THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF Saul Abramovitch PUBLIC SCHOOL ORCHESTRAS AND BANDS BY GLENN H. WOODS, A.A.G.O. Director of Music Public Schools, Oakland, California BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO CHAS. H. DITSON & CO. LTON A HEALT MADE IN U. S. A. Copyright MCMXX By OLIVER DITSON COMPANY International Copyright Secured MUSIC LfBRARY r '*.f DEDICATED TO THE MEMORY OF MY DEAR MOTHER 802229 CONTENTS CHAPTER PAGE I Importance of Instrumental Instruction... 13 II Preparation of Teachers 27 III How to Organize Instrumental Instruction . . 30 IV Co-operation of Superintendent, Board of Education, and Principal 35 V Instruction in the Elementary Schools 37 VI Instruction in the High Schools 62 VII Bands in the Elementary Schools 82 VIII Bands in the High Schools 92 IX Official Musical Organizations 97 X Necessity of Supplying Instruments 104 XI Conducting 108 XII Suggestions about Tuning 136 XIII Seating Plans for Orchestras and Bands .... 143 XIV How to Assemble an Orchestra Score 149 XV Transposition 154 XVI How to make a Conductor's Part 173 XVII Summary 175 XVIII last of Band and Orchestra Music, and In- struction Books 178 APPENDIX Bonding of Instruments supplied by the School Department 191 Conditions governing pupils who receive free instru- mental instruction 193 List of Books suggested for Study 195 Library Plan 196 ILLUSTRATIONS EAGE 1 Violins 38 2 Viola and Violin 39 3 Violoncellos 40 4 String Basses 41 5 Flutes 43 6 Clarinets 44 7 Cornets 45 8 Horn and Mellophone 46 9 Slide Trombone and E-Flat Tuba 47 10 Drums, Tambourine and Bells 48 11 Oboe and Bassoon 67 12 C-Melody Saxophone 83 13 Technical High School Orchestra 49 14 Technical High School Band 93 15 Elementary School Band 98 16 Elementary School Orchestra 100 17 Trombones 85 18 Saxophone Quartet 9,5 PREFACE Since the introduction of music into the public Schools some forty odd years ago, it has gained recognition, and a position of prominence in the field of education. As the realization of its im- portance increased, its activities have been ex- panded correspondingly and now include instru- mental music. To assist those who are interested in this phase of educational activity and instruc- tion, this volume is offered, with the hope that all who read its pages may find therein some practical suggestions. As there are numerous text-books available for those teachers who are professionally well equip- ped, the teacher who has no knowledge of instru- mental music needs assistance, and the particular aim of this book is to meet that need. Acknowledgment is made for the helpful criti- cism and suggestions made by: LIEUTENANT HERMAN TRUTNER, JR., U. S. A. Ret., Supervisor of Bands and Orchestras, Oak- land Schools; MR. FRANKLIN CARTER, Instrumental In- structor, Oakland High School; MR. GUY HUDGINS, Assistant Head of the English Department, Technical High School; Miss EMMA SCHNEIDER, Head of the English Department, Oakland High School; Miss BLANCHE O'NEIL, Assistant Supervisor of Music, Oakland Public Schools; Miss EDNA WORLEY, Instructor in English, Vocational High School; Miss ADA M. FLEMING, Dean of the National Summer School, Chicago. INTRODUCTION A FEW OPINIONS ON Music "The place which music now holds in school programs is far too small. By many teachers and educational administrators music and drawing are still regarded as fads or trivial accomplish- ments not worthy to rank as substantial educa- tional material; whereas, they are important features in the outfit of every human being who means to be cultivated, efficient, and rationally happy." CHARLES W. ELIOT, President Emeritus, Harvard University. "You ask me if music is a human essential. To the Eskimo or South Sea Islander, no. To the American, Frenchman, Englishman, Italian, yes. Mere existence demands nothing but food, drink, clothing, and shelter. But, when you attempt to raise existence to a higher plane, you have to nourish the brain as well as the body. I don't think there is any sane person who would say that books are unessential to the maintenance of our civilization in America. Yet after its school days, probably less than one-fourth of our population reads wath serious purpose. Music is more essential than literature for the very simple reason that music is capable of releasing in practically every human mind enlightening and 10 PUBLIC SCHOOL ORCHESTRAS A\D BANDS ennobling thoughts that literature evokes in only the most erudite minds." THOMAS A. EDISON -From The Etude. "The aim of the teacher of fine arts is almost equally clear. If he gives instruction in painting, singing, or playing an instrument, it is plain that the instructor must guide, but the student must perform; that no matter how much the master may know of the theory of the art, that knowledge will have meaning for the student and can be imparted to him only in connection with his own doing; that all formal lessons, such as learning to read the score, finger exercises, the manipula- tion of the stops, the tuning of the instrument, etc., are but necessary parts of a larger process and without significance by themselves. The skill which is sought is hiibit, and not a habit in general, but a particular doing condi- tioned by its own particular body of sensory ele- ments. This habit will not come as a by-product of general aimless familiarity with an instrument, but only by day -by-day striving to master its use. Education has much to learn from those who train themselves consciously to a marked degree of skill. They are not confused by obscurity of purpose, there is little delusion among them as to w r hat the teacher must do and what the pupil, they do not make the error of assuming that the best way to learn to play the piano is to begin with the violin. The relation of theory to practice is fairly plain to them, and there is but little mistaking of the procedure of habit-forming or of the place and function of interest in learning. They do not INTRODUCTION 11 split the sensory-motor arc by saying that the purpose of instruction is to acquire methods of working with one subject matter in order to apply them to another. With them every subject mat- ter calls for its own series of reactions, and every series of motor activities is called forth by its own unique perceptual series. What kind of knowledge of music does anyone possess who has only a general and no particular knowledge of it? And what kind of an athlete is he who has a general knowledge of athletics but no particular form of athletic skill? The general has grown out of the particular and cannot exist apart from it. A general training is either a combination of several particular forms of training such as would enable a musician to play upon several different instruments, or an athlete to contest in several different kinds of athletic events, or it is such a nondescript and puerile knowledge about these fields as to be syn- onymous merely with a vague acquaintance with them To know anything without being able to do it is to know it poorly. All knowledge is preconditioned by a doing on the part of the learner. One's knowledge grows in proportion to one's doing. It is experience which makes the days of men proceed according to art, and inexperience according to chance; and different persons in dif- ferent ways are proficient in different arts." (From What is Education, by Ernest Carroll Moore, sometime Professor of Education, Harvard University). 12 PUBLIC SCHOOL ORCHESTRAS AND BANDS The foregoing statements prove conclusively that the study of music has a place in education ; it has a place in the life of the child; it has a place in the life of the man. Its "experience" must be gained in childhood that it may "proceed ac- cording to art" in manhood. The technique of an instrument or the series of motor activities which produce ability to "do" must be learned in youth by "doing," and that "doing" must become a "habit" by daily practice until in man- hood it develops "skill." "Skill in doing" is the chief concern of education, as one's knowledge is measured not by his "appreciation of" but by his "ability to do" founded upon actual "ex- perience. " Public School Orchestras and Bands CHAPTER I IMPORTANCE OF INSTRUMENTAL INSTRUCTION STUDY OF ]s^ s tudy included in the curriculum of either grade or high schools has so much general educational value as the study of music. Theory about the subject immedi- ately becomes practice in the subject. Learn- ing how to do is followed by the doing of that which the pupil would learn. The practice of doing must become a daily habit. A daily habit of practice compels concentration. Concentration is that power by which and through which all the great achievements that mark the progress of art and science have been accomplished. The reading of music notation requires a greater degree of combined speed and accuracy than is necessary in almost any other vocation. Especially is accuracy of vision necessary in reading instrumental music: in piano music, when two staves must be read; in organ music, when three staves must be included in the range of vision, and in the last and final stage of score- reading, when at least fourteen staves with a notation as complex and difficult as Greek covering the entire page must be visualized at once. 13 14 PUBLIC SCHOOL ORCHESTRAS AND BANDS Valuable as is the training of the eye growing out of the study of music, the greatest power of minute discrimination resulting from this study is probably conceded to the ear. No amount of theory about tone, such as is given in physics, can ever train the ear to make fine tonal distinctions, but experience as a performer on some musical instrument develops keen power of tone dis- crimination. WHY INSTRUCTION Music appeals to all normal E^S^^Y^ and tV-rt of SCHOOL SYSTEM IN children are normal. Iney nave THE UNITED STATES a right therefore to instruction in music, and should be offered an opportunity to learn to play instruments and the time is never more propitious than when they are students in the elementary schools. If the schools are to educate (and it is agreed that that is their prime function), they should educate for an avocation as well as a vocation. A child has just as much right to devote some time to the study of a subject which he may enjoy during his leisure time, as he has to devote the major portion of his time in school to mastering subjects that have only a monetary valuation, and are used solely as a means of livelihood. A large number of persons besides those who are studio teachers, are engaged in music as a business. Players in symphony orchestras re- ceive from forty-five to one hundred dollars a week according to their ability or the responsibility of the position. Thirty to forty -five dollars a week is an average rate for playing in theatre, cafe, or hotel orchestra. Contractors for en- gagements and leaders of movie orchestras are INSTRUMENTAL INSTRUCTION 15 paid larger salaries according to the size of the orchestra they lead, the responsibility of the en- gagement, and the hours of service rendered. One hundred dollars a week is a small salary for competent leaders. It must be conceded that the school supported by the people is the natural source of all instruc- tion and is the one logical place where all study should receive its first impetus and its first in- spiration. In every building there are rooms in which instrumental lessons may be given. If a class room is not available, it is usually possible to find some extra room in the building or unused place in the auditorium which may be utilized for teaching purposes. RIGHT OF EVERY Many persons look upon music f MUSIC ment as an accomplishment, per- haps, but not as an educational asset. It is both, whether or no the child who studies music becomes a professional musician and devotes his entire attention to the subject. Many children enjoy only music that is ready- made, mechanical players or the records of band and orchestra music; others covet the pleasure of making music and participating in its per- formance. It often happens that the children whose parents can well afford to furnish them with the best instruction available are not mu- sically inclined nor at all disposed to exert them- selves to learn anything that can be purchased already made. The very fact that parents pro- vide so many unnecessary time-wasting pleasures for young people tends to destroy any incentive 16 PUBLIC SCHOOL ORCHESTRAS AND BANDS on their part either to work or to study if they can possibly evade any such ordeal. On the other hand, children whose parents can- not afford to give them a musical education often yearn for such instruction. Their very craving for such training is an indication that they possess the first essential and natural requisite for achieve- ment in any line of education and that is, the "disposition to learn" on the part of the student. As these conditions exist in every community, it is imperative that those pupils who wish to study instrumental music should have the op- portunity. The children who have few advantages offered to them as additional accomplishments to their education because of insufficient resources at home to procure such instruction, have reason to be given equal advantage with the more fortunate children; and these advantages should come from the public schools where instruction in all subjects is offered to all students alike at public expense. INSTRUCTION SHOULD Un( kr the free-instruction sc E Hooi!s N THE PUBLIC P lan > the schools discover latent talent and thus cre- ate a demand for music instruction, as they have an opportunity to reach children who otherwise would not be encouraged to take up the study of music. It has been proved in many cases that have come under the observation of the author, that pupils who have had all of their preliminary instruction in the schools, and passed through the stages of development which are always more or less irksome to both student and teacher, have made such consistent progress in the study that parents, convinced of their serious interest have INSTRUMENTAL INSTRUCTION 17 both purchased better instruments and placed the children with private teachers for further training. The schools then should undertake the task of developing latent talent, of arousing the pupil to activity, of preparing him to carry on his educa- tion with the expert teacher. The student should go from the schools well grounded in technique, able to read music readily and prepared for the more advanced training that the special teacher is equipped to give. THE DELUSION OF Tne United States has long FOREIGN TRAINING been infested with & mania f?r imported things. Merchants say that the public demands and will buy inferior articles if it is assured that they are imported. This mania has shown itself in the number of students who have "gone abroad" each year to secure the foreign stamp on their musical education. It has mani- fested itself also in the number of foreign musi- cians who have been imported to fill positions in our leading symphony orchestras. There is in this case some reason for the mania. The supply of expert or even experienced players at home has not equaled the demand, and the necessary players have had to be imported to complete the instrumentation of full orchestras. The American public is largely responsible for this lack of native performers. It may be a lack of information in regard to the unusual in- struments of the orchestra, or it may be ignorance plus indifference concerning these instruments. In any event little encouragement has ever been given here to the study of the unusual instruments. The American public is a melody -loving public. When parents purchase instruments for their 18 PUBLIC SCHOOL ORCHESTRAS AND BANDS children, they buy those instruments on which the melody parts are played, the piano, violin, cornet, trombone, clarinet and, quite recently, the saxophone. So long as the solo instruments continue to receive all the patronage in America just so long will it be necessary to import players from those nations and countries that know the importance of the harmony instruments as well as of the unusual solo instruments. A close inspection of the personnel of any or all of the symphony orchestras of the United States, numbering about thirty, will disclose the startling fact that almost 90% are foreigners. With very few exceptions, the conductors, too, are of foreign birth and training. We Americans demand that the imported stamp must be visible in the name, appearance and nationality before we give our approval. During the recent war many disclosures proved conclusively that these foreigners were "among us" but not "of us." Almost every prominent symphony orchestra dismissed from its ranks from one to fifteen players who were "foreign" to our ideals and aims. The conductorship of two of the most important American orchestras was occupied by alien ene- mies, hyphenated to the superlative, and even proved beyond question to be acting as enemy agents. These musicians had to be imported because we had failed to develop in our own country enough proficient and capable players to meet our musical growth. In view of these facts, it is high time that the citizens of the United States and the school authorities in particular, should assume the re- sponsibility of developing proficient players among our own people. We Americans are as intelli- INSTRUMENTAL INSTRUCTION 19 gent, as keen, as accomplished as the German, the Italian, the Frenchman. But are we as musical? When will American singers and players be provided in sufficient numbers to furnish opera and symphony for the "music-lovers" at reason- able prices? When will good music be the prop- erty of the "people" instead of the "pet" of the wealthy few? When will good music be per- formed in all communities instead of in a few large cities? When shall we begin to develop good music among our own people? When shall we be able to acclaim America as a musical nation? RECOGNITION OF j n science, commerce, inven- OUR OWN ABILITY we lead the world, but in art and artists we assume that nothing is good unless it is imported. We lack confidence in our own ability. If great musicianship is lacking in America as some music critics aver, it is only because we have failed to. develop it. The talent is here, the acumen and ability to assimilate instruction are here, but it cannot thrive unless we as a nation pay more at- tention to its development, by recognizing musi- cians who are worthy, by encouraging those who are talented, and by assisting those who lack funds to pursue their studies. Parents do not know of the importance of the viola, the 'cello, flute, French horn, oboe, bassoon, string bass or drums. Unless the schools assume the responsibility of acquainting the pupils with these instruments, of furnishing free instruction and permitting free use of such instruments as the parents will not buy, we can never expect to 20 PUBLIC SCHOOL ORCHESTRAS AND BANDS find our way out of our present musical dilemma; we can never blaze the way to America's eminence in music, and can never expect to assume the lead in art as we do in commerce unless we de- velop, not only our talented pupils, but also bring within the reach of every child some fundamental knowledge of music and active participation in the performance of both vocal and instrumental music. WELCOME FOR FOREIGN- By no means should a BORN TEACHERS musician be discredited merely because he is foreign-born. Excellent musicians of all kinds have come to America to become Americans and it is no longer necessary for our students to go "abroad." Encourage the slogan, "Stay at home and study." However, the private teachers in America are charging such prohibitive prices for instruction and the con- servatories have become such "dividend-seeking" institutions that a musical education in America is only possible for those whose income is generous. For this reason alone, instruction in vocal, in- strumental and piano music should be offered free in the elementary schools and continued in the high schools with the addition of harmony, history and ensemble playing, or the meagre musical education now existing will lapse into permanent decay. The schools should be manned with expert teachers and steps be taken to estab- lish a National Conservatory of Music, a con- servatory supported by the Government, with all instruction free to all qualified high school graduates. The American is not frivolous, but he likes to be amused. Having no avocation to occupy his I \STItr MKNTAL INSTRUCTION 21 leisure time, he wastes many valuable hours that could be spent in a more profitable manner if he only had some fine diversion as a relaxation from strenuosity. The advent of cheap amuse- ment is a poor substitute for the fireside com- panionship of former days. Music in the home has taken its place among the things "we talk about," which existed in the "good old days." If either the father or mother have had musical training in their youth, the children almost in- variably are given musical instruction of some kind. Our progress as a musical nation must depend upon securing the interest and co-operation of the parents. It will again be the duty of the schools to see that the present generation takes music into the home by instructing the children now in school. \Ve must become a nation that encourages and fosters music in the home; we must not be lack- ing in appreciation of this art nor in supplying proficient performers with the ability to produce it. There is need for more music and more musical activities that will give the amateur some oppor- tunity to make music for himself. There is al- together too much music by "others" and not enough that "is made by us." Subscribers to symphony concert series pay a good price for their tickets and imagine that they are deriving the most pleasure in listening to the concert, while in reality the players, though working and re- ceiving compensation for their services derive infinitely more pleasure from the "joy of partici- pation in the concert," than comes to those who have no ability except to "pay and listen." 22 PUBLIC SCHOOL ORCHESTRAS AND BANDS NEED FOR TRAINED In tne town band, the army GofD E pER^RM A E R R E s * navy bands and even in WITH ROUTINE *- ne symphony orchestras ot EXPERIENCE the large cities the demand for experienced players is urgent. No matter how well a man may play an instru- ment, he must have had the routine and the ex- perience of playing with others, before he is of value in a musical organization. As this routine must be acquired before the player can be ad- mitted to a trained organization, it is essentially the province and duty of every school system in the United States to establish a music department in each high school wherein the opportunity to gain this orchestral and band routine, under ex- pert teachers, is offered to the student while he is yet pursuing his other academic studies. The schools will never do greater service for young people than by instructing them in the discipline and routine of ensemble playing during both the early and mature years of their school life. While receiving this training, the students are deriving a benefit as well as a pleasure from it and are moreover able to afford pleasure and entertainment to others. It is through such daily drill that the pupil develops into an individual who is a perfect unit in a group. Social service becomes a daily habit through practical experience in group solidarity that finds its most perfect exemplification in the orchestral ensemble. There is no substitute for military training which will achieve the same results in as effective a manner, as the rehearsal of a band or an or- chestra under a competent leader. A good band can hold the attention of a group of husky boys for an hour at a time, and through this attention INSTRUMENTAL INSTRUCTION' 2:5 generate a spontaneous interest in the subject at hand without the need of artificial stimulation. NECESSITY FOR If you question a man who has BEGINNING STUDY arrived at maturity as to his attitude toward music, you will frequently receive such replies as these: "I do not play at all, but I wish that I could, for I enjoy music very much. I had an opportunity to study music when I was young, but I didn't like to practise, as I was too busy playing ball and having a good time. Now I wish that my parents had made me stick to it, for I want to play and am too old to begin now." So often have these rejoinders or others of similar tenor been received by the author, that the feasibility of keeping a boy "at it" is worthy of consideration. These factors must be considered and considered dispassionately too, in planning consistent proce- dure in view of the opinion of so large a majority of men who want music later in life. The large majority of "boys" are now too busy "playing ball" to devote any time to "wearisome practice" unless they are urged to do so by a strong hand at home or by an interest away from home. In the experience of the author, no individual who has had musical instruction in his younger days has ever expressed a regret that he had learned to play. Many persons do not now keep up their practice; many who have learned how to play do not now continue this activity either from force of home duties or for "business reasons." None, however, have ever deplored their musical training; none have retained an antipathy toward the subject. It is seemingly a correct assumption then that parents are justified in requiring children to con- 24 PUBLIC SCHOOL ORCHESTRAS AND BANDS tinue their study and practice of music although they may rebel at having to forego some play. Could one secure information from the large group of performing solo artists now before the public, as to the real force which finally made them "great among the greatest," in almost every instance, the answer would be either the mother or the father. If the great artists are mostly foreigners, it is probably due to the difference of authority in the home. The father and mother are supreme in the foreign home and the children are supreme in the American home. If an American child does "not want to do" anything that requires "work," he simply outwits his parents. In the foreign home the child knows that the parents' word is law and that he is to study his music, and not only to learn it well but to excel, and excel early in life. The American children are fully ten years behind the foreign children of the same age in their musical ability. True, it may be that the foreign children leave school early and devote their attention to the one subject, but even in so doing, they some- how acquire a good education either from associa- tion or by co-ordination of ideas and habits estab- lished through hourfe of practice and forced con- centration. America will have to devise some scheme by which she can interest the children in music earlier in life; by which she can see that they mas- ter the difficulties of technique, the mysteries of harmony and the facts of history, at a much faster pace than they are now mastering them or have done in the past, or she will still have to look to the "Old Country" for both her artists and her performers. The American is almost old enough INSTRUMENTAL INSTRUCTION 25 to be buried before he has acquired sufficient musical technique, training, and "atmosphere" to be included among those who "have arrived.'" This can be accomplished only by a realization on the part of the parents of the importance of their responsibility. Children should be taught, di- rected, and told what to do, and be made to do it. A strong hand is needed at home. Young America has been allowed to "grow up" and not to be "raised." The training camps were an example of efficiency in training persons to do things well and quickly. No questions were asked. Men did as they were told. They learned in doing. The Government has demon- strated to both parents and school systems that "intensified training" can be made to produce results. Wherever there is authority, there is discipline, and therefrom come results. Every parent has the welfare of his children at heart. Future ability of any kind demands a sacrifice at the time the student is learning. No normal boy of his own volition ever preferred practice to play. No individual likes "exercises"; yet exercises, uninteresting at best, must be used to develop the stubborn muscles and to attain facility in technique. It is remarkable how quickly children learn even with the slip-shod practice that most of them do. Those pupils who make the most rapid and consistent progress are those whose parents insist upon a daily period of practice. Home supervision of study in any line is of prime importance. Fortunate is the boy or girl whose parents are strict enough to establish habits of practice, even against the child's natural disinclination to do any work. The large number of " studv-slackers " in the schools is due to slack 26 PUBLIC SCHOOL ORCHESTRAS AND BANDS control at home, a lack of interest in what the child is doing, and a more frequent lamentable desire on the part of the parents to permit the children to have "an easier time than they did." The future of music in the United States must look for more co-operation on the part of parents in directing, maintaining, and establishing the habit of practice, so that the child may "grow in grace and strength." He will later realize that while the parental supervision of his practice may at times have seemed to be very strict, yet the power and ability attained in later years are of more value than the lost play which he really did not lose, but only missed. If the parents are too busy with the affairs of the world to supervise their children's practice (as happens in too many instances), it must devolve upon the schools to assume the responsibility of parents and to secure a certain amount of practice each day by making the lesson period a period of practice as well as of new instruction. CHAPTER II PREPARATION OF TEACHERS TEACHER SHOULD To secure the best results from PLAY AN ORCHES- instrumental instruction in mu- TRAL INSTRUMENT sic in the sc h oo ls, the teacher in charge of such instruction should be able to play some instrument, preferably the violin. Some very creditable playing has been done by school orchestras where the teacher in charge plays only the piano. These cases, however, are more often the exception than the rule. A teacher can direct a group of professional players and produce, in a few rehearsals, very satisfactory results. This same teacher, however, finds that the problem of securing satisfactory results from an orchestra in a high school presents difficulties which cannot be overcome so easily. All the players are young and inexperienced. They do not make mistakes intentionally, but they do not know and must be taught. It takes a capable teacher to make ensemble players out of amateurs. This is the test of the teacher. If he knows how compositions should be played, how to strengthen the weak players, how to unify the playing of the harmonic instruments and how to secure accurate playing of secondary part > usually so neglected by amateur performers, he is a gifted leader of young people. Children can play with musicianly finish and feeling; they can play good music requiring technical skill and execution; they can respond 27 28 PUBLIC SCHOOL ORCHESTRAS AND BANDS to suggestion as quickly as older persons. Their playing, style, interpretation, tempo, and tone reflect the ideal and the standard that the leader imposes upon and demands of them. Besides, pupils are easily led, and if they secure a fairly good playing ability, they are ready and anxious to acquire more command of the instrument. Children are naturally curious, and an instrument is a curiosity. The mastery of the many keys is an innovation in which the interest of the pupil never lags. Such mastery is even interesting to a teacher and familiarity with the various instru- ments of the orchestra "never breeds contempt." A KNOWLEDGE OF ONE While it is quite unusual to INSTRUMENT OF EACH fi n d a teacher who can play GROUP IS VALUABLE R f ^ instrument s o f TO THE TEACHER f' 1 * the orchestra, it is easy for a teacher who can play one instrument of each group to learn the technique of the other instru- ments sufficiently well to correct faulty fingering and to guide the pupils in the proper mechanical manipulation of all the instruments. Moreover, if a teacher knows the fingering of all the instru- ments and can play even a little on each instru- ment, he can start and continue the instruction of the pupil until he is ready and able to secure a special teacher to pursue his studies to a more advanced state of perfection. This ability of the teacher is his greatest asset. So many pupils know nothing at all of the 'cello, viola and string bass, or the oboe, bassoon, and French horn, that, if they can be taught in the schools how to play these instruments, it is pos- sible to recruit players for all the instruments needed in the orchestra. The teacher so prepared PREPARATION OF TEACHERS 29 will produce the most satisfactory results, and any teacher who is really interested in the prob- lem of developing good instrumental music in the school will take it upon himself to learn how to play all of the instruments. His own musician- ship will be greatly improved, his insight into the complexity of the mechanical side of orchestral technique will be greatly illuminated, and his value as a teacher will be doubled. Experts will laugh at the foregoing assertions and claim that such ability is an impossibility. Experience proves, however, that with such equipment a teacher can interest pupils in the unusual instruments of the orchestra and can give them a start that they would probably never otherwise acquire. This fact alone proves the feasibility of the plan and makes the results worthy of attainment. Twelve such teachers are employed in the Oakland Schools. CHAPTER III How TO ORGANIZE INSTRUMENTAL INSTRUCTION IN ELEMENTARY In organizing instrumental in- SCHOOLS struction in either the elementary or the high school, the special supervisor must conduct the work, besides his regular duties as supervisor in the grades or high school, or both. If he has some playing ability upon one instru- ment of the orchestral group, the results will be more satisfactory. Let a beginning be made, however, to demonstrate the possibilities of in- strumental music. With the consent of the principal, canvass each school from the third grade up, visiting each room. Explain the organization of the orchestra; name the instruments that can be used; tell of the advantages to be derived from learning to play together; describe the usefulness of an orchestra in the school; make all boys and girls who already play an instrument eligible for membership. Secure from each pupil the following information on a card. (1) Name (2) Address (3) What instrument do you play? (4) Have studied how long? Ask the pupils who already play, and those who would like to learn to play an instrument, to request their parents to come with them to meet 30 ORGANIZING INSTRUMENTAL INSTRUCTION 31 with you and the principal the following evening in the school building. Explain to the parents the plan of the orchestra, the necessity of daily practice, the prompt and regular attendance required at rehearsals, the advantage to the pupil of learning to play instru- ments like the 'cello, bass, flute, clarinet, horn, trombone, drums, oboe and bassoon, and the possibility and process of transferring from one instrument to another. State your plan concisely, talk to the point. Get a thorough understanding established be- tween the parents and yourself in the presence of the pupils about the necessity of daily practice, and conclude your meeting by announcing the time of the first rehearsal when all pupils must bring their instruments. At least five different instruments besides the piano should be represented among the instru- ments offered by the pupils, to form the nucleus of an orchestra. Some cities assign a special instrumental teacher to each school that has such a nucleus to offer, and this concession usually spurs those schools that have only violins or an insufficient number of different instruments into action to secure the assistance of a special teacher. Assign temporarily, judging from the number of years of study reported on the cards, the ad- vanced violin players to first violin part and the less advanced players to the second violin. As most of the second violin parts require double stopping or two tones to be played at the same time., let the pupil seated on the outside play the upper notes, and the one on the inside, the lower notes. This will make the intonation more 32 PUBLIC SCHOOL ORCHESTRAS AND BANDS nearly perfect and the reading and playing less difficult for the pupil. You will have many more pianists than you need. Test them on reading a piano part of some orchestral composition. You will find that few piano students can read readily or accurately at sight. Select the one who has the best sense of rhythm and who seems to read most readily at sight. Emphasize the extra advantage to the piano pupils of learning to play one of the instruments like the mellophone, string bass, saxophone, or drums. As piano players already have music- reading ability and know how to count, it is well to teach one of the piano volunteers to play the bass drum, leaving the snare drummer free to devote his entire attention to the correct playing of his own part. This plan adds one more mem- ber to the orchestra and eliminates the trap drummer, a goal to which all drummers aspire, but never attain in the elementary schools, and rarely in the high schools. "In view of furthering one's practical knowl- edge of the details of instrumentation, it were better to play the drums in an orchestra than no instrument at all. Both Vincent d' Indy and Jules Massenet, during their student days, played the drum in orchestras so as to obtain training in the technique of instrumentation." (From Instru- mentation by Gaston Borch). Pupils who have good straight teeth can play the cornet or horn or those instruments having cupped mouthpieces. Pupils with prominent up- per teeth and slightly receding lower jaw can easily acquire facility on the clarinet or saxo- phone, or the single reed instrument. If both ORGANIZING /.Y.STAV.I//..Y/.I/, IXXTltrcTlOX 33 upper and lower teeth are even the pupil can easily manipulate the double reeds of the oboe and bassoon. A pupil with a long stretch be- tween the index and the fifth finger, can play the 'cello or string bass. Be prepared to give the approximate cost of such instruments as the flute, saxophone, 'cello, horn, trombone, drums, and clarinet, and to explain the various points of advantage of each instrument. In order to have material for your first re- hearsal, provide yourself with a set of books, four first violins, two second violins, one 'cello, one flute, one first clarinet, one second clarinet, one first cornet, one second cornet, one trombone (bass clef), one drum, and one piano of any of the following folios: 1. Ascher's Beginner's Orchestra Folio 2. Ditson's In Toneland 3. Fox's Favorite Folio 4. Jenkins' Beginner's Orchestra Folio 5. Pepper's Champion Folio (See list of books, pages 181 and 190). IN HIGH The procedure of organizing an orchestra SCHOOLS m the high school is virtually the same general plan as was suggested for use in the ele- mentary schools. Secure the necessary information concerning the ability of the pupils that play instruments; confer with the parents, if possible; explain to them the plan of the work to be done in the orchestra; the benefit of the instruction; the necessity of daily 34 PUBLIC SCHOOL ORCHESTRAS AND BANDS practice; the importance of the study of the neg- lected instruments, and announce the time and place of the first rehearsal. The choice of suitable material for orchestra and band is now of prime importance. The music chosen for the average high-school orchestra is usually too difficult. Better err in selecting too easy material and have something that the pupils can play, and play well, than to mutilate a stand- ard selection for the sole purpose of reporting the high class music that the pupils are studying. If you are just starting an orchestra, use the folios already mentioned or some of the material suggested in the library list, page 181, choosing those numbers, however, that are marked Grade One, leaving Grade Two and Grade Three until the ensemble is sufficiently well established and the instrumentation complete enough to do justice to more ambitious selections. CHAPTER IV CO-OPERATION OF SUPERINTENDENT BOARD OF EDUCATION. Success in any field de- AXD PRINCIPAL mands co-operation among those persons who are responsible for promoting, expanding and standardizing the project. Success in the field of school music demands that the supervisor or instructor should, first of all, secure and make fast the support and the friendship of the superintendent of schools. He, alone, can further the cause of more music instruction. He is the spokesman who must present to the board of education all recommendations as to the policy of the department, the expansion of its activities, and the expenditure of money necessary to further its work, he should at all times be conversant with every idea and aim of the music work in all its phases. Every plan should be referred to him for his advice, endorsement and suggestion. The great majority of superintendents are open to suggestions at all times, but, like all good busi- ness men, they want to be reasonably sure that success will follow. They do not like to endorse an educational idea that is still in the experimenta- tion stage, although they are always willing to try out new plans of any kind if the outline of its educational value seems at all feasible. If the superintendent is not interested in the subject of music, it is clearly the business of the supervisor to prove its educational value by mak- ing a demonstration of the work that will be con- 36 PUBLIC SCHOOL ORCHESTRAS AND BANDS vincing; this done, her troubles will be at an end. So make the superintendent the "first aid" in all instances of need, rejoicing, and especially dis- tress. If the board of education is adverse to the music work or to its expansion, prepare a demonstration and see that the members are invited. Send them a personal invitation to be present, stating frankly that your purpose is to enlist their support in the cause of music. Then see that the demonstration is such as to carry your point. Where city schools fail to measure up to the acknowledged educational standards, it is seldom entirely the fault of the board of education. Usually the teacher in charge either has no am- bition to expand the department or lacks ability to carry the work to a successful conclusion. A GOOD MUSIC DEPARTMENT IS ONE OF THE BEST ASSETS IN ANY SCHOOL SYSTEM. If it is not the most active, live and able-to-do-at-all-times department, its real power in an educational system is far below standard. In all matters of administration in an individual school building, consult with the principal first. He is responsible for the policies which govern his particular school; he is entitled to first considera- tion in all matters which pertain to his school. Discuss with him first, all the details of any musical activities that are to be carried on, and obtain his endorsement by being considerate of his opinion. If he then is obdurate, prepare a demonstration in some other school and see that he receives an in- vitation from the superintendent "to be present and inspect the plan which has been suggested for adoption." He will thus be more easily persuaded to give the undertaking a fair trial. CHAPTER V INSTRUCTION IN THE ELEMENTARY SCHOOLS PLAN FOR COMPLETE The success of instrumental INSTRUMENTATION instruction in the public schools is largely dependent for its continuity upon the thoroughness of the instruction that is given in the elementary schools. The only guar- antee that trained players will be available for the high school music organizations is that plan which does not depend upon chance but prepares its players. The instruments necessary for a com- plete orchestra should be taught by an experienced teacher employed by the school system. All instruments that are needed for the rendition of standard compositions should be provided either by the pupils themselves or, more appropriately, as the property of the school system and loaned to the pupils. In the elementary school the average orches- tra is mongrel. (See Tables one and two, pages 58-60). Having to depend entirely upon the instruments furnished by the pupils for the nuc- leus of an orchestra, the assortment is never uni- form in any two schools. The mongrel instru- mentation must be accepted and augmented. High pitch instruments, especially flutes and clarinets, cannot be used satisfactorily in the or- chestra, and serve only as instruments upon which to begin instruction with the assurance that later they will be exchanged for low pitch instru- ments that can be used. The instrumentation 37 38 PUBLIC SCHOOL ORCHESTRAS AND BANDS that is here given must be modified to meet the varying conditions presented in each school. While keeping the ideal ever in mind (see Suggested Balance of Parts,, page 57), use all the available No. 1 VIOLINS Half-size Violin in the hands of small girl. Taller girl with full-sized Violin. Observe tuner on tail-piece for steel E string, chin-rests, and comparative lengths of the violin bows. (Instruments owned by players). INSTRUCTION* IN ELEMENTARY SCHOOLS 39 players and endeavor to improve the instrumenta- tion toward the ideal. VIOLINS (Illustration No. 1, page 38) Unless there is a very large number of violin players, it is usually advisable to let them all play No. 2 VIOLA AND VIOLIN Full-sized Violin at the left, and Viola on the right, showing comparative sizes. (Viola is supplied by the School De- partment and loaned under bond to th pupil). 40 PUBLIC SCHOOL ORCHESTRAS AND BANDS the first violin part, as the piano supplies and duplicates both the second violin and viola parts. VIOLA (Illustration No. 2, page 39) The viola should be left for high schools to develop. While advanced and experienced violin players in the elementary schools can often be No - 3 VIOLONCELLOS Half-size Violoncello at left, three-quarter size at right. (Both instruments supplied by the School Department and loaned under bond to the pupils). transferred to the viola, it is not to be recom- mended except in those school systems that pro- vide instruments for pupils. Pupils rarely own or purchase a viola before they enter the high school. 'CELLO (Illustration No. 3) Few pupils study the 'cello, one of the most delightful solo instruments, primarily because of INSTRUCTION IN ELEMENTARY SCHOOLS 41 its awkward size and apparent clumsiness. Here again, the expert teacher can appeal directly to the pupil and to the parent, and in many instances interest both in the worth- whileness of learning to play so useful an instrument. 'Cello players are always in demand, and if the parents want a No. 4 STRING BASSES Half-size string Bass at left, full size at right. Notice the spliced E string. When the knot comes below the bridge or above the finger-board groove the string is still service- able. (Instrument supplied by the School Department). solo or melody instrument in the home urge con- sideration of this instrument. A child with a large flexible hand can learn to play the 'cello as easily as the overworked violin. For a child who is not able to make the large stretch de- 42 PUBLIC SCHOOL ORCHESTRAS AND BANDS manded of the full sized 'cello, a three-quarter size and even a one-half size can be procured. These small size 'cellos are not so clumsy and can more easily be manipulated and carried by pupils of average growth in the elementary schools. Beginning pupils can play the bass part on the 'cello, until they acquire ability to play the regular 'cello parts which are technically fluent. STRING BASS (Illustration No. 4, page 41) The string bass, or big fiddle, on account of its size, is an instrument almost unknown in the elementary schools; it is too large to be trans- ported to and from home, and few parents ever purchase one as it has no charm as a solo instru- ment. If this instrument is ever to be repre- sented at all in the orchestra or be taught in the elementary schools, it is apparent that the instru- ment must be furnished by the school system and that the pupil must do his practising at the school. It is possible, as in the case of the 'cellos, to pro- cure half -size basses for the elementary schools. FLUTE (Illustration No. 5, page 43) The flute is the most neglected of all the solo instruments. None has so many features to commend its adoption, especially by girls, as has the flute. The Boehm flute is the best to use and the best one to purchase. "Dr. Rogers, in summing up an extensive series of investigations, comes to the conclusion that a moderate use of the wind instruments is helpful to the lungs, throat, nose, etc. He con- siders the Boehm flute the most desirable instru- ment for a person with weak lungs, 'since it offers less effort than the other instruments, even INSTRUCTION IN ELEMENTARY SCHOOLS 43 less than singing, requires less skill in the produc- tion of tone than the reed instruments ; is adapted for individual playing; is possessed of beauty of tone; is not sombre; has a mechanism easily acquired, though always offering something to overcome in the perfection of technique; and Xo. 5 FLUTES High-pitch, Meyer system flute (left); Boehm system low pitch (right). Observe how far the first joint is pulled out on the old style flute. The Boehm flute has all the joints closed tight. (Players own these instru- ments). lastly is an instrument adapted for women as well as men.' ' (Mistakes and Disputed Points in Music, by Elson). Although pupils can make satisfactory progress on the Meyer System flute, its mechanical defi- ciencies limit its desirability to such an extent that, despite the higher cost, it is better by far to purchase the Boehm flute, for the rapidity of 44 PUBLIC SCHOOL ORCHESTRAS AND BANDS the player's progress thereafter more than com- pensates for the added cost. CLARINET (Illustration No. 6) The clarinet like the flute is not so popular a solo instrument as its character should warrant. While the clarinet is more difficult to learn than No. 6 CLARINETS Albert System B-flat Clarinet on left. A and B-flat Boehm system Clarinets on right. All orchestra players should have a set of Clarinets, one B-ftat and one A. (Players own these instruments). the cornet, the demand for clarinet players is greater and the study of this particular instru- ment should be encouraged. Two systems of fingering are used, the Boehm and the Albert system. The Boehm system clarinet, while it is double the cost of the Albert system, is better adapted for small chubby hands on account of the INSTRUCTION I.\ ELEMENTARY SCHOOLS 4.5 compact arrangement of the keys. For general school purposes, however, the Albert system is to be recommended, as it is less expensive and equally satisfactory, although professional players usually prefer the Boehm system. An orchestra player should have a set of two clarinets, one B-flat and one A. No. 7 CORNETS B-flat Cornet on left : long trumpet-model Cornet on right, changed to A Observe the alterations of the valve slides; also how far the tuning slide is pulled to lower the pitch only a half-tone. (Players own these instruments). CORNET (Illustration No. 7) The cornet is a more popular instrument than its usefulness warrants. It is easy to learn, not very expensive, and the quick results obtained gratify students and parents. All B-flat cornets are equipped with a quick-change slide for A, while clarinet players must own two separate instruments. 46 PUBLIC SCHOOL ORCHESTRAS A\D BANDS HORN AND MELLOPHONE (Illustration No. 8) Every orchestra needs two mellophones. This instrument is one of the most useful and necessary of the orchestral group. It is built in F and is used instead of the French horn. The mello- phone is easily learned, while the French horn is No. 8 HORN AND MELLOPHONE (Left) Single French Horn in F, rotary action. (Right) Mellophone in F, valve action Observe difference in tubing, mouthpiece, position of holding, and the right and left hand fingering of the two types of horns. (Both instruments supplied by the School Department and loaned under bond to the pupils). the most difficult to play of all the brass instru- ments. A pupil wishing to study the French horn will make more rapid progress by having at least a year's experience on the mellophone. As the mellophone is not a melody instrument it should be purchased by the school system and loaned to the pupils. INSTRUCTION IN ELEMENTARY SCHOOLS 47 SLIDE TROMBONE (Illustration No. 9) The slide trombone requires an accurate ear and long experience to master its technique. As a solo instrument, it has no superior among the brass group and its study should be encouraged. Like the human voice and the violin, it can in- No. 9 SLIDE TROMBONE AND E-FLAT TUBA Slide Trombone, left; Eb Tuba, medium size, right. (Lat- ter supplied by the School Department and loaned under bond to the pupil). fleet smaller differences in pitch than instru- ments tuned to the tempered scale. "On the keyboard of the piano, F -sharp and G-flat are one and the same note, but not so on the violin, or any instrument for which the ear determines the pitch to be imparted while playing. F -sharp, considered as a major seventh, or leading note, progressing to G, will always be played somewhat sharper than G-flat the latter note 48 PUBLIC SCHOOL ORCHESTRAS AND BANDS considered as the minor third of E-flat. This infinitesimal difference of pitch is mathematically determined. For a thorough understanding of this subject a special study of acoustics is neces- sary." (From Instrumentation, by Gaston Borch). No. 10 DRUMS First A good drum combination. Individual players for each, drummer equipped with bells, tambourine and castanets. (The instruments are supplied by the School Department and loaned under bond to the pupils). DRUMS (Illustration No. 10) Into the life of every boy at some time or other, has come the desire to play a drum. A boy is noisy, so is a drum. The bass drum is easy to beat, but strange as it may seem the snare drum is the most poorly played of all the orchestral 50 PUBLIC SCHOOL ORCHESTRAS AND BANDS instruments. It demands a perfect sense of rhythm and a keen feeling for accent which can be acquired only through hard work and long ex- perience, and to the former the small boy is usually averse. If a pupil is taught to read the snare drum parts and is compelled to play the part as written without faking, there is some hope for his future development into a good drummer. CLASS INSTRUCTION A few years ago a wave of enthusiasm swept through the public schools over the possibilities of a class instruction in violin, following a report of a demonstration given somewhere in England. Thousands of pupils were enrolled in the classes and the results obtained were more than satisfac- tory, and by some were considered to be almost marvelous. The plan briefly put, required the pupil to purchase an outfit consisting of a violin, strings, case, bow, tuning pitchpipe (g, d, a, e), chin-rest, rosin, and an instruction book of exercises. All students were grouped into classes. The exer- cises were carefully marked with the correct fingering and bowing and the advance lessons were rehearsed and assigned for daily practice until the next lesson on the following week. By this plan many pupils \vho could not afford special teachers were given instruction at a very reason- able price, about ten cents a lesson. As the classes progressed, the best pupils were re-classi- fied and placed in an advanced class, thus elim- inating some of the lock-step method which is unavoidable under such a scheme of instruction. INSTRUCTION IN ELEMENTARY SCHOOLS 51 This plan of class instruction on the violin was first introduced in this country in 1912 by Dr. Albert G. Mitchell, Assistant Director of Music in the Boston Public Schools. Its success in Bos- ton caused the movement to spread, and many school systems are now employing this plan of instruction and are achieving satisfactory results. It needs no argument to convince the reader that individual instruction is almost always more effective in its results and doubly superior to class instruction. It is only necessary to state that where individual instruction cannot be supplied, the class-plan lesson is the next best alternative. The class-plan may be employed for all instru- ments as well as for the violin. The other instru- ments are usually more expensive and fewer pupils own or purchase them. This probably accounts for the predominance of violin players and the neglect of other necessary and useful in- struments, usually so conspicuous by their ab- sence in both the orchestra and the band. INDIVIDUAL INSTRUCTION While the class-plan is feasible and is at all times deserving of consideration, the individual lessons, though not accommodating as many pupils, naturally result in better instruction and more careful training. From experience and ex- periments, it has been learned that the best num- ber to assemble is three, and never more than six pupils, in class instruction on any instrument, especially the violin. This statement presupposes that the instruction is given by a special teacher employed and paid 52 PUBLIC SCHOOL ORCHESTRAS AND BANDS a yearly salary by the school system. This plan will permit him to devote his entire time to teach- ing in the schools, beginning as early as 8 o'clock, one hour before school, and finishing as late as 4.15, one hour after school. One can readily discern that such a plan is ideal. It is the only plan which will guarantee that the instrumental instruction in the schools will be brought up to the level where the results that should be obtained will be average results throughout the entire country. If, however, the school system will not provide funds for the employment of special teachers to furnish this free instruction to all students, and this handicap already confronts many supervisors of music all over the United States, it is necessary to resort to another method of obtaining results. This method compels the supervisor to solicit the assistance of some local violin teacher to undertake the work of class instruction. The pupils pay a nominal fee of from ten to twenty- five cents a lesson. In order to make this method remunerative to the outside teacher, the classes must contain from ten to twenty -five pupils, and enough classes must be formed to fill the teacher's time for a certain number of days a week. Unless the lessons are paid for in advance the teacher is always facing a deficit at each visit caused by absent pupils and those who forget to bring their money. This entails an extra duty upon the instructor of keeping books, besides the ordeal of keeping twenty pupils busy. Some cities augment the teacher's collections by a half- time or two-thirds time salary to offset the un- certainty of the remuneration under the class- pay plan. IXSTRCt'TIOX 7.V Kl.r.M I..\ TARY SCHOOLS 53 The lessons given once a week under the class- pay plan are from thirty minutes to an hour in length. The individual lesson, however, is about fifteen to twenty minutes. This is governed by the enrollment which, if large, usually reduces the lesson period to fifteen minutes. A detail should be mentioned at this point which is of utmost importance, and that is the tuning of the violin. It takes long practice to tune a violin correctly, and children cannot learn to do it in a few lessons. Moreover, a violin needs frequent tuning during a rehearsal. Just recall if you will, how frequently and how carefully soloists tune up and how often even the profes- sional players retune. \Yith these facts before you, think of a group of ten or twenty children, who cannot tune accurately, playing for a lesson period of thirty minutes or an hour without re- tuning ! It is clearly a case of the teacher's tuning all the violins, which consumes considerable time, or his depending upon the pupils to do their own tuning, which assures a bad start and subsequent poor intonation. Some teachers will say that the pupils have to learn it sooner or later and they cannot begin too soon. Such an argument, how r ever pertinent, does not guarantee the correct tuning of the violin, and if it is not in good tune, the finger positions soon become inaccurate and the playing is mechanically wrong, as well as being out of tune. The most serious problem to be considered in the large classes is unquestionably the problem of tuning. The efficiency of teaching depends largely upon the amount and kind of practice the pupil does in the time intervening between lessons. In order 54 to encourage more careful practice on the part of the pupil, a report card (sample, page 194) is sent to the parent every four weeks, or as frequently as the instructor sees fit. On this card the pupil's progress is reported as to scales, studies, and pieces, with a special column devoted to practice, wherein the teacher can remind the parent that the pupil is not doing the required amount of daily practice. Again, the half -hour or hour may be put in and still the results show that the time is not advantageously employed, and that the pupil must learn to do more concentrated study. Few pupils, however, know how to study, and still fewer teachers ever teach the pupil how to practice each day so that something definite may be accomplished in every practice period. If a teacher would devote one period or one lesson to such instruction, the pupil would manifest a greater interest in his work immediately. One half hour a day of steady, careful practice will produce satisfactory results. As most of the practising is done at home, it behooves the teacher to make an effort to have the mother pay a personal visit to the school and see how the lessons are conducted and to impress upon her how much practice should be done, when to do it, for how long, and most important, what kind of practice the pupil should do. If the parents have had no musical training, it is ad- visable to give or send to them a typewritten mimeographed letter explaining that the daily practice governs the pupil's progress. The pa- rents can insist that the practice be done at a regular period each day. With a little attention on their part in listening to the practice, they can very readily discern whether the pupil is working or simply putting in the time. INSTRUCTION IN ELEMENTARY SCHOOLS 55 The pupils that make the most rapid progress in school are usually those who receive encourage- ment and help at home, mingled with a judicious amount of forceful insistence that the study period cannot be slighted, forgotten, or skimmed over. From such home influences and parental interest in the development of the children come the best students. The problem now facing the schools of this country is one of being able to reach the parents and secure from them intelligent co-operation in assisting the teachers in their work by compelling concentrated study at home. Children prefer play to practice. They will very likely shirk their practice unless they meet with enough authority at home to convince them that the practice and study hour cannot be neglected. ORCHESTRAL ENSEMBLE All pupils beginning instrumental instruction in the elementary schools should pursue their study for at least one year before they are ad- mitted to the orchestra. If the teacher is cap- able, he can hold the interest of the pupil until he has become well grounded in his work and able to lend assistance to the orchestra instead of being a drag, as must be the result, if the student is admitted too soon. The experience of playing in an orchestra is of great value to the pupil. He learns the necessity of counting all the time, and acquires a training in reading that is always of value to him. Most pupils study only the solo instruments and so acquire no hearing acquaintance with the harmony or accompaniment parts. As very few of them have any one at home to play the piano accom- 56 PUBLIC SCHOOL ORCHESTRAS A\D BANDS paniment to their solos, their first real experience in hearing parts other than those contained in the melody is first gained in the orchestra. One can readily realize that the first two or three months of rehearsals are consumed in the new experience of playing with others and in being able to find and to keep the right place in the music that is being played. Whether or not the training is to be of value to the pupil later, depends entirely upon the teacher in charge of the training. If he is a good, careful drill-master, exact and painstaking, both patient and positive, knowing enough of the routine of the orchestra to be able to secure musical effects in the compo- sitions that beginners can play, the entire Droce- dure will be of value to the pupil. INSTRUCTION IN ELEMENTARY SCHOOLS 57 A SUGGESTED BALANCE OF PARTS FOR AN ORCHESTRA (Note) Publishers' catalogues list music as arranged for the five following groups of instruments. 6 & Piano 10 & Piano 14 & Piano Full & Piano Grand Orchestra (16) (14) (10) (8) (8) 1st & 2nd & Piccolo (1) Bass Clarinet (1) 1st Violin (2)*f (4)* (6)* (10) 2nd Violin (3) (4) (8) Viola (2) (4) 'Cello (1) (1) a*b (2) (4) Bass (1) (2) (4) Flute (1) (I) (1) 1st Clarinet (1) (1) (1) (1) 2nd Clarinet (1) (1) 1st Cornet (1) (1) (1) (1) 2nd Cornet (1) (1) (1) (1) Horns (in F) c (2)c (2) Trombone (1) (1) (1) Drums (1) (1) (1) (2) Oboe I Bassoon e (1) Piano (1) (1) (1) Trumpets 1st, 2nd, 3rd & 4th 1st, 2nd &3rd .Tympani (1) Drums 2 1st, 2nd & English Horn 1st, 2nd & Contra Bassoon Harp (1), Organ (1) Tuba (1), Celesta (1) SUBSTITUTION OF INSTRUMENTS (a) Baritone instead of 'Cello if player can read in the Bass clef. (b) Melody-Saxophone on 'Cello part. (c) Horn parts are usually written for horns or mellophones in F. Sometimes the parts are written for E-flat altos or Horns in E-flat. (Refer to Chapter XV on Transposition). (d) Oboe use 1st Violin part. (e) Bassoon use 'Cello or Bass part. *Minimum number of players; more may he added to the string section. fWhere the piano supplies the second violin and viola or the harmony parts concen- trate all the violin players on the first violin part. 58 PUBLIC SCHOOL ORCHESTRAS AND BANDS TABLE No. 1 SCHEDULE OF INSTRUMENTAL INSTRUCTOR IN THE ELEMENTARY SCHOOLS OF OAKLAND SHOWING NUMBER AND KINDS OF INSTRUMENTS TAUGHT IN DIFFERENT SCHOOLS VISITED EACH WEEK. 1918 TEACHER No. 1 Mon. Tues. Wed. Thurs. Fri Rem'ks A.M. P.M. 2 ALL DAY * g V Total 8 > S2 u >> per 6 1 H 3 pj & % 3 E W 1 week NUMBER OF LESSONS GIVEN EACH DAY Piano 2 1 2 2 7 Violin 15 SO 13 5 2 25 90 Viola 1 1 2 'Cello 1 1 2 String Bass 1 1 2 Piccolo 1 i 1 3 Flute 1 3 2 1 1 8 Clarinet 2 3 1 2 4 2 14 Oboe 1 1 Bassoon 1 1 Saxophone 2 2 Cornet 3 4 3 1 4 15 Alto 1 Mellophone 2 3 5 French Horn .... Trombone (Slide) Trombone (Valve) Baritone 1 1 1 3 ' 2 1 1 3 3 1 3 Tuba 1 1 2 Snare E^rum 2 4 7 1 2 16 Bass Drum .... 1 1 1 3 Drums & Traps . . . 1 1 2 22 16 48 29 12 21 37 186 "MONGREL" INSTRUMENTATION OF BAND OR ORCHESTRA Violin 12 8 8 'Cello 1 String Bass 1 Piccolo 1 Flute 2 1 Clarinet 2 1 3 2 Oboe 1 Bassoon 1 1 SaxoDhone . 2 INSTRUCTION IN ELEMENTARY SCHOOLS 59 TABLE No. 1 continued "MONGREL" INSTRUMENTATION OF BAND OR ORCHESTRA continued Mon. Tues. Wed. Thurs. Fri. Rem'ks A.M. P.M. - 8 I -g W J ALL DAY Lakeview Prescott o H Lafayette Total per week Cornet 3 1 3 3 Alto Mellophone 1 French Horn Trombone (Slide) Baritone 3 1 1 2 1 1 Tuba 1 Snare Drum 1 2 Bass Drum .... 1 1 Drums & Traps. . . Piano 1 2 2 1 2 TABLE Xo. 2 SCHEDULE OF INSTRUMENTAL INSTRUCTOR IN THE ELEMENTARY SCHOOLS SHOWING NUMBER AND KINDS OF INSTRUMENTS TAUGHT IN THE DIFFERENT SCHOOLS VISITED EACH WEEK. 1918 TEACHER No. 2 Mon. Tues. Wed. Thurs. Fri. Rem'ks A.M. P.M. OJ >> ALL DAY 0) | K 1 ? ^ Total per ct o S V 1 1 1 week X-S Q 2 Q H NUMBER OF LESSONS GIVEN EACH DAY Piano Violin 16 13 22 17 10 27 23 128 Viola 1 1 'Cello 1 1 2 String Bass Piccolo 1 1 2 Flute 1 1 Clarinet 2 1 2 1 6 Oboe . . 1 1 1 60 PUBLIC SCHOOL ORCHESTRAS AND BANDS TABLE No. 2 continued NUMBER OF LESSONS GIVEN EACH DAY continued Mon. Tues. Wed. Thurs. Fri. Rem'ks A.M. P.M. a >. * 1 a o ffi-5 Q ALL DAY JU "3 o 1 < 57 t V Q Fruitvale Clawson Tomkins Total per week Bassoon Saxophone 1 1 2 Cornet 4 2 4 4 4 1 19 Alto 1 1 1 2 5 Mellophone .... 1 1 1 3 French Horn Trombone 1 1 1 1 4 Baritone 1 1 2 Tuba 1 1 1 3 Snare Drum 4 1 2 7 Bass Drum 1 1 4 6 Drums & Traps . . . 29 20 34 32 27 27 24 192 "MONGREL" INSTRUMENTATION OF BAND OR ORCHESTRA. B. 0. B. 0. B. O. B. O. B. 0. Violin 7 Q l/> 7 11 10 Viola 1 'Cello 1 String Bass Piccolo 1 Flute Clarinet 1 1 1 1 Oboe 1 1 Bassoon Saxophone 1 1 1 1 Cornet 1 1 6 3 4 9 9 Trumpet Fluegel Horn Alto 1 9 Mellophone 1 1 French Horn Trombone 1 1 Baritone 1 1 Tuba 1 1 1 1 1 1 Snare Drum 1 1 9, 9, 1 1 Bass Drum 1 1 1 1 1 1 Drums & Traps . . Piano 9, 3 3 9 1 1 14 17 15 28 13 18 16f 11 + (Organization only one year old. + Not an orchestra. IXSTRUCTIOX IX ELEMENTARY SCHOOLS 61 TABLE No. 3 REPORT BY TEACHER MADE MAY 15, 1918, OF THE NUMBER AND KIND OF LESSONS GIVEN EACH WEEK, SECOND SEMESTER, IN INSTRUMENTAL MUSIC IN THE ELEMEN- TARY SCHOOLS OF OAKLAND, CAL c B 2 o H Z U - n 3 O H 25 U ~ r: "* C f- 2 JU id H S2 JU So- s* S o HS5 JU o o H Z & ft 00 Sd 2 1 1 *Piano 7 9 e 6 32 Violin 90 128 125 91 90 1 1-' 60 G96 Viola 9 1 3 <; 'Cello 2 2 3 4 1 12 String Bass . 2 3 4 9 Piccolo 3 2 | 3 3 2 2 19 Flute 8 1 .-> 4 2 1 21 Clarinet 14 5 8 12 21 13 7 2 83 Oboe 1 1 1 3 Bassoon 1 1 1 1 4 Saxophone 9 2 1 1 9 3 1 13 Cornet 15 19 94 97 38 60 :$o 6 219 Trumpet 1 1 Fluegel Horn . 8 8 Alto 1 .-, 11 4 19 9 1 36 Mellophone ,-> ! 9 9. 1 3 1 17 French Horn 3 1 1 5 Trombone (slide) . . . Trombone (valve) . . Baritone 3 1 8 4 9, 4 5 8 1 3 5 11 3 25 1 27 Tuba 9, s -' 4 6 7 .- 29 Snare Drum 15 7 7 19 11 ,5 (i 1 64 Bass Drum 8 6 * 9, 4 8 18 Drums & Traps 2 3 1 8 TOTALS 185 191 205 194 184 136 187 74 1356 ^Orchestra only. CHAPTER VI INSTRUCTION IN THE HIGH SCHOOLS If the instruction in the elementary schools has been systematic, making allowances for the usual percentage of pupils who never attend high school, the enrollment in the high school orchestra and band should show a greater number of new pupils each year than are regularly graduated. Besides the pupils who come into the high school with experience in playing, and with at least two years' instruction as a basis on which to build, there will also be those who enter all city high schools from outside districts. These want to take advantage of the free instruction that is offered and begin their study of some instrument. Those pupils too who have not realized until they have reached the high school, that they have neglected the opportunity of learning to play an instrument, when inspired by the example of the other students who are studying and playing, may decide to take up instrumental music. Of course, the procedure is the same in the high school as in the elementary schools. Pupils start at the very beginning, and after a year of pre- liminary study they can be taken into the second or beginning orchestra, and be promoted into the first orchestra before they are graduated. As graduation in every high school takes its quota of players from the orchestra, making it necessary to fill the vacancies and complete the instrumentation of both band and orchestra, the 02 INSTRUCTION IN HIGH SCHOOLS 63 instructor in charge of such work should know, at least a term ahead, those pupils who are to be graduated. He will be able then to prepare other players to take their places, so that no perceptible break will occur when the organizations are re- assembled the next year. As there is usually a large number of violin players, the opportunity is now presented to develop viola players. Here is where it is imperative that the school system should provide such instruments. VIOLA (Illustration No. 13, page 49) If an instrument is available, a good violin player can master the new clef and new reading position of the staff in at least a month, and be ready to take a chair in the second orchestra and, very soon after, be regularly assigned to the first orchestra. Each high school should own several violas, 'cellos, and string basses, for now the possibility of transferring pupils from one instrument to another becomes of paramount importance. The 'cello, as stated before, is one of the neglected in- struments. If there are no 'cello players, some must be developed, either by training entirely new players, which requires at least one year, if the student can read music, otherwise it will require two years' study to master the technique of the instrument and the rudiments and reading of music, or by transferring former violin players who already have some experience in playing a string instrument. STRING BASS ^s the string bass is a very rare instrument in the elementary schools, it devolves upon the high school instructor to 64 PUBLIC SCHOOL ORCHESTRAS AND BANDS develop string bass players, vlf no violin pupils can be induced to transfer, it frequently happens that a piano pupil already having music-reading ability, can be made to realize the added advan- tage of having the ability to play upon some or- chestral instrument besides the piano. Nearly all the world-famous artists play some other in- strument in addition to their chosen solo instru- ment. The string bass is the most easily learned of all the string instruments. As it strengthens the left hand, it is also of added value to the piano pupil, besides giving him a new outlook from an orchestral standpoint. FRENCH HORN The next important transfer is from cornet to mellophone or horn. The pupils who study cornet are second in num- ber to the violin students. As only two cornets can be used in the orchestra (four at the most, using the extras as understudies) , there are always a number of left-overs who, in order to play in the orchestra, will transfer to the mellophone or to the French horn. If the work in the high school is up to the standard, the French horn should be used instead of the mellophone, which is more suitable for the elementary schools. "The French horns are the principal and central support of harmony in the orchestra. They cannot be dispensed with. Their absence creates a ' gap ' in the harmony which cannot be properly filled by any other instrument. At least four French horns are employed in the complete, modern orchestra. In the author's estimation there should be three in a small concert orchestra, as no chord is complete with less than three notes." (From Instrumentation, by Gaston Borch) . IXSTRUCTIOX IX HIGH SCHOOL* 65 The single horn is best adapted for use in the high schools because of the cost, as the double horn is very expensive and its use is reserved for professional players. Goldman in Amateur Band Guide says, "The French horn is the most delicate and probably the most difficult to master of all brass instruments. It is particularly noted for its richness of tonal color, and for the variety of effects that can be obtained from it." As good horn players are always in demand it is not amiss to encourage a student to make an early beginning and devote himself assiduously to its mastery. Girls make satisfactory horn players and can acquire a reliable "embouchure," although they do not develop so powerful a tone as the boys. OBOE The two remaining instruments, the oboe and the bassoon, must be provided by the school system or the possibility of securing players is almost out of the question. The oboe is the most difficult to play of all the wood-winds. "Oboe playing is a more severe strain upon the breathing apparatus because the expiration must be restricted. The breath must be given out very slowly a more abnormal process than that of blowing on other instruments." (From Mistakes and Disputed Points in Music, by Elson). The control of the reed, rather than the fingering, complicates the problem. To begin with, the professional players always make their own reeds, and this accomplishment is not easily acquired by high school boys. Again, the store reeds are expensive and must be worked over to fit the individual player. They are, moreover, delicate, easily destroyed, and expensive, and all of these 66 PUBLIC SCHOOL ORCHESTRAS AND BANDS troubles added to the squeak which amateurs produce, tend to discourage the beginner. Pro- moting a clarinet player to the oboe is the best transfer. After a year of study, he will begin at least, to play in tune. Up to that time, he may both read and finger correctly, but not be able to compress his lips tightly enough to produce a pitch that will be in tune. This pressure of the lips and the development of the muscles of the face and jaw are referred to as an "embouchure.*' The French horn and the oboe are the two in- struments which require the strongest and most perfect development, and it takes a student some time to acquire a reliable "embouchure" for these instruments. It is necessary then to be patient with the pupils while they are going through the stages of acquiring a new control of the muscles of the lips and face. BASSOON (Illustration No. 11, page 67) The bassoon is similar to the oboe in the diffi- culty of manipulating the reed. Store reeds are expensive, and not always satisfactory, and few amateurs can acquire the art of making reeds at the tender age of the average high school student. Saxophone and clarinet players make quick transfer to the bassoon, as the finger- ing and the reading of the bass clef are easily learned. The viola, 'cello, string bass, French horn, oboe, and bassoon are the unusual instruments that must receive attention in the high school if the instrumentation is to be made complete. Strive to realize the ideal and secure complete instru- mentation (full and piano) in your orchestra. IXXTRUCTIOX 7-V HIGH SCHOOLS 67 (Illustration Xo. 13, page 49). The School De- partment can and should supply these instru- ments, and players for them will not be hard to find nor impossible to develop. The teacher of instrumental music in the high school should be a resident teacher devoting his Xo. 11 OBOE AND BASSOON Boy at left with oboe. Bassoon to the right. (Both instruments supplied by the School Department and loaned under bond to the pupils). entire time to the one school. He can then give individual lessons to the new pupils and to the transfer pupils, and develop an orchestra out of the material at hand. Pupils can always find a vacant study period for a lesson, and some can 68 PUBLIC SCHOOL ORCHESTRAS AND BAXD* even arrange to get in a practice period every day without detriment to their regular studies. The success or failure of a good orchestra depends almost entirely upon the results obtained from the individual lesson period. Poor players can be improved, new ones developed, difficult passages in certain compositions studied as in- dividual exercises, and the entire ensemble of the orchestra improved by strengthening each unit by itself. Frequently, it is possible to get a group of pupils, who need help, to come at the same period, and a group lesson can be given. While this is on the class-lesson plan, it affords opportunity to rehearse a section of the orchestra and develop the accompaniment parts which are usually so sadly neglected in amateur and school orchestras. As credit is given now in almost all the pro- gressive high schools (see schedules Xos. 1, ^ and 3) for orchestra, band and all other music work, it is essential that a daily rehearsal period during school hours, should be scheduled for the orchestra. One period should be allowed for this rehearsal, preferably in the afternoon. Such an arrangement leaves the morning hours free for academic subjects, places the rehearsal at a time when it will interfere least with other studies, and causes the pupils to \velcome the change and relaxation of a music class. No other work that is done in the high school can so thoroughly demonstrate the finest prin- ciples of teaching by the teacher and learning by the pupils as a good rehearsal conducted by an expert. If a symphony orchestra requires a three hours' daily rehearsal, a high-school orchestra is certainly entitled to have at least one period of forty-five minutes a day. INSTRUCTION I\ HIGH SCHOOLS 69 CREDITS Schedule .Vo. 1 SUBJECTS OFFERED AND THE AMOUNT OF CREDIT GRANTED FOR THE STUDY OF MUSIC IN THE HIGH SCHOOLS OF OAKLAND, CALIFORNIA SUBJECT Amount Per Year Duration Number of Years Total Possible Accepted toward Gradua- tion Accepted as College Entrance DAILY RECITATION 45 Minute Period Choral 1 1 A Yz i i ) i ) i i i 2 2 2 1 2 4 or 2 2 4 or 2 2 1 2 1 1 1 2 2 2 1 2 1 1 1 2 2 2 1 2 1 None None 1 1 1 1 ? None Boys' Glee Girls' Glee History . ( Beginning Harmony < ( Advanced f Only f 1 \Witir Orchestra. J ( Only . . . . / Orchestra j ^ Ban(J | Orchestration "Outside Credits Piano M ust have one year of Harmony to obtain 2 credits. Voice Must have one year of Choral to obtain 2 credits. Violin and other orchestral in- struments Must have one year of Orchestra to obtain 2 credits. Pupils that make Music a Major can secure a total of eight credits. Any three of which will be accepted for Col- lege Entrance as follows: *Examination given once each semester. 1 Choral 1 Harmony 1 History 1 Orchestra 1 Band 70 PUBLIC SCHOOL ORCHESTRAS AND BANDS HIGH SCHOOL MUSIC DEPARTMENT BULLETIN PART ONE Schedule No. g 1. Sight Singing 1 year only 1 credit For those who have had no training a drill course. 2. Choral 1 or 2 years at 1 credit For those who have some knowledge of sight singing. This course includes sight singing of four-part choruses. 3. Girls' Glee 2 years > credit Three-part singing. 4. Boys' Glee 2 years J^ credit Three and four-part singing. 5. Harmony 2 years 1 credit each Scales, melodies, chords, the writing of songs and short pieces for piano, etc. This course is strongly urged for all music students, whether interested in band, orchestra, piano, or voice. First term Harmony is part of the Normal School entrance required. 6. Orchestration 1 year 1 credit How to arrange music for orchestra or band. This course follows the two year harmony course. 7. Band See instrumental music list, No. 2 8. Orchestra See instrumental music list, No. 2 9. History and Appreciation of Music 5 times a week 1 year 1 credit No credits are allowed in the elementary schools for instrumental or vocal music. While the pupils receive a grade on their report cards for the work done each semester, this grade does not retard the progress of the pupil if his music work is not up to standard nor will his music grade (even if he be an infant prodigy), pass him on if the record in his other studies fails to meet the required standard. Only in the high school are credits for music studv allowed and INSTRUCTION IX HIGH SCHOOLS 71 recognized toward graduation and also for mat- riculation in the University. If the pupils of the elementary organizations absent themselves from three consecutive re- hearsals, they are dropped from the roll for that semester, but may be re-instated the next sem- ester, if they comply with the regulations regard- ing the regular attendance at rehearsals. In the high schools, the credit may be withheld, or denied entirely if the pupil does not take part in the public performances and those functions of the school activities of which the orchestra or band is an integral part. It is mandatory then, that those pupils who expect credit for music work of any kind in the high school should appear and take an active part in all public performances. The charts following enumerate the different subjects offered, the number of years that each subject may be pursued, the amount of credit allowed for each subject, the total number of credits that may be obtained in the study of music, the number accepted toward graduation and the number recognized by the University toward matriculation. HIGH SCHOOL CREDITS GRANTED FOR "OUTSIDE STUDY'* IN Music Schedule No. 3 MUSIC DEPARTMENT BULLETIN PART Two I. For College Preparatory Course (Matric., Group I), 3 units may be chosen from the following: Choral, band or orchestra 1 Harmony 1 or 2 History and appreciation 1 72 An additional unit may be offered for graduation chosen from any of the nine music courses tabulated below. NOTE: Recommendation in Choral is on the ability to sing at sight. II. For Normal School Course required Harmony A, J^, and Sight reading J^ or choral J III. For graduation from high school under the " three years of three subjects" plan, this course is recommended for students specializing in music. Choose not more than two from group 1 to 6 (inclusive). 1 Sight reading 1 credit 2 Choral 1 3 Girls' Glee 4 Boys' " 5 Band 1 or 2 6 Orchestra 1 or 2 the remainder from 7 to 10 (inclusive) 7 Harmony A, B, C, D 1 or 2 credits 8 History and appreciation 1 9 Outside instrumental 1 or 2 10 Orchestration 1 As many as eight units may be included under this plan. Freshmen are eligible to all music courses except History and Appreciation, and Orchestration. The total number of credits that can be at- tained is two, one credit granted for each exam- ination. Pupils can register for these exam- inations in any of the four years of the high school, with these restrictions: The examination can be taken only on the examination date given at the end of each school semester. To be eligible for the second piano examination ir violin ne- cessitates one year of "playing experience" in the High School Orchestra. The second examination in voice requires one year of "singing experience" in the Choral Class. Four points are considered for piano and violin : The first requisite: Scales Ability to play any of the major scales and any of the harmonic INSTRUCTION 7.V HIGH SCHOOLS 73 minor scales through the key of seven sharps and seven flats, in two rhythms that may be called for by the Board of Examiners. The second requisite* Sight Reading Pupils must be able to read compositions in four-part, the choral type, moderately difficult. The third requisite: Studies Pupils may sub- mit and play from their own repertoire one or more etudes or studies." Bach Two-part Inven- tions are required. These should be played from memory. The fourth requisite : Compositions Pupils may play any compositions from their own repertoire. These etudes and compositions must be of equal difficulty, from a musical standpoint, as are the other High School Studies. Pieces or composi- tions for the first examination should be played from memory. In the second examination, memo- rization is required. The Board of Examiners reserve the right to withhold credit, if, in their judgment, the pupil does not demonstrate (1) that his musical quali- fications are on a par with his other studies; (2) that he has done advanced study in tech- nique; (3) that he had practised at least one hour a day, and proved by his general musical performance that he is entitled to the credit. The examinations will be given at the end of each semester, on the first Saturday in November and May. All pupils desiring to take an exam- ination should make application to one of the music teachers in the high school which they attend and be registered at least one week before the date of examination. If the pupil cannot be present on the day the examination is set, he must forfeit the opportunity of taking the examination 74 PUBLIC SCHOOL ORCHESTRAS AND BANDS and consequently, the credit for that semester. Only one examination will be given each semester. When credit is withheld, the Board of Examiners will make a statement to the pupil, setting forth those points which, in their judgment, the pupil can improve. If the student desires to enroll again the next semester for the same examination, the privilege will be granted. Pupils receiving credit for playing the piano in the orchestra cannot count this credit as an equivalent of either examination. They are elig- ible, however, to take the examination for Out- side Credits, providing the conditions herein stated are complied with. Pupils playing other instruments, such as the 'cello, cornet, clarinet, horn, trombone, etc., are entitled to consideration for credit and the con- ditions stated herein will be modified only in the adaptation of the general plan to the special case. CHART No. 1 PROGRAM OF A HIGH SCHOOL INSTRUMENTAL TEACHER SHOWING INDIVIDUAL LESSONS GIVEN EACH WEEK ALSO THE INSTRU- MENTATION OF THE ORCHESTRAS AND BAND, REHEARSING EVERY DAY Mon. Tues. Wed. Thurs. Fri. TOTAL NUMBER OF LESSONS GIVEN EACH DAY Piano 2 2 1 3 2 7 2 1 1 1 1 1 1 1 1 3 1 4 > 1 1 1 1 7 1 8 4 1 4 1 2 8 5 Violin Viola 'Cello String Bass Piccolo Flute Clarinet Oboe Bassoon Saxophone Cornet . . I\*TRUCTIO\ IX HIGH SCHOOLS 75 PROGRAM ix HIGH SCHOOL No. 1 continued Mon. Tues. Wed. Thurs. Fri. TOTAL NUMBER OF LESSONS GIVEN EACH DAY Trumpet Fluegel Horn Alto 1 1 3 Mellophone French Horn 1 1 Baritone 2 2 Trombone (Slide Trombone (Valve) Tuba 1 1 1 2 1 Snare Drum Bass Drum Drums & Traps . . . 1 1 51 INSTRUMENTATION OF BAND OR ORCHESTRA 1st Orchestra 2nd Orchestra Band Violin . 18 17 Viola 2 'Cello 4 3 String Bass 3 1 Piccolo 1 2 Flute 1 Clarinet 2 2 11 Oboe 1 Bassoon 2 1 Saxophone 6 Cornet 2 1 10 Trumpet Fluegel Horn Alto 1 Mellophone . 1 French Horn Trombone (Slide) . Trombone (Valve) Baritone 3 2 1 4 3 4 Tuba 1 3 Snare Drum 1 1 2 Bass Drum 1 1 2 Drums & Traps . . . Piano 1 2 1 2 46 31 49 116 167 PROGRAM IN HIGH SCHOOL No. 1 76 PUBLIC SCHOOL ORCHESTRAS AND BANDS CHART No. 2 PROGRAM OF A HIGH SCHOOL INSTRUMENTAL TEACHER SHOWING INDIVIDUAL LESSONS GIVEN EACH WEEK; ALSO THE INSTRUMENTATION OF ONE ORCHESTRA AND BAND RE- HEARSING EVERY DAY Mon. Tues. Wed. Thurs. Fri. TOTAL NUMBER OF LESSONS GIVEN EACH DAY Piano Violin 7 2 2 3 6 20 Viola 2 1 1 4 'Cello 2 1 4 String Bass 1 2 3 Piccolo Flute 1 1 Clarinet 1 1 2 4 Oboe Bassoon 1 1 2 4 Saxophone 1 1 2 Cornet . . 3 1 2 2 8 Trumpet Fluegel Horn Alto Mellophone French Horn Trombone (Slide) Trombone (Valve) Baritone 1 1 3 2 3 1 3 Tuba 1 1 2 Snare Drum Bass Drum Drums & Traps . . . 59 INSTRUMENTATION OF BAND OR ORCHESTRA BAND ORCHESTRA Violin 17 Viola 4 'Cello 3 String Bass 3 Piccolo 1 Flute 2 Clarinet 5 4 Oboe Bassoon 1 2 Saxophone 2 Cornet 6 4 Trumpet . . INSTRUCTION 7.V UK.II SCHOOLS 77 PROGRAM i.v HIGH SCHOOL No. > continued INSTRUMENTATION OF BAND OH ORCHESTRA Continued BAND ORCHESTRA TOTAL Fluegel Horn Alto Mellophone ... 1 French Horn Trombone (Slide) . Trombone (Valve; Baritone 3 2 2 Tuba 3 | Snare Drum 2 1 Bass Drum 1 1 Drums & Traps . . Piano 30 47 77 136 PROGRAM IN HIGH SCHOOL No. 2 CHART Xo. 3 DAILY PROGRAM IN A HIGH SCHOOL HAVING THREE RESIDENT TEACHERS DEVOTING THEIR ENTIRE TIME TO MUSIC INSTRUCTION PERIODS TEACHER No. 1 TEACHER No. 2 TEACHER No. 3 I 8.00-8.4.5 Supervision of work in Elementary Schools one morning each week. II s.l.-;-!). 30 HARMONY* Third and Fourth term CHORAL Third and Fourth term Individual Instruction III 9.30-10.1.5 Choral Third and Fourth term Chord First term Individual Instruction IV 10.15-11.00 HARMONY* First and Second term CHORAL nd term Individual Instruction ii.oo-ii r, M \JOR PERIOD Individual Consultation and advisory Period Instruction 78 PUBLIC SCHOOL ORCHESTRAS AND BANDS CHART No. 3 continued DAILY PROGRAM IN A HIGH SCHOOL continued PERIODS TEACHER No. 1 TEACHER No. 2 TEACHER No. 3 V 11.45-12.00 CHORAL Second term HISTORY* Second term Individual Instruction VI 12.00-12.45 LUNCH LUNCH LUNCH VII 12.45-1.20 STUDY HALL OFFICE 2nd Orchestra VIII 1.30-2.15 HARMONY* First and Second term STUDY HALL Orchestration IX 2.15-3.00 STUDY HALL HISTORY* First term 1st Orchestra X 3.00-3.45 Band rehearsal ^Cumulative Harmony, by Wm. J. McCoy, published by Ginn & Co., Boston, Mass., and Outlines of Music History, by Clarence G. Hamilton, published by Oliver Ditson Co., Boston, Mass., are the text books used. CHART No. 4 COST OF INSTRUMENTAL INSTRUCTION IN THE HIGH SCHOOLS Cost per Lesson 62,680 pupils in group-lessons given each week, for forty weeks a year, including the daily attendance at rehearsals of both band and orchestra in all the high schools at a total cost of $4,829.40 $.077 7,310 individual lessons of forty-five minutes each, once a week, for forty weeks a year at a total cost of $4,829.40 per year .656 COST OF INSTRUCTION IN ELEMENTARY SCHOOLS 124,460 pupils in group-lessons a year, including the weekly at- tendance at rehearsals of both band and orchestra in all schools, at a total cost of $9,118.62 $.073 54,280 individual lessons of twenty minutes each, once a week, at forty weeks a year, at a total cost of $9,118.62 a year .168 IXSTRUCTIOX 7.V HIGH SCHOOLS 79 STRING QUARTETS Besides the orchestra work, it is often possible to have auxiliary organizations such as string, brass, and wood-wind quartet composed of the advanced players in the regular orchestra. Many fine compositions are written for string orchestra and for other combinations of instruments that are of inestimable value for the pupils to study. Additional activities are limited only by lack of time for preparation, or by the instructor's meager enthusiasm and ability. The pupils are ready at all times to play and rarely refuse to participate in any musical combinations that achieve artistic results. HARMONY AND ARRANGING To make complete the instrumental training that it is possible to offer and that should be in- cluded in every progressive high school, a two years' course in harmony, with credit for daily recitations, should be given. With such a founda- tion in harmony students can take up the study of arranging. In some courses of study, this subject is listed as "instrumentation," supposing composition to be the ultimate aim of the instruc- tion. While such should be the aim of a similar course offered in a conservatory, the purpose in the high school should be confined largely to ac- quiring facility in arranging compositions for orchestra or band. Any high school student who has completed tw r o years' study of harmony can acquire the ability to arrange small compositions for full orchestra and still not sacrifice his other studies. 80 /'/ fiLIC SCHOOL ORCHESTRAS AND BANDS EFFECT OF FREE INSTRUCTION UPON THE PRIVATE TEACHER Frequently the question is asked as to the effect free instruction will have upon the studio work of the private teacher. Free instruction in the schools is given for one reason, that all students may have an opportunity of acquiring a musical education regardless of the financial condition of the parents. This means also that many students will avail themselves of the free instruction just because it is free. While com- paratively few students who take up the study of music give it up voluntarily, more pupils are mediocre than are unusually talented. The free instruction, then, has a tendency to prepare the material for the advanced teacher. The stages through which all students must pass, dislike of practice, lack of interest, absence of musical conception, and many other seeming weaknesses, which are always objectionable to the private teacher, are now borne by the school in- structor. After the students have passed through these stages of "musical ailments" and arrived at the "playing stage," they begin to take a new interest in their study and are anxious to progress more rapidly than the short and limited lesson period of the school instructor will permit. They are easily encouraged and influenced then to take lessons from a private teacher. In brief, then, while the private teachers do not get so many beginning students, they later get pupils who have passed through the beginning stages of development and are ready to receive and able to comprehend the finer points of spe- cialization that are taught by the private teachers. INSTRUCTION IN 77/G/7 SCHOOLS 81 The report, submitted after more than three years of actual experience in which the plan has been in operation, shows that the best private teachers heartily approve it. They endorse the plan, because the pupils that have come to them have already acquired a foundation upon which to build, and the reading and ensemble ability which they possess is of excellent assistance to them in their work. The pin-money teacher complains of the plan, but the highly specialized teacher approves it as a system by which more pupils are led to develop a permanent interest in, and an appreciation of, music and instrumental playing. CHAPTER VII BANDS IN THE ELEMENTARY SCHOOLS (Illustration No. 14, page 93) A band is distinctly a boys' organization. A real boy is noisy and boisterous and his superfluous energy needs some avenue of escape. Energy must not be lost, but should be directed into the right channel. Next to such estimable organ- izations as the Boy Scouts, a band is one of the best activities to direct the exuberance of youth into proper channels. Any boy of normal attain- ments and mentality, who has good teeth, can learn to play any wind instrument. In the elementary schools, it is possible to organize and develop a good band in every build- ing. This, of course, presupposes that the prin- cipal is interested in such a proposition to the extent of lending his support and co-operation, and by exerting himself to arouse enthusiasm for the project among the boys of his school. CLARINETS (Illustration No. 6, page 44) In order to have a good band, two clarinet players should be developed for every cornet player. As the cornet is more popular, it stands to reason that the obstacle is one that can only be overcome by creating a greater interest in the clarinet. If the instructor is not a performer on the clarinet, he should get some clarinetist to come to the school and give a demonstration for 8 BAXDS i.\ /:/./; M /:.%' y.i/vr SCHOOLS 83 the boys and their parents, explaining the various points of excellence and advantage of the clarinet, and playing some selections that will illustrate the flexibility of its technique, its tone, and its compass. Such procedure rarely fails to produce the desired results No. 12 C-MELODY SAXOPHONE A good substitute for the 'Cello and a splendid reinforcement to it. (Instrument owned by the player). 84 PUBLIC SCHOOL ORCHESTRAS A\D BANDS The easiest instrument for any pupil to learn is the Saxophone. It is an excellent solo instru- ment for the home and any one of the five different kinds, soprano, alto, tenor, baritone, and melody, is equally desirable. These instruments always lend splendid volume and sonorousness to the band. The present popularity of the instrument is much in its favor. HORNS OR ALTOS (Illustration No. 8, page 46) Most boys, as well as the parents, like a solo or melody instrument. It is always difficult to hold the interest of boys who are assigned to the altos or horns. As the chord or accompaniment parts are played on these instruments, they are very necessary in the band and the more altos there are, in proportion to the size of the band, the greater the sonorousness of the tone and the fullness of the harmony. Four players assigned respectively to 1st, 2nd, 3rd, and 4th parts should always be represented in every band. Two will suffice, however, if the band is small. TROMBONE (Illustrations Nos. 9, 14 and 17) A band is ahvays "resplendent in glory," if it has a large trombone section. The slide trom- bone is another excellent solo instrument; it is, however, difficult to play, but the final mastery of the instrument is worth all the effort exerted in acquiring its technique. BARITONE (Illustrations Nos. 14 and 15) The baritone is the exquisite solo instrument of the band. It is the principal instrument carry- BANDS 7.V ELEMENTARY SCHOOLS 85 ing the counter-melody passages, and to it are assigned most of the effective solos. One bari- tone is always necessary, more are not objection- able. This is another rare solo instrument neg- lected by students for the over- worked cornet. It is advisable for the school system to own a Xo. 17 TROMBONES From Technical High School Band few of these instruments. Transfer to them some of the many cornet players. Besides the im- portance of the baritone as the principal solo instrument of the band, it can be utilized to play the 'cello parts in the orchestra, in the ab- sence of that instrument. Baritone players should always be taught to read in the bass clef. While a treble clef part is always printed in all band 86 PUBLIC SCHOOL ORCHESTRAS AND BANDS music, it is a transposed part, and baritone players should learn to read the part in the range of the bass clef, just where it sounds. TUBA (Illustration No. 9, page 47) A band is not to be thought of that does not have at least one tuba and more than one is de- sirable. The bass is as important as the melody, and a melody without a bass is insipid. Just in proportion to the prominence of the bass part will be the brilliancy of the melody or solo part. PICCOLO (Illustration No. 14 2nd in 1st row, left, page 93) On account of the small size of the instruments themselves the piccolo and the E-flat clarinet* are well adapted for use in the bands of the elementary schools. Every flute player can play the piccolo, for the fingering is the same. The players usually own both instruments. In the orchestra, the flute player uses a C piccolo and in the band D-flat piccolo. The altitude of the pitch and the pene- trating tone are so brilliant that one piccolo alone is sufficient for a band. E-FLAT CLARINET (Illustration No. 14, 3rd in 1st row, left, page 93) The E-flat clarinet is probably the best clarinet for the small pupils of the elementary schools to use in beginning their study. The fingering is the same as the B-flat clarinet, and the small size of the instrument is of added advantage for the limited reach of the small hands and short fingers of the young pupils. Like the piccolo, one E-flat clarinet is all that is needed to balance /;.-!. V/JX I.\ KI.EMKXTARY SCHOOLS 87 the tone of a full band. Both of these instru- ments should receive more attention, especially in the elementary schools, where it is possible to give them extra consideration on account of their size, their adaptability to the small hands of the players, their usefulness in the band, and their comparatively low cost. B-FLAT CLARINETS (Illustration No. 6, page 44) So much has already been said in favor of the Clarinets that it remains only to speak of their use. The parts are written for solo, 1st, 2nd, and 3rd clarinets. Two, even three, players can be assigned to each part without submerging the brass section. A band depends upon the clarinet section for its brilliancy, and the fluent scale passages and runs demand that the players must either have, or soon acquire, a facile technique, for the clarinets in the band assume the florid parts that are assigned to the violins in the orchestra. DRUMMERS (Illustration No. 10, page 48) The rhythm of the band music is governed largely, if not almost entirely, by the drum sec- tion. Trap drummers are usually not effective. Moreover, the use of trap drummers should not be encouraged in school organizations. It is better to develop independent players for both the snare and the bass drum. A good band can be easily handicapped by a poor drum section and an other- wise poor band will be materially improved by good drummers. While the drum is the favorite instrument of the boy, it does not follow^ that all boys make good drummers. In fact, the hardest 88 PUBLIC SCHOOL ORCHESTRAS AND BANDS section to improve, the last to become responsive, the one most apt to "fake" from the printed part, is that of the drummers. As the drum parts con- tain the rhythmic outline, the dynamic accents, and many unique effects from the "traps," com- posers and arrangers always write an effective and important drum part. In order to be played correctly, it must be read correctly, and few boys learn to read the drum parts. The notation for all other instruments represents both pitch and rhythm, but the drum notation represents rhythm only. A good player, then, must read the printed part accurately and be able to sense the rhythm of a composition, which sense, although strongly intuitive in almost every individual, demands careful training, hard and devoted study, to elevate it to a degree of proficiency. The solo instruments which the pupils usually own or will purchase are, cornets, trombones, baritones, clarinets, saxophones and snare drums. To be sure then that the band will be effective in its instrumentation, the school system should furnish altos or mellophones, tuba, oboe, bassoon and bass drums with attached cymbal. With these instruments available, the instructor can develop players for them and have a band in which the instrumentation is complete enough to produce an endurable noise. The following list of necessary instruments in a band will show the balance of instruments for a small, a large, and a full band. The last is more easily formed in the high school, but is not impossible in the elementary school, if the best players are drawn from other schools, with the main idea of seeking the players needed to make a ivell-balanced band. (See pages 93 and 98, illustrations 14 and 15.) BANDS I.\ ELEMENTARY SCHOOLS 89 The instrumentation of the average elementary school band is as "mongrel" as the orchestra. A predominance of solo instruments, and a lack of the harmony instruments, makes an unbalanced group, which is not designed to produce a very musical effect. Instruments should be supplied to attain the ideal balance of parts. (See next Chart). SUGGESTED BALANCE OF INSTRUMENTS IN A BAND Small (13) (18) Lge.(27) (35)Full (45) Solo Cornet 2 2 2 2 1 1st 1111 2nd 11122 3rd 1122 1st & 2nd Alto 22222 3rd & 4th " 2 2 * 1st & 2nd Trombones 1 2 2 2 1+2 3rd 1 1 Baritone 11122 Tuba 1123 3+lBB-flat Drums 22222+1 Piccolo (D-flat) 1 1+Flutel+Flute E-flat Clarinet 1 1 1 Solo " 12334 1st 11222 2nd 11223 3rd " 1223 Oboe 1 1 Bassoon 1 1 4 Saxophones Saxophones can be used in any combination. E-flat alto Saxo- phone may be substituted for the solo or 1st E-flat Alto. In the absence of a printed part let the soprano Saxophone play from the solo or 1st Cornet part. Alto Saxophone play from the E-flat Cornet part 8va, where possible. Tenor Saxophone play from the Baritone treble clef or tenor part. Melody Saxophone play from the Baritone bass clef or Bassoon. Baritone Saxophone play from the 3rd Trombone bass clef or Bass part or Bassoon. Oboe play from the 1st Cornet part transposed one tone lower. Bassoon play from the baritone bass clef, 3rd Trombone or a Bass part. French horn players (horn in F) usually transpose the E-flat alto one tone lower. For a marching band DOUBLE THE SOLO CORNETS. 90 PUBLIC SCHOOL ORCHESTRAS AND BANDS CARE or INSTRUMENTS A band is a great machine, having many me- chanical parts which are almost as intricate as a Hoe printing press. Every instrument is in itself a complete mechanical device and if one key will not work or a valve sticks or a tuning slide is corroded, the usefulness of the instrument is impaired. A machine must always be in perfect condition to do good work. Children are not conscious of the intricate mechanism of the in- struments they use and are often careless. The instructor must make up for their carelessness by his own precaution and carefulness in frequently inspecting the instruments. While an instructor is not supposed to do the repair work on instru- ments, he should know enough about each in- strument to detect the cause of the trouble. Slides in brass instruments should always be kept loose; a little vaseline applied to them frequently will prevent corrosion. Reed instruments should always be swabbed out after using. Do not use the usual manufactured swab, but make a "pull- through." Get a small lead weight, attach it to a string the length of the clarinet, and tie this to a piece of cheesecloth that is long enough and thick enough to fill the barrel of the clarinet. Drop the weight through the clarinet and draw the cheesecloth-cleaner through a couple of times, and the inside will be dry and clean. If put away wet, the wood gets water-soaked, warps and soon cracks. Three-in-one oil rubbed into the wood and applied to the keys will keep the instrument in good condition. With clarinets, the mouthpiece and reed should always be cleaned and dried after using. Boys are usually in a //.I.Y/M' IX ELEMENTARY SCHOOLS 01 hurry, and slam the instrument into the case and run. Enough time should be allowed at the end of each rehearsal to clean the instrument before the close of the class period. CHAPTER VIII BANDS IN THE HIGH SCHOOLS (Illustration No. 14) INSTRUCTION \Vhat has been said regarding the elementary school bands applies as well to the high school. There are, however, certain methods peculiar to high school bands that should be mentioned. BRASSES Instead of the altos and mellophone it is better to use French horns, except for marching, when altos are preferable. In the orchestra, the horn parts are generally written in F and in the band in E-flat, which necessitates using the E-flat crook for the mellophone (the alto is built in E-flat and needs no alteration) or transposing the part a tone lower and keeping the horn in F. The trombone section should be com- plete with a player each assigned to 1st, 2nd and 3rd trombone parts. Where more players are available, double the second, then the first, and the third only with six players. One baritone is always essential and if none is owned by the pupils the school system should supply one, to which a cornet player may be transferred. The baritone parts are always published in both treble and bass clef so that such a transfer would not entail the immediate learning of a new staff notation. It is better, however, for every baritone and trom- bone player to learn to read from the bass clef parts. (The treble clef part is transposed one whole tone higher, just like the cornet parts). 92 94 PUBLIC SCHOOL ORCHESTRAS AND BAM)* In the high school it is now possible to use the BB-flat tuba for the boys are large enough to both handle and fill the instrument. (See illustration No. 14, 3rd last row, left.) While a small-sized BB-flat tuba can be used in the elementary bands it is a rare occurrence when large boys are to be found in the upper grades. So it is more efficient to confine all effort to the use of the small-sized E-flat tuba and leave the big BB-flat tuba for the high school band. REEDS AS the piccolo and E-flat clarinet are both small instruments, their natural place for development is in the elementary school, but from a musical standpoint these instruments are very necessary in the high school bands. One of eacli is usually sufficient to balance the other parts. Most amateur bands have too much brass to blend well with the reeds. Were the reverse true, the effect would be much more pleasing. Where the clarinet and reeds are double or even treble the number of the brass players, the tonal effect produced more nearly resembles that of the orchestra. Unless the oboe and bassoon (Illus- tration No. 14, 1st row and 2nd row, left), are supplied by the school system they are very sel- dom represented in the average school band. They are always essential, but not indispensable. It is usually possible to get the players of these instruments to double in both band and orchestra. No instrument of the band or orchestra has met with such universal adoption and popular approval everywhere as has been accorded the saxophone in the last few years. (Illustration No. 18 page 95) . " Dr. Rogers considers the soprano saxophone to come next in desirability for those without n.ixns i.\ TIII: man much lung power. To this the author can add that he has known of an eminent physician pre- scribing the use of the saxophone to a patient suffering with dullness of hearing, as a tonic to the aural nerves." (From Mistakes and Disputed Points in Music by Elson). While the soprano, Xo. 18 SAXOPHONE QUARTET From Technical High School Band alto, tenor, and melody saxophones are nicely adapted for use in the elementary schools, the baritone, on account of its size and weight, is not apt to be serviceable, except in the high school. A quartet of saxophones is always an attractive combination to use for concerts. Moreover, they lend a fullness and sonorousness to a band that makes their absence thereafter lamentably no- ticeable. 96 PUBLIC SCHOOL ORCHESTRAS AND BANDS No one feature in a school will do so much to bring that school into favor with both the public and the student body, as a good band. Where the principal encourages such an organization and the proper kind of an instructor is in charge, it is neither difficult nor impossible to permanently maintain a good band in any high school. CHAPTER IX ' OFFICIAL MUSICAL ORGANIZATIONS Elementary Schools' Band and Orchestra (See Illustrations Nos. 15 and 16) As there are frequent demands for public ap- pearance of the school organizations, it is advis- able to have some official organizations, endorsed and approved by the board of education to rep- resent the work of the entire department instead of one particular school. Such a method elim- inates any display of favoritism, gives no cause for jealousy, and provides a guarantee that some finished work will always be ready for public presentation. To achieve these results, an or- chestra and band known as the Elementary Schools' Orchestra and Elementary Schools' Band is organized in Oakland to which all advanced players from any of the schools are eligible. Complete instrumentation and a well balanced orchestra and band are the prime features. Only those pupils who can read well and play well, who have had at least one year of experience in their own school organizations are accepted. The va- rious instrumental instructors usually recommend pupils for membership. If the horn, clarinet, or cornet sections are full, the pupils must wait until a vacancy occurs, before they are accepted to membership. The instrumentation of the orchestra this year included twenty First Violins, fifteen Second 97 o o M -C H c o a o OFFICIAL MUSICAL ORGAXIZATIONS 99 Violins, one Viola, three 'Cellos, one String Bass, three Flutes, four Clarinets, four Cornets, four Horns, two Trombones, one Tuba, three Drums, two Oboes, one Bassoon, one Melody Saxophone. This orchestra rehearses once a week, on Friday afternoon, from four until five o'clock, with an average attendance of more than forty-five at each rehearsal. The music studied is of the semi- classical type and the violin parts usually con- fined to the first and not much beyond the third position. Observe that the string section is quite large, and that the horn, clarinet, cornet, and flute section is always double the usual number employed, which provides for under- studies and assures representation of all the parts at every rehearsal. Also observe the scarcity of the viola, 'cello, and string bass players that are available for such an organization. The Elementary Schools' Band is organized along the same lines as the Orchestra, rehearsing every Monday afternoon. Uniforms are pro- vided, which were paid for by funds from concerts given for that purpose. The instrumentation this year is as follows: Cornets, 12; Altos, 6; Trombones, 3; Baritones, 4; Tubas, 4; Drums 4; Piccolo, 1; E-flat Clarinet, 1; B-flat Clari- nets, 15; Saxophones, 4. Overtures, marches and a few popular medleys and patriotic selec- tions are included in the repertoire studied each semester. Each of the five high schools has both a band and an orchestra rehearsing every day, either during school hours, before school, or at noon, as the program and type of the school will permit. (Illustration No. 13, page 49). Four of the bands are uniformed and one is an official military cadet gjl i i -s .? fee a o 2 s O (V OFFICIAL MUSICAL ORGA\IZATIO.\S 101 organization, trained for marching and reviews. (Illustration Xo. 14, page 93). A combined band and a combined orchestra is used occasionally, composed of the advanced players from all the high schools who have rehearsed a set program for a special public function or concert. But as each individual organization has very good instrumen- tation, it is not often necessary or expedient to combine the forces, as the period for rehearsal is very difficult to arrange. COMMUNITY ORCHESTRA The following excerpt from a Report on Music Instruction by the author, issued as Bulletin Number 6, March, 1917, by the Board of Educa- tion, Oakland, California, gives a comprehensive outline of the process of its organization, the manner of its support and maintenance, its ob- ject, and the results of the experiment. THE COMMUNITY ORCHESTRA "Several years ago an effort was made to in- terest the students of the evening schools in the organization of an orchestra. Such a plan had met with so hearty a response in the day schools, that it was thought advisable to try the plan in the evening schools. The first announcement brought out an attendance of six players four violins, a cornet, and a piano. With this nucleus, pub- licity was given the undertaking and at the end of the first year, there was an enrollment of twenty-five members with an instrumentation that included violins, violas, 'cellos, string bass, flute, clarinet, cornet, horns, trombone, drum, and piano. As all the instruction was given to 102 PUBLIC SCHOOL ORCHESTRAS A* 7 D BANDS the members of the night school orchestra free, all music furnished, and a director of experience assigned to the work, it was not long until the enrollment increased sufficiently to warrant the organization being divided into a first and second orchestra. When it was decided to divide the orchestra, notices were sent to all teachers of instrumental music in Oakland and the adjoining cities, asking their co-operation to the extent of announcing the rehearsals of this orchestra to their pupils and extending an invitation to them to attend the rehearsals. It was found that there were many advanced performers on orches- tral instruments who were not professionals, but who were interested in music because of the pleasure they derived from playing. It was decided to name this organization the * Com- munity Orchestra/ All advanced performers from the district are eligible to membership and this year the orchestra has grown to fifty-seven members, has complete symphonic instrumenta- tion, and is studying the easy symphonies of the famous composers. It gives three concerts a year to the general public with the idea of ac- quainting the public with the best of the classical and semi-classical music. The Board of Educa- tion has made it possible to further the interest in such an organization by assuming all the expense of supplying a place for rehearsal, music, piano, light and instructor. The orchestra rehearses once a week for two hours and out of fifty-seven en- rolled there has been an average attendance of forty -five this year. "Besides furnishing musical activity to the amateurs of the Bay district, the Community Orchestra is also designed to give to those pupils OFFICIAL MUSICAL ORGANIZATIONS, 103 in the high schools who have received instruction and who have also been members of the high school orchestra, an opportunity to continue their music and thus retain the benefits of the instruction they have already received. It also increases the interest in music of the community itself by continuing some musical activity, such as, membership in an interesting musical organ- ization which the School Department itself can control, both in selection of the music and in the general plan of the instruction and training that shall be given. By this means, the membership of the orchestra is increased and the graduating pupils are immediately enrolled in an organiza- tion of adults which has as its main feature the furtherance of good music in the community. "As the evening school became more popular and other buildings were opened for evening classes, instruction was offered in two other evening schools. The orchestra in the Central Evening School rehearses from 7.15 to 8.15 and individual instruction upon any of the instru- ments is continued until 10.15. The enrollment this year has necessitated the instructor's devoting two evenings a week to the teaching. The Tech- nical High Evening School, which was opened in August, has forty-eight pupils enrolled in its orchestra.' CHAPTER X NECESSITY OF SUPPLYING INSTRUMENTS So many references have already been made to this subject that it may seem superfluous to repeat them. Many progressive school systems are will- ing -to have bands and orchestras organized and some few have employed even special teachers to develop the work, but rare, indeed, are the cities that have given whole-hearted support to the extent of spending money with which to buy instru- ments. American boys and girls, encouraged and guided by their parents, persist in clinging resolutely to the same favorite solo instruments. As far as the parents are concerned, the law of supply and demand evidently does not operate. The solo instruments predominate at every turn. It be- comes a matter of educating the parents through the children. If the desired instrument is available it is not difficult to get the player. When the student finally convinces the parent that he wants his own instrument, the chapter is concluded. Since this is the outcome in a large percentage of cases, it stands to reason that the only way to create an appreciation for the unusual instrument among the American people is to educate its young people through the only legitimate education channel, the public schools. Why are the American symphony orchestras filled with foreign players? Because the Am- 104 SUPPLYING INSTRUMENTS 105 erican boy has not had an equal opportunity of acquiring a musical education. Why are the American symphony orchestras among the best in the world? Because foreign players have been imported who can play the unusual instruments. If, as a nation, America supports and patron- izes the best orchestral music, when will she be- come an acknowledged musical nation? Not until a plan for wholesale education in music is established in the schools of the country, which are the shortest and quickest avenues of approach to the parents and the public at large. America spends annually about $600,000,000 for music in various forms, but she is still a mechanical en- thusiast, preferring machine-made music to hand- made. The individual must be made musical by being educated to make music for himself. His appre- ciation of things musical is much more keen if he knows "something of" the "process of the mak- ing" and bases his judgment on personal experience rather than on the opinions of music critics. Educate the boy while he is young, and he soon discovers his own liking for more music and seeks special training. Let the schools assume the responsibility of giving him his first musical in- centive, and be sure that the music he studies and the training he receives is choice enough to stim- ulate to further effort. The instruments needed to fill out the average elementary orchestra are two mellophones, a 'cello, and a tuba. The string bass part must be re-\vritten in the range of the tuba. The mello- phone built in F can be employed in the band, by utilizing the E-flat shank, thus serving a double purpose. These are the usual instruments needed 106 PUBLIC SCHOOL ORCHESTRAS AND BANDS to augment the solo instruments which the pupils already own. Two mellophones, at $75.00 each, equal $150.00. One 'cello at $50.00, one tuba at $100.00, make $300.00 as a very liberal estimate of the cost. In the high schools, the instruments usually needed will be two violas, at $20.00, equals $40.00; two 'cellos at $50.00, equals $100.00; two string basses at $75.00, equals $150.00; two horns at $80.00, equals $160.00; one oboe, $60; one bas- soon, $100.00; 1 bass drum $15.00, totaling $650.00. SCHOOL SYSTEM SHOULD SUPPLY THE UNUSUAL INSTRUMENTS In the cost of other school equipment, the pupils do not furnish even a small part of it. In the or- chestra and band, however, the parents, at their own personal expense, furnish the pupils with at least two-thirds of the instrumental equipment that is used. Is it unreasonable then to ask that the school system should furnish one-third of the equipment necessary to make a fairly good band and orchestra for the music department, when they never question the advisability of furnishing the entire equipment for almost any other depart- ment whose budget runs into thousands of dol- lars? Five years ago, a questionnaire was sent to every school in Oakland, elementary and high, asking that information be gathered as to how many of the pupils owned instruments (piano excepted), the kind, and the cost. The total report exceeded $14,000 worth of instruments, owned by the pupils, supplied and loaned to the SUPPLYING INSTRUMENTS 107 school department by the parents. Later, the Board of Education appropriated $5,000 to supply the unusual instruments needed in addition to those owned by the pupils. Should a similar test be given in other cities or even in one high school, the average will show that the parents furnish tw r o-thirds of the equipment. What will the Board of Education do? They are reasonable people and they need only to be convinced. Can- vass your school. Get the number, kind, and cost of all instruments owned by the pupils, that can be used in the orchestra or band. Ascertain, also, the cost of the equipment and the disburse- ment for the manual training or domestic art de- partment in the school or in the city. Show the Board of Education how much these departments cost and that the parents furnish nothing, and the school system supplies everything. Then show the number and cost of instruments that the parents furnish and supply for the music depart- ment. Finally, ascertain the amount of the ex- penditure that the Board of Education has made for the music department to show its appreciation of the assistance the parents have given to further the interest in music in the school. CHAPTER XI CONDUCTING To be able to conduct a chorus, band, or or- chestra is an art which can be acquired by study and practice. While each particular phase of conducting demands special qualification on the part of the leader, the fundamental principle underlying all conducting or directing is virtually the same. Conducting is the physical expression of an intellectual conception of a composition, that those performing may be guided effectively in tempo, rhythm, tone and interpretation. As most of the expression of temperament is a physical expression, it is well to cultivate as grace- ful a manner as the individual can acquire. Conducting is a language of signs. Practise before the mirror to be sure that your signs are as graceful as you can make them. Train the right arm to beat time. Keep the left arm quiet until you need its assistance in com- plicated passages, to give cues, or to indicate shading and expression. Learn to beat time correctly; practise it until it becomes a habit. Beating any kind of measure should become so automatic that nothing will break or destroy its metronomic regularity until you will to make a change. If you cannot carry on a short conversation, answer questions, turn pages, think of many things 108 CONDUCTING 109 pertaining to your rehearsal and yet never lose a beat, you still have something to learn. A light holly stick about eighteen inches long makes a thoroughly satisfactory baton. Take the baton between the thumb, the first and second fingers, guarded by the third and fourth fingers, allowing the heavy end to extend a little beyond the hand with the palm down and the back of the hand up, parallel with the floor. The control of the stick is governed by the thumb and first two fingers. Such control will permit of four kinds of motion: (1) A small beat, made mostly by the fingers. (2) A slightly increased beat, using fingers and wrist. (3) A fuller beat, employing the forearm, when the fingers and wrist are used but slightly. (4) The full arm-swing for heavy passages, when fingers, wrist, and forearm function but little. How TO BEAT TIME The most difficult beat to learn is the cue beat which starts the musicians playing. The cue beat is usually an up beat like the raising of a hammer to strike a blow. The blow is the down beat which corresponds to the first beat of the measure. The mastery of these two beats gives the conductor one point of command. X Cue Dovm Hold the right hand in repose high enough above the head to be seen by all performers, 110 PUBLIC SCHOOL ORCHESTRAS A\D BA\DS swing it toward the center line of the body and then down. The cue beat is used only as a starter. If the words Ready! Play! could be substituted for motions, Ready! would correspond to the cue beat and Play! to the down beat. In f, and fast g measure the beat is down, up, starting with the cue beat: Down or Down Practise this diagram on a blackboard making the full length of the beat about eighteen inches. In |, f, and measure the beat starts with the cue beat, then down, right, up: The last beat of the measure always corresponds to the cue beat in direction and precedes the down, or first, beat of each measure. A question may arise as to the reason for making the second beat to the right instead of the left. As the down is the first and the last is an up beat it is impossible to go any other way than to the right. Any other manner of beating J measure is wrong. "In j rhythm, for example, if very slow, or very complicated, three beats may be given to each measure, but down, right, up (not down, left, up), as this takes the baton away from the CONDUCTING 111 body in the second beat, and is therefore, more easily followed by the musicians." From Mis- takes and Disputed Points in Music, by Louis C. Elson; page 43). In | , t and ^ measure the beats are : Start with the cue beat; then down, left, right, and up : The last two beats will be found to correspond exactly with the last two beats of the f measure, proving that inasmuch as the last beat must be up the second can only move to the left and the third to the right, to be in position for the fourth or up beat.. In slow measure, six distinct beats must be made: As down, I, I, r, r, up. Start with the cue beat : This is the hardest kind of measure to learn to beat with unerring accuracy. Practise with each diagram on a blackboard, making a figure similar to the diagram, eighteen inches down and about eighteen inches across. Careful study of all of the diagrams will show a corresponding similarity of direction and posi- tion of the first and last beats, emphasizing the cue or last beat, and the first or down beat; 112 PUBLIC SCHOOL ORCHESTRAS AND BANDS covering the same track in general as the measure, down or up with three subdivisions to each beat. Remember always that measure is two-part measure, with three subdivisions to each beat, and not three parts with two divisions. Fast is always beat like two-part measure, down and up. In slow $ measure, nine distinct beats must be made. Start with the cue beat: Covering the same track in general as the f , beat down, right, up, with three subdivisions of each beat. In ^ measure, 12 distinct beats must be made, tracing the track of | measure down, left, right, up, with three subdivisions to each beat. While } measure is very rare and little demand is made of the amateur to beat this unusual measure it is well worth knowing. The Tchai- kovsky Symphonic Pathetique, 2nd movement, Allegro Con Moto, is written in f measure and is not only a fine example to study, but is a beautiful use of this rather peculiar and fascinating rhythm. CONDUCTING 113 It is a compound of and J and requires the alternating use of both beats. As down, up, down, right, up. The primary accent is the down in the and the secondary is the less important down of the f , with the strong accent again recurring on the return to the 1st beat of the next (2nd) mea- sure. Practice Makes Perfect Practise all these dia- grams until they become automatic. Then prac- tise four measures of ; then four of f ; four of | ; four of slow ; four of f ; four of f ; four of ^, etc., mixing up the measures until you have perfect command of all the motions. After you have learned how to beat all the different measures correctly, you will find that you can still be easily confused when conducting a rehearsal. Even in the moment of the most trying dis- tractions, you must never lose your sense of rhythm and the down beat. Until you can keep time in any of the measures previously given, at different rates of tempo and not lose the beat, you still need practice before you become a perfect time-keeping machine. In using the metronome for study, set the weight at the number indicated to get the speed of the rhythm desired. Listen to the tick for about eight measures and then stop the clock. 114 PUBLIC SCHOOL ORCHESTRAS AND BANDS It should never be used continuously. Use it only to suggest the required speed of the different movements. The metronome gives the following marks on its dial : Largo from 40 to 70 Larghetto 70 to 98 Adagio 100 to 124 Andante 126 to 152 Allegro 154 to 178 Presto 184 to 208 Notice that Moderate, one of the most fre- quent of tempo marks, is omitted. While these marks may be correct they are by no means obligatory. Use good judgment at all times. All music suggests its natural tempo, first, by the general mark indicating its speed; and second by the way it sounds. If the tempo sounds hurried and blurred, slow up. If it seems to lack life and motion, try it a little quicker, and then fix in your mind the satisfactory tempo and stick to it. Don't start too fast and then try to slow up, nor too slowly and have to increase the speed until you arrive at the tempo you desire. Play a movement over in your mind until you are confident of the correct speed, then make your beat indicate correctly the speed you desire, and your players will follow you. You must know what you want, and your players will respond. The most important beats to be learned are the f, f , | and as they form the four prin- cipal rhythms upon which most movements of usable music for school purposes are based. CONDUCTING 115 Next come the compound rhythms, J and 12. Careful study should be made of the three im- portant tempos, Andante, .Moderate, and Allegro. These terms are used to indicate the largest percentage of tempos. Other modifications of these tempos are indicated by being combined with these principal terms, as: Andante con Moto, Modcrato con Grazia, Allegro non Troppo. Generally speaking, the speed from Andante through Moderato to Allegro doubles twice e. g. Andante, one sound to the beat, slowly (quarter- notes) ; double the speed Modcrato two sounds to the beat (eighth-notes) ; and then double again to Allegro (four sounds or sixteenth-notes). This plan is suggested as one way of acquiring some control of tempo and it should be practiced, using 4 measure f , | and . In the latter, when it doubles to Moderato, and then to Allegro, the beat broadens into two beats instead of the six which is used only in slow movements. Remember that the type of composition that is to be played regulates the speed. No two An- dantes awaken exactly the same rhythmic feeling. Every composition, from a hymn to a symphony, has its own life tempo. It becomes the duty of the instructor or the conductor to find that life tempo. Slow movement must not drag; fast movement must not be played so fast that distinct articulation cannot be given to every tone. Children in elementary schools and pupils of the high schools rarely have the same fluency of technique as adults. So an Allegro movement played by amateurs requires consideration of this fact. 116 PUBLIC SCHOOL ORCHESTRAS A\D BAXDS Josef Hoffman, the celebrated pianist, in giving suggestions about practice advised, "The student should play a slow movement faster than indicated, to avoid the habit of dragging; and play a fast movement slowly, to overcome rushing." Such practice establishes a control of tempo which is one of the most essential requisites de- manded of a conductor, such control can be mastered by practice, and no one should attempt to lead any group, be it chorus, orchestra, or band, who has not acquired a strong feeling for rhythm and tempo. The pause ^ or fermata may occur on any beat of the measure. Try not to alter the direction of your beat in order to make a hold. If a pause comes on the second beat in f measure, make your beat to the left and hold at the end of the beat, then resume the third and fourth beat at the original tempo, which is usually indicated a tempo. Here most amateurs fail. It is always safe to resume the original tempo after a pause or a ritard. o If a hold is made on a dotted half-note J in a | measure, beat out the three beats in strict time and hold the last beat for the effect of the pause. A common fault is the releasing of the hold too soon. A hold is made for effect. The effect is the result obtained by hearing the full chord sounded by all, and until that effect is produced and heard, the hold cannot be released. To acquire facility and poise in beating strict time is not difficult after one has had some prac- tice, but it requires assurance and considerable experience to make a good ritard. A ritard is the lessening of the speed toward: (1) a chord CONDUCTING 117 of harmonic importance, (2) a pause, or (3) a phrase which demands a slower movement for an artistic effect. It is usually customary to beat the strict beat of the movement making the ritard in the measure indicated. In other instances, it may be necessary to indi- cate the subdivisions of the beat (as in a four- quarter measure requiring a ritard on the first Ht ^ and second beats with a hold on 4 j j j j j j [I the third beat). Divide the first and second beats and hold the third beat resuming a tempo on the fourth beat. Ritard should be used sparingly and only where indicated. When a ritard is well done, it is very effective. Patient practice and assurance will make all the players respond at the same time, if the beat is distinctly given. JJJJ IJJJJIJJJJ As an exercise, count out loud for four f measures, making a ritard as suggested above in the fourth measure, and repeat four or five times. In studying a composition in which ritards occur, practise approaching the ritard in tempo, make the ritard and then resume the tempo of the movements. Always adhere to the beats indicated in the signature for the player must count his own time 118 PUBLIC SCHOOL ORCHESTRAS AND BANDS and his count must coincide with the leader's beat. Waltz time or fast J is usually taken at one beat to the measure, and that beat is a down beat. Alia Breve (| at half time), or $ with a line, or is beat with two beats; it is customary in most marches to use half time. If it is written in | time, always tell the players of the change in the count, if you beat two, instead of four beats to the measure. When a full measure of rest is indicated, beat the full measure using a very small beat. In the Raymond Overture by Thomas (discussed later), two measures of rest are indicated. Beat down, up, down, up, and the second up-beat becomes the cue beat to start the next measure and should be more pronounced, as it is an important beat. In the Pique Dame Overture by Suppe the first measure has a half rest, the music starting on the third beat; beat one, and make the second beat the cue to start on the third beat. The Star-Spangled Banner begins on the third or up-beat. Use the second beat as the cue beat, swinging the arm from the center to the right to take up the third beat. In leading amateur organizations, it is often advisable to set the rhythm and tempo by count- ing a measure in advance to secure a good attack, as : one ! two ! giving the cue beat on two to play on one, of the opening measure. While such a procedure would not be necessary CONDUCTING 119 for an adult or professional organization, in work- ing with amateurs it is permissible to do anything that is legitimate to secure "safety first" results. Every device that will make your intentions clearer to the players, that will assist them to present a performance devoid of errors, confusion, and audible differences is a legitimate device, if it accomplishes its results and at the same time avoids unsightly methods of achieving them. In performing an overture or selection which contains three or four different movements in various kinds of measure, do not swing into the next movement too soon. Pause long enough, to let the auditors, as well as the players, sense the end of that movement. It also permits the players to have time enough to think the rhythm of the next movement before they launch upon it. If the last chord of one movement becomes the be- ginning chord of the next movement, rehearse the passage often enough to establish a distinct feeling for the two different rhythms and secure a smooth transition from one movement to the next, avoid- ing both a perceptible and audible break. In rehearsing an overture or a long selection (if it is not already indicated), it is advisable to mark certain places, with "cue letters," which will aid in stipulating "where to begin and how far to go." Some publishers have these cue letters already indicated, but many compositions have long movements that need special practice on certain difficult phrases, which necessitate playing the entire movement through many times, or dividing it up into small sections by means of the cue letters, which afford ease in finding the correct place to start. Most movements are made up of eight or six- 120 PUBLIC SCHOOL ORCHESTRAS AND BANDS teen measure phrases. Some are longer, but a cue letter placed at the end of every sixteen measures would be sufficient for practical purposes. Supposing the movement consists of two hun- dred and fifty-six measures. No letter is needed for the first sixteen bars. So place the letter A above the bar of the seventeenth measure and B over the thirty-third, C over the forty-ninth, and proceed to the end using the letters as far as which will be the cue letter for the last sixteen bars. Sometimes the movements are short and change frequently enough to omit the cue letters. Go through the first violin, solo cornet, or piano part of the entire composition, carefully, making a check mark at the beginning of each musical phrase. Inspect the parts of all the other instru- ments to see how they compare. With these marks as a basis, place the cue letter where your check mark occurred, being sure to count the measures intervening between each letter so that you can transcribe the cue letters to the other parts correctly. STUDIES FOR BAND AND ORCHESTRA Take as a study, The Sunny South by J. Bode- walt Lampe, published for Band by Jerome H. Remick, Detroit. First Andante moderate (J = 66 to 72) is good tempo. Beat strict time to measure twelve; slacken beat where bar has Rallentando returning to Solo which is played at a little less speed than first tempo. Hold last chord, measure sixteen, beating two full beats, finishing with the third beat which is given a slight "whip-stroke" at the CONDUCTING 121 end, as a signal to stop together. Make a little pause before going into the Allegro moderate which is taken at (J^i 2 o). Keep strict f all the way through. This movement begins on the up beat so the cue beat is just enough movement of the hand to get into position for the up beat: Down Notice the effect of the dynamic difference between ff and /, also the pause over the rest in the last (thirty-second) measure which allows time to turn the page. Andante at (J . so) . Keep strict time after pause in measure six return to A Tempo same again in measure fourteen after this second pause, allow a little flexibility in the speed, and observe that the end of the present Andante which should be measure sixteen becomes the first beat of the first measure of the next Allegro. Such a change of tempo is apt to go too fast at first and have to be slowed down. (J = tos to its) is fast enough, for such a movement depends upon the clarity of its execution for its effectiveness. The second ending is what is known as the " break " in a "hoe down" dance, and requires a "trick beat" to look well, and to make the two final chords stand out distinctly. If we count the two measures as one! two! one! and two!, beat the first measure, down, up, as customary, and in the second measure omit the first or down beat, concentrating the two beats on and and on two, which makes two short 122 PUBLIC SCHOOL ORCHESTRAS AND BAXDS quick beats out to the right and back instead of down and up. Down V, tBack 1 Practise counting out loud and repeat "six- teen" times. Such "trick beats" are easily ac- quired and are legitimate to substitute for the regular beats. Next Andante at (J,9e) followed tw r o measures later by (J s so). This makes a Rallentando from the previous Allegro to the present Andante and is very effective. Measure nineteen in this move- ment is a connecting measure serving as an intro- duction to the next Allegro, and as the present movement is measure at (J s so) and the next Allegro is 5* Jams), the time almost doubles. Measures nineteen, twenty, twenty-one and twenty -two of this Allegro serve as an intro- duction to the next Adagio. Observe the Ritard and the Lento. The Ritard does not affect measure nineteen, but extends through the three measures following, each one slower than the preceding measure. Beat two strict beats for each measure, getting slower with each measure until measure 22. The Basses take this solo. The effect of the Ritard in the three previous measures makes the first two eighth-notes very slow. Give a beat to each as if they were two quarter-notes. To the next four sixteenth-notes, give one beat each, as if they were quarter-notes in } Adagio which follows. CONDUCTING 123 Here is an instance where the actual appearance of the note values gives way to the slow speed and demands special treatment to make it effective. Adagio at (J : 6o) is a slow swinging beat. While it is proper to beat only four beats as indi- cated (o, common time or | measure), it would not be incorrect to beat it as f measure on account of the slow tempo, which would make two four beat measures in each measure, giving one beat for each eighth note. It is better, however, to continue with the four beats. Again notice the pause ^ at the end of this movement. The next Allegro at (J e i2o)> keep strict time and spirited, but not too fast, up to the Allegro Maestoso. Here arises a very important instance where The Star-Spanghd Banner is included in a medley. This piece should never be played except as a separate number. When it is included in a med- ley or in any piece, in any way, it is always legiti- mate to eliminate it. This necessitates marking it out in all the parts. To do this use the "cut" mark. Place the Coda-sign at the end of the last measure of this present Allegro and another one at the beginning of the last Allegro and draw a line (with a red pencil), from the first Coda-mark, through the Allegro maestoso (Star-Spangled Ban- ner] to the second Coda-mark at the beginning of the last Allegro. When playing, just continue strict time without a break into the last movement. On the last chord (measure nine), beat two beats for this measure and hold the first bar of measure ten until the chord is sounding full, then make the 124 PUBLIC SCHOOL ORCHESTRAS AND BANDS ending-beat form the point of rest like the shape of a large comma. Gloriana Overture, by A. J. Weidt, published by Walter Jacobs, Boston, is a good study for an elementary orchestra. f Andante, (J. : ?2 . Use long swinging beat. Keep strict time to measure fifteen. Divide the first and second beats which makes an easy Ralkntando into the pause in the third beat. The next movement L'istesso tempo (the same time) is in $ measure and the last movement was in f measure. measure is three-part measure with three-eighth notes to the beat and the hand beat remains just the same, three swinging beats with (Js723 to one beat. In measures ten, eleven, twelve and thirteen cue in with the left hand the instruments taking the counter melody. In meas- ure fifteen, to make a good Ritard, subdivide the third beat in measure sixteen, beat the first as one beat, subdivide the second, and pause on the third, ready for the next Allegretto. Notice that the small beat which must be used for the last eighth- note, serves as a cue beat for the attack on the next movement. CONDUCTING 125 4 Allegretto, and practise this phrase until it is done acceptably. Teach the players to count a given number of measures forward or backward from a first ending fi i]|; from a hold ; from a double bar Q ; or from the title of the next movement. In the case in question., the instructions could be: count back six bars from the hold o ; from the double bar :J ; or from the Andante moderate. Always begin with a full measure in rehearsing a particular passage, starting on the first or down beat; try to select the beginning of a natural musical phrase to use for repetitions. The next movement Andante moderato is writ- ten as ^ measure taken at (J.res). (Notice again the use of the dotted quarter-note as the unit equal to one beat). The hand beat is exactly like | measure. Down, left, right, up, except that the 126 PUBLIC SCHOOL ORCHESTRAS AND BAXDS rhythm has three sounds for each beat instead of one or two as commonly used in | measure. Make the string bass play the first note loud, as it comes on the first beat of the measure and is also the first note of the three-note groups which make up the fundamental rhythm of the movement. Let the violin play the pizzicato distinctly, and cue the cornet for the solo, on the fourth or up-beat. It has not been necessary to use cue letters in this selection for most of the movements have been short enough to rehearse in their entirety, except in the Allegretto use A in measure twenty- three at the change of key. Now at measure 10, in the Andante moderate, use the letter B. Always place the cue letter over the bar, never in the middle of the measure. From B to the end of this movement is very pretty and effective, and has some good cues, and nice solo effects. Always give the cue or "start-signal" to each of the different instruments. Observe that most of the themes begin after the third beat, so make that beat serve as a cue beat. (As a pass- ing comment, it might be well to remind the reader that either in singing or playing, you play with the beat or after it, so rhythm is very simple if you keep this constantly in mind). This entire movement illustrates the rule. In measure twenty-four, Andante moderate, subdivide the third and fourth beats and make the pause ^ on the second subdivision of the fourth beat for the hold, using the last beat as a cue beat for the final chord. In measure twenty- five use three slow beats, making the third beat a cut beat, to finish the chord together. Allow time to turn the page, and take up the CONDUCTING 127 next Allegretto at the same tempo as used before (Jstos). In measure twenty-three of this move- ment, use the cue-letter C. In measure fifty -two again occurs the peculiar ending, which must be executed smoothly to be effective. Allegro vivo \ at (J^iie), is a little faster than the previous movement. Beat strict time up to measure twenty-two, where the Ritard occurs. To make this effective, it will be necessary to use four beats in this measure, subdividing the regular beats so as to make a graceful and smooth ap- proach to the Grandioso. To rehearse^this pas- sage, count back six (6) bars from the double bar or Grandioso, and start on the first beat of the measure. It will count: rail. ft 2 & | 1 2 I 1 2 & I 1 2 Si] I 2 & I 1 & 2 & II 12 Beat as 1 D. U. I D. U. I D. U. I D. U. I D. U. I T>. L. R. U. II 8 slow 4 Practise this phrase many times until it is firmly fixed in the minds of the players. The final movement, Grandioso is written in (J. . . 69) Beat four beats down left, right, up. As the counter melody is played by the bass instrument do not take the tempo too fast nor yet let it drag. In measures nine and ten the ensemble ends on the third beat and this beat serves to cue in the cornet solo passages. The last beat of this measure (ten) brings in a full accented chord resolving and ending on the 1st beat of the next measure; it occurs again on the second, ends on the third, starts on the fourth, and ends in a double accent on the first beat of measure twelve. These accented chords demand specially ac- cented beats by the leader. 128 PUBLIC SCHOOL ORCHESTRAS AND BANDS Overture Raymond, by Ambroise Thomas, pub- lished by Walter Jacobs, Boston, Mass., is a good study for a high-school orchestra. The length of the movements and the frequent difficult passages that need extra drill, demand the use of cue letters. After the first eight bars, Allegro moderate, occurs a two-bar rest which is rather unusual. However, the time for these two silent measures must be indicated by a small, yet visible, beat. The same sort of a phrase occurs again, followed by two bars of rest. Count measures from the beginning. Place A over bar twenty-one, B over bar forty- five. Andantino (next movement) . Count measures from the double bar. Place C over bar twenty -seven, D over thirty- eight, E over sixty -one. It will be found advisable to beat this entire movement as f instead of , especially with amateurs. Allegretto con moto place F over twenty-one, G over thirty -seven, H over sixty -five, / over eighty-one, J over ninety-six, then use Meno mosso. Place K over the twenty-seventh measure from the full measure marked Meno mosso. Piu mosso (next movement) . Place L over twenty -seventh measure (from Piu mosso). To transfer these cue letters to the parts, mark in the reference copy (first violin), the number of measures between each letter. The next letter will always be placed over the next bar. In counting for the next letter, include the cue letter measure as the first measure of the next group; i.e. from beginning, twenty meas- CONDUCTING 129 ures to A; twenty -four horn A to B; twenty -four to Andante; twenty-six from Andante to C; eleven from C to Z), and so on to the end. This makes it easy to count and transfer the cue letters accurately. The horns are usually the hardest part to mark as they frequently have many measures of rest. Pique Dame Overture VON SUPPE Published by Walter Jacobs, Boston, Mass. Try inscribing the cue letters as indicated. Moderato 26 to A. Allegretto confuoco 50 to B 47 to C 16 to D 28 to E. Andantino con moto Allegro SO to F 54 to G. To count for C, begin with the fifty-first measure as the first of the forty-seventh group- placing C over the forty-eighth measure, etc. Two examples are afforded in this piece: (1) In the first measure, beat the two silent beats of the half-rest which really act as two cue-beats to start on the third; (2) the Presto (last eight bars) beat one dow r n-beat to each measure. With the fourth bar begins a hold, ending in the fifth measure with two short chords. To conduct it well, just remember that you have five measures or five down beats and count your beats as In the last measure, make two quick beats with the hand well up in the air, as if you were pounding on a door (Bang! Bang!} 130 PUBLIC SCHOOL ORCHESTRAS AXD BANDS These suggestions may serve to assist the teacher in studying (1) the mechanical movements of conducting, (2) in finding suitable places for repeated drills of difficult passages, (3) in placing cue letters, and (4) in illustrating the solution of a few problems that demand special treatment. (See Essentials in Conducting., by Karl W. Gehr- kens. Oliver Ditson Company). SUGGESTIONS ABOUT REHEARSALS The symphony orchestra conductors are teachers of the first rank. They know their subject thor- oughly and are able to impart their knowledge to others. Moreover, they are able to inspire the players under their command, to give their best at all times. However, if a conductor, with all the other virtuoso qualifications which most of them possess, has not the rigid drive of a drill master, his usefulness is limited. To know what to re- hearse, where to locate the fault, how to correct it, to drill until the desired result is obtained, these qualities make the good conductor. They are the essentials, then, that one must cultivate if he would excel in this great art. If one has had no orchestral experience, it is advisable to attend the rehearsals of some good orchestra and study the methods of the conductor. Drilling amateur organizations such as exist in schools is more difficult than working with pro- fessionals, for the performers are not as yet masters of the instruments. So the successful teacher of amateurs is handicapped if he has not some technical knowledge of all the instruments. To those, then, who have not this knowledge, a few other sugges- tions may be helpful. CONDUCTING 131 Study carefully the hints given in the chapter on Tuning. Study separately all the parts of the composi- tion to be played before they are distributed to the players. Mark on your conductor's part, in small notes, those passages that may need special drill and with which you should be familiar without having to refer to the player's part. (Note suggestions made in Chapter Sixteen). Learn to perfect the secondary parts, and do not give all your attention to the first violins. Rehearse sections. Drill all the strings on a difficult passage, then take all the brass, and then the wood-wind, showing good judgment, however, by not allowing any section to remain silent too long. Let the melody parts remain silent and rehearse the second violins, horns and drums alone, always using the piano part, which helps to weld the playing. Take these same instruments through again, adding cornets, trombone, bass, and clari- nets. When secondary or accompaniment parts are well played, the entire performance is greatly improved. Even if the melody parts are well played, and the accompaniment parts are indis- tinct, ragged and uncertain, the effect is far from pleasing, but if the accompaniment parts and the full harmonic structure of the composition are distinct, defined, and well played, even an inferior performance of the melody parts is not wholly annoying. The importance of the rehearsals depends upon the amount of improvement that is made in playing the secondary or accompaniment parts, and the development of the entire ensemble. 132 PUBLIC SCHOOL ORCHESTRAS AND BANDS Always endeavor, at each rehearsal, to bring one composition up to the standard of finished work. Use these finished pieces to begin and end the rehearsal. Never allow the careless playing of any composition, for in proportion to the standard of performance which you demand, just so will the players respond. In public performance, the players should al- ways be given the same tempos, and the same cues, that were found necessary to be given at rehearsal. Do not try to show off as a conductor, but give your entire attention to helping the players to come in on time, to realize that you know when and what they are to play and how it should be played, and that as a conductor you are a help instead of a hindrance. This attitude will stimulate the hearty cooperation of all the players. If you attempt, especially with amateurs, to do in public something different from that which you have done at rehear- sals, the poor performance will be due to the poor conducting instead of poor playing. A good con- ductor can make amateurs do wonders and a poor conductor can spoil the performance of even the famous Boston Symphony Orchestra. How To DRILL (1) Have all the music that is to be rehearsed placed in a large folding envelope for Orchestra, No. 4556-C-Yawmanote Filing Pockets; 15x9j^x 1% expansion; for Band, No. 4033-C-Yawmanote Filing Pockets, 11^x9^x11 1-3 expansion, la- beled on the outside with the name of the instru- ment, as: CONDUCTING 133 Solo Cornet 1st Cornet. Baritone Treble Clef (T. C.) Tuba. E-flat Clarinet-Baritone Bass Clef (B. C.) (2) Appoint a librarian to distribute these en- velopes, placing them on the racks with the label visible, so that the players know where to find their respective places. (3) Have the racks and chairs placed according to the seating plans suggested. Two players are supposed to read from one part, so only one rack is necessary for every two players. All of these preparations should be completed and ready before the players gather. (4) A quick way to take the attendance is to place a sheet of ruled foolscap paper, clipped to a heavy cardboard, with a pencil attached to a long string, and let the members sign up as they come into the rehearsal room. This eliminates wasted time consumed in calling the roll, and the at- tendance can later be transferred to the permanent record. (5) Tune up one instrument at a time. Do this carefully, but quickly. Listen all the time during the rehearsal for bad intonation and learn to detect the particular instrument that is flat or too sharp. (6) Begin the rehearsal with some easy number, a march or some familiar piece. Always end the rehearsal with some selection which the group can play well. Never start a rehearsal with a selection that is new to all. A poor beginning and a poor ending of a rehearsal are very apt to have a dis- heartening effect on the players. Sandwich the new numbers and the real grinding drill work of the rehearsal period between the two layers of familiar pieces. 134 PUBLIC SCHOOL ORCHESTRAS AND BAXDS (7) Acquire speed in knowing what to attack and where to focus the energy of your drill. (8) Listen for bad intonation and keep the in- struments in good tune as they warm up and get sharp as the rehearsal progresses. (9) Select the numbers to be rehearsed with the idea of having some selections ready for a public performance. A symphony orchestra or a concert band would soon tire of rehearsals, if they had no prospect of performing the selections for an audi- ence. A band that makes frequent public appear- ance rarely lacks interest in the rehearsals. (10) Always have four or five marches well rehearsed, an overture that can be performed with finish, style and dash, and at least one patriotic selection of familiar tunes. (11) The parts of an overture that call into play the full band are apt to be more frequently rehearsed than the more quiet parts which employ solo effects. The fewer instruments playing, the more perfect must be the intonation. These quiet passages show off the band to better ad- vantages than the noisy parts, so drill carefully to perfect these movements. (12) When rehearsing a composition, endeavor to bring each separate movement up to a degree of finish that will convey to the players the tempo and style of performance that you desire. (13) Always play a new composition through in its entirety, that the players may get some general idea of the selection. As the last move- ment is usually the climax and frequently con- tains the most difficult parts, learn the last move- ment first. CONDUCTIXG 135 (14) Rehearse each movement separately, pick- ing out the difficult measures and drilling on them until the rhythm, tone, intonation, and expression are thoroughly understood by the performers. Endeavor to get a good rendition of each move- ment as you rehearse it, then take another move- ment, and drill on that. Make your drill work constructive, having in view two objects, either perfection of technical detail or an ensemble per- formance of the composition that will exemplify the ideals of perfection toward which you have been working. Rehearsing, without a definite pur- pose, is like walking without a destination in view. You never arrive. (15) "Finished work" consists of those selec- tions that have been frequently played and suf- ficiently well rehearsed to be presented at a public performance. After all the different movements have been worked out separately, the entire com- position must be played through to secure con- tinuity of performance, contrasts of effects, tonal balance, rhythmic poise, accurate intonation, dy- namic moderation and artistic presentation. CHAPTER XII SUGGESTIONS ABOUT TUNING The tuning of bands and orchestras in the elementary and high schools presents a serious problem to the average amateur teacher, par- ticularly if this teacher is not a performer upon some other instrument than the piano. It is better to use the piano for tuning than to rely upon a pitch pipe or some other instrument. International pitch on the piano is A-435. The majority of professional orchestras tune to about A-440. All pianos that are to be used with orchestras should be tuned to the pitch of A-435. VIOLINS Sound A on the piano. The strings of the violin are first, E; second, A; third, D\ fourth, G. Tune the A string, then the E, then D and then G, plucking the strings until they are up to the pitch; use the bow to finish the tuning. When tuning a violin, the teacher should inspect the bridge to see that it is straight and that the sound-post is in position. The violin is tuned in fifths. While seemingly it is easy to tune a violin, it requires considerable practice to tune it correctly and quickly. The best violin string to use for pupils of the orchestras in the elementary schools is a steel E with a patent tuner. (In illustration No. 1, page 38 is shown the steel E and tuner). The gut strings break so easily that they are both expensive and troublesome. The silk strings are less ex- 136 SUGGESTIONS ABOUT TUNING 137 pensive, not as durable, but give satisfactory service. Inasmuch as many of the symphony orchestra players use the steel E strings not only for concert but for solo work as well, there can be little objection raised to the tone which is pro- duced from a steel string as being unmusical. They are much easier to tune if attached with a patent tuner which costs but thirty -five cents; otherwise, they are difficult to adjust accurately, as the least tension raises or lowers the pitch very perceptibly. When pegs are slippery and will not hold in the scroll, apply chalk to the points of contact. This will help materially, at the immediate mo- ment, in making a peg hold tight. However, if the condition is chronic, it is better to have a repairer fit a new peg. If, by any chance, the sound-post should be out of place or down, do not attempt to replace it yourself, but see that the violin is taken to a pro- fessional repairer, for the replacing of a soundpost is a difficult feat to perform. When replacing broken strings, lock the string in the tail piece, either by making a double knot, or by a loop through which the string may be slipped. Carry it over the bridge up to the peg. Insert the string in the peg-hole, turn the peg from you until the end is easily caught, pull through until the slack is taken out of the string. In order to make a lock on the string, which will prevent its slipping, wrap the loose end around the string over to the right and under, holding it in such a position, until the tension is drawn on the string by turning the peg. If a double length E string is used always cut the string in two, using a single length instead of 138 PUBLIC SCHOOL ORCHESTRAS AND BANDS allowing the unused portion of the string to be wrapped around the scroll. It is always advis- able for the teacher to carry a few steel E strings, the ones that break the most frequently. It is advisable that all violins be equipped with chin rests. (Becker is good, and made in America) . VIOLA AND 'CELLO The viola and 'cello are also tuned in fifths. The names of the strings, in order are first, A; second, D; third, G', fourth, C. STRING BASS The string bass is tuned in fourths instead of fifths, the first string is G; the second, D; the third, A; and the fourth, E. It is better, by far, to tune to the pitch of the piano by sounding the various tones, than to attempt to tune from a pitch of A, as professionals do. The string section is really the easiest sec- tion in the entire orchestra to get in tune, and, incidentally, the first section to get out of tune. FLUTES A good Boehm flute is expensive. The old Meyer System flutes, mostly high pitch, are numerous in second hand stores. To lower high pitch instruments it is necessary to pull out the barrel joint at least one-half to three- fourths of an inch. (Illustration No. 5, left). On the piano, sound second space A, then try octave A (first line above the staff), and also test the pitch of D (third space above the' staff). High pitch flutes and clarinets are the bug-bear of the instrumental teacher's existence, as they are cheap, and the parents usually purchase inex- pensive instruments until the pupil has proved that it is worth while to spend money on a better one. SUGGESTION'S ABOUT TUM.\<, 139 It is almost impossible to get these high pitch in- struments in good tune. CLARINETS Tne B . flat Clarinet can be tuned two different ways. Follow the previous suggestions. Sound A on the piano and ask the player to sound B -natural on his clarinet. The next alternative is to sound the B-flat on the piano and ask the player to sound C. The latter method is to be recommended. If the pitch is flat, the joints must be crowded together, if the pitch is sharp, the mouth-piece and barrel joint can be pulled out about one-eighth of an inch. When- ever the mouth-piece or barrel joint is pulled out very much, it nearly always affects the natural pitch of the instrument and certain tones will still be out of tune. If tuning an A Clarinet sound A on the piano and ask the player to sound C. Always test these tones by sounding the octave. CORNET The cornet, like the clarinet, can be tuned in two different ways. Sound A on the piano and have the player sound B-naiural (the second valve down), or sound B-Hat on the piano and ask the player to sound C. If the in- strument is flat, shorten the length of the tube by pushing in the tuning slide, if sharp, pull out the tuning slide and lengthen the tubing, thus raising or lowering, the pitch of the instrument. The tuning-slide is shown in Illustration No. 7. I-OHXS Horns are built in F. It is best to sound the F, fourth line bass clef and ask the player to sound C. Use the tuning-slide to alter the pitch. Horns in E-flat sound E-flat, and horns in D sound D. Always ask player to sound C. 140 PUBLIC SCHOOL ORCHESTRAS AND BANDS TROMBONES The trombone is built in B-flat. Sound B-flat, second line, and first added space, bass clef. Have the player sound the open tone of B-flat as the tone, in this case, sounded by the player is the actual and not transposed pitch. If player reads from treble part, sound B-flat and have the player sound C. TUBA The tuba is built in E-flat and is a non- transposed instrument. Sound low E-flat on the piano, first line below the staff bass clef, then have the player sound the pitch of the o^>en tone. BASSOON AND OBOE The oboe and the bassoon are difficult instruments to tune because the amateur can hardly humor the reed enough to bring it up to pitch. Tune the oboe to the A of the piano and if too sharp, pull the reed out a little, if too flat push the reed in, or cut off some of the cork end. To flatten bassoon do not disturb the reed, but pull out the metal crook. A new reed needs adjusting. Some are too soft and others too stiff. How TO TUNE BAND INSTRUMENTS It is necessary to warm the instruments by blowing through them. Stuff a handkerchief into the bell-end of the clarinet, force the air through the finger-holes. Reed and brass instruments are nearly always flat when cold and become sharp when warmed up by playing. Strings go flat by the warmth and moisture of the hand and must be re-tuned. SUGGESTIONS ABOUT TUNING 141 Test out the B-flat clarinets asking each one in turn to sound C, third space treble, and take the lowest pitched clarinet as the tuner. Let the player sound his C and tune each B-flat clarinet separately to this pitch, each player sounding C. Tune one at a time. Always hear the tuner first, then the instrument to be tuned afterwards. Do not let them sound together, as it is difficult to judge whether the pitch heard is above or below the pitch desired. As you have taken the lowest pitched tone, all the other clarinets should be a little sharp of the desired pitch. Pull the mouth-piece out a little, not to exceed an eighth of an inch. To this C of the clarinet, tune all of the B-flat cornets separately, each sounding its C. Test the natural or fundamental open tones C, G, C. Pull the tuning-slide out about a quarter of an inch or more, if the pitch is too sharp. 142 PUBLIC SCHOOL ORCHESTRAS AND BANDS TUNING CHART FOR BAND UNISON FOR TREBLE INSTRUMENTS 1. (Clarinet in B!> 1 Cornet in B!> I j Soprano Saxo- i ( phone in B!> 2. E!> Clarinet 3 Dt Piccolo 4. Flute in C Sound Sound Sound Sound 5. Clarinet in B!> or Cornet im B!> FOR BASS INSTRUMENTS fi JE!> Altos i I Et Alto Saxophone' 7. E\> Baritone Saxophone ( B!> Tenor Saxophone ) 8. < B\> Baritone (Treble Clef) > ( Bl Trombone (Treble Clef)) 9. B\> Baritone (Bass Clef) ) B!> Trombone (Bass Clef)j Bassoon El> Tuba ) Sound Sound Sound 3 Sound Sound V' Sound V' CHAPTER XIII SEATING PLANS FOR ORCHESTRAS AND BANDS The diagrams that follow give various plans for seating groups of instrumentalists. As the number of performers vary, as well as the amount of space at the conductor's disposal, the plans outlined are given only as suggestions. In the seating plans for orchestra, as well as those for band that follow, the number of the performers indicated in each diagram suggests the proper proportion for an effective balance of parts. The mark X indicates the position of the music stands. The piano player should always be able to see the conductor. ORCHESTRA OF SIX PARTS AND PIANO (Ten performers) The next grouping for a small orchestra, while of but six different instruments besides the piano uses the flute in place of the clarinet and the trombone in place of the second cornet. 143 144 PUBLIC SCHOOL ORCHESTRAS AND BANDS ORCHESTRA OF SIX PARTS AND PIANO (Ten performers) The third grouping contains all the instruments in the first two with the addition of string bass and second violin, naturally a more effective combina- tion. ORCHESTRA OF TEX PARTS AND PIANO (Nineteen performers) By adding two horns, two violas and a second clarinet, and at the same time increasing the body of strings in due proportion a still more effective orchestra is indicated in No. 4. SEATIXG OF ORCHESTRAS AND BANDS 145 ORCHESTRA OF FOURTEEN PARTS AND PIANO (Thirty performers) The addition of the oboe and bassoon with a further strengthening of the string section gives us what is termed the "Full Orchestra." FULL ORCHESTRA AND PIANO (Forty-five performers) The richness of the complete "Symphony Or- chestra" is due to its full complement of players in both the wood wind and brass choirs properly balanced by an ample body of string players, and the 146 PUBLIC SCHOOL ORCHESTRAS AND BANDS addition of the harp. In an orchestra of a hundred players about three-quarters are in the string choir. In building or grouping any orchestra this general proportion should be kept in mind lest the wind section, particularly the brass, over- balance the strings and the group become a band rather than an orchestra. /0\ r ? OQO QxO Tympani Drums O X O X O X O X Horns X X X X X O X Bassoons Clarinets O X O X Oboes g- g- g" g" g* g o o o o O O x O O O X x o x o o o o 16 First Violins H Second Ho/iVis SYMPHONY ORCHESTRA (Seventy-nine performers) The governing factor in the grouping and seat- ing of an orchestra is the string section, because of its dominant importance, while in a band the burden of the performance rests on the clarinets and cornets. The diagrams that follow are in- tended to suggest not only the proper seating of bands of various sizes, but the proper balance of instruments. SEATING OF ORCHESTIIAS l.VD BANDS 147 Tuba] x TVoTrj. Drums ' x L Altos 1$ |* I So/o I x C/armefs x Con. .SMALL BAND (Sixteen performers) 2^1 I So/o| *|flgr.. | \~3ti x x [~So/o | x[ /at [ I 22^ Corn^s By adding oboe, bassoon, piccolo, basses, third and fourth altos and second and third trombones, at the same time adding to the clarinets and cor- nets a large and effective though not complete band is obtained. Jg*| [g*| [ _, x . Basses x \3\ \0^> [Sofo]x ' Clarinets " Altos \B.D.\ \Sn. Drums | So/o | \2^\ \9\ I 1 X | 1 X | ' Cornets- | Bar. | I Bar. I LARGE BAND (Thirty-four performers) To bring a large band like that just indicated up to the requirements of a "Full Military Band" a quartet of saxophones and aBB-flat bass are needed, 148 PUBLIC SCHOOL ORCHESTRAS AND BANDS besides strengthening the other parts. Diagram No. 9 shows the seating plan for a band of this type. FULL BAND (Forty-six performers) CHAPTER XIV How TO ASSEMBLE AN ORCHESTRA SCORE 1 Lay out all the parts on a table in the fol- lowing order: First violin, second violin, viola, 'cello, bass, flute, first clarinet, second clarinet, first cornet, second cornet, horns, trombone, drums, oboe and bassoon. 2 Inspect each part separately and carefully. 3 Choose those parts having the largest full measures of either melody or harmonic parts. 4 Before transcribing the notes, it is advisable to make a blank scaffolding of the exact size of the measures. 5 Use full size sixteen stave manuscript paper for the score. 6 In order to make certain how many pages will be needed, make a diagram of the actual number of measures in the entire composition. 7 Take a piece of foolscap paper the exact width of the ruled lines of the score paper. 8 Use the first violin part as the guide for the width of the measures. Make a mark on the diagram paper about ^ of an inch long corre- sponding to the upright bars on the printed page, like the marks on a ruler, which will give you the exact width of each measure. Always compare the measure-spaces with the different parts already selected because of their full measures, and if any measure is found to be too small to contain all the 149 150 PUBLIC SCHOOL ORCHESTRAS AND BANDS printed notes, increase the size of that measure to the size of the largest measure, and change the rest of the measures accordingly. Remember that a printed part always occupies less space than a hand-copied or manuscript part; so instead of crowding, let the measure-space be ample. 9 Having made a diagram of enough measures to fill the first page of the score paper, put a check mark over the last bar included on the first pages, so that you will know where to start for the second page, and mark page one on the music part and also on the diagram. 10 Fold this diagram under about one-fourth of an inch and a new edge is ready to be marked for page two. 11 While in orchestra parts the signature is usually omitted it is better to use it at the begin- ning of each page of the score, so always allow space for the signature in marking the width of the first measure on each new page. 12 Having allowed space for the signature, begin at the check mark as the starting point for the first measure of the second page. 13 When enough measures have been dia- grammed to fill the width of the score paper, make another check mark to indicate where you stopped, mark it page two (2) on the music-part and also on the diagram-part. 14 Fold over about one-fourth of an inch and proceed page after page until you have made complete diagram of the exact size and number of all the measures in the entire composition. Be sure to indicate the first and second endings by lines and double bars exactly like the printed score, not forgetting the space for the signatures. ASSEMBLING ,1.Y ORCHESTRA SCORE 151 15 When the size of all the measures has been made, take as many sheets of score paper as will be needed, determined by the number of pages marked in the diagram sheet allowing four pages to each sheet of score paper. For short compo- sitions like marches three sheets or twelve pages are usually more than ample. 16 Take w r hite thread and a needle and make about three large stitches in the crease of these sheets, tying them together and binding them like a book. Number each page in the upper right hand corner. 17 Unfold the diagram sheet and transcribe on the top and bottom of the first page of score paper the diagram of the size of the measure of the first page. Take a long ruler and draw the bar lines the full length of the page. Take the first violin part and see if the bars correspond and the number of measures is correct up to the check mark which was made for this proof test. If the diagram is correct, proceed to rule all the pages as described. 18 When all the bars are ruled, write in the names of the instruments in the left hand margin, beginning at the top lines as follows: Flute Oboe First Clarinet Second Clarinet Bassoons First and Second Horns First Cornet Second Cornet Trombone 152 PUBLIC SCHOOL ORCHESTRAS A\D BANDS Drums, tympani First Violin Second Violin Viola Violoncello Bass Do not write the piano or organ part; leave the last two lines vacant. In order to assist in lo- cating the various instruments, write in the name of the instrument on the left hand margin of each page, if not already printed on the score paper. 19 When all the instructions have been com- pleted, transcribe the first violin part and if the diagramming has been done correctly, the parts will come out equal. Next copy the first clarinet, then first cornet, trombone, 'cello, flute, and re- maining parts, finishing with the drum part. Copy only large notes as the small cue notes are duplicated in large notes by some other instrument. Where an instrument has a measure rest, put a whole rest ( ) below the third line for each measure. Where the same melody is played by a number of instruments do not recopy all the melody, but mark the part Colle Violin (same as violin) or what ever part contains the melody and draw a wavy line through as many measures as the melody extends. Score paper, printed with names and order of the instruments, can be pur- chased from the publishers of this book. 20 In copying the parts, keep the alignment of notes up and down the page. This will materially assist the eye in reading and the ear in hearing the tones that are to sound together, by the hori- zontal appearance of notes being written under ASSEMBLING AN ORCHESTRA SCORK 153 each other for each beat of the measure. The architectural design of a score must be as orderly and as well spaced as a drawing. 21 Purchase a miniature score of any of the Beethoven Symphonies and observe the spacing and alignment of the notes. For the amateur w r ho has had no study of orchestration, this affords an excellent conception of the different parts, and copying them gives one an intimate acquaintance with the part each instrument is to play. 22 Practise trying to hear how it sounds together. Train the eye to follow and read the entire page at the same time. 23 Compare the score with the piano part and see how the expanded score and the condensed piano part agree. 24 Apply the transposing exercises given in Chapter XV to the actual score now before you. It requires considerable time and energy to assemble a score, and while it is not necessary to make a score for every piece your orchestra is play- ing, it is worth while to make two or three scores for the practice of assembling the parts, and the insight that is thus gained in the closer acquaint- ance with and knowledge of each separate part for each individual instrument. CHAPTER XV TRANSPOSITION The transposing instruments are the clarinets, cornets and horns. The alto clef for viola is also confusing to students whose fundamental train- ing has been on the piano. The 'cello, trombone and bassoon parts are sometimes written in the tenor clef in difficult and classical music used by professionals. While it is not frequently met with in selections used by amateurs and school players, it is advisable to have some acquaintance with this clef, in order to retranspose the parts, if necessary. A few exercises are given to assist the student in becoming familiar with the principles of orchestral transposition. After completing these exercises, take any orchestra selection, apply the rules given to the material to be used, and study many differ- ent selections to master the difficulties. This is by no means a hopeless undertaking for the amateur and it requires only a great deal of practice to secure speed and assurance in thinking the correct notation for a transposing instrument from a given pitch or from a given notation, to know the resultant sound. The problem in brief is (1) how will the music as written sound? (2) If it is to sound in unison with the piano, how must it be written to secure the required tone by the instrument? 154 TRANSPOSITION* 155 Cornets and clarinets are built in two keys, B-flat and A. The composer or arranger always designates which is to be used, governed by the key in which the composition is written. Most band music is written or arranged in flat keys so the B-flat cornet and clarinet are used, In orchestra music, the sharp keys are more fre- quently used, demanding the A clarinet and the cornet in A (with a slide or quick change). Instruments take their pitch name from the key in which they are built. If you play the C scale on the B-flat clarinet or cornet it will correspond in pitch to the B-flat major scale on the piano, and if you play the C scale on the A clarinet or on the cornet changed to A, it will correspond to the A major scale on the piano. If you play the C scale on the horn in F, it will be the same pitch as the F major scale on the pi- ano. With the horn in E-flat, play the C scale and it will be the same pitch as the E-flat major scale on the piano. The printed music always states which instru- ment is to be used. Long established custom has decreed that the composer should transpose the parts to be played by the transposing instrument and the conductor must transpose it back to the original key in order to play it on the piano. The B-flat clarinet or cornet, being built in B-flat, sounds the scale of B-flat of the piano when the C scale is played. The notation or printed music which represents this pitch, is written 156 PUBLIC SCHOOL ORCHESTRAS AND BANDS as the scale of C. The actual sound, then, is one tone lower than the printed note. If it is written, how will it sound? One tone lower. RULE I- For all B-flat treble instruments the sound heard is one tone lower than the printed note. The tones of the clarinet in B-flat sound one whole tone lower than they are notated ; and those of the clarinet in A sound a minor third (three half- tones) lower than notated. B-FLAT CLARINET OR CORNET The printed music will sound, when played, one tone lower than as printed. Sounds ft Written t t fl Sounds Work out the exercises given in Group I, page 158. Take a hymnal and write all the soprano and alto parts one tone lower, or the second reader of some school music course and write all the songs and exercises one tone lower. If the signature of the part is in the key of D and is played as written by a B-flat instrument, it will sound one tone lower or in C; if E-ftat it will sound in D-flat; if F in E-flat; if G inF. Write using signature and without signature, indicating exact pitch with sharps and flats. TRANSPOSITION 157 RULE II Write the part to be played by all B-flat treble instruments one tone higher than the actual sound. If the sound desired is: Sounds It must be written one tone higher Written If it sounds: how must it be written? One tone higher. AY rite out exercises in Group II, page 158. If the original key is F, write the part for a B-flat instrument in key G. If the original key is E-flat, write the part for a B-flat instrument in key F. If the original key is A-flat, write the part for a B-flat instrument in key B-flat. If the original key is B-flat, write the part for a B-flat instrument in key C. If the original key is C, write the part for a B-flat instrument in key D. When the clarinet is built in A and the cornet is changed to A, the tones of the C major scale correspond to the tones of the A major scale on the piano. The notation which represents this pitch is written as the scale of C. The actual sound then is a minor third, one step and a half lower than the printed note. 158 PUBLIC SCHOOL ORCHESTRAS AND BANDS GROUP I CORNETS OR CLARINETS IN Bt Written Sounds? r rr r f= r GROUP II CORNET OR CLARINET IN BV Sounds Written? TRANSPOSITION 159 RtJLE III- For all treble instruments in A the sound heard is a minor third (one step and a half) lower than the printed note. Printed for instruments in A. Written i Will sound a minor third lower. Sounds Written Write out the exercises in Group III, page 100. If written for A clarinet or cornet, how will it sound? a minor third or (one step and a half) lower. Apply this rule by again using the hymnal or song book for exercise material. RULE IV Write the part to be played by all treble A in- struments a minor third (one step and a half) higher than the actual sound. If the sound desired is: Sounds It must be written a minor third higher for all instruments in A. Written Q written p ^ **r J rm Sounds * Written J > T & The signature of the original key will become the signature of the key a minor third higher. 160 PUBLIC SCHOOL ORCHESTRAS AND BANDS GROUP III CORNETS OR CLARINETS IN A Written Sounds? TCHA;"OWSKY GROUP IV CORNETS OR CLARINETS IN A Sounds Written? J3J3.JJlJ TCHAIKOWSKY Symphony, N25 i 3 g> H U 73 JJ J ^ I ' ^ j J TCHAIKOWSKY Symphony, N26 4^ TRANSPOSITI(7.\ 161 \\ rite out the exercises in Group IV, page 160. If it sounds, how written? A minor third higher. Use hymnal or song book again. Take each exercise as the actual sound desired, and write the notation for instrument in A one step and a half higher. Required notation to produce unisons by the Clarinet in A, in B-flat and Piano. EXAMPLE A Written for Clarinet in A Written for Clarinet in B!> Sounds on Piano Required notation to produce unisons by Cornets in A. in B-flat and Piano. EXAMPLE B Written for Cornets or Trumpets in B!> r rr '.r Written for Cornets or Trumpets in A Sounds on Piano rrr 162 PUBLIC SCHOOL ORCHESTRAS AND BANDS The alto clef is used for viola. Middle C on the piano takes a new position on the staff: and the lines and spaces read: Middle The object of the transposing clefs is merely to avoid leger lines in parts which would otherwise run much below or above the staff. (fo I I I I I I I I I II is written I'fi 1 f ^ J J I f J P y '.J-jjj 'J. 4J- Sharps and flats of the signature retain the same order, but have a new location and are sometimes inverted. Write exercises in Group V, page 163. Get the Salon Piece for orchestra entitled A Leaflet by Gruenwald, published by Oliver Dit- son Company, and transcribe the viola part to and on the second violin part, remembering that when the alto or viola clef is used the third line represents the pitch of middle C. When the part is written where it sounds, it will be quite low requiring many leger lines. Place the notes a little to the right of the printed notes, which will afford opportunity for comparison. Transfer or transcribe two or three viola parts to and on the second violin parts for prac- tice. Also play the part separately on the piano to acquire facility in reading in the new clef. The tenor clef places middle C on the fourth line. Lines and spaces read: * *J Middle -6- l !,**- ^ 1: E t. D p II TRANSPOSITION 163 Actual Pitch New location on Staff is written jiff J f GROUP V Sounds Rewrite for Viola v using Alto Clef Written? GROUP VI Sounds Rewrite, using Tenor Clef Written? * Kewrue, using ic ir v,iei a^anr^ 164 PUBLIC SCHOOL ORCHESTRAS AND BANDS Notation showing unisons for Tenor, Alto, Bass and Treble or G Clefs. EXAMPLE C Tenor Clef AltctClef Bass or F Clef i .Middle C Js?* 31 ^ t \ Treble (fa i or G Clef J ^N JJJ * Either clef may be used for alto or tenor. r> IUI H MiddleC: Middle C Alto Tenor Tenor Rewrite Group VI, page 163, using the tenor clef middle C on fourth line. Horn parts always cause confusion and require study and practice to acquire a ready and sure acquaintance with the notation and pitch. Ilorns built in F sound the F scale when the C scale is written. ); o J>0_ The actual sound, then, is a perfect fifth lower than the printed note. TRANSPOSITIOX 165 Printed music will sound a perfect fifth lower for horns in F. Written A Written Written Written Sounds RULE V- For horns in F, the sound heard is a perfect fifth lower than the printed note. "With regard to the French horns; it is not customary to indicate their key by the usual key- signature at the beginning of each staff, but in- stead, to use accidentals for each note, where re- quired, throughout the entire composition. An exception to this rule may be made when the composition is very simple in its modulations, as for example, in the ordinary military march and two-step." (From Instrumentation by Gaston Borch). Write out exercises in Group VII, page 166. If written, what is the actual sound? A perfect fifth lower. 166 PUBLIC SCHOOL ORCHESTRAS AND BANDS GROUP VH HORNS IN F Written Sounds? jit if i j N j Hlfi F J .jW- " GROUP Yin HORNS IN F Sounds Written? f ?|J J Jj"J J L>- "r if^-^r b r TRANSPOSITION 167 RULE VI- Write the part to be played by the horns in F, a perfect fifth higher than the actual sound. Write out the exercises in Group VIII, page 166. If it sounds, how must it be written? A perfect fifth higher. For practice, take the alto and tenor parts of hymn tunes and transpose them a perfect fifth higher. RULE VII- Horns in E-flat are more generally used in band music, but as these instruments are more fre- quently found in the schools, the horn parts are often written in E-flat instead of F. For horns in E-flat, the sound heard is a major sixth lower than the printed note. Written A Sounds Written If written for horns in E-flat, what is the actual sound? A major sixth lower. Write out the exercises in Group IX, page 168. Where a signature is used for the written part, take the signature of the key a major sixth lover. Written in the key of C sounds a major sixth lower. Key of E-flat. 168 PUBLIC SCHOOL ORCHESTRAS AND BANDS Written in the key of D sounds a major sixth lower. Key of F. Written in the key of E-flat sounds a major sixth lower. Key of G-flat. Written in the key of F sounds a major sixth lower. Key of A-flat. RULE VIII For all horns in E-flat, write the part to be played a major sixth higher than the actual sound. If it sounds, how must it be written? A major sixth higher. Jr g> Written GROUP DC HORNS IN Sounds? j ^J. l*nJ: N'l *F4 | r r ^ TRANSPOSITION CROUP X HORNS IN E!> 169 Sounds Write exercises in Group X. Write the parts in the treble clef. If the horn parts are written in E-flat and the instruments available are horns in F, transpose the parts. Horns in E-flat sound a major sixth lower, horns in F sound a perfect fifth lower than written, a difference of one whole step. Make a manuscript copy, transposing the entire horn part one whole step lower. Horns in El, -ffi $ f" JlJ J I J J fl iV * i ; I ' r I Horns in F 170 PUBLIC SCHOOL ORCHESTRAS AND BANDS If the horn parts are written in F and the in- struments available are horns in E-flat transpose the entire horn part one whole step higher. -T- Horn" in P /5L - a ^ ^. i i ~-^^^ -^^ i " t r ^ h 1 Yf ^r 4 Transpose a whole-step higher for Horns in El> (fo V^ Horn parts are sometimes printed in /), when the actual sound is a minor seventh lower than the printed note. The principle is the same as given in Rule V and VII, except that the transposition is still lower, a minor seventh. Write the note to be played a minor seventh higher than the actual sound. If the horns in D are to be transposed for horns in E-flat write in the entire part one half-step lower; for horns in F, a minor third, or one step and a half lower. The following examples, page 172, Groups XI and XII, will illustrate how the same passage writ- ten for horns in F (Example 1), for horns in E-flat (Example 2), for horns in D (Example 3) appears in notation as compared with the original actual sound on the piano (Example 4) . Applying the suggestions made in the foregoing paragraphs : (1) If the part is written for horn in E-flat and is to be transposed for horn in F w r rite it one TRANSPOSITION 171 whole-step lower, or the difference between a major sixth, and a perfect fifth (compare Example 2 with 1); for horn in D, a half-step higher (com- pare Example 2 with 3). (2) If the printed part is for horn in F and is to be transposed for horn in E-flat, write the entire part one w r hole-step higher. (Compare Example 1 with 2); for horn in D, a minor third higher (compare Example 1 with 3). (3) If the printed part is for horn in D to be transposed for horn in E-flat write it one half- step lower (compare Example 3 with 2) ; for horns in F write it a minor third or one step and a half lower. (Compare Example 3 with 1) and apply suggestions. Take the first four measures of Onward Christian Soldiers and w r rite the alto and tenor parts for horns in F, E-flat and D. Compare and apply the suggestions. In order to prove your transpositions, before submitting them to the player, find the horn parts in the piano accompaniment, and compare the actual sound with the new notation. GROUP XI Written for Horns in P Written for Horns in Et> Written for Horns in D 3 Original = Actual jiound on the Piano I* i a* "f F a i y Required notation to produce unisons by Horns in D, E-flat, .Fand Piano. GROUP XII Written for Horns in D Written for. Horns in El> T^ = =$=? ^ L 1 1 =FF 1 ,) > i f* -f-M =*=)= =tt=t=f P Written for Horns in P . . , . t i J = 1 : ^ ||l ^ j i j M *J 4 r r 1 r P ' 1= F : = : t -1 \ f t So ands on Piano f= |J. J^J |J r= m H=f=l f 172 CHAPTER XVI How TO MAKE A CONDUCTOR'S PART The first violin part is used as the conductor's part and most of the important melodies or secondary parts are cued or written in. Sometimes the piano part is to be preferred to the first violin. Study and compare in regular order all the parts with the first violin inserting with small notes in red ink such solo parts as should be cued in. Take the Pique Dame Overture by Suppe, as a study. The first violin part is excellently cued. The entrance of the horns and the drums is important. All the counter melodies and solo parts are indi- cated. The horns enter in the fourth measure. Write in the actual pitch. This will necessitate transposing the part a perfect fifth lower, or in- serting the pitch of A, second added line below the staff, as a whole note; in measure eight, C sfiarp first added line below the staff, and in measure nine, the horn part is already suggested. Only indicate the very important parts, at the most important places. It is necessary to cue in the drums in overtures or semi-classical music, in which they are not used so continuously as in marches. A few short-hand marks are suggested, which will serve to remind the leader when the drums enter and how long they play. (Use a red lead- pencil or red ink for all cue marks). 173 174 PUBLIC SCHOOL ORCHESTRAS AND BANDS (1) For a one beat accent a short heavy dash. (As in measure 9 and 23). _ _ _ (2) For a short phrase. (3) A long phrase mark, which indicates the exact entrance and end. (As in measure 53, 54, 55). 153 154 155 1234 1234 1 For a very long passage requiring continuous playing, indicate the beginning of the playing, by a down stroke and wavy line. Approaching the end of the passage, use the wavy line for two measures finishing in a down stroke at the end of the passage, thus eliminating the excessive marking of the music for so many measures. These three abbreviations will suffice to indi- cate the drum part in general. It is well not to obscure the conductor's part by too many marks. Use only enough to assist you in making your cues of service to the players. The full score used by the symphony conductor contains all the parts written out, which affords him opportunity of knowing what each instrument and each performer should play. The reading of such a score is very difficult. However, as the less difficult music performed by amateurs is not printed in score form, it is necessary either to make a score by assembling all the parts, or else, elim- inating this excessive labor, simply to indicate such additional cues as will assist the leader in directing the composition effectively. CHAPTER XVII SUMMARY Instrumental work in the public school system depends upon three essentials. First, it is ab- solutely necessary that the unusual instruments for the band and orchestra should be supplied to the children, either through concerts given by the individual schools to raise funds for securing them or through the Board of Education. Second, it is only when the work begins in the lower grades of the elementary schools and is carried through the high schools, that any continuity of instruction can be secured or any degree of skill on the part of the pupils be expected. Third, the only positive guarantee that the work in instrumental music will be well done or receive public recognition as being worth while, is that the instruction be given by special teachers of instrumental music, who are themselves able to play the string, brass, and reed instruments. The Oakland Board of Education has employed eight special teachers of instrumental music to instruct the pupils in the grade schools. It has also employed four teachers of instrumental music in the high schools. All these teachers not only play string, brass, and reed instruments, but are qualified to give instruction upon all the instru- ments of both band and orchestra. The three ideas mentioned before, those of beginning the work in the grade schools, of sup- plying the unusual instruments, and of employing 175 176 PUBLIC SCHOOL ORCHESTRAS AND BAXDX special teachers, have all been adopted in the Oakland Public Schools. To meet the second demand, the Board of Education supplied a num- ber of rarer instruments at an approximate cost of $5,000 and placed them in those schools already having the nucleus of a band or an orchestra. The instruments purchased by the Board, all of which are in use, are as follows : twenty -five basses, twelve altos, fourteen mellophones, a double quartet of saxophones, eight Fluegel horns, two trumpets, ten French horns, five oboes, five bassoons, one piccolo, ten string basses, bells and tympani, five 'cellos, three trombones, and eight violas. Requests are constantly being received for more of these instruments. The special teachers have at least five schools a week and teach from eight in the morning until four in the afternoon. They give individual les- sons of from fifteen to twenty minutes' duration to all the pupils they can meet. They average between twenty and twenty-five lessons a day, or one hundred and thirty lessons a week. The size of classes in which violin instruction is given rarely exceeds five pupils. While it is frequently argued that pupils can be taught violin in larger classes, it has been the practice of the Department of Music in the Oakland Schools to instruct a smaller number at a time, to feel assured that those pupils are receiving better training than they would in a larger class. Broadly speaking, one idea is dominant, that the pupil acquire a musical education. If, when he comes to selecting a vocation, music is his choice, then the training which he has received in the public schools will have been of such a character, that he will be able to continue his studies and SUMMARY 177 have nothing to undo on account of his previous instruction. For those pupils, then, who choose music as a vocation, the training will be complete, as far as they go. Those who enjoy music only as a matter of recreation will have received sufficient instruc- tion to instil in them an appreciation of the best that music offers, and above all, to enable them to participate actively in the performance of good music. CHAPTER XVIII LIST OF MUSIC FOR FULL BAND Grade 1. Easy, 2. Medium, 3. Difficult Addresses of Publishers are given on page 195. 1. EMIL ASCHER, New York The Ascher Band Book No. 1 3 2. C. L. BARNHOUSE, Oskaloosa, la. Educator Band Books 1 March Boy Scouts r 2 Director General 2 Colossus of Columbia 3 The Victor 1 3. JOHN CHURCH Co., Cincinnati Indian War Dance (good) Bellstedt 1 Overture Rhinefels 2 U. T. D. Band Books (good) 1 4. OLIVER DITSON COMPANY, Boston Antony and Cleopatra Gruenwald 3 Chorus of Romans Massenet 3 Dancer of Bagdad, The Langey 3 Gems from "Maritana" (good) Wallace 2 Grand Military Fantasia Rollinson 3 March Across the Hot Sands Cobb 3 Heart of America Rollinson 3 K D K A Fulton 3 Outlaw, The Bennet 3 178 LIST OF BAND MUSIC AND BOOKS 179 March Overseas Lowe 3 Soldiers of the Air Fulton 3 Miserere from "Trovatore" 2 Overture Asmodeus Rollinson 2 Cavalier Rollinson 2 Crusader, The Rollinson 3 Golden Magnet Bennet 2 Manrico Bennet 1 The Naiad Queen (requires good clarinet) Rollinson 3 Selection Chimes of Normandy Planquette 2 Daughter of the Regiment.... Donizetti 2 The Handy Band Book 3 5. FILLMORE Music HOUSE, Cincinnati Humoresque The Girl I left behind me 3 March American Soldier 2 Gettysburg 1 Old Black Joe 2 Old Oaken Bucket 2 Peace and prosperity 2 Rocked in the cradle 2 Show boy 2 Squealer 2 Three rings 1 Overture Arbitration 2 Garden of Eden 2 Gypsy Festival 2 Inspiration 2 The North Pole 2 Patrol The Night Riders 2 Polka Gaiety (Baritone solo good) 2 Merriment (for 3 Bb Clarinets) ^/Selection Bohemian Girl Balfe 2 Carmen Bizet 2 180 PUBLIC SCHOOL ORCHESTRAS AXD BANDS Selection Faust Gounod 2 Martha Flotow 2 Tannhauser (good) Wagner 2 Trovatore (little harder) Verdi 2 Serenade The Lovers 1 6. CARL FISCHER, New York Caprice Whistler and his Dog Pryor March Capt. Anderson Brockenshire 2 Pass in Review Gimpel 3 Semper Fidelis Sousa 3 The Thunderer Sousa 3 Operatic Reminiscences Seredy and Tocaben 2 Overture College Tobani 2 Light Cavalry (Simplified Ed.) Suppe 2 Selection Songs from the Old Folks Lake 3 Sextette Lucia Donizetti 2 7. WALTER JACOBS, Boston March A Frangesa Costa 1 General Mixup Allen 3 La Sorella Borel-Clerc 2 National Emblem Bagley 2 Overture Lustspiel Keler Bela 2 \^ Northern Lights Weidt 2 8. J. W. JENKINS & SONS, Kansas City, Mo. Advanced Band Book 2 Beginner's Band Book 1 Humoresque Wheeler 2 9. FRED JEWELL, Worthington, Ind. March Armistice Day Parade Wells 2 Imperial Council Jewell 2 Pageant of Progress Jewell 2 Sons of the Flag Rosenkrans 2 Trumpets of Victory Jewell 2 LIST OF fiAXI) .1/rx/r .LV/> HOOK* 181 Overture Cloth of Gold Jewell 2 Golden Sunset Barnard 2 Lone Star- Jewell 1 Scarlet Kind Jewell 1 10. J. W. PEPPER & SON, Philadelphia Hunting scene, The I Descriptive) Bucalossi 2 Idyll The Forge in the Forest Michaelis 3 Imperial Band Book Evans 1 Jennie Polka Cornet duet (good, easy) 1 March Across the Isthmus Evans 1 Americus Club Broun 2 Assemblyman, The Evans 1 Barnstormer, The Brown 2 Battleship North Dakota Mackie-Beyer 3 Dixie-Maryland Mackie-Beyer .2 Drummer boy, The Brown 2 Golden Gate, The Brown 2 Greater America Frock 1 Medley March (Old favorites) 1 National Cadets Brown 1 National Guard Mackie-Beyer 2 Republic, The Brown I Seventh Regiment Evans 2 Medley Gems from the Overtures (needs good flute) Mackie-Beyer 3 Sole Mio Di Capua 2 Reverie Devotion Mackie-Beyer 1 Love's Sweet Dream Mackie-Beyer 1 Moonlight in Venice Mackie-Beyer 1 Sylvan Echoes (easy and effective) 1 Toreador's song Carmen (solos for baritone) Bizet 2 11. JEROME H. REMICK & Co., Detroit March Sunny South Lampe Medley Daughters of Revolution Lampe 2 182 PUBLIC SCHOOL ORCHESTRAS AND BANDS LIST OF ORCHESTRA MUSIC (FOR FULL ORCHESTRA AND PIANO) 1. Easy 1st position. 2. Moderately difficult 3rd position. 3. Difficult 3rd position and above. Grade 1. Easy, 2. Medium, 3. Difficult Addresses of Publishers are given on page 195. 1. EMIL ASCHER, New York Pilgrim's Chorus from Tannhauser, in E[? Wagner 3 2. BOOSEY & Co., New York March Pomp and Circumstance Elgar 3 Selection Madam Butterfly (Arr. by Edgar Godfrey) Puccini 3 3. JOHN CHURCH Co., Cincinnati The Imperial Concert Collection (good) 2 4. OLIVER DITSON COMPANY, Boston Amateur Orchestra Folio 3 Arabian Nights Suite Gruenwald 2 At Dawning and The Heart of Her Cadnian 1 Ballet Music from "Faust" Gounod 3 Boston Concert Orchestra Folio 1 Butterflies Huerter 3 Chanson de Noel Beaumont 3 Cozy Time O'Hare 3 Ditson Concert Orchestra Folio 3 Drowsy Afternoon, A Lemont Elfin Dance Borch 2 Fantasia Campus Echoes Rollinson 1 Fifth Nocturne Leybach 3 Flower Song A Bunch of Violets Bennet 1 In the Seraglio Cazaneuve 2 LIST OF ORCHESTRA MUSIC 183 In Toneland (Easy Collection) 2 Invocation Chorus and March from "lolanthe" Sullivan 2 Land of Delight O'Hare 3 March College Memories Rollinson 2 Festival Mendelssohn 2 Hearts of Oak Harold 1 Laurel Branch, The Rollinson 1 Mercedes Rollinson 2 One Flag for All Rollinson 1 Saddle and Sabre Bennet 1 Soldiers of the Air Fulton 2 Pride of Columbia Bennet 2 With the Colors Panella 2 Melody in F Rubinstein Novellette Springtime Atherton 2 Ole Uncle Moon Scott 2 Operatic Echoes Gruenwald 2 'Overture Black Diamond Gruenwald 1 Cavalier, The Rollinson 2 Colonia O'Hare 1 Crusader, The Rollinson 3 Frolics of Cupid Gruenwald 2 Light Brigade, The Gruenwald 1 Lustspiel Keler Bela 2 Manrico Bennet 1 Oberon Weber 3 Overtures, Twelve 3 Ten Light 2 Parade of the Dolls Gruenwald 2 Patrol of the Red, White and Blue Rollinson 2 Piccolo solo White Blackbird Gruenwald 3 Russian dance (Requires good piccolo) Glinka 3 Salon Piece A Leaflet Gruenwald 2 Selection Ernani Verdi 3 Faust (excellent) Gounod 3 Fra Diavolo Auber 3 Martha . Flotow 2 184 PUBLIC SCHOOL ORCHESTRAS AND BANDS Selection Gems from Maritana Rennet 2 Rigoletto Verdi 3 Song at Sunrise Manney 2 Southern Tone Poem Hosmer 3 Standard Waltz Album 3 Suite Antony and Cleopatra Gruenwald 3 Hero and Leander Gruenwald 3 Waltz Incognito Bennet 2 What Says the Brook Boehnlein 3 Zorina Anthony 3 5. FILLMORE Music HOUSE, Cincinnati March American, The Hayes 2 Cincinnatus Vandercook 1 Dusty Trombone Fillmore 2 Friendship Talbot 1 Noble Men Fillmore 2 Peace and Prosperity Hayes 1 Peerless, The Huff 2 Selection Bohemian Girl Balfe 2 6. CARL FISCHER, New York Adoration Borowski 2 Album Leaf Wagner 2 Amateur Church Collection Books Nos. I, II, III, IV (contain good selections well ar- ranged, not difficult) Ballet Egyptienne Luigini 3 Ballet Symphonic Callirhoe Chaminade 3 Bridal Chorus Wagner 3 Concert Folio (Vols. I and II contains play- able pieces) Dance of the Crickets Seredy 1 Dance of the Goblins Engelmann 1 Desert Suite Grunn 3 Echoes of the Volga Seredy 1 Fantasia Echoes from the Metropolitan Opera (difficult) Tobani 3 Gems from Stephen Foster (good) 2 LIST OF ORCHESTRA MUSIC 185 Fantasia Grand American America Forever i difficult i Tobani 3 Opera Mirror, The ( difficult ) Tobani 3 Favorite Concert Album 3 Hungarian Dances 7 and 8 ... 4 Brahms 2 Idyll Mill in the Forest Eilenberg 2 In a Bird Store Orth 3 In Melody Land Seredy 1 Madrigale Simonetti 2 March Ai'da Verdi 2 Aux Flambeaux Clarke 2 Coronation Meyerbeer 3 Marche et Cortege The Queen of Sheba Goldmark 3 March Flag Day Schramm 2 March from "Lenore" Symphony Raff 3 March Funeral March of a Marionette (Vio- lins in first position) Gounod 2 March Militaire Schubert 3 War March from "Athalie" Mendelssohn Melodic, Les Adieux Sarasate 2 Minuetto Giojoso Mozart 1 Moment Musical (Good) Schubert 2 Morceau Caracteristique Pan American (Dif- ficult) Herbert 3 Overture Apollo Tobani 2 Benefactor, The Heed 2 Caliph of Bagdad Boildieu 3 College Tobani 3 Desdemona Schlepegrell 2 Fair Maid of Perth Widdel 1 Golden Gate Bendix Golden Scepter Schlepegrell " Mirella Gounod 3 Tancredi Rossini 3 Overtures, Album of Vol. II Contains seven or eight playable numbers Pizzicato Polka from "Sylvia" Delibes 3 186 PUBLIC SCHOOL ORCHESTRAS AND BANDS Selection Bohemian Girl Balfe-Tobani 3 Faust (Difficult) Gounod 3 Tannhauser Wagner 1 William Tell Rossini 1 Soldiers' Chorus from "Faust" Gounod 3 Spanish Dance Engelmann 1 Springtime Valse Saenger 1 Suite Peer Gynt (Difficult) Grieg 3 Symphony Jupiter Mozart 3 Surprise Haydn 3 " Unfinished Schubert 3 Valse Lento from "Sylvia" .. Delibes 3 Waltz Santiago Corbin 2 Whistling Johnnies Mares 2 7. WALTER JACOBS, Boston Angelus From "Scenes Pittoresques".. Massenet 2 Au Matin Godard 1 Chanson Sans Paroles Tchaikovsky 2 Darkies' Dream Lansing 2 Humoresque Dvorak 2 King Midas Eilenberg 2 La Lisonjera Chaminade 2 Lucia de Lammermoor Donizetti 2 March Circus Maximus Samuels 3 Commander, The Hall 2 A Frangesa Costa 2 Horse Marines Allen 2 Monstrat Viam Joy 2 Naval Parade Allen 2 Overture Gloriana (Excellent) Weidt 1 Raymond (good arrangement ) Thomas 3 Polish Dance Schanvenka 2 Selection Carmen Bizet 3 Spanish Intermezzo Pearl of Pyrenees ....Frank 2 Waltzes Blue Danube Strauss 2 Dream Kisses Rolfe 2 Magic Night (good) Hildreth 1 LIST OF ORCHESTRA MUisIC 187 Waltzes Maid of Madrid Hildreth 2 Third Degree, The (good) Bendix 1 8. J. W. JENKINS & SONS, Kansas City, Mo. Jenkins' Beginners' Orchestra Books 1 and 2 9. FRED JEWELL, Worthington, Ind. Full Orchestra and Piano March Legion of Honor Jewell 1 Imperial Council Jewell 2 Shrine of Liberty Jewell 2 Novelette A Fireside Tale Eisenberg 2 10. J. W. PEPPER & SON, Philadelphia Champion Orchestra Collection 1 Idyll The Mill in the Forest Eilenberg 1 Intermezzo Cavalleria Rusticana Mascagni 1 Largo Handel 1 March Across the Isthmus Evans 1 California Commandery Brown 2 Drummer Boy Brown 1 New Ideal Brown 2 March Republic, The Brown 1 Trocadero Pryor 2 Meditation The Dying Poet ( good ) Gottschalk 1 Medley Gems from the Overtures Mackie-Beyer 3 Overture Consecration (good) Keler-Bela 2 Gems of Ireland Bowman 2 Patriotic Bowman 1 Rocked in the Cradle of the Deep Knight 1 Russian Mazurka La Czarine (no oboe or bassoon easy) Gctnne 2 Selection Dollar Princess Fall 1 Merry Widow, The Lehar 1 Tannhauser Wagner 3 Temple Orchestra Collection 1 Waltzes Impassioned Dream Rosas 1 La Serenata Jaxone 2 Loin Du Bal .. Gil let 188 PUBLIC SCHOOL ORCHESTRAS AND BANDS 11. JEROME H. REMICK & Co., Detroit Waltz Wedding of the Winds Hall 3 12. G. SCHIRMER, INC., New York City College life American Student Songs (rather difficult) Longer 3 Country dance Nevin 3 Selection Robin Hood DeKoven 3 SCHOOL AND COMMUNITY ORCHESTRA 1. C. C. BIRCHARD & Co., Boston The Laurel School Orchestra 1. The Album Robert Schumann 1 i^2. The Happy Wanderer Adolf Jensen 2 3. Twilight Anton Rubinstein 3 4. In the Woods, from Scenes Poetiques, Op. 46 Benjamin Godard 3 5. On the Mountain, from Scenes Poetiques, Op. 46 Benjamin Godard 3 6. (a) Entr'acte and (b) The Bells, from The Bells of Beaujolais ^ Louis Adolphe Coerne 2 \^l. Mazurka, Op. 68, No. 3 Frederic Chopin 1 8. (a) Norwegian Serenade, Op. 19, No. 2 Ole Olesen 2 (b) Matrosenlied, Op. 68, No. 1 Edvard Grieg 2 vX9. Ethiopian Dance, from Sylvia.... Leo Delibes 3 10. Romance Wassili Wrangel 3 11. (a) Miniature, Op. 8, No. 2 A. Goedicke 1 (b) Menuet Ancien, Op. 15, No. 10 N. Amani 1 2. OLIVER DITSON COMPANY, Boston Easy Edition for Orchestra 1. Salutation, Grand March ...T. H. Rollinson 1 2. Up with the Flag, March C. W. Bennet 2 LIST OF SCHOOL ORCHESTRA MUSIC 189 3. Softly Gliding, Waltz Arr. by /. H. Rayder 2 4. In the Theatre Charles F. Manney 2 5. Overture, "Princess of the Sun" C. W , Bennet 2 6. When Love Speaks, Waltz C. W. Bennet 2 7. Menuet, in G L. v. Beethoven 2 Fairy Tale .' Karl Komzak 2 8. In the Swing P. A. Schnecker 1 9. Canzonetta, in G Victor Hollaender 2 10. La Belle Gavotte Arthur Traves Granfield 2 11. In the Rowboat P. A. Schnecker 1 12. Sylphette C. A. W. Rowland 2 PHILHARMONIC ORCHESTRA SERIES (The First series issued with Full Score) 1. Cadman, Charles W Awake, Awake! la 2. Grant-Schaefer G. A. March of the Boy Scouts Ib 3. Martini, Padre G Gavotte celebre Ib 4. Coerne, Louis Adolphe Enchantment Ha 5. Manney, Chas. Fonteyn Pensee Ic 6. Coerne, Louis Adolphe Exaltation lib 7. Bach, J. S. Gavotte and Musette Ic 8. Coerne, Louis Adolphe Valse lente Ha 9. Campra, Bach, Monsigny, Haydn and Mozart Five Early Classics for String Orchestra la 10. Dussek, Beethoven, Schubert, Mendelssohn and Ries Five Later Classics for String Orchestra la Lemont, Cedric W. Serenade Mexicaine la 12. Huerter, Charles A Tender Thought I la 13. Mozart, W. A. Minuet from Symphony in E\) Ha 14. Handel, G. F. Largo from Xerxes Ic 15. Lazarus, Gustave Hunting Song Ib 16. Hungarian Rdkoczy March lib 17. Brahms, Johannes, Hungarian Dance, No. 5 lib Beethoven, L. van Turkish March Ha 190 PUBLIC SCHOOL ORCHESTRAS AXD BAXDS 19. Schubert, Franz ..Moment musical, No. 6 Ib 20. Haydn, Joseph Andante capriccio Ib (Any of the above can be performed by Strings and Piano alone.) 3. CAUL FISCHER, New York Barcarolle Tales of Hoffman Offenbach 1 Bridal chorus Lohengrin Wagner 1 Homeless romance Arthur 1 March Flag of truce Laurendeau 1 United liberty Losey 1 Victorious legions Seredy 1 Old Glory National air Seredy 1 Over the waves Rosas 1 Overture Poet and Peasant Suppe 1 Minuet from "Don Juan" Mozart 1 Selection Bohemian Girl Balfe 1 II Trovatore Verdi 1 William Tell Rossini I of Southern airs Seredy 1 Remembrances of Waldteufel Seredy 1 Wedding March Mendelssohn 1 4. G. SCHIRMER, INC., New York Schirmer's School Orchestra Series 1. Beethoven, L van Andante Cantabile from First Symphony 2 2. Mozart, W. A. Menuetto from G Minor Symphony 1 3. Haydn, Josef First movement from Military Symphony 2 4. Mozart, W. A. Minuet from E\) Symphony 1 5. Beethoven, L. van Allegretto from Seventh Symphony 1 6. Mendelssohn, Felix Selection from Elijah .... 2 7. Handel, G. F. Selection from Messiah.. 2 LIST OF SCHOOL ORCHESTRA MUSIC 191 ( Friml R. Melodic 1 ( Karganoff , G. Menuetto al antico 1 J Rubinstein, Anton Romance, in Eb 2 * ( Schubert, Franz Minuet 1 10. Gluck, C. W. von Gavotte from Iphigenie.. 2 5. WILLIS Music Co., Cincinnati Graded School Orchestra and Band Series Maddy & Giddings 1 Progressive Orchestra Book 3 School and Community Orchestra, Books I and II 1 MUSIC FOR STRING ORCHESTRA 1. C. C. BIRCHARD & Co., Boston In the Woods Godard 3 On the Mountains Godard 3 Entr'acte and the Bells Coerne 2 2. OLIVER DITSON COMPANY, Boston Five Early Classics for String Orchestra 1 Five Later Classics for String Orchestra 1 (Any of the Philharmonic Orchestra Series may be performed by strings and piano alone.) Berceuse Reber 2 Expectation Gruenwald 2 Love song Jonas 2 Scenes from childhood Schumann 2 Slumber song Ries 2 Slumber song from Masaniello Auber 2 Song of the Volga boatman 2 Song without words, No. 28 Mendelssohn 2 Two songs without words Thome 2 a Under the Leaves. b Simple Aveu. Under the balcony Gruenwald 2 Watch of the Angel Guardian Pierne 2 192 PUBLIC SCHOOL ORCHESTRAS AXD BANDS 3. CARL FISCHER, New York Air on G String Bach-Wilhelmj 2 Babillage Gillet 2 Bridal chorus Lohengrin Wagner Chants Russes Hegner 2 Children's serenade Bonnard 2 Dawn of love (Characteristic) Bendix 2 Gavotte Gossec 2 Henry VIII Dance (difficult) German 3 In Elizabethan Days Kramer 2 Intermezzo Forget-me-not . Macbeth 2 In the mill Gillet 2 In the shade Gillet 2 Liebeslied Atherton 2 Loin du bal Gillet 2 Minuet (No. 2 in G) Beethoven 2 Petite valse Flirtation Steck 3 Prelude '. Wagner 3 Romance (Violin solo and string accompani- ment) Svendsen 3 Srenata Pierne 2 Wedding serenade Tobani 2 METHODS AND INSTRUCTION BOOKS Recommended for use by Band and Orchestra Pupils. Every pupil must have one instruction book. VIOLIN Mitchell, Class Method, Books I, II and III Ditson Hohmann, Practical Violin School, Books I and II Ditson Ed., Nos. 71 and 72 Wohlfahrt, Fifty Easy Melodious Studies, Op. 74, Books I and II .... Ditson Edition, Nos. 17 and 18 Hr'imaly, Scale Studies Ditson Ed., No. 328 Mazas, Op. 36, Book I Ditson Ed., No. 317 Beriot de, Book I for positions Ditson Ed., No. 193 Kelley, First Lessons on the Vio- lin Oliver Ditson Gruenberg, Scales and Chords, Books I and II Ditson Ed., Nos. 123 and 124 LIST OF METHODS AND INSTRUCTION BOOKS 193 Gruenberg, Foundation Exercises.... Dancla School of Transpositions Op. 122 Schirmer VIOLA Mitchell, First Lessons Oliver Ditson Campagnoli Carl Fischer Hofman Op. 40, Book I Carl Fischer 'CELLO Bornschein, First Lessons Ditson Ed., No. 315 Werner Carl Fischer Langey Carl Fischer Imperial John Church Kummer White-Smith DOUBLE BASS Flockton Oliver Ditson Langey Carl Fischer Butler, H. J. New Progressive Method. Two Books Carl Fischer FLUTE Rollinson Oliver Ditson Langey Carl Fischer Popp-Sousmann 1. 24, cele. Studies No. 56 Carl Fischer Universal Carl Fischer CLARINET Mitchell Class Method Oliver Ditson Klose (abridged) Oliver Ditson Rollinson Oliver Ditson Lazarus (abridged) Carl Fischer Baermaun (2 Division) Carl Fischer Langey Carl Fischer CORNET Mitchell Class Method Oliver Ditson Clarke, Book I and II Oliver Ditson Arban (abridged) Oliver Ditson Rollinson Oliver Ditson Langey Carl Fischer Eclipse Carl Fischer TROMBONE Mitchell Class Method Oliver Ditson Rollinson.... ... Oliver Ditson 194 PUBLIC SCHOOL ORCHESTRAS AND BANDS Langey Carl Fischer Imperial John Church Eclipse Carl Fischer DRUMS Rollinson Oliver Ditson Eclipse Carl Fischer Langey Carl Fischer TUBA Rollinson Oliver Ditson Eclipse Carl Fischer Langey Carl Fischer OBOE Langey Carl Fischer BASSOON Langey Carl Fischer BARITONE Rollinson Oliver Ditson Langey (Bass clef) Carl Fischer Imperial John Church FRENCH HORN Langey Carl Fischer O. Franz (for advanced pupils) Carl Fischer PICCOLO Eclipse Carl Fischer Langey Carl Fischer SAXOPHONE Rollinson Oliver Ditson Imperial John Church Langey Carl Fischer Ben Veriken Carl Fischer FOR VIOLIN CLASSES Mitchell's Class Method, Book I, First Position ; Book II More Ad- vanced; Book III, Teachers' Man- ual and Piano Ace Oliver Ditson Municipal Loose Leaf Method Carl Fischer 100 sheets Zanger's Twelve Easy Violin Quar- tets Carl Fischer F. Herman Forty-five short pieces for three violins, 2 vols Carl Fischer LIST OF COLLECTIONS AND PUBLISHERS 195 Maddy and Giddings Universal Teacher. (A series of instruc- tion books for each instrument).. C. G. Conn ORCHESTRA COLLECTIONS Amateur Orchestra Folio Oliver Ditson In Toneland Oliver Ditson Concert Orchestra Folio Oliver Ditson Ten Light Overtures Oliver Ditson Paramount Orchestra Folio Oliver Ditson Beginners' Orchestra Book J. W. Jenkins & Sons Advanced Orchestra Book J. W. Jenkins & Sons Champion Orchestra Book J. W. Pepper & Son Imperial Orchestra Book John Church Beginners' Orchestra Book Emil Ascher Favorite Folio No. I and II Sam Fox Students' Orchestra Folio John Church Lyric Orchestra Book John Church Graded School Orchestra and Band Series :. Willis Music Co. Progressive Orchestra Book Willis Music Co. School and Community Orchestra Books Willis Music Co. BAND BOOKS American Band Instructor Oliver Ditson Constellation Band Book Oliver Ditson The Handy Band Book Oliver Ditson Beginners' Band Book J. W. Jenkins & Sons Educator Band Book C. L. Barnhouse Imperial Band Book John Church U. T. D. Band Book John Church ADDRESSES OF PUBLISHERS Emil Ascher C. L. Barnhouse C. C. Birchard & Co. John Church & Co. C. G. Conn Oliver Ditson Company Carl Fischer Sam Fox & Co. J. W. Jenkins & Sons Co. Fred Jewell J. W. Pepper & Son G. Schirmer Clayton F. Summy Co. White-Smith Music Company 1155 Broadway, New York Oskaloosa, Iowa 221 Columbus Ave., Boston, Mass. Cincinnati, Ohio Elkhart, Ind. 178-9 Tremont St., Boston, Mass. 46 Cooper Square, New York Cleveland, Ohio Kansas City, Missouri Worthington, Ind. 33rd & Walnut St.,Phila.,Pa. 3 E. 43rd St., New York 459 S. Wabash Ave, Chicago 62 Stanhope St., Boston, Mass. APPENDIX BONDING OF INSTRUMENTS, SUPPLIED BY THE SCHOOL DEPARTMENT, THAT ARE LOANED To PUPILS To Parents: 1. Bonds must be signed for instruments loaned to pupils. 2. The amount of the bond simply covers the cost of the instrument. 3. Should the instruments be damaged, student must pay for repair. 4. Instructors will examine instruments each month and report condition. 5. Should student leave school and return in- strument in good condition, no charge will be made for its use. 6. Students to whom instruments are loaned must continue their special lessons. It is only just that the students be required to practice regularly and continue their lessons, if the school system supplies the instrument. If students do not con- tinue their lessons and keep up regular practice, making reasonable progress, the privilege of re- calling the instrument is reserved that it may be assigned to other students who are anxious to avail themselves of these special advantages. Instruments furnished by the school system are for use in school organizations only. Any violation whatsoever of this rule immediately forfeits the further privilege of their use. Recommendations concerning the purchase of new instruments will gladly be given to parents. 196 APPENDIX 197 All instruments that are recommended have been tested and are quoted at special prices from the dealers to school students. It is not advisable to purchase expensive instruments until the pupils are sufficiently well advanced in their studies and have proved by their proficiency that their tastes and qualifications warrant such expenditure. BOND FOR BAND INSTRUMENT FURNISHED BY OAKLAND SCHOOL DISTRICT Kmna all JBf bg Ihrat That we, the undersigned, are held and firmly bound unto OAKLAND SCHOOL DISTRICT of Alameda County, State of California, a pub- lic corporation, in the sum of Dollars, Gold Coin of the United States of America, for the payment of which sum well and truly to be made to said School District, we, and each of us, bind ourselves, our heirs, executors and assigns, jointly and severally, firmly by these presents. Sealed with our seals, and dated this day of 192. . The. condition of the above obligation is such, that WHEREAS, said Oakland School District of Alameda County, State of California, has supplied to a certain musical instrument, to-wit: (Number), of the value of Dollars, for use in School Band in said district, with the privilege of taking said musical instrument home for the purpose of practicing thereon; \in\-. THEREFORE, if the said shall return said instrument, on demand, to said School District in as good condition as when received, less reasonable wear and tear, then this obligation shall become null and void; otherwise to remain in full force and effect. (Pupil) who resides at . (Parent) who resides at (Bondsman) who resides at . (The name of at leant one of the nigners of the above bond must appear upon the Assessment Roll of the City of Oakland for the current fiscal year, for property assessed in his or in her name). 198 PUBLIC SCHOOL ORCHESTRAS AND BANDS CONDITIONS GOVERNING PUPILS WHO RECEIVE FREE INSTRUMENTAL INSTRUCTION 1. Pupils must possess and use an instruction book. 2. Pupils must continue lessons with the school instructor for the term. 3. Pupils must practice not less than one-half hour a day. 4. Pupils must play with the school organiza- tion. .5. Pupils must participate in all functions in which the schools are represented. 6. Pupils must make as consistent progress in their music as in all other studies. 7. Pupils must keep the instruments in good condition and repair, i.e., clean, polished, slides loose and oiled. 8. Pupils must return the instrument in good condition to the principal of the school or the music instructor before graduation. 9. Under no conditions are pupils permitted to use school instruments in outside organization. Failure or neglect to meet these requirements forfeits not only the privilege of free instruction, but the right to membership in the school organ- ization; and further obligates the surrender of the instrument as well. To the Parents: In order that satisfactory results may be ob- tained in instrumental instruction, your co-opera- tion is requested. Regular practice, like regular study, is neces- sary for progress. Only one-half hour of practice APPENDIX 199 a day is required by the instructors. If you insist that practice be done every day at the same time, you will materially assist in establishing the habit of practice. Moreover, you are capable of estim- ating the kind of practice that is being done, and if you require steady work thoughtfully done, the results will be satisfactory both to you and to the instructor. Visit the school; confer with the instructor; hear the lessons; see how other pupils work; ask for the teacher's criticism of the work your child is doing, thus, your co-operation and interest will assure the success of our efforts. A report card will be sent to you each week. Kindly state the number of minutes of practice done each day. Sign this card and return to the instructor. INSTRUMENTAL INSTRUCTION PRACTICE REPORT CARD 19 Name, Instrument School (Record minutes of practice for each day, sign and return to Instructor) MON. TUBS. WED. THURS. FRI. PARENT'S SIGNATURE 1st Wk. Date 2nd Wk. Date 3rd Wk. Date 4th Wk. Date Instructor 200 PUBLIC SCHOOL ORCHESTRAS AXD BANDS LIST OF BOOKS SUGGESTED FOR STUDY Ebenezer Prout 1. INSTRUMENTATION Oliver Ditson Company, Boston 2. INSTRUMENTATION Boston Music Co., Boston 3. INSTRUMENTATION Carl Fischer, New York 4. CONDUCTING, ESSENTIALS IN Oliver Ditson Company, Boston 5. ORCHESTRAL INSTRUMENTS AND THEIR USE Novello, New York 6. GALLO'S BAND BOOK Oliver Ditson Company, Boston 7. BAND ASSISTANT Oliver Ditson Company, Boston 8. WIND BAND Carl Fischer, New York 9. AMATEUR BAND GUIDE Carl Fischer, New York 10. How TO ORGANIZE AND CONDUCT THE SCHOOL OR COMMUNITY BAND AND ORCHESTRA J. W. Pepper & Son, Philadelphia 11. DEVELOPMENT OF MODERN SCHOOL ORCHESTRA Willis Music Co., Cincinnati, Ohio 12. MISTAKES AND DISPUTED POINTS IN Music AND Music TEACHING Louis C. Elson Theo. Presser, Philadelphia 13. ELSON'S Music DICTIONARY Oliver Ditson Company, Boston 14. CHORAL TECHNIQUE H. W. Gray Co., New York 15. OUTLINES OF Music HISTORY Oliver Ditson Company, Boston 16. EPOCHS IN MUSICAL PROGRESS Oliver Ditson Company, Boston 17. How TO WRITE Music H. W. Gray & Co., New York 18. VICTOR BOOK INSTRUMENTS OF THE ORCHESTRA WITH CHARTS Victor Talking Machine Company, Camden, N. J. 19. INSTRUMENTS OF THE MODERN SYM- PHONY ORCHESTRA Arthur Johnstone Carl Fischer, New York 20. GRADE SCHOOL Music TEACHING T. P. Giddings C. H. Congdon, 200 Fifth Ave., New York Gaston Borch H. Kling Karl W. Gehrkens Daniel G. Mason Stanislao Gallo L. P. Laurendeau A. A. Clappe Edwin F. Goldman Cogswell L. M. Gordon Louis C. Elson Henry Coward Clarence G. Hamilton Clarence G. Hamilton Clement A. Harris APPENDIX 201 21. THE ORCHESTRA W. J. Henderson The Mentor February 15, 1917 The Mentor Association, Inc., New York 22. HARMONY FOR EYE, EAR AND KEYBOARD Oliver Ditson Company, Boston 23. CUMULATIVE HARMONY Ginn & Co., Boston 24. HARMONIC MATERIAL AND ITS USE Clayton F. Summy Co. 25. Music APPRECIATION, BASED ON ME- THODS OF LITERARY CRITICISM Oliver Ditson Company, Boston 26. INTRODUCTION TO Music APPRECIATION AND HISTORY Oliver Ditson Company, Boston 27. THE FUNDAMENTALS OF Music Oliver Ditson Company, Boston 28. FROM SONG TO SYMPHONY Oliver Ditson Company, Boston 29. MUSICAL INSTRUMENTS Oliver Ditson Company, Boston 30. How TO LISTEN TO Music Chas. Scribner's Sons 31. THE ORCHESTRA AND ORCHESTRAL Music Chas. Scribner's Sons 32. ORCHESTRAL INSTRUMENTS AND THEIR USE L. C. Page, Boston 33. SOUND AND ITS RELATION TO Music Oliver Ditson Company, Boston Arthur E. Heacox Wm. J. McCoy Adolf Weidig Clarence G. Hamilton Dorothy Tromble Moyer Karl W. Gehrkens Daniel Gregory Mason Edgar Stillman Kelley H. E. Krehbiel W. J. Henderson Arthur Elson Clarence G. Hamilton LIBRARY PLAN The instrumental music of the Oakland School Department is in a circulating library. All music is placed in folders marked, "Property of the Board of Education." On the inside of each cover is pasted an inventory slip of all the parts therein contained. When the music is issued, the instructor signs a "loan slip" with the names of the selections bor- 202 PUBLIC SCHOOL ORCHESTRAS AND BANDS rowed and the date on which they were taken out, and deposits this in the "loan box." When the music is returned, the "loan slip" is destroyed, and the music placed in its box, if it is complete. If parts are missing the selection is placed with the "imperfect" group so that the missing parts may be replaced. Instructors are held responsible for parts that are lost out of single selections, but folios and books that are worn out are replaced by the School System. Besides the inventory slips, a complete list of all music is tabulated giving publisher, title, kind of selection, for band or for orchestra, and the number of copies. Another separate list is kept of all the selections for orchestra only, and second list for band, as well as an order-record which duplicates the original order, giving number of parts, date ordered and received. APPENDIX 203 INVENTORY SLIPS BAND PARTS .Solo B-flat Cornet Baritone bass clef .1st B-flat Cornet Basses (E-flat) .2nd and 3rd B-flat Cornets Drums .E-flat Cornet Piccolo .1st and 2nd E-flat Altos E-flat Clarinet .3rd and 4th E-flat Altos Solo B-flat Clarinet .1st and 2nd Trombone (or 1st B-flat Clarinet Tenors) treble clef .1st and 2nd Trombone (or Tenors) bass clef .3rd Trombone (or B-flat Bass) treble clef .3d Trombone (or B-flat Bass) bass clef .Baritone, treble clef .2nd and 3rd B-flat Clarinets .Oboe .Bassoon .Soprano Saxophone .Alto Saxophone .Tenor Saxophone .Baritone Saxophone ORCHESTRA PARTS .Piano .Solo Violin .1st Violin .2nd Violin .3rd Violin .Viola .'Cello .Bass .1st Flute .2nd Flute .1st Clarinet .2nd Clarinet .1st Cornet .2nd Cornet .Trombone, T. C. .1st Trombone, B. C. .2nd Trombone, B. C. .3rd Trombone, B. C. .1st Horn .2nd Horn .3rd and 4th Horns .Oboe .Bassoon .Tuba .Drums .Tympani .Organ 204 PUBLIC SCHOOL ORCHESTRAS AND BANDS MARKERS FOR MUSIC FOLDERS ORCHESTRA PARTS Leader 1st Violin 2nd Violin Viola 'Cello Bass Flute Oboe Bassoon 1st Clarinet 2nd Clarinet 1st Cornet 2nd Cornet Horns Trombone Tuba Drums Tympani Piano BAND PARTS Conductor Piccolo Flute E-flat Clarinet Solo and 1st B-flat Clarinet 1st B-flat Clarinet 2nd B-flat Clarinet 3rd B-flat Clarinet Solo B-flat Cornet 1st B-flat Cornet 2nd and 3rd B-flat Cornet 1st and 2nd E-flat Altos 3rd and 4th E-flat Altos 1st and 2nd Trombone B. C. 3rd Trombone B. C. Baritone B. C. Baritone T. C. Basses Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone Drums SUPPLEMENTAL LIST 205 THE PHILHARMONIC ORCHESTRA SERIES (The FIRST series issued with FULL SCORE) Each composition includes a complete Orchestral Score in addition to the usual instrumental parts. The orchestration is so arranged and cross- cued as to insure adequate performance without readjustment for much smaller groups of instruments than indicated in the full score. SPECIAL FEATURES In order to extend the group of available instruments alternative parts are added as follows: In addition to French Horns in F, alterna- tive 1st and 2d Altos in Eb are included in the score. In addition to the Viola part a 3d Violin part is given. In addition to the Tympani part, one for Drums is included. Not included in the score are the following extra parts which are supplied on order: C Melody Saxophone, for use in the absence of the Oboe. (The notes sound an octave lower than written.) Bb Tenor Saxophone, for use in the absence of the Bassoon. (The notes sounding m unison as far as the compass permits.) Bb Trombone, or Baritone in Treble clef. This is the regular Trom- bone part written for players unfamiliar with the Bass clef. Eb Tuba, for use in the full ensemble to strengthen the Bass. (Not a complete substitute for Double Bass.) Clarinets in Bb are used almost exclusively, since those in A are not always available. For consistency, Trumpets in Bb are simultaneously used. All instruments, such as 1st and 2d Clarinet, 1st and 2d French Horn, 1st and 2nd Trumpet, have a separately published part. Each score includes a complete, though optional, Piano part, -which also is published separately. The entrance cues, bowing, fingering, measure numbers and grading are fully cared for, and the instrumentation is designed to make every part as interesting as possible. NUMBERS PUBLISHED Full Grade Score 1. Cadman, Charles W. Awake, Awake! la 2. Grant-Schaefer, G. A. March of the Boy Scouts la 3. Martini, Padre G. Gavotte celebre Ib 4. Coerne, Louis Adolphe Enchantment Ila 5. Manney, Chas. Fonteyn Pensee 6. Coerne, Louis Adolphe Exaltation lib 7. Bach, J. S. Gavotte and Musette Ic 8. Coerne, Louis Adolphe Valse lente Ha 9. Campra, Bach, Monsigny Five Early Classics 1 j . ,5 Haydn and Mozart for String Orchestra J 10. Dussek, Beethoven, Schubert, Five Later Classics ) jjj j_25 Mendelssohn and Ries for String Orchestra J 11. Lemont, Cedric W. Serenade Mexicaine la 1.25 12. Huerter, Charles A Tender Thought la 1.00 206 PUBLIC SCHOOL ORCHESTRAS AXD BAXDS 13. Mozart, W. A. 14. Handel, G. F. 15. Lazarus, Gustave 16. Hungarian IT. Brahms, Johannes 18. Beethoven, L. van 19. Schubert, Franz 20. Haydn, Joseph Minuet, in E>) Ila 1.00 Largo from Xerxes Ic 1.25 Hunting Song Ib 1.25 Rakoczy March lib 1.50 Hungarian Dance, No. 5 lib 1.50 Turkish March Ha 1.25 Moment musical, No. 3 Ib 1.00 Capriccio, in A Ib 1.25 (Any of the above can be performed by Strings and Piano alone) Small and Piano (except No. 16, .90) .75 each Full and Piano (except No. 16, 1.25) 1.00 each Piano parts, .25 each; other parts, .15 each EASY EDITION FOR ORCHESTRA SPECIAL FEATURES FIRST. The music is in easy grades and adapted for orchestra classes in the grade schools. SECOND. The First Violin part is in the First Position and the proper bowings and fingerings are indicated. THIRD. A Ripieno Second Violin part in Melodic Form, is included which is intended as a substitute for the regular Second Violin when a Piano is used. FOURTH. The Clarinet and Cornet parts are for Bb instruments. A FIFTH. Trombone part is published in the Treble Clef and will be substituted for the Bass Clef if so ordered. SIXTH. The Piano part has the entire melody cued in. SEVENTH. The Third Violin part is intended as a substitute for the Viola. EIGHTH The Obbligato First Violin is ad libitum, and intended for performers who can play in the positions. INSTRUMENTATION SMALL ORCHESTRA. (Thirteen Instruments) : First Violin, Obbli- gato First Violin, Second Violin, Ripieno Second Violin, Third Violin, Viola, 'Cello, Bass, First Clarinet in Bb, Cornets, Trombone (Bass Clef) and Drums. FULL ORCHESTRA. Second Clarinet in Bb, Horns in F, Oboe, Bas- soon and Extra First Violin added to the above. Tenor Saxophone and Melody Saxophone extra at single part prices. 1. Salutation Grand March T. H. Rollinson 2. Up With the Flag March C. W. Bennet 3. Softly Gliding Waltz Arr. by J. H. Rayder 4. In the Theatre Chas. F. Manney 5. Overture, "Princess of the Sun" C. W. Bennet 6. When Love Speaks Waltz C. W. Bennet _ ( Menuet, in G L. v. Beethoven 8. 9. 10. 11. 12. Fairy Tale In the Swing Canzonetta, in G La Belle Gavotte In the Rowboat Sylphette Karl Komzak P. A. Schnecker Victor Hollaender Arthur Traves Granfield P. A. Schnecker C. A. W. Howland Sample 1st Violin parts Free. OLIVER DITSON COMPANY BOSTON SUPPLEMENTAL LIST 207 GALLO'S BAND BOOK A Treatise on Wind Instruments, Symphony Band, and Military Band By STANISLAO GALLO Conductor of the Gallo Symphony Band, Boston PRICE, 2.00, NET The whole subject of W ind Instruments is most clearing and minutely presented; and, this treatise is the most complete reference book not only on instrumentation for band, but for the orchestra as well. The book is copiously illustrated with charts and examples of scoring, to- gether with drawings of the wind instruments in present-day use. HOW TO MASTER THE VIOLIN By PAVEL BYTOVETZSKI (The Music Students Library) Cloth, $1.25, Net This compact work takes up the daily needs of the student, and the advanced player as well, in a series of chapters each dealing with one important phase of technic, and providing means for conquering its dif- ficulties. Illustrations reinforce the instructions given. HOW TO STUDY KREUTZER By BENJAMIN CUTTER (The Music Students Library) Cloth, $1.25, Net This handbook, for the daily use of violin teachers and students, contains explanations of the left-hand difficulties and of their solution, with directions for the systematic acquirement of the various bowings, both firm and bounding. DAILY BOWING EXERCISES FOR THE VIOLIN By EUGENE GRUENBERG PRICE, 75 CENTS, NET This series of useful exercises tends to rectify the frequent mistake made in assuming that left-hand dexterity creates a violin technic. Reg- ular practice of these different bowings may be called the principal con- dition of success, in violin playing. FOUNDATION EXERCISES FOR THE VIOLIN Edited by EUGENE GRUENBERG Price, $1.50 Net A series of daily studies. More than a third of the book is given to the First Position; another third to Shifting, including all the positions. PROGRESSIVE VIOLIN STUDIES BY FAMOUS MASTERS Selected and Edited by EUGENE GRUENBERG This work offers to the student daily exercises that will aid him in solving all the different tasks of finger technic in the most important phases. Vol. I. Studies in the First Three Positions $1.5O Net Vol. II. Studies in the First Five Positions $1.50 Net Vol. III. Studies in All the Positions $1.50 Net Postage extra except in first and second zones from Boston and New York. OLIVER DITSON COMPANY - BOSTON 208 PUBLIC SCHOOL ORCHESTRAS AND BANDS SCALES AND CHORDS FOR THE VIOLIN By EUGENE GRUENBERG In their most important form. The author, who is of the faculty of the New England Conservatory of Music, gives in practical and logical form the basis of violin technic. Book I. The First Position $1.00 Net Book II. All the Positions 1.20 Net Complete 1.50 Net TWENTY-FIVE VIOLIN EXERCISES IN THE FIRST POSITIONS By EUGENE GRUENBERG Price, $1.00, Net Designed to facilitate the study of the most important strokes, and to develop the sense of rhythm. MELODIC VIOLIN PIECES FOR THE DEVELOPMENT OF STYLE Compiled and Edited by EUGENE GRUENBERG With Piano Accompaniment Issued in three books, and carefully arranged in progressive order, from the easiest grade to that of medium difficulty. I. Fifty Very Easy Pieces in the First Position $1.50 Net These brief numbers commence with two pieces for the open strings, introducing the third finger with No. 7, and all the fingers with No. 9. Many of the selections are folksongs and there are several very easy ar- rangements of classical melodies. II. Thirty Drawing Room Pieces $1.50 Net These pieces, intended for the study of shifting, are all melodious and pleasing both to performer and listener. The numbers include five each by Bohm and Tours, four by both Danbe and Sitt, and pieces by Dancla, Godard, Papini, Reinecke and others. III. Thirty Operatic Selections $1.50 Net These selections while chosen as aids in the study of shifting, are taken from operas by great writers of different periods and schools. Mozart, Rossini, Wagner and Weber are each represented by three or more numbers, and among the other composers are Auber, Bizet, Delibes, Flotow and Gounod. Edited by JOHN CRAIG KELLEY A series of fine melodies transcribed and arranged in progressive order. It forms an indispensable collection for teachers of beginners. I. Fifty Easy Melodies for Violin and Piano in the First Position $1.25 Net Begins with a little piece for the open strings, followed by several pieces for one or two fingers and the open strings. The balance of the book is made up of familiar folk-melodies and very easy numbers by well-known composers. II. Thirty Pieces for Violin and Piano in the First Position $1.25 Net These thirty numbers, while in the first position, are in musical and technical difficulty more advanced than those in Book I of this series, providing greater problems of fingering, bowing, rhythm, key and tempo. III. Thirty Pieces for Violin and Piano in the First Three Positions $1.25 Net The pupil may play the first pieces in this book when he has started SUPPLEMENTAL LIST 209 to learn the third position, as they are very simple. The surprising dearth of attractive little pieces in the first three positions that are within the technical grasp of very young players, led the editor to make his own arrangements for the larger part of the book. Among the com- posers represented are Gounod, Schumann, .Mendelssohn, Wagner and Verdi. IV. Twenty Pieces for Violin and Piano in the First Five Positions $1.25 Net In its technical demands and in musical dignity this volume is quite in advance of the three earlier books in this series, demanding a degree of artistry. Included in this collection are Bach's Air for the G string, Godard's Berceuse. Handel's Larghetto, Bohm's Scherzoso, Saint-Saens, The Sican, and Schubert's The Bee. FIRST POSITION MELODIES FOR TWO VIOLINS AND PIANO Arranged by KARL RISSLAND 50 Cents, Net This low-priced book is of especial value in school work where familiar melodies in easy arrangement are needed. The two violin parts of the twenty airs are engraved together so that each player can watch the other's part. This plan makes it possible for groups to instantly shift from one part to the other at the teachers direction. Care has been taken to give the melody at times to the Second Violin and both parts maintain a musical interest. DITSON EASY TRIOS FOR TWO VIOLINS AND PIANO Arranged by KARL RISSLAND 50 Cents, Net Designed especially for school use and group work, the music is an advance on the above mentioned volume for it goes into the third posi- tion, higher positions are altogether optional. It contains Fairy Tale by Komzak, 'O sole mio by Capua, Tranquility by Busch, A petits pas by Sudessi, Memories by Cadman, La poupee by Bizet, The Sweetest Story by Stults, and Minuet in G by Beethoven. The Second Violin has a mel- odic part. TRIOS FOR VIOLIN, 'CELLO AND PIANO DITSON TRIO ALBUM, VOL. I. Edited by Karl Rissland $2.00 Net Contains ten arrangements from Bartlett, Chopin, Dvorak, Elgar, Gounod, Grieg, Lemont, Massenet, Rubinstein and Tchaikovsky. DITSON TRIO ALBUM, VOL. II. Edited by Karl Rissland $2.00 Net Contains ten arrangements from Bohm, Cadman, Debussy, Fisher, Pierne, Saint-Saens, R. Strauss, Tchaikovsky, Verdi and Wagner. DITSON OPERATIC TRIO ALBUM. Edited by Karl Risslar.d $2.00 Net Contains ten arrangements from AYda, Carmen, Faust, Gioronda, Lucia, Rigoletto, Samson et Dalila, Tales of Hoffman, Tannhauser and Trovatore. DITSON EASY TRIO ALBUM. Edited by Karl Rissland $2.00 Net Contains fifteen easy arrangements from Beethoven, Bizet, Busch, Cadman, di Capua, Cowles, Denza, Grieg, Komzak, Lemont, Mas- senet, d'Orso, Schubert, Stults and Sude>~i. Postage extra except in first and second zones from Boston and New York. OLIVER DITSON COMPANY - BOSTON UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. ^rr-rfrjga^ #4ft~7 *58 OCT 1 6 ' NOV T '59 Form L9-100m-9,'52(A3105)444 DECS *56 APR 27 '$0 JUN 1 1 '60 JUL 7 '60 JUL28 -60 MAY i 4 1970 UM 1 3 1370 STACK JAN 2 11986 KT 810 V86p MUSIC UBRARY A 000 255 454 1