of the Piano Con-
certo in G Minor, Op. 25, Summy, con
cert. Full score. A most welcome recent
contribution to the growing list’ of
transcriptions of famous concerti
Mozart-Grieg, arr. by Irving Cheyette,
Concertino (Sonata in C Major, K-545),
Fox. concert, 9:10 min. The three move
ments vary in difficulty. The Ist move
ment, marked “allegro” is in the con
cert key of C and presents little tech
nical difficulty in the accompaniment.
The “andante” movement is in the key
of G; the “finale” is an “allegretto”
rondo in C with ticklish problems in
rhythmic accompaniment, such as rapid
55
 off-beat 8th notes, extended syncopa
tion in the bass, and 16th rest-three
16th note rapid arpeggios that will need The Best in Band Musie
attention. Each movement could — be
done as a separate composition as selected by—
Palange, Louis, Symphony in Steel (lone
Poem), Presser, concert. Full score. This William A. Schaefer
is a relatively new composition in the (See “Men of Note”
modern vein of considerable stature on page 8.)
written expressly for piano and band
and not a transcription. It is quite dif Couperin, Overture and Allegro Elkan
| have enjoyed preparing the fol- Milhaud from La Sultane Vogel
ficult, but the effects achieved are start
ling in their impact lowing list of music for band. Tho Walker
Phillips, Donald, arr. by Philip Lang the emphasis during the last several Fighteenth century composition well tran
scribed for modern band. Doubling makes its
Concerto in Jazz, Mills, concert. ‘This vears on the performance of new plavable by most groups
music covers the entire range of Jazz music for band has brought about a
rhvthms with indications of swing Grofe-Leidzen March for Americans Robbins
slow blues, swing boogie, fast boogie renewed interest in composition for Using contemporary, almost jazz-like idioms
deep blues, bright’ two, swing tempo band, and is an important aspect of it is most appealing to young musicians, and
and swingy!” It is one of the few so well written for band
the musical scene. it seems that there
called “swing” numbers available fo Handel-Malin Concerto Grosso Remick
band that has an air of real authen has been a tendency to set aside
ticity about it Offers excellent: performance material for two
many wonderful works of band liter- flutes and one clarinet (or substitute wood
Rodgers, Richard, arr. by Philip Lang ature written earlier. Particularly, winds) with the solo parts being somewhat
more difhcult than the band parts
Slaughter On Tenth Avenue, Chappell this seems to be the case in festival
concert, 9:00 min. Can be played by Haydn, Wood- Manx Overture BX H
groups, where the music performed is Brown
band alone by observing cues, but is
most effective with the piano solo recent to an amazing degree. One of several compositions by this composer
which are well-suited to young musicians
Wildman, Charles, arr. by Paul Yoder This list is not an exhaustive one Occasional difficulties are usually absorbed by
Swedish Rhapsody, Leeds, concert, 3:00 doubling
by any means. It includes more num-
min. Makes a nice light encore to one Holst First Suite in Eo B&H
of the heavier works. May be plaved by bers suitable to advanced groups.
band alone since those are the ones with which Wondertul original band music Ihe Cha
conne, though technically not difficult, offers
| work primarily, tho many are play- real challenge musically
able by less experienced groups. It Holst Second Suite in I} B&H
In addition to these compositions
also includes many numbers written As above
scored specifically for piano and
originally for band, since I feel it Persichetti Psalm for Band Pikaron
band, many modern composers and
should be the responsibility of all lechnically moderate in difficulty, musicalls
arrangers utilize the piano as a per- challenging
band directors to seek out music of
cussion instrument and an integral Prokofieff {thletic Festival Leeds
this type. Yet, there are also many
part of the score. Some very un- Goldman ¢
transcriptions included, because it is
usual and beautiful effects—-such as Wonderful concert march, refreshingly origi
preferable to perform a fine tran-
modulating arpeggios—may be
scription than an inferior composi- Shostakovich Prelude in Fo Minor Schirmer
achieved with a piano off-stage. Mairs
tion written directly for band.
\ magnificent score from the Pechnically easy, there is a lot of musical
meat in this brief composition
movies in which the plano appears GRADE III
both as a percussion instrument and Vaughan- Folk Song Suite B&H
Beethoven Military Mare Schirme! Williams
finally as a full-fledged solo instru- Greissle
Most charming original work for band: well
ment is the Symphonie Moderne, Fine concert march making good use of liked by young musicians and audiences. Re
trumpets warding musically
composed by Max Steiner on a
Theme by Max Rabinowitsch and Grainger Trish Tune from Carl Wagner Elsa's Procession Remick
Kent County Derry Fischer Cailliet from “Lohengrin
transcribed for band by Frank Mar- Dechnically easy, this beloved melody can_ be Technically easy, but musically rewarding
sales. published by Remick. concert thrillingly performed. Only horn part is dif composition, intonation and blend being the
ficult; it can be doubled main problems. Every band with average o1
size, performing time 7/4 minutes. better plavers should perform this work
Haydn Concerto for Chappell
And. finally, the towering Ameri- Duthoit Trumpet Whitney River Jordan Schirmer
can classic. George Gershwin’s This is a really fine composition for trumpet A Fantasy on. spirituals, very melodic, and
idequately transeribed for band I he solo tho an arrangement of familiar material, done
Rhapsody in Blue, scored by Ferde part is difficult, the band parts are not with good taste and originality
Grofe’. published by Harms. with Holst Var n Song Cray
full score. of Grade V_ difhculty. Al- Leidzen GRADE IV
though expensive, and difficult, and Duneful, appealing concert march Cailliet Variations on “‘Pop Flkan
Jacob Original Suite for Bk H Goes the Wease Vogel
demanding of full and complete in- Band
strumentation, surely this arrange- Charming novelty, musically worth while
Much easier composition than Music for i Delibes Varch and Procession Delibes
ment should be in the library of Festival Jacob March is particularly good of Bacchus fron
every good high school, university, Prokofieff Summer Day Suite Leeds “Sylvia’
and professional band. The publish- Leidzen Exciting concert march
ers provide a sheet of complete in- Charming music, musically worthwhile kvans Lady of Spair Fox
Ravel Pavanne Cailliet
structions as to suitable cuts. A
Paulsan One of the most clever of light settings for
simplified version ** Little” Rhap- band i
lechnically easy; rather complet nstrumen
sody in Blue, arr. by F. Campbell- tation required. Musically rewarding
Fauchet Symphony in Bs Witmark
Watson. is available for those who GRADE III-IV Gillette
desire it. Colby-Huffer Headlines Witmark One of the important original band composi
tions, the arranging being only an adaptation
Using pseudo-jazz idioms, it appeals to young
FINt people; sounds well with bar (Continued on page 58)

56 The Instrumentalist
 Most Colossal...
JUST All-Purpose Folio
PUBLISHED Ever Published!

CLASSIFIED HITS

BOOK f& ia nt S For The MODERN BAND LIBRARY

BAND
Never Before Such A Practical
... Flexible ... Tune Studded
by Prescott and Phillips
Collection!
18 Show Categories * 50 Tunes
BAND MUSIC FOR ALL OF YOUR SCHOOL EVENTS Arranged by Walter Beeler
and Alfred Reed
Look at
contents this
_ Every Classification Suggests A
e Assembly Sing e Patriotic Hour Field Show. Planned For Quick
e Christmas Assembly e Pep Fest — Maneuvers. Plays Easy. Sensational
*e@ Chorus and Band e Special Tribute for all athletic events, assemblies,
e Curtain Raiser e Street Parade even school plays and productions.
e Footlight Fanfares e Talent Revue
e@ Graduation Processional o Thanksgiving Assembly Contents include:
sane te worl tha oncerct the. peal. Glenn Miller Mood
TUXEDO JUNCTION
JERSEY BOUNCE
This is what you need for that variety A Pree er A a PLENTY
of appearances your band must make. cornet book MAPLE LEAF RAG
In one package you have music for is awaiting WHEN THE SAINTS GO
. MARCHING IN
many occasions. your request. Modern Mood
; : : LULLABY OF BIRDLAND
Schmitt Publications, Tue. (We're Gonna) ROCK AROUND
MINNEAPOLIS 3, MINN. THE CLOCK
Waltzes
ALLEGHENY MOON
J 6 . en ee TENNESSEE WALTZ
ON TOP OF OLD SMOKY
Dance Themes
»
Au Mew! | Besesies orev
Fe, AULD LANG SYNE
Sacred
HE
CHURCH IN THE WILDWOOD
The “FOX BAND READER Holiday Music
Old
Mab
AUTUMN LEAVES
of OLD MASTERS for HOME FOR THE HOLIDAYS
of JINGLE BELLS
Young Band YOUNG BANDS” has been Sentimental Gals
: WAIT TILL THE SUN SHINES,
designed to meet the NELLIE
by IRVING CHEVETTE é | WANT A GIRL
following needs: (Just Like The Girl That
Married Dear Old Dad)
1. Provide for the first year band a lit- Hawaiian
erature that will develop musical taste. ALOHA OE
SWEET LEILANI
Sam FOR PURLISMING Company ONE, TWO, THREE, FOUR
2. This literature has been arranged to
Other groups: Latin-American, Sea
stay within a limited range, keys, meters, Songs, Irish, March Trios, Songs Of
rhythms, dynamics and articulation, so that students with a year or less The South, Cowboy, Texas, French
of instrument study can play together. Songs, Gay Nineties.
The album provides band material of the highest musical worth—much of it chosen FULL BAND INSTRUMENTATION
from the choral field, which lends itself beautifully to performance on wind instru-
ments, because of its natural phrasing, breathing and melodic line. Parts . . . only 50¢ each
Conductor Book 1.50
Although the requirements are simple, the music is of such value that even more
advanced groups will find enjoyment in using the album as encore or sight-
reading material. FREE... While Supply Lasts...
A Complete Conductor Book of
Each Part—60c; Conductor—$2.50 "50 CLASSIFIED HITS" to any
Band Director. Request on your
| 4 Send for Specimen First Cornet Part school letterhead.

SAM FOX PU BLISHIN G COMPANY HANSEN PUBLICATIONS

INC.
RCA BUILDING — RADIO CITY — NEW YORK 20, N. Y. 119 W. 57th St#., ll York 19, N.Y.

October, 1956 57
SCHAEFER—(from page 56) Handel-kKay Water Music Presser Hanson Chorale and Alleluia Fische1
for American bands. The first movement and This music was written for wind instruments, Contemporary composition, using band sonori
finale are the best movements, musically, and ind is most satisitving to perform Outstand ties to great advantage
ire good COTN POSITIONS tor developing wood ing. When stronger horns are available, the
winds. Nocturne movement is somewhat easier trumpet doubling may be eliminated Healey, Royce Hall Suite Associated
providing a good horn is availabl Willen
Handel Fireworks Musi Marks league
Hadley Youth Triumphant Fischer Satorius Charming and interesting work. Fugue some
Overture what involved
Written for wind instruments; most satisfving
(,ood original music for band Outstanding Persichetti Divertimenti Presser
Band
Charming composition in contemporary idiom
SEND FOR FREE SCORES! Uses all wind instruments well
FOUR NEW CONCERT BAND RELEASES— Piston Tunbridge kat BX H
carefully written to make your band sound better Charming composition with rhythmical chal
lenge
lament square dance suite
by ted petersen by alden estes Prokofietl March, Opus 99 Leeds
A melancholy mood, tempered with under- (—swing your partner—time out for Yoder
lying tenderness, is obtained by masterful courtin'—last call—) A delightfully original Wonderful concert march, refreshingly origi
use of the darker sonorities of the band. suite written in folk song idiom. nal. Trumpet part quite exposed
F.B. $5.00 Sym. B. $7.50 F.B. $7.50 Sym. B. $10.00 Rimsky Procession of the Fischer
triomode viennese refrain Korsakoftf, Nobles
Leidzen
(trumpet trio with band) (trombone or baritone solo with band)
by alden estes arr. by art dedrick Most exciting composition for band
While staying within easy range, this com- A smooth, modern-sounding treatment of Saint-Saens, Finale, Symphony I Witmark
position obtains a brilliant effect. A con- an old favorite. Range and timbre are De Rubertis in Es
trasting slow section features each trio carefully considered so the solo will
sound'’ whether played by trombone, Straightforward composition, easy to under
member in a brief solo passage. stand but most. satisfving. Clarinet passages
F.B. $5.50 Sym. B. $8.00 baritone horn or tenor saxophone. near end difficult
F.B. $5.50 Sym. B. $8.00
Have you tried these? Bach Fervent is My) Elkan
PRISONER OF WAR (concert CONCERTO PETITE (piano solo Cailliet Longing, Fugue in Vogel
G minor The
march) with band) Little)
by R. S. Saylor by Francis P. Muccigrosso
F.B. $6.00 S.B. $8.50 F.B. $5.00 S.B. $7.50 Iwo of a number of fine organ works which
DESIGN FOR AUTUMN WOODWIND WONDERLAND sound very well for band. Fugue is not dif
by Art Dedrick by Alden Estes ficult, but complete instrumentation is re
F.B. $5.00 S.B. $7.50 F.B. $5.00 S.B. $7.50 quired
EXCURSION PARADE OF THE ICICLES Barber Commando Marcl Schirmer
by Ted Petersen by Art Dedrick
F.B. $5.00 $.B. $7.50 F.B. $5.00 S.B. $7.50 Fine concert march, requires subtle rehearsing
—ORDER ON APPROVAL—
KENDOR MUSIC INC. EAST AURORA, N. Y.

LONG PLAY BAND RECORDINGS

Elementary School Beginner

Send for catalog and
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A Complete Program for Elementary School Band
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A versatile system allowing for private instruction, class instruction of like
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lished for the following instruments: Flute, Clarinet,
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n French Horn), Trombone (or Bari-
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as Band (Brass Ensemble) or Band 7, BUILD YOUR
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by OLE BULL arranged by GLENN CLIFFE BAINUM CREST RECORDS, INC.

220 BROADWAY, HUNTINGTON STATION 19, N.Y
BYRON-DOUGLAS PUBLICATIONS FOR BAND—1645 Broadway—Fargo, No. Dakota “_—eeeouaeonoeonaern—

58 The Instrumentalist
 Borodin Prince Igor BX H Contemporary idiom, first movement some Outstanding band composition, aesthetically
Duthoit Overture what dissonant Second movement requires more difficult than it is technically
oboe soloist. Finale is not dificult, in fanfare
Melodically appealing, well suited to band style Jacob Music for a Festival BX H
Borodin First Movemen Fischer Stravinsky Berceuse and Finale Marks Important band composition of this genera
I e1rdasen
1 ‘ yrniphony I! Gold
rldaman f rom I wreodoire
} 1 tion, using brass choir alternately with band
Some movements difficult, others within reach
f Similar to above Wonderful melody, leading to an exciting of average plavers
climax Bassoon and = horn required, not
Copland Outdoor Overture BX H technically difficult Schoenberg Theme and Schirmet
Variations Opus 43
Fine composition for band in) contemporary Stravinsky Danse Russe from Marks
dioms Goldman Petrouchka One. of the most important original composi
tions for band, but aesthetically beyond the
Creston Legend Leeds Colorful transcription loo bad more of reach of most bands. Performance may be a
Petrouchka hasn't been published for band labor of love, since it poses a difficult task for
Contemporary fine original composition for . the listener. Yet all bands who can should
band : ; Ischaikowsky- /8/2 Overture BX H pertorm it.
‘ Brown
Dvorak Finale. Symphony I Fischer Shostakovich Finale—Symphony J BX H
An old stand-by for band, arrangement could Righter
Well! transcribed, sounds well for band be revised,
thon” ea but a wondertully
for. band — exciting& | piece
Outstanding transcription for band. Eminent
Gershwin
> wil / orgy£ andid BeBess G ershwin
\ ly worth-while
I schaikowsky Marche Sl Fischer
Bennett Selections Laurendeau Strauss Waltzes from Der BX H
An outstanding setting for concert) band of Cailliet Rosenkavalier
music which will alwavs be appealing to young \s above
musicians and audiences Pectin ticeaaha,. semaile: Fischer Another outstanding transcription for band
Requires and develops great sensitivity for
Gliere .
Russian Sailor's Fischer Safranek Symphony II fine performance
Leidven Dance ha tei Vaughan Toccata Marziale Bk H
Williams
Very popular composition, well arranged for Wagner Rienzi Overture Fischer
band: gives all sections chance to be heard Mevrelles Aesthetically challenging work, tho technically
not difficult. One of the outstanding contem
Glinka
Henning RuLudmill
an andOverture Fischet Another old stand-by in band literature, but porary band COMpoOsItLIONs,
very effective and exciting
Wagner Sigfried’s Rhine Remick
Fine Russian Overture, sounds very well for Weinberger Polka and Fugue Associated Cailliet Journey from
band Bainum from “Schwanda Gotterdammerung
Kern Smoke Gets in Harms Fine arrangement for band—sounds very well, One of the outstanding band arrangements of
Leidven Your Eye and within the aesthetic and technical reaches all time, difficult in all sections, but most re
of good high school plavers warding to a fine band
An outstanding setting of popular melody
which uses resources of concert band well GRADE V
FINE
Mendelssohn- Overture for Band Schirmer Berlioz March to the Scaffold Fischer
Greissl Leidzen from Symphonie
Fantastique
Outstanding band composition, requires and
develops delicacy of performance Exciting transcription for band, quite difheult When writing please mention
Milhaud We Point Suite Associated Milhaud Suite Francaise Leeds THE INSTRUMENTALIST.

SHADRACH, MESHACH
~~ AND ABEDNECO

Leadership — “I was moved by his Constancy — “She had two great loves both Faith — ““Three men who had unshakable
great power and his great Compassion of which were ravaged by tragedy — faith in God, regardless of the laws
but she remained ever constant”’ of the alien conqueror”

ORTRAITS FROM THE BIBLE 1 Jutian work

The most recent addition to the growing Shawnee Press Band Series . ..and a
major contribution to contemporary and original band literature.
While not conceived as “program music” in the literal sense, each “Portrait”
conveys predominant musical characteristics that are particularly appropriate
to each section. Moses—power and intensity ... Ruth—flowing and
melodic... Shadrach, Meshach and Abednego—rhythmic drive.
Write for the complete catalog of outstanding
Each section may be performed separately, or the composition new Shawnee Press band music, and reference
may be performed in its entirety as a Suite. copies of composer's scores for “Portraits”
Each “‘Portrait’’ priced separately
Moses Full Band $5 Shadrach, Meshach Full Band $10
Symphonic Band $6.50 and Abednego Symphonic Band $12 Shawnee Fess inc. |}
Full Score $1.50 Full Score $1.50
Delaware Water Gap, Pennsylvania
Ruth (same)

October, 1956 59
4
 BIBLIOGRAPHY

of

BAND RECORDINGS

COMPLETE LIST OF band recordings is considerably Amparito Roca’ London Grenadier Guards Texido1
longer than most people might surmise. Band re- \mparito Roca‘ Fidelity Kaikorai Brass Band Pexido1
cordings have become an integral part of teaching bands Anchors Aweigh ( apitol Louis Costalucci Zimmerman
and are a practical means for becoming acquainted with Andante U. of Illinois Concert Ingalls
Band
band literature. Even some radio stations have become
Andreas Hofe1 Westminster Deutschmeistet Band Komzak
habituated recently in playing phonograph records of
March*
bands.
Angel Camp Recorded Oberlin Symphony Cushing
Tho The Instrumentalist has attempted to provide a Band
100% complete listing of all available band records, it is Anniversary Coronet Oberlin Symphony Goldman
inevitable that in any first listing of this kind some omis- March Band
sions and errors occur. We would appreciate having Anniversary Fidelity Purdue Symphonic Goldman
March’ sand
these called to our attention so that we might print an
Army and B&H Coldstream Guards 7ehle
addendum in the future. We are indebted to Allen W. Marine
Flock. Band Director of Bucknell University. for inau- Australian Angel Scots Guards I erguson
gurating this project and to the many record companies Ladies*®
and band directors over the country who responded to our Avondale Fidelity St. Kilda Municipal Vernet
requests for information. Band
Back O’ Angel Scots Guards Trad
When an asterisk appears in the “Label” column, the Benachie, The®
record is available thru the school whose band made Badner MadIn’ Westminstet Deutschmeister Band Kamzak
the record. Footnotes (see page 70) indicate which titles Bal Masque® Fidelity Auckland Watersiders’ Fletcher
belong together in an album or in a single LP record. Silver Band
Ballad for Mercury Eastman Wind Gould
Band" Ensemble
Title Label Recorded by Composer Ballad for Band U. of Illinois Concert) Gould
El Abanico B & H Irish Guards Javoloves Band
Abanico, El London Grenadier Guards Javoloves Ballet Music U. of Illinois Concert) Borodin
>
from Prince ’ Igo1 Band
Abe Lincoln ° LU. of Illinois Concert Gillis
Gettysburg Band Ballyhoo March Victor Cities Service Band Lavalle
The", +
Academi a U. of Illinois Concert) Brahms
Festival sand Sand of America Victoi Cities Service Band Lavalle
March
Academic ° U. of Illinois Concert Morey
Processional Band Band Played On Decca Decca Band Ward
Palmei
Aguero BX H Grenadier Guards Franco
Band Plays Scots Guards Reed
Aguero BX H Royal Artillery Band Franco
Barnum and Victor Cities Service Band King
Air from D ° U. of Illinois Concert) Bach Bailey's
Maj. Suite Band Favorite
\irborne B& H Irish Guards Bridge
Barnum and Mercury Eastman Wind King
Division Bailey's Ensemble
Airborne London Grenadier Guards Bridge: Favorite’
Division
Barnum and Columbia Ringling Brothers King
Altbayrische Westminste Deutschmeister Band sailey’'s and Barnum Bailey
Landler’ Favorite Band
America . L. of Illinois Concert Goldman Bathsheba Columbia Cities Service Band Singer
Band
Batoneer, The Fidelity College of Pacific I. Jones
American Folk BX H Irish Guards Grundman Band
Rhapsody, An
10th Battalion Angel Scots Guards Shaw
American Folk BX H Royal Artillery Band Grundman H.L..1. Crossing Ramsey
Rhapsody, An the Rhine,
American Ideals Columbia Goldman Band Sousa The"
American Patrol’ Mercury Eastman Wind Meacham Beatrice & Decca (American Symphonic Berliog
Ensemble Benedict Band of the Air
American Sailing B & H Royal Artillery Band Grundman Overture
Songs Beatrice & Victor Goldman Band Berlioz
Amparito Roca Fidelity College of Pacific Lexido Benedict
Band Overture

60 The Instrumentalist
 Beatrice & UL. of Illinois Concert Berlioz Bull Trombone™ Columbia Barnum & Bailey Fillmore
Benedict, Band Circus Band
Overture Burst of Flame Fidelity Purdue Symphonic Bowles
Beautiful Penn State Penn State Concert DeLuca March‘ Band
Colorado Blue Band Canada on the Angel Coldstream Guards Jaeger
Begin the Penn State Penn State Concert Burden March”
Beguine Blue Band ‘anto Yuroba Columbia Leeds Concert Band Sanjuan
© 9
Beguine for Decca American Symphoni Osser RF <anzona
~~ Mercury Eastman Wind Mennin
Band Band of the Air Ensemble
Beguine £01 Penn Siate Penn State Concert Ossel ~ apital Sketches Recorded Oberlin Symphony Kidde
Band Blue Band Band
Beguine for U. of Hlinois Concert Osset =~ ‘arnival of Victor Cities Service Band
Band Band Venice"
Belle of the Ball * L. of Illinois Concert Anderson =~ arnival Suite Columbia Leeds Concert Band lansman
Band =~ ‘arousel Penn State Penn State Concert Rodgers
Jerenice Minuet Fidelity Wellington Citadel Handel Blue Band
from“ Band ~ ‘astaldo March* Westminste1 Deutschmeister Band Novacek
Bersaglieri Westminstet Deutschmeister Band Italian
March Castell Caerffili” Fidelity Woolston Brass Band Powell
March
Celebration Penn State Penn State Concert Creston
Big Brass Band" Victor Cities Service Band Lavalle Overture Blue Band
Big Cage The Columbia Ringling Brothers and King Century March Fidelity Woolston Brass Band Hume
Barnum Bailev Band The 20th”
Big Joe. the Victor Cities Service Band Lavalle Challenge, The* Fidelity Auckland Watersiders’ Calvert
Luba : arto
Silver Band
Big Lime Columbia Barnum & Bailey Moffitt Challenge, The® Fidelity Kaikorai Brass Band Calvert
Boogie Circus Band
Chant des Angel Garde Republicaine Marly
Billboard Mercury Eastman Wind Klohi Partisans”
Ensemble
Chant du Angel Garde Republicaine Mehul
Bird in the Angel Coldstream Guards Le Thiere Depart”
Wood. IT he*
Charter Oak Lamar State College Osterling
Birdcage Walk* Angel Scots Guards Steck March** Concert Band
Black Bear. The> Angel Scots Guards Trad. Cheerio*' Mercury Eastman Wind Goldman
Black Horse Mercury Eastman Wind Sousa Ensemble
Lroop Ensemble Chimes of U. of Illinois Concert Goldman
Blackbird. The" Angel Scots Guards Bannatine Liberty Band
Block M March” Decca American Symphonic Bilik Chimesof B&H Irish Guards Bergeim
Band of the Ain Victory
v9
Blue Band Entry Penn State Penn State Concert Burden Chorale and Mercury Eastman Wind Hanson
Blue Band Alleluia Ensemble
Blue Lail Flys B&H Royal Artillery Band Grundman Chorale and Penn State Penn State Concert Hanson
Boccaccio March! London Grenadier Guards Von Suppe Alleluia Blue Band
Boilermaket Fidelity Purdue Symphonic Walters Chorale and U. of Illinois Concert Hanson
March Band Alleluia Band
Bombasto** Fidelity College of the Pacific Farrat Chusma, La* Angel 25th Infantry Reg. Luna
Band of Spain
Bontique * Lamar State College Rossini Clarinet Cake U. of Illinois Concert Hermann
Fantasque, La? Concert Band Respighi Band
sravada Bk H Royal Artillery Band Curzon Cock o’ the Angel Scots Guards Carrie
Brave, Le** Angel Garde Republicaine Leroux North"
Bravura Decca Ringling Brothers and Duble Colonel Bogey Victor Cities Service Band Alford
Barnum Bailey Band March™
Brigadoon Columbia Cities Service Band Loewe Colonel Bogey Mercury Eastman Wind Alford
Brigadoon Columbia Columbia Concert Loewe March' Ensemble
Band Colonel Bogey B&H Grenadier Guards Alford
Brilliant Fidelity Auckland Watersiders’ Hume March
Silver Band Colonel Bogey London Irish Guards Alford
British Eighth Fidelits San Jose College Band Elliot March
( ol Bogey on Angel Coldstream Guards Alford
Britishei The BSH Welsh Guards Chandler Parade”
Broadway One Decca Ringling Brothers and King Colonel Miner’s Fidelity San Jose College Band Rosenkrans
Step Barnum Bailey Band March*
Brunhilde’s . LU. of Illinois Concert Wagne Colossus olf Capitol Ringling Brothers and Alexandei
Awakening Band Columbia Barnum Bailey Band
Bugle Box Fidelits San Jose ¢ ollege Band McDonald Come, Sweet L. of Illinois Concert Bach
Bugle Callsa Victoi Cities Service Band Lavalle Death Band
Plenty Comedian’s Columbia Leed’s Concert Band Kabalevsky
Bugler's . Lamar State College Anderson Gallop
Holiday Concert Band Comin’ thru’ the Angel Scots Guards Trad
Bugler's Holiday Penn State Penn State Blue Band Anderson Rve*
Bull Frog and Victor Cities Service Band Commando Mercury Eastman Wind Jarber
the Robin March!’ Ensemble

October, 1956 61
 Concert in the - Lamar State College Sharman Emblem of Penn State Penn State Blue Band Danburg
Park? Concert Band Honor March
Concert Overture * Oberlin Symphonic Stout Emblem of Penn State Penn State Concert Richards
for Band Band Unitv March Blue Band
Concertino . L. of Illinois Concert Kelly English Folk Victor Cities Service Band Vaughan
Band Song Suite’. + Williams
Corcoran Mercury Eastman Wind Sousa English Folk Mercury Eastman Wind Vaughan ©
Cadets*' Ensemble Song Suite* Ensemble Williams
Corcoran . Lamar State College Sousa Entrada, La’ Angel 25th Infantry Reg Esquembre
Cadets’ Concert Band of Spain
Corn Riggs Angel Scots Guards Lrad Entry of the Capitol Ringling Brothers and Fucik
The" Gladiators Barnum Bailey Band
Coronation Bells’ Ange Scots Guards Partridge Entry of the LU. of Hlinois Concert Wagnei
Cossack, The Fidelity Kaikorai Brass Band Rimme G.ods Band
Cvech Polka Fidelity St. Kilda Municipal Strauss "Er the Isles of London H. M. Scots Guards Album
Band America Pipe Battalion
Dance Macabre ° l of Illinois Concert Saint-Saciis Erzherzog Westminster Deutschmeister Band
Band Johann Jodler
Dance of the ’ U. of [linois Concert Strauss Fspirit de Fidelity San Jose College Band Fiester
Seven Veils Band ( orps”
Dauder Angel 25th Infantry Reg Lope Evening Hymn Band of Roval Album
of Spain % Last Post Military London
Daughters of Mercury Eastman Symphonic Sousa School of Music
lexas* Wind Ensemble Fairest of the Victo1 Cities Service Band Sousa
Daughters of . lL. of Illinois Concert Sousa Fair
lexas Band Fairest of the Mercury Eastman Wind Sousa
Deep Blues Columbia Singe! Fair® Ensemble
Leed's Concert Band
Deep Harmony Fidelity Auckland Watersiders’ Fame and Glory BSH Welsh Guards Matt
Parke)
Silver Band Fandango* Lamar State College Perkins
Delile de la Angel Garde Republicaine We [loc Concert Band
Garde Fandango Penn State Penn State Concert Perkins
Republicaine** Blue Band
Deuxieme pas de Angel Garde Republicaine Duvernos Fantares London Band of Royal Album
Manoeuvre Military London
Dialog for Four . Lamar State College School of Music
Hamm
Summer Band Fantasy for ingel Coldstream Guards Pope
Die Bosniaken Bugle, Organ
Westminster Deutschmeister Band Wagnes
Kammen and Band, A
Divertimento for Mercury Favorite, La“ \ngel Garde Republicaine arr. Pares
Eastman Wind Persichetti
Band Ensemble Fearless March Victor Spring Garden Band Heed
Dixie Victor Cities Service Band Fehrbelline: Westminste. Deutschmeister Band German
Dizzy Fingers Angel Reitermarsch March
Coldstream Guards Contres
Feuertest Polka Westminstel Deutschmeister Band Strauss
Donna, La BA Roval Artillery Band larve)
Dover Coach BA I dale rs Jo \ngel Scots Guards I racd
Scots Guards Vintei
I he
Doxologs Columbia Leed's Concert sana Leidzen Fiesta Mexicana Mercury Eastman Wind Reed
Drv Bones . Penn State Blue Band arr. Yode1 La Ensemble
Dude Ranch . LU. of Illinois Concert Kleinsinges Figaro March \ngel Coldstream Guards Mozart
Band Flash of Steel B&H Grenadier Guards Colin
Dwight D Victor Cities Service Band Lavalle Flirt Galop Westminster Deutschmeister Band 7iehre)
Kisenhower
March®* Flourish tor Angel Coldstream Guards Rhodes
Brass
Eagle Squadron = B & (srenadier Guards Alford
Flying Dutch Penn State Penn State Concert Wagne
I COSSALS Angel Scots Guards Rhodes man Overture Blue Band
Egmont Overture t. of Hlinois Concert seethoven Folk Song Suite Irish Guards Williams
Band
Foothitter IT he Fidelity College of Paciti billmore
Kl Caballero Columbia Barnum & Bailey Olivadoti
Band
Circus Band
For a Dignified Angel Coldstream Guards Bliss
El Capitan Victor Cities Service Band Sousa Occasion
El Capitan Mercu Kastman Wind Sousa
Forty-Niners U. of Ilinois Concert Mi Kay
Ensemble I hie Band
kl Capitan Angel garde Republicaine Sousa Fosterettes Columbia Ringling Brothers and Ventre
kl Capitan Columbia Goldman Band Sousa March Barnum Bailey Band
El Capitan I ondon (,renacdier Guards Sousa Fourth of July Columbia Morton Gould Gould
El Capitan U. of Tllinois Concert Sousa Symphonic Bane
Band bree Lance Decca Decca Band Sousa
kl Charro BA (srenadier Guards barve) French Military \ngel Garde Republicaine Sarnt-Sacns i
El Relicario Decca \mer Svinphont Padilla Music sana Lake
} Bandof the An krescoes | ot IHlinois Concert Wood
El Relicario Fidelity Katkorat Brass Band Band
Fl Loro March & Mercury Kastman Wind From l rope Spring Garden Band \lexandet
Aztec Dance Ensemble to Trop

62 The Instrumentalist
 Gallito* Angel 25th Infantry Reg. Lope Happy-Go-Lucky * U. of Illinots Concert Goldman
of Spain Band
Garbof Old Angel Scots Guards Reid Happy Wander Fidelity Auckland Watersiders’ Molle
Gaul" er, The’ Silver Band
Garcia de Dios Angel 25th Infantry Reg. Roig Harlequin™ Fidelity St. Kilda Municipal Rimmet
ba of Spain Band
Gardes du Fidelity College of Pacific Hall Hero’s Life, Coronet Oberlin Symphony Strauss
Corps* Band Excerpt Band
Gathering of the Angel Scots Guards Williams Hero’s Life, U. of Illinois Concert Strauss
Clans* Finale Band
Gazza Ladra, La" Victor Cities Service Band Rossini Hielan’ Angel Scots Guards Trad.
Gen. Douglas Fidelity College of Pacific Huffer Laddie*."'
MacArthu Band Hielan’ Whisky" Angel Scots Guards Trad.
Gentrys Decca Ringling Brothers Jewell High Ridin’ Columbia Ringling Brothers Paulson
Priumphal Band Band
March High School Angel Garde Republicaine Sousa
C,corge UL. of Illinois Concert Sousa Cadets, The*!
Washington Band High School Columbia Goldman Band Sousa
Bicentennial Cadets
George Washing Mercury Eastman Wind Schuman Hillbilly from Penn State Penn State Concert Gould
ton Bridge" Ensemble “Americana” Blue Band
George Washing UL. of Illinois Concert Schuman His Honor, Decca American Symphonic Fillmore
ton Bridge Band March' Band of the Air
Gippsland Fidelity College of Pacific Lithgow His Honor, Fidelity College of Pacific Fillmore
Band March* Band
Giralda, La Angel 25th Infantry Reg. Juarranz His Honor, Mercury Eastman Wind Fillmore
of Spain March*? Ensemble
Girl in Satin UL. of Illinois Concert Anderson Hoch and Westminste1 Deutschmeister Band Austrian
I he Band Deutschmeister™ March
(sladiaton Columbia Goldman Band Sousa Hoch Hapsburg' Grenadier Guards Kroll
London
Gladiator's B&H Scots Guards Blankenburg Holiday for Penn State Concert Osser
Penn State
Farewell Winds Blue Band
(Gloria Fidelity College of Pacific I oOsey Holvrood Alford
B & H Welsh Guards Band
Band
Home for Columbia Morton Gould Gould
Gslory of the Mercury Eastman Wind Alford Christmas Symphonic Band
Gridiron Ensemble
Hora Staccato Penn State Penn State Concert Dinicu
Glory of the Columbia Goldman Band Sousa
Blue Band Heifetz
Yankee Navy
Horns \-Plenty Victo1 Cities Service Band
God of Our Victor Cities Service Band Lavalle
Fathers Huguenots, Les “4 Angel Scots Guards Meyerbee:
Golden Glow Irish Guards Johnson Hymn and Columbia Leeds Concert Band Cowell
Fuguing Tune
Golden Rule Columbia Goldman Band Sousa
#1
Golden Spurs" Angel Scots Guards Rhodes *
Illinois Lovalty UL. of Illinois Concert Guild
(srandioso Victor Spring Garden Band Seitz Band
(reat \dvance B & Hi Irish Guards Murray Illinois March Decca Goldman Band Goldman
Grenadier du Angel Garde Republicaine Meister Illinois March BX H Royal Artillery Band Goldman
Caucase, Le?! .
Illinois March UL. of Illinois Concert Goldman
Gridiron Club UL. of Illinois Concert Sousa Band
The Band Imperial Echoes B&H Welsh Guards Safroni
Grinzinge) Westminster Deutschmeister Band Dreschei
March Indiana State Fidelity College of Pacific Farrai
Band” Band
C;suadalcanal Victor Cities Service Band Rodger s
March Instrumentalist B&H Grenadier Guards Skornicka
on Parade
Guadalcanal Penn State Penn State Concert Rodgers
March Blue Band Intermezzo BSH Royal Artillery Band Coleridge
Taylor
Guadalcanal Fidelity Purdue Symphonic Rodgers
March Band Into the World Fidelity College of Pacific Sturchio
Band
Guarany Over Victor Cities Service Band
ture, IIT> Invercargill"! Fidelity St. Kilda Municipal Lithgow
H. M Jolies Band
Angel Scots Guards Alford
Hail Detroit Invincible Eagle Decca Decca Band Sousa
Coronet Oberlin Svmphony L. Smith
March The
Band
Hail Purdue kiclelity Purdue Symphonic Wotowa Invincible Eagle Grenadier Guards Sousa
Band Lhe
Haensel and Columbia Cities Service Band Humper Invocation of U. of Illinois Concert Wagne1
Gretel dinck Al berich Band
Haensel and Columbia Columbia Concert Humper Irish Tune from Columbia Morton Gould Grainge)
Gretel Band dinck County Derry Symphonic Band
Hands \cross Decca American Legion Sousa Italian In Columbia Cities Service Band Rossini
the Seca Band Algiers
Hands \c TOSS Mercury Eastman Wind Sousa Italian In Columbia Columbia Concert Rossini
the S« a Ensemble Algiers sand

October, 1956 63
Italian In Penn State Penn State Concert Rossini Loch Lomond Penn State Concert ari
Algiers Blue Band Blue Band Richardson
It’s a Long Way Westminster Deutschmeister Band British Lochabet Angel Scots Guards MacLennan
to Lipperary March Gathering I hie
Jack o’Lantern™ Fidelity Woolston Brass Band Lohengrin L. of Illinois Concert Waene
Jamaican Rumba BX H Welsh Guards Benjamin Intro. to Band
Act IIT)
Jesu, Joy of Penn State Concert gach
Man's Desiring Blue sand Leidzen Lonely Columbia Leeds Concert Band MecBric
Landscape
Jesu Jov of | ot Illinois Concert Bach
Man's Desiring Band Love FidelityCollege of Pacific
Johnnie Mac Angel Scots Guards Band
Cente
Donald" Lynwood BSH Grenadier Guards Hume
Jungle Queen Columbia Ringling Brothers and sJarnarad Mad Major, The B & H Trish Guards Alford
Barnum Bailey sand Mad Major, [The London Grenadier Guards Alford
Kaiser Waltz Westminster Deutschmeiste1 Band Strauss Mad Major. The B & H Roval Artillery Band Alford
Kentucky SUDTISE Decca Ringling Brothers and King Magic of Love BSH Welsh Guards Vanis
Barnum Bailey Band Malaguena* Victor Cities Service Band
Kiddie Ballet Decca \met Svmphoni Hermann Main Event Fidelity College of Pacific I Jones
a) Walking the Band of the Ain I he Band
Baby Strollei May Konicel Westminstet Deutschmeister Band C 7e¢ hoslova
b) Lullaby for Kian March
a Naughty Girl
c) Cops and Major John \ngel Scots Guards MacLennan
Robbers MacLennan
Kiddie Ballet Man of the Fidelity College of Pacific Woods
Word Bavlor Golden Wave Hermann
Hour, Lhe Band
sand
Kiddie Ballet Manhattan Nfercury Eastman Wind Sousa
Penn State Penn State Concert Hermann
seach Ensemble
Blue Band
Kiddie Ballet Manhattan London Grenadier Guards Sousa
U. of Ulinois Concert Hermann
Band Beach
Niiworth Hills Angel Scots Guards MacLennan Manitou Fidelity San Jose College Christiansen
The"! Heights sand
King ( otton Sousa Mannin Veen BN H Grenadier Guards Wood
Victor Cities Service Band
King Cotton Mercury Sousa Mannin Veen B&H Roval Artillery Band Wood
Kastman Wind
Ensemble Manolete Angel 25th Infantry Reg Orosoo \
King Cotton (crenadier Guards Sousa of Spain Ramos
London
King Henry Fidelity Purdue Symphonic King Manx Overture B & Hi Irish Guards W ood
March Band March and Pro Victor Cities Service Band Delibes
Klaxon March Victo1 Cities Service Band Fillmore cession of
Bacchus"
Knight of the Fidelity Woolston Brass Band Rimmet
Road” March Carillon Mercury Eastman Wind Hanson
Ensemble
I and ol Moa Fidelity College of Pacific Lithgow
March for ° U. of Illinois Concert Goldman
Band
s3rasses Band
Land of Ow Victor Cities Service Band I avalle
March Forth Word sJavlor Golden Wave Noone
Fathers*. +
Band
League of Columbia Goldman Band Sousa
Com pose rs March from BSH sand of the Trish Holst
Suite in I Guards
Legend Victor Leeds Concert Band Creston
March Grandioso Victor Cities Service Band Seit/
Leichtes Blot Westminster Deutschmeiste. Band Strauss Saint-Saens
March Militaire * U. of Illinois Concert
Liberty Bell I he Victor Cities Service Band Sousa Francaise Band
Liberty Bell l ondon (crenadier Guards Sousa March of the Angel Coldstream Guards Curzon
Lhe Bowmen
Lights Out Mercury Eastman Wind Met OV March of the Bourne N.Y. London Darcy
Ensemble Free Peoples Symphonic sana
Lights Out ( apitol Louis Castalucci McCoy March of the BK H Welsh Guards Pierne
sand Little Leaden
Lilliburlero Angel Scots Guards arr. Alford Soldiers
Lilt of the Latin U. of Illinois Concert Bennett March of the London Roval Mil School Pieri
Band Little Leaden of Musi
Soldiers
Lincoln Portrait U. of Illinois Concert Copland
Marchof the Victor Promenade Band Scot Lane
Band
Slick
Listen to the Victor Cities Service Band arr. Clement LT rombones
Mocking Bird
March, Opus 99 Columbia Morton Gould Prokotieft
Little March BXH Welsh Guards Grundman Symphonic Band
Litthe Norwegian B&H (crenadier Guards Hansen March B & H Roval Artillery Band Grundman
Suite Processional
Litthe Norwegian BX H Roval Artillery Band Hansen Marche ce Ange Garde Republicaine arr. Pares
Sutrte L Ancienne
Little Suite from Word savior Golden Wave Martinu Garde a La
Comedy on the Band Bataille ce
Bridge Leipz

64 The Instrumentalist
 Marche de la Angel Garde Republicaine arr. Pares National Mercury Eastman Wind Bagley
Garde Consul Emblem*' Ensemble
aire a la National Angel Garde Republicaine Bagley
Bataille de Emblem**
Marengo” National Columbia Goldman Band Bagley
Marche de la Angel Garde Republicaine Hoering Emblem
Legion National Fidelity “Queen Alexandra’s Bagley
) Etrangere* Emblem* Own” Band
Marche des Angel Garde Republicaine arr. Furgeot New Colonial Fidelity Purdue Symphonic Hall
Bonnets a Poils™ March’ Band
Marche des Angel Garde Republicaine Chomel New York Decca Decca Band Sousa
Grenadiers“ Hippodrome
Marchedu Sacre Angel Garde Republicaine Lesueut Newsreel in 5 UL. of Illinois Concert Schumann
de Napoleon ss Shots Band
Marche Lorraine \ngel Garde Republicaine Ganne Nittany Lion Penn State Penn State Concert Leyden
Le Pere La Blue Band
Victoire®
Noble Men‘ Fidelity Purdue Symphonic Fillmore
Marche Lorraine London Grenadier Guards Gann Band
Marche Occident Coronet Oberlin Symphony Saint-Saens Nobles of the Decca Amer. Symphonic Sousa
et Orient Band Mystic Shrine, Band of the Ain
Marches London Vienna Police Band Album March’
Marching with Angel Coldstream Guards ar Pope Nocturne Bourne N. Y. London Darcy
Sousa” Symphonic Band
Marcia de los Westminstei Deutschmeister Band Spanish North Sea Lamar State College Herman
Caballeros March Overture” Summet! Band
Marcial, Eres el Angel 25th Infantry Reg Doming 20 North Sea Penn State Penn State Concert Hermann
Mas Grande of Spain Overture Blue Band
Marianna Columbia Cities Service Band Singel North Sea U. of Illinois Concert Hermann
Marianna Columbia Columbia Concert Singel Overture Band
Band Nutmeggers Penn State Penn State Concert Osterling
Marine’s Hymn Decca Goldman Band Phillips Blue Band
Marseillaise, La Westminster Deutschmeister Band de Lisle Ode for Lamar State College Reed
Trumpet® Summei Band
Marseillaise, La*! Angel Garde Republicaine de Lisle Official West Penn State Penn State Concert Fegner
Masquerade U. of Illinois Concert Khacha Point March Blue Band
Suite Band turian Old Coldstream Angel Coldstream Guards Trad
Meadowland Westminster Deutschmeister Band Russian March, The”
March Old Comrades London Irish Guards lieke
Melody in F* kidelity Kaikorai Brass Band Rubinstein Buchtel
Men of Might b & Welsh Guards Meretta Old King Cole Columbia Ringling Brothers and Arr. Evans
Messengei Fidelity San Jose College Barnhouse Medley March Barnum Bailey Band
March, The” Band Old Oaken Victor Cities Service Band
Michigan U. of Illinois Concert Goldman Bucket, The"
Band Olympia Columbia Ringling Brothers and Arr. Evans
Midnight in Columbia Cities Service Band Conrad Hippodrome Barnum Bailey Band Alexander
Paris“ Magidson On Guard Columbia Goldman Band Sousa
Midnight in Columbia Columbia Concert Conrad On Parade Columbia Goldman Band Goldman
Paris Band Magidson On the Alert Columbia Goldman Band Goldman
Milanollo” Angel Coldstream Guards Val Hamm On the Hudson Columbia Goldman Band Goldman
Moment of Truth Decca Spanish Air Force Album On the Mall* Mercury Eastman Wind Goldman
(Impressions of Militarv Band Ensemble
the Bull Ring)
On the Mall Columbia Goldman Band Goldman
Moray Firth" Angel Scots Guards Mackenzie On the Mall UL. of Illinois Concert Goldman
Morning Song B & H Grenadier Guards Woodhouse Band
Muchen-Wien, Westminste1 Deutschmeister Band Komzak On the London Band of the Royal Alford
Gleicher Sinn Quarterdeck Military School of
Murray's Angel Scots Guards Trad. London
Welcome’ On the BSH Grenadier Guards Alford
Music for Ballet Coronet Oberlin Symphony Strauss Quarterdeck
“Graduation Band On the Angel Scots Guards Alford
Ball” Quarterdeck*
Music for a Coronet Oberlin Symphony Jacob One World Bourne N. Y. London O'Hara
Festival Band Symphonic Band Leidzen
Music for a U. of Illinois Concert Jacob Onward Chris Victor Cities Service Band
Festival Band tian Soldiers”, +
Music in the B & H Irish Guards Band Bergeim Orb and Sceptre Penn State Penn State Concert Walton
Park Blue Band Richardson
Name Day UL. of Illinois Concert Jeethoven Orb and Sceptre UL. of Tilinois Concert Walton
Overture Band Band Richardson
Namut B & H Scots Guards Richards Out Director™ Mercury Eastman Wind Bigelow
National Anthem Penn State Penn State Concert Key Ensemble
Blue Band Our Flirtations Columbia Goldman Band Sousa

October, 1956 65
 Our | Ventre Prelude & Fugue Penn State Penn State Concert Bach
States” in G Minor Blue Band
Our lt Columbia Concert Ventre Prelude for Band * UL. of Tllinois Concert Johnston
States Band
Out of the Blue College of Pacific Jones Prelude in G ” UL. of Illinois Concert Rachmanin
Sky Minot Band off
Outdoor ( opland Premier pas de Angel Garde Republicaine Gabauet ©
Overture Manoeuvre”
Outdoor Copland Pressing Fidelity Wellington Citadel Leidzen
Overture Onward Band
Overture in of Illinois Concert Mehul Prevot des Angel Garde Re publicaine Richard
Marechaux, Le”
Overture to the Bavlor Golden Wave Mozart Prideof the Mercury Eastman Wind King
Impresario Illini Ensemble
Overture to La Rossini Pride of the Penn State Penn State Concert Edwards
Gazza Ladra Marines, March Blue Band
Overture Waene Procession of the Decca American Symphonic Rimsky
Rienzi Nobles Band of the Ain Korsakoy
PS. Pattee Proud Heritage” * Lamar State College Latham
Mater Summer Band
PS. Levden Psalm Mercury Fastman Wind Persichett
March Ensemble
,
Pageant Persichetth Psalm Recorded Oberlin Symphony Persichett
Band
,
Pageant of Jewell Psalm tor Band U. of Illinois Concert Persichett
l, rOgTess Band
Pajamah Henry Psvche & Eros * U. of Illinois Concert Franck
Onivas Band Harding
Parac American Legion Punchinello Fidelity Woolston Brass Band Rimmet
Legionnaires sand of Hollywood Purdue March Fidelity Purdue Symphonic Akers
Parac Louis Castellucci Jesse Band
Wooden Soldiers Purdue Fidelity Purdue Symphonic Walters
Pas de Six Hlinois Concert Rossini Rhapsody Band
Wim Purple Pageant Victor Spring Garden Band King
Pavanne Gould Quality Plus Columbia Barnum & Bailes Jewell
Pere de Grenadier Guards Canine Circus Band
Victoire Quand Madelon™ Angel Garde Republicaine Robert ¢
Pere de Queen Alexandra’s Canine Queen of the Fidelity San Jose College ( rosby
Victoire Fleet Band
Philippovits Deutschmeister Jizase ltkh Queen's Guard Angel Scots Guards Keith
March Lhe
Picadore (srenadier Guards Sousa Radetzky March* Westminste Deutschmeister Band Strauss
»
Pieces 5
of Eight Eastman Wind Netl Rakesof Mallow * Penn State Blue Band Anderson
Rakoczy March Westminste ! Deutschmeister Band Hungarian
Pines of the Respighi March
\ppian Way
Regiment March, Westminste ! Deutschmeister Band Kamzak
Pitter Lavalle S4th
Parack Ventre Reigen Westiminste Deutschmeister Band
Polonaise We llington Citadel Chopin Relax Decca American Symphonic Yode)
Band of the An
Polonaise Chopin Relay Penn State Penn State Concert You 1
( yp 1)
Blue Band
Pomp and Flea Reve Passe. Le London Grenadier Guards Krier
Circumstance
Reve Passe. Le kidelits Queen Alexandra's Krier \
No
Own” Band Helmer
Pompous Mein Auckland Watersiders Douglas Rhin et Danube Angel Garde Republicaine Brun
Porgy Gershwin Rifle Regiment Mercury kastman Wind Sousa
selections
Ensemble
Portree Miatuchlaine Ringling BrothersColumbia Ringling Brothers ane Swecel
Grand Entrance sarnum Bailey Band Buchtel
Post Horn Koenig Ritirata Italiana, London Grenadier Guards Dreschet
Galop La
Power ¢ Illinois Concert G,raingel Rosamunce L. of Illinois Concert Schubert
and the Overture Band
tian
Rosenkavalier Lot Hlinoeis Concert Strauss é |
Prairic Blue Waltzes, Der Band
Prelude Bac h Rosenkavalier BN H Roval Artillery Band Strauss
and Fugue Abert Waltzes, Der
Prelude gach Rosenkavalic B H Welsh Guards Strauss
in LD Minor NMIoehimant Wa 1)

66 The Instrumentalist
Roses of Memory Columbia Ringling Brothers and Jewell Serenade for a Columbia Lamar State College Hermann
Barnum Bailey Band Naughty Lady Concert Band
Roumanian U. of Illinois Concert k Hnesco Shanghai Sailor BX H Irish Guards Bridget
Rhapsody No Band
Roval Brides Columbia Barnum & Bailey Casto Shawl Dance, UL. of Illinois Concert Skinner
maid” Circus Band The Band
Roval Decree Columbia Ringling Brothers English Sheep May Angel British Band Bach
Band Safely Graze
Roval Scot \ingel Scots Guards Denhom Shepherds, Hey Columbia Columbia Symphonic Cartel
Polka, The? Band
Roval Windsor Angel Coldstream Guards Bavco Shieling, TPhe* Angel Scots Guards Trad.
Rovce Hall Suite 7 U. of Ilinois Concert Willan Shoutin’ Liza Fidelity Purdue Symphonic Fillmore
Band Lrombone’ Band
Rovcee Hall Suite Penn State Penn State Concert Willan Simonetta BX H Welsh Guards Curzon
Blue Band Serenade
Russlan and U. of Hhlinois Concert Glinka infonia U. of Hlinois Concert Carte1
Ludmilla (Ovei Band Band
ture) Sketches in U. of Illinois Concert Leonard
Rustic Dance B&H Grenadier Guards \ oodhouse Miniature Band
Ruy Blas U. of Hlinois Concert Mendels Skve Boat Song Angel Scots Guards Trad.
(Overture) Band sohn The*
Sabre and Spurs Decca Decca Band Sousa Skywritet B&H Irish Guards Bergeim
Sabre and Spurs Fidelity Purdue Symphonic Sousa Slavonic Penn State Penn State Concert Friedemann
Band Rhapsody No. 2 Blue Band
Saint-Cyr** Angel Garde Republicaine Alazard Slavonic Fidelity “Queen Alexandra’s Friedemann
St. Louis Blues Penn State Penn State Concert Handy Rhapsody Own” Band
March Blue Band No. 2**
Salut au 85eme*! Angel Garde Republicaine Petit Sleigh Ride® Fidelity Auckland Watersiders’ Anderson
Sambre et Silver Band
Angel Garde Republicaine Planquettc
Meuse* Sleigh Ride Fidelity St. Kilda Municipal Mozart
Sambre et Band
London Grenadier Guards Planquet:ec
Meuse Snow White Bourne N.Y. London Churchill
Overture Symphonic Band Morey
Sandpaper Ballet U. of Illinois Concert Anderson
Band Song of the Bells Penn State Penn State Concert Anderson
Blue Band
Sarabande ( apitol Louis Castalucei Band Bach
Songs and Yells Victor lL. of Minnesota Alford
Saul of Tarsus Word Bavlor Golden Waye Moore of the U. of Band
Band Minnesota
Scenes from the Capitol Louis Castalucci Bennett Sonnez Clairons*! Angel Garde Republicaine Romain
Sierras Band
South Pacific’ Fidelity Kaikorai Brass Band Rodgers
Schatz Waltz Westminster Deutschmeister Band Strauss
* South Rampart Victoi Cities Service Band Bauduc
Scheherazade U. of Hlinois Concert Rimskyv St. Parade
Band Korsakow
Southerner Victor Spring Garden Band Alexande:
Scherzo from lL. of Illinois Concert Mendels March, The
Midsummes Band sohn
night's Dream Spanish Bull Decca Madrid Bullfight Album
Scherzo, “Prince Ring (Marches Band
Lamar State ¢ ollege Borodin % Paso dobles)
Igor” Concert Band
Spanish Gipsy Fidelity Woolston Brass Band Marquina
Scherzo L'.. 8 Hlinois Concert Kalinnikos Dance”
Symphony No. | Band
Speedway BX H Irish Guards Kralt
Schonfeld March Westminster Deutschmeister Band 7ichres
Spirit of Freedom Victor Cities Service Band Coopei
School Musician U. of Tlinois Concert Beebe Paul
I he March +
Band
Spirit ot Joy Fidelity Wellington Citadel Rive
Scotia to Aneel Scots Guards Kershaw Band
Columbia’
Spirit of °76 Mercury Eastman Symphonic Album of
Scotland the Angel Scots Guards Prac Wind Ensemble some 25
I he
Brave different
Sea Pieces UL. of Illinois Concert MacDowell selections
Band Spiritual from Coronet Oberlin Symphony Gillis
Selections from Penn State Concert Rodgers Svm. 5!l Band
South Pacific Blue Band Spring, Beautiful Columbia Ringling Brothers Lincke
Selfish Giant U. of Illinois Concert Coates Spring Band
Lhe Band Springtide Grenadier Guards Woodhouse
Semper Fidelis Mercury Eastman Wind Sousa Stage Coach Kaikorai Brass Band Winstone
Ensemble
Standard of St Welsh Guards Alford
Sc mper Fidelis Columbia Goldman Band Sousa George
Semper Fidelis London Grenadier Guards Sousa Star Spangled Mercury Eastman Wind Key ve
Semper Fidelis * L. of Illinois Concert Sousa Banner” Ensemble
Band Star Spangled Ange Garde Republicaing Key
Semper Paratus Decca Goldman Band Boskerck Banne!
Senator Fidelity Auckland Watersiders Allan Stars and Stripes Victor Cities Service Band Sousa
Silver Band Forever

October, 1956 67
 Stars and Stripes Westminster Deutschmeister Band Sousa Symphony fo Recorded Oberlin Symphony Reed
Forever Brass and Band
Stars and Stripes Mercury Eastman Wind Sousa Perc ussion
Forever* Ensemble Symphony in Word Bavlor Golden Wave Fauchet
Stars and Stripes Angel Garde Republicaine Sousa B-flat Band
Forever** Svmphony in lL. of Illinois Concert Fauchet
Stars and Stripes Columbia Goldman Bane j SoOUSd B-flat Band
Forevet Symphony #1 U. of Illinois Concert Gillis ©@
Stars and Stripes London Grenadier Guards Sousa for Band Band
Foreve1 Svmphony #1 U. of Illinois Concert Brahms
Stars and Stripes Penn State Penn State Concert Sousa Ist Movement Band
Foreve1 Blue Band Symphony #1 U. of Illinois Concert Borodin
Stars and Stripes * UL. of Illinois Concert Sousa Sra & 4th Band
Forevei sana Movements
Step Ahead, A Decca American Symphonic Alford Syncopated Clock ( apitol Louis Castalucci Anderson
Band of the Ain Band
Stepping High BS H Roval Artillery Band Handlon Lamboo Decca American Symphonic Cavez
Stop It Columbia Ringling Brothers Kaufman Band of the Ain
Band Lamboo Mercury Eastman Wind Cavez
Storm King** Fidelity Ensemble
College of Pacific Finlayson
Band Lamboo Penn State Penn State Concert Caves
Storm King B® H Blue Band
Grenadier Guards Finlayson
lap Roots U. of Illinois Concert Skinnet
Storm King BX H Royal Artillery Band Finlayson
Band
Storming of Columbia Barnum & Bailey Alexander
El Caney lar Heels’ Fidelity San Jose ( ollege Fiester
Circus Band
March sand
Stumpie™ Angel Scots Guards Trad
larantella de Bp
& H Coldstream Guards Albert
Suite Francaise ° UL. of Illinois Concert Milhaud Belphegor La
Band
Larantelle Fre Lamar State College Cooleridge
Suite trom the ° UL. of Illinois Concert Handel tillarde, La Concert: Band lavloi
Roval Fireworks Band
Music Tension Recorded Oberlin Symphony Carte)
Band
Suite in E Flat BSH Roval Artillery Band Holst
I heatreland BSH Scots Guards Strachey
Chaconne)
[Them Basses Victo Cities Service Band Hufline
Suite in E flat B&H Roval Artillery Band Holst
(Intermezzo) Them Basses Fidelity Purdue Symphonic Hufline
Band
Suite in E flat BS H Roval Artillery Band Holst
March) Theme and LU. of Hlinots Concert Schoenberg ¢
Variations-43.A Band
Suite in Er for Mercurs Eastman Wind Holst
Lhendara Irish Guards Whitney
Military Band" Ensemble
Lhere’s Some Angel Coldstream Guards Gay
Suite in Ey for B& H Roval Artillery Band Holst
thing About a
Military Band
Soldier
Suite in I Mercury Eastman Wind Holst Three Blue Penn State Concert Williams
Penn State
Ensemble Jat kets Blue Band
Suite of Old Mercury Eastman Wind Sennett I hree Jolly Angel Coldstream Guards Seibert
American k nsemble Sailormen
Dances
Three Trom Fidelity Queen Alexandra’s Mckarlane
Suite of Old Penn State Penn State Concert Bennett boneers, [he Own’ sana
\merican Blue Band
Phunder Song BSH Roval Artillery Band Finlayson
Dances
March
Suite ot Old . | of Illinois Concert sennett
Lhunderer, Uhe Mercury Eastman Wind Sousa
American Band
Ensemble
Dances
Lhunderer, Phe Angel Garde Republicaine Sousa
Summet Dav Vict Cities Service Band Prokotie fl
Suite, op. 65a" Phunderer Ihe Columbia Goldman Band Sousa
Sun Valles B H Roval Artillery Band Ovgden Thus Spake U. of Hlinois Concert Strauss
Mountains /avathustra sand
CV CE rpts)
Sunlit Summits B H Roval Artillery Band Oeden
Lill Ful Nsprege > UL. of Hlinois Concert Strauss
Sunnvland Col Barnum & Bailey Rosner
Circus Band Band
Waltzes
SUSSECN Psalm U. of Hlinois Concert Howland l lova BN H Roval Artillery Band Meretta
sand Lo Look Sharp Penn State Penn State Blue Band Merrick
Swallows kicte Woolston Brass Band Mackenzie loccata & Fugue Penn State Penn State Blue Band Bach
Serenade 1 he in D Minor
.rani , boccata Fugue U. of [Illinois Concert Bach
Swedish Fic Kaikoral Brass
Rhapsody in LD Minor sand
Svmphonia Columb Ringling Bro hers Nerve Irs Kastman Wind Vaughan
March Band Marzial Ensemble Williams i
Smy phone Corone Oberlin Svmphot Loccata Marziale B H Irish Guards Vaughan
Scherzo tor Band Band Williams
Svmphony for Oberlin Svmphoni occeata Marz BS H Roval Artillery sand Vaughan
Band Williams

68 The Instrumentalist
lrafalgai
5 BX H Welsh Guards 7Zehle Virginia, A U. of Illinois Concert Wood
Traviata, Prelude Fidelity “Queen Alexandra's Verdi Southern Band
to, La” Own” Band Rhapsody
Prepak BX H Grenadier Guards Morand Vito” Angel 25th Infantry Reg Lope
lriana™ Angel 25th Infantry Reg. Lope of Spain
of Spain Voice of the BX H Grenadier Guards Alford
Guns
Tristan & Isolde U. of Illinois Concert Wagnet
Prelude & Love Band Waiata Poi* Fidelity Woolston Brass Band Hill
Death Wake Me | p for UL. of Illinois Concert McKay
Priumphal Penn State Penn State Blue Band Rozza the Great Band
March Jubilee
(Quo Vadis) Walking Tune, A BX H Welsh Guards Grundman
| rocadero*! Angel Garde Republicaine Pares Warsaw Concerto U. of Illinois Concert Addinsell
lroika En Penn State Penn State Concert I schaikow Band
Lraineaux Blue Band sky Washington Fidelity “Queen Alexandra's Grafulla
Trojan, The’ Fidelity College of Pacific Jones Grays* Own” Band
Band Washington Mercury Eastman Wind Sousa
Trombone Blues Decca Ringling Brothers and Jewell Post' Ensemble
Barnum Bailey Band Washington Angel Garde Republicaine Sousa
Lrombones to Angel Coldstream Guards Scull Post**
the Fore* Washington London Grenadier Guards Sousa
Trooping of the London Grenadier Guards Album Post
Color We All Believe ’ U. of Illinois Concert Bach
Lropic to Tropic Decca Ringling Brothers and Alexandes in One God Band
Barnum Bailey Band Wee Macgregor Angel Scots Guards \mers
Prumpet and Victor Cities Service Band Lang The"
Drum" Wellington B & H Scots Guards /7chle
Trumpet Piece, Fidelity St. Kilda Municipal Scull Wellingtonian, Fidelity Wellington Citadel Scotney
a Band rae Band
Trumpet Polka, Victor Cities Service Band Lavalle Welsh Rhapsody * U. of Illinois Concert German
The Larto Band
Lubbyv the Tuba ° UU. of Illinois Concert Kleinsinge! Westering Angel Scots Guards Trad.
Band Home*®
Punbridge Fair® Mercury Eastman Wind Piston When the Saints Victor Cities Service Band Lavalle
Ensemble Come March
Iwo Argentine ° U. of Illinois Concert \guirre ing In'*
Dances Band Whistler and Decca Amer. Legion Band Pryo.
Iwo Friends Fidelity Wellington Citadel W. Spence His Dog of Hollywood
Band W histler’s Bourne N. Y. London Jones
Iwo Imps” Angel Coldstream Guards Alford Mother-in-law Symphonic Band
Iwo Moods B&H Irish Guards Grundman Wilderness Road Columbia Leed’s Concert Band Siegmeister
l wo Moods B&H Royal Artillery Band Grundman Wing-Ding™ Columbia Cities Service Band Singe
Iwo Movements B&H Irish Guards Holst Wing-Ding Columbia Columbia Concert Singer
from Suite in I Band
(a) Song of the Wings of Columbia Cities Service Band Ventre
Blacksmith Victory”
(b) Fantasia on Wings of Fidelity College of Pacific Ventre
the Dargason Victory® Band
I vpewriter, The . U. of Illinois Concert Anderson Wings of Columbia Columbia Concert Ventre
Band Victory Band
U.S. Field Ax Mercury Eastman Wind Sousa With Sword and London Grenadier Guards Starke
tillery March’ Ensemble Lance’
Under the Ban London Grenadier Guards Blon Wonderous Fidelity Wellington Citadel Himmel
ner of Victory Cross" Band
Under the London Grenadier Guards Wagnet World Events London Band of Royal Zamecnik
Double Eagle Military School of
Valerie Fidelity “Queen Alexandra’s arr. Thomas Music
Own” Band Yankee Doodle Columbia Morton Gould arr. Gould
Valse Campestre . U. of Illinois Concert Marinuzzi Symphonic Band
Band
Vanished Army Fidelity Collegeof Pacific Alford Recordings by Colleges and Universities ,
The Band
Bates College, The College Choir, Choral Recorded
Vanished Army B& Welsh Guards Alford Songs of Society, Quartet, and Concert
Vanity Fain . U. of Illinois Concert Kletche: Band
Band Connecticut, The The University Band and Recorded
Variations on a ° U. of Illinois Concert Brahms University of Glee Club, The lartans and
Theme by Band the Carollers
Havdn 1956 TMEA Dallas Texas All-State Bands Recorded
Vedette, The BX H Welsh Guards Alford Concert
Victorious Fidelity Wellington Citadel Gullidge Hardin-Simmons H-S Univ. Cowboy Band & Recorded
Band University \ ¢ appella Choir

October, 1956 69
 Hartwick College Hartwick College Wind & Recorded Southern Methodist Mustang Band, Univ. Choi Recorded
Percussion Ensemble Univ. Mustang Men
Indiana Univ Marching Hundred, University Recorded lexas, Songs of The Leghorn Band Recorded
Songs of Singers, Concert Choir, & the Univ. of
Brass Choit Lexas Tech on Texas Tech Concert Band & Recorded
Illinois Band, Univ. of Illinois Band Recorded Parade Zeta Sigma Glee Club
Univ. of V.F.M.A. Cadet Valley Forge Military Recorded
Kansas, Univ. of Univ. of Kansas Band Recorded Band, The Academy Band
\ Cappella Choi % Men's Virginia, Songs of University Band & Glee Club Recorded
Glee Club the University of
Luther, Music at Luther College Concert Band Recorded V.P.1I. Presents On Highty- Vighties V.P.1 Regi Recorded
& Choir the March mental Band
McMurray College McMurray College Concert Recorded Washington State WSC Choir and Concert Band Recorded
Concert Band Band College, Songs of
Michigan State Michigan State College Concert Recorded West Point Music U.S. Military Academy Band Recorded
College, Songs of Band, the M.S.U. Men’s Glee and the Cadet Glee Club
Club, and the Spartan
\ Cappella Choir West Virginia University Concert Band & Recorded
Univ., Songs of Men’s Glee Club
Muskingum, Music Muskingum College A Cappella Recorded
Choir, Concert Band, Girls Wooster, The The Scott Band, the Men’s Recorded
Glee Club, and the Messiah College of Glee Club & the Girl's
Chorus and Orchestra Chorus
Navy Music U.S. Naval Acad. Band, Recorded Yale, Songsof Yale Band and Glee Club Recorded
Brigade of Midshipmen Drum Note: The On the Spot Recording Co., Box 314 Addison, Ill., has
& Bugle Corps, Naval Academy
approximately 1,000 selections recorded on tape They are avail
Chapel Choir, the Antiphonal
able to educational institutions only on request that a disk be
Choir, and the Glee Club
pressed of the desired selection The fee depends upon cutting
Notre Dame Notre Dame Band & Glee Club Recorded time and royalties to publishers
Songs ol
Ohio Wesleyan \ Cappella Choir, Band, and Recorded
Lniversity Symphony Orchestra 1 Included in “Famous Continental Marches”, London LP
Oregon, University 2 Included in “Here Comes the Band”, Westminster
Univ. of Oregon Band & the Recorded
ot University Singers } Included in “Here’s that Band Again”, Westminstet
t Included in “Marching Along”, Mercury
Pittsburgh, Univer Pitt Band and Glee Club Recorded 5 Included in “College of Pacific Band”, Fidelity LP
sity of 6 Included in “Kaikorai Brass Band” (New Zealand), Fidelity
Princeton, Songsof Princeton Band & Glee Club Recorded LP
Simpson Songs Simpson College Band and Recorded 7 Included in “Purdue Band Concert”, Fidelity
Chon 8 Included in “Scots Guards”, Angel LP #35337
Q Included in “Aukland Watersiders’ Silver Band” (New Zeca
land), Fidelity LP
10 Included in “American Concert Band Masterpieces”, Mercury
Il Included “Sunday Band Concert’, Victor
12 Included in “America’s Favorite Marches”, Victor
Included in “College of Pacific Band Marches”, Fidelity LP
14 Included in “ The Scots Guards” Angel LP #35271
15 Included in “Band Concert’, Decca
||Toy SJ 16 Included in “Wellington Citadel Band’ Salvation Army
New Zealand), Fidelity LP
17 Included in “Marches of Many Nations” Westminste!
6 18 Included in “Great Band Music’, Victor
19 Included in “Barnum and Bailey Circus Band” Columbia
20 Included in “Regimental Band of the Coldstream Guards”
Angel LP
21 Included in “Marches”, Mercury
22 Included in “College of Pacific Marching Band” kicdlelity LP
>, Included in “Lamar State College Band”, LP
24 Included in French and American Military Marches”, Angel
LLP
25 Included in “The Band Plays On”, Columbia
26 Included in “San Jose State College Band”, Fidelity LP
27 Included in “Paso Dobles Music of the Bull Ring’, Angel LP
28 Included in “Lavalle at Work”, Victor
29 Included in “Woolston Brass Band” (New Zealand), Fidelity
LP
10 Included in “Marches Millitaires Francaises’, Angel LP
s} Included in “St Kilda) Municipal Band” New Zealand)
Fidelity LP
52 Included in “Lamar State College Summer Band,” LP
3 Included in “Marches of Sousa”, London LP
4 Included in “British Band Classics”, Mercury
Uf
> Included in “The Golden Wave Band in Concert”, Word Rg
16 Included in “Strike Up the Band”, Westminster
Hk
37 Included in “Queen Alexandra's Own” Band (New /caland).
Fidelity LP
8 Included in “Ruffles and Flourishes’, Mercury
18

+ Available also on a single record

" AGREEDI IF IT LASTS OVER A WEEK YOU GET YOUR MONEY BACK." FINI

70 The Instrumentalist
 Multiple Violin Parts Desirable?
Editorially Yours
The usual violin parts are Ist and 2nd. However,
when the Ist part remains in Ist position there is often an-
Bibliographies other part called Advanced Violin. And in the absence of
violas, frequently there is a 3rd Violin (substitute viola)
The Instrumentalist probably prints more bibliographies
part for those directors who wish to use it. Beyond these
than any three other music magazines. Last month there was
there seems little justification for additional parts, such as
one on tape recordings and recorders, while this month
Ist Violin B, last Violin C, ete. When a Ist or 2nd Violin
there’s one on band recordings. Few people realize how much
part needs to be divided, this should be accomplished
time, effort, and money is expended in compiling a new bib-
with double notes marked divisi.
liography, such as the one in this issue. Many univer-
We all regret dry or uninteresting parts for 2nd Violin
sities offer master’s degrees for theses requiring less work.
and other “inside” players, but labeling the parts B, C, D,
Hence, we are very anxious to have your reaction to them.
or something else doesn’t help to make them more interest-
Do you like bibliographies? Are they worth the space
ing. In fact, most schools already have too few violinists in
given them, or would you prefer to see something else in
their orchestras. Dividing these players into three or four
their place? Your reactions, whoever you are and where-
parts only weakens them still further.
ever you may be, will be sincerely appreciated. A 2¢
What parts should a director order when two of the four
postcard will do. But do drop us a line. Address your
or six available parts are not important ones? But which
response to: Editors, The Instrumentalist, 1418 Lake St.,
two? Instead of helping the school orchestras, this prac-
Evanston. IIb.
tice only confuses and weakens both the directors and
their students.
Publishers Should Specify Duration Let’s put the savings made by eliminating these needless
extra parts into full scores. A full score benefits every di-
We strongly urge all publishers to include on all of their
numbers some indication of the duration of the piece, be rector and every orchestra.
it for band, orchestra, or instrumental ensemble. Even tho
the timing may vary somewhat as interpreted by various Cover Photos
directors, it is most important that they have an idea of the
Now is the time to take those “football” photographs
duration.
for possible use on the cover of The Instrumentalist for
\t present, we determine the duration of all composi-
next fall. A little thought given to the composition and
sions listed under Vew Music which do not have this
the lighting often can make the difference between a poor
pertinent information printed thereon. However, this
and a superb photograph. Sometimes we can improve a
should be done by the composer or arranger of the piece;
photo by retouching it or by cutting out undesirable parts,
no one knows better than he how fast or how slow it should
so don’t let slight imperfections deter you from sending us
eo. He knows, too, exactly what tempo he wants when he
your best photographic efforts.
indicates andante, allegro, or other equally ambiguous
tempo indictions.

CBDNA Leading the Field

The College Band Directors’ National Association with

Hugh McMillen, President, is leading the instrumental
music field in progressiveness and research. James Nielsen
of the University of Oklahoma and his research committee
met recently with research engineers for several days in
Elkhart. Indiana. as they have done in previous years too,
to explore new facets in the construction and teaching of
instruments. Other committees and individuals of CBDNA
make this organization outstanding in the band world.
Of significance. also, is the fact that anyone who is a
college or university band director is eligible to join.
There are no restrictions as to membership; and tho this
group is affliated with the MENC, it retains sufficient in-
dependence to do just as it wishes. But by its association The JOHN PHILIP SOUSA BAND AWARD Plaque and Desk
with MENC it gains in prestige and influence by the good Medallion are being presented here to Gerald Starger of the
Gillett (Wisconsin) High School Band by Director Grayson W.
will of this parent organization which, in turn, is con- Babcock. Gerald is now studying to become a band director at
nected with the NEA (National Education Association). Lawrence College in Appleton, Wisconsin.
Every college and university band director should be- The SOUSA BAND AWARD, sponsored as a non-profit enterprise by
"The Instrumentalist'’ for the purpose of encouraging and stimulating
long to CBDNA and, if possible, attend its meetings.
instrumental music in the schools, continues to be presented by more
(Please see Calendar of Events on p. 10.) and more schools as their outstanding award for band achievement.

October, 1956 71
 Advertisers’ Index
American Rawhide Mie. Co 14. 45
Carsified reds
Armstrong Co. W. 1
Artley, D. & J ; 10
Associated Music Publishers 51
selwin, Inc ‘ 52
Big 8 Music Co 51
Blessing Co., E. kK l
instruments miscellaneous Brand, Erick 1
Bruno & Son, ¢ 7. Cover III
sale repair rental SOUSAPHONE BELL COVERS COMPLETE Buegeleisen & Jacobson, Inc. lI
with School Letter $5.00. Specify color Buescher Band Instrument Co 5, 24
(send sample) and bell size. Design covers Byron-Douglas Publications 58
IF YOU ARE INTERESTED IN FIRST GRADE on special order. Musical Specialties Mfg. Chiron Co., H. $2
Woodwind Repairs Contact: MARTIN Co., 1435A West 50th Street, Norfolk, Va. Conn Band Instrument Co 15
BAUER, 82-16 21 Ith Street, Queens Village, YARDLINE MARKERS—4” numerals on 7 x Consolidated Music Pubs., Inc 58
ae. Per, 7 cards, holders, storage box. Price $7.50. Continental Music : 1]
Also stopwatches, pocket metronomes, other Craddock Uniforms 34
EQUIP YOUR BAND AT HALF THE PRICE. directors’ items. Write for FOLDER. HIGH- Crest Records, Inc. . 58
Thousands of guaranteed certified rebuilt, LAND HOUSE—BOX 20—ITHACA, N. Y. Cundy-Bettoney Co., Inc. 2
new instruments and new accessories. Rental Eastman School of Music 12
Plan-School Budget Plans—Music Aptitude BAND DIRECTORS-BAND PARENTS CLUBS
Test. Write for catalog and free 40 page Buy direct from the factory Valve Oil— Edition Musicus 24
Band Organizing Manual. Send your old in- Slide Oil—Key Oil—Bore Oil. Send $1.80 Educational Music Bureau a4
struments today for highest trade-in or cash for sample dozen of mixed oils. Save 50%. Evans & Co., George 33
allowance. KNIGHTS PRODUCTS COMPANY, RFD Kechheimer Brothers Co. $3
Meyer's Equipment for School Bands, 454 2, Beloit, Ohio. Fidelity Sound Recordings 58
Michigan Avenue, Detroit 26, Michigan 18 FINE BAND COMPOSITIONS—THEMA- Fischer, Inc., Carl 52
SINGLE REED OBOE MOUTHPIECE. tic catalog. Ziegler Band Music Pub. Co. Fox Publishing Co., Sam 57
Improved design makes playing easier for Madison, Wisconsin. Gamble Band Cap Light $4
all. Use Bo Clar. reed. Equipped with ad- BAND DIRECTORS Gemeinhardt Co., K. G. $8
justable thumb screw ligature and Chrome {also Band Parents Clubs) Gretsch, Fred 16, 19
Mpce. Cap. $9.50 net to schools. Reg. list FREE TO YOU Hansen Publications 57
$11.95. Mareth Mus., 1208 Glenlake Ave., A complimentary copy of the reduction of Har-lee, Inc 34
Chicago 40, Ill. the original John Philip Sousa Centennial Haynes Co., Wm. §$ 10)
CUSTOM MADE MARETH MUSETTES. Medal, a wall decoration, likewise made by Holton & Co., Frank q
New type single reed mouthpiece Musettes the Department of Medallic Art of the Instrumentalist Co., The 36, 37, 52
add tone color and novelty to Marching Austrian Mint in Vienna. The medal's history Karnes Music Co. 50
Bands and Drum Corps. Available in 5 dif- gladly sent to anyone requesting it. Kell Co., The Reginald 30
ferent pitches. ORGANIZE A MUSETTE F. E. KNIGHT INC.
665 - 5th Ave. New York 22, N. Y. Kendor Music, Inc. 58
BAND FOR A DIFFERENT TYPE MUSICAL King Music Co., Robert . 24
ORGANIZATION. Send 10¢ for illustrat. Lammers Music House, Inc. 10
catalog giving advantages of a Musette Leedy Drum Co 5
Band. Mareth, 1208 Glenlake Ave., Chicago
40, Ill. reeds for sale Link, Otto $1
Ludwig Drum Co Cover Il
REPAIRS ON VIOLINS, VIOLAS, CELLOS, Ludwig Music Pub. Co. . a
basses. European violin makers, since I7th M F Co. 10
century straight line in the family, are ready OBOE AND BASSOON REEDS
to help you keep your instruments in A-| Constructed by Professional Reedmakers Maier-Lavaty Co ; $7
condition. Finest repairs, adjustments, tonal Tested by Professional Musicians Markert & Co., John ; 28
adjustments, A-! bridge fitting, fine bow $7.50 per half dozen Martin Band Instrument Co 17
rehairing, restoration of valuable instruments. $14.00 per dozen Mason Candies i
Everything done strictly to ENC specifica- MONEY BACK GUARANTEE Merson Musical Products 6, 35
tions. K, L. Meisel, Violin Makers, 2146 Wy- French Cut Clarinet Reeds—$10.00 per 100 Music for Percussion 15
andotte Avenue, Cleveland 7, Ohio. Tenor Saxophone Reeds — $14.00 per 100 Musical Specialties Mfg. Co. 36
Nielsen, Edmund 32
THE SINGING REED Nik] Music Studios 2
117 Patrician Drive Norren Mfg. Co., The l4
uniforms for sale Hampton, Va., Ph. War 80852 Olds & Son, F. E 13
BASSOON REEDS: $1.25 EACH. MADE BY Ostwald, Inc., Uniforms by $5
William Koch, 22 years first Bassoonist U. S. Peery ProductsCo |
75 ROYAL BLUE & FRENCH GRAY WEST Marine Band. Box 459, South Whitley,
Point Uniforms. Twirler & director's uniforms. Premier Drum Co 13
Indiana. Prescott’s Reed Mfg. Co. $2
Sample on request. Carl Barnett, Will Rog-
ers High School, Tulsa, Oklahoma. OBOE REEDS: $1.25 HANDMADE BY NAVY Rico Products 31
Bandsman, years of reedmaking experience. Scherl & Roth, Inc 8. 18, 28, 39
85 MAROON WITH WHITE TRIM, WOOL Guaranteed. Charles S. Nutick, 3108 Chest-
whipcord, military style uniforms complete Schmitt Publications, Inc. 57
with hats—various sizes. Trousers maroon nut St. N.E., Washington 18, D.C. Schreiber’s ‘Rack-Rite’ . 1]
with white stripe. White leather belts and Selmer, Inc., H. & A 23, Cover IV
citation cords. 42 pair white spats. Make Shawnee Press, In¢ 59
offer to: James Hoffren, High School, Bu- Want a Community Slingerland Drum Co. 18
chanan, Michigan. Sousa Award 14
40 RED-WHITE TRIM COMPLETE UNI- Orchestra? Stanbury & Co 56
forms. Good condition. $250. Write Sun- String Instrument Research Co 28
dance Schools, Sundance, Wyo. The American Symphony Orches- Summy, Clayton Ff 19
tra League is organized for the de- I M Designco 37
large & Dinnet 10
velopment ol community and pro-
Classified Rates lor Music Co 16
fessional orchestras anywhere in the Varitone, Inc 8, 19, 26, 27, 28
Eact ydditiona ne AO¢ { nited States. The Newsletter is its Wenger Music Equipment Co 12
Deduct 10% for 2nd and following publication. For information and Westlake College 8
consecutive runs. White Co., H. N 22
(Allow about 6 average words to the line) help write to Mrs. Helen M. Thomp- Zildjian Co., Avedis 12
Copy due first of month preceding issue. son. Box 164. Charleston. W. Va. /ottola Products 23

72 The Instrumentalist
 sight down brute

the bore strength

Like you, we preach

that a clarinet should
Pick up any
a LS» be handled with utmost
Boosey & } x
DOUBLE LOCK care. But we’ve long ago
Hawkes Edgware
learned not to expect it.
and look inside. Notice
Particularly with young-
the absolute perfection of
sters. That’s why, at stress
that bore! No rough spots.
points, a Boosey & Hawkes clarinet’s
No scale-correcting undercuts
delicately balanced key mechanism pivots
because every Boosey & Hawkes
on double lock posts. Brute strength where
is right. That’s accuracy, uniformity
it’s needed most. Features like this, together
never before thought possible in
with power-forged nickel silver keys, explain
the manufacture of fine woodwinds. Any
why more musicians buy Edgware than
Boosey & Hawkes clarinet you buy has
any other wood clarinet in the world.
exceptional intonation. There can be no exceptions.

cracks are

outlawed

bright as
Joints of a Boosey &
Hawkes Edgware, the grenadilla
a dollar
wood clarinet, are metal
capped as shown in the above view.
Edgware, the grenadilla wood clarinet that’s vir- Moisture can’t seep into the end grain with
tually crackproof, has keys that are exceptionally
this protection. So a condition
serviceable. There are no sand cast keys . . . Every
that often leads to cracking is prevented
Edgware key is power-forged nickel silver! And, right at the start!
what’s more, the entire key mechanism is NICKEL
PLATED to stay sparkling bright.

/f
|; r ;f #i

As low as $129.50 (Boosey & Hawkes Edgware)

grenadilla wood, complete with case.
Write today for free brochure No. 10 on
CLARINETS BY world’s most popular clarinets.

a he For free literature on Boosey & Hawkes clarinets,

ww ibe write C. Bruno & Son, Inc., 460 West 34th Street,
Rake. New York, or 1100 Broadway, San Antonio, Texas.
BRUNO In Canada; Boosey & Hawkes Ltd., Toronto
ISey gHAWKE
Selmer ¢-) TRUMPET
Try one quick—you're in for some eye-popping
surprises. From leader pipe to bell it’s been re-
designed around a big new .468 bore. The big
sound is there all the way, but edged with typical
Selmer brilliance. High notes are so full-sounding
you'll step back and try them again to convince
yourself they blow that easy. And you'll like the
flexibility and free blowing so important to modern
playing styles. Obey that impulse; visit your
Selmer dealer right away and ask to try the 25 bore
trumpet. (Four other bores are also available.)
Selmer c-> TROMBONE
The bore: .495; the bell: 7%; the result: a trom-
bone of exceptional versatility and tonal balance.
Chrome-plated drawn nickel silver slides are so
slick and smooth they need no breaking in. Slides
are wider too, balanced for easy handling and com-
fortable playing. To test its intonation is an ex-
perience—try the low register! But put it through
any test. See if you don’t agree; you're sure to
play better with this new Selmer. Your Selmer dealer
will arrange for you to prove it—see him soon.

r
New Selmer (Paris) Cornet brings you acoustical !
1
improvements for amazing carrying power and ton- 1 FREE Please send free illustrated brochure.
al breadth. Valve action is fast, consistent—intona- 1
i] illustrated brochure 1 am interested in the new Selmer (Paris)
tion is superb. Try it now at your Selmer dealer's. 1 describing many Trumpet[_] Trombone[_] Cornet (_]
: exciting features of
| the Selmer (Paris) Name
! Trumpet, Trombone
i and Cornet. Write Address
|
! for your copy now!
i
Selmer

ELKHART, INDIANA i