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Full text of "Hammond Times Vol 24 No 3 October 1962"

VOLUME 24 EB 3 



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Dear Reader: 

There's a new look to the HAMMOND TIMES! 

This exciting new format has been in the making 
for the last six months. The larger page size, the 
two-color printing and the striking design of the new 
HAMMOND TIMES have been adopted with one 
single thought in mind: to provide our readers with a 
more attractive, easier-to-read, magazine. 

More important, we have planned extensive changes 
in the editorial content of the TIMES in order to pro- 
vide articles and playing tips that are of even more 
benefit to our readers. We have asked some of the 
well-known authorities in the fields of music, educa- 
tion, and the lively arts to help us make the TIMES 
more helpful, more informative. You may, therefore, 
expect to see articles by such people as Ethel Smith, 
Lenny Dee, Eddie Layton, Richard Liebert, Jackie 
Davis, and many more outstanding organists in the 
near future. We feel sure that this new editorial ap- 
proach will make the TIMES even more valuable 
to you. 

The HAMMOND TIMES will become a subscrip- 
tion publication, effective March 1st, 1963. The new 
subscription rate will be $1.00 per year (six issues). 
All those who now receive the HAMMOND TIMES 
can expect to get the next two issues (Vol. 24, Nos. 4 
and 5). Thereafter, only those who have sent in $1.00 
will receive the TIMES. The one exception to this is 
the people who have purchased a new Hammond 
Organ within the last year— they will continue to re- 
ceive the TIMES until they have received a full year's 
subscription (six issues). 

We are confident that you will want to continue 
receiving the HAMMOND TIMES so you won t miss 
the many helpful articles and features we have sched- 
uled. Subscriptions for the next year's issues of the 
HAMMOND TIMES are now being accepted. Simply 
fill out the subscription card folded into this issue and 
mail it with your $1.00 to: Hammond Times 

P.O. Box 6698 
Chicago 80, III. 

We intend to continually increase the contribution 
the HAMMOND TIMES has made to Hammond 
Organ owners and music lovers throughout the world. 
We hope you'll decide to keep the HAMMOND 
TIMES coming to your home. 

The Editor 



Hammond 
TIMES ill! 






VOLUME 24 NUMBER 3 



OCTOBER 1962 



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Published every other month by 
the Hammond Organ Company, 
P.O. Box 6698, Chicago 80, Illinois. 
Subscription rate: $1.00 per year 
(six issues). 

Designed and produced by 
Robert Snyder and Associates 
601 North Fairbanks Court 
Chicago 11, Illinois 



ON THE COVER: A dramatic view of massive McCormick 
Place on Chicago's beautiful lakefront. Three Hammond 
Organs are installed in the convention center— see page 4. 

CONTENTS: 

Meet The Organ On Educational TV 3 

Hal Shutz dedication concert at Chicago's 
McCormick Place 4 

Hammond Organ Society News 6 

Left Hand And Pedal Coordination, 
by Orville Foster 7 

Miss Maryland Wins Talent Award 8 

Playing Music For Christmas, 
by Dr. Mario Salvador 9 

Youth At The Hammond Organ 10 

Music Reviews, by Porter Heaps 11 

Chord Organ Comments and News 12 

A Lifetime Of Music For Your Children, 
by Ted Branin 14 

Chord Organ Music Reviews 15 



COMING NEXT ISSUE 

Porter Heaps will have an article on the where, why, and 
how of chords; "Your Musical ABC's" by Hal Shutz tells 
how mistakes, misunderstandings and even malice have 
played an important part in the story of musical notation; 
Ted Branin discusses playing Christmas music— hymns, 
carols, and popular tunes— on the Chord Organ. 

Bonus for Chord Organ owners: Ted Branin's arrange- 
ment of God Rest You Merry, Gentlemen. 

PLUS our regular features: music and phonograph record 
reviews; articles by Dr. Mario Salvador and Orville Foster; 
and Hammond Organ Society and Chord Club News. 






1 




Meet the 
Organ on 



^^cS^a^TV 



Chicago's WTTW (Window To The World) ed- 
ucational TV station has recently produced a 
series of six 30-minute films entitled "Meet the 
Organ." Aim of the non-commercial series is to 
acquaint the general public with the versatility 
and beauty of organ music as well as to outline 
the important place the organ occupies in con- 
temporary culture. The series has already been 
shown in fourteen cities and is scheduled for 
many more educational TV stations this winter. 

Moderator for the series is Porter Heaps, dis- 
tinguished author, lecturer, teacher, and concert 
organist. Porter discusses: 1) why the organ has 
two keyboards, a pedal keyboard, and how the 
organ works; 2) how musical tones and harmonies 
are created; and 3) the development of church 
music for all faiths. Porter then catches his breath 
while guest stars Eddie Lay ton and Jackie Davis 
handle the next two segments. The series closes 
with Porter demonstrating how easy it is to learn 
to play the organ, even without previous training. 

Viewers in Chicago, Dallas, Boston, and other 
cities have made "Meet the Organ" one of the 
most successful and popular programs to appear 
on educational TV. The film series is available to 
educational TV stations from; Association Films, 
Inc., 561 Hillgrove Ave., La Grange, 111. It is ex- 
pected that the series will be available for school 
and community showings in the near future. 




Jackie Davis, Capitol recording artist, traces the de- 
velopment of jazz for Porter, starting with its folk 
origins, then through ragtime, ''Dixieland/' swing, 
and bop to the cool, intellectual jazz of today. 




Eddie Layton, shows Porter how he gets those tricky 
chords and special effects he uses so effectively. Ed- 
die, a Mercury recording artist, also discusses the 
opportunities for a career as a supper-club organist. 




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Hal Shutz* lead-off number, An Affair 
To Remember, perfectly summarizes 
the formal dedication of the three 
Hammond Organs installed in Chi- 
cago's huge McCormick Place on 
September 26th. Almost 4,000 Ham- 
mond Organ Society members, 
Hammond Organ employees, and dis- 
tinguished guests were in attendance for the program. 
After a brief ceremony of dedication for the three Ham- 
mond Organs, Columbia recording artist Hal Shutz pre- 
sented a two hour concert consisting of twenty-four selec- 
tions. Every type of music was represented, from classical 
to jazz. The enthralled audience was almost breathless in 
mute tribute to the artistry and skill of Hal's performance. 
Most popular number was Hal's variations on Lullaby of 
Birdland where he "progresses" from bop to Bach. Judging 
from the conversations after the performance, it surely was 
"An affair to remember/' 

The three Hammond Organs installed in the building in- 
clude a Concert model, a Home model, and a Self-Contained 
model. The Hammond Concert Organ with 14 Hammond 
tone cabinets is installed in the 5,000-seat Arie Crown 
Theater. In the main exhibit hall, the size of six football 
fields, a Hammond Home Organ has been installed with ten 
special theatre-type speakers placed so that the entire arena 
can be filled with music or channelled into only one-third 
or two-thirds of the space. The Self-Contained Organ is 
available for use on special occasions in the meeting rooms. 



HAMMOND ORGAN SOCIETIES WERE THERE TOO. Among the 
almost 4,000 people who attended the concert were repre- 
sentatives from sixteen Hammond Organ Societies in the 
Chicago area. Chapters from Gary and Hammond, Ind., 
Kankakee, 111., and Kenosha, Wis. rented buses for the 
evening and came as a group. Members from Elgin, Joliet, 
Aurora, and many suburban communities made the event 
by car or public transportation. Three Chord Organ clubs 
were also in attendance. 




A perfectionist in everything he does, Hal Shutz has earned 
an enviable reputation for excellence in composing and 
arranging as well as playing the Hammond Organ. When 
not traveling the concert circuit, Hal divides his time be- 
tween his teaching studio and his suburban San Francisco 
home with his wife and five boys. 




Stanley M. Sorensen, President of Hammond Organ Com- 
pany, presents a scale model of a Hammond Organ sym- 
bolically dedicating the three Hammond Organs installed 
in McCormick Place to John W. Evers, retired President 
of the Commonwealth Edison Company and Chairman of 
the Metropolitan Fair and Exposition Authority. Looking 
on is the noted organist, Hal Shutz. 



.. 



HAMMOND ORGAN 




CRAWFORD COUNTY, PENNA. CHAPTER. This fine 
group, which includes several highly talented youngsters, 
has been meeting in the homes of members for the past few 
years. Most recently, they were guests of the new Winter 
Co. store in Meadville, Penna. 



TOMS RIVER, N. J. CHAPTER. Now about eighteen 
months old, this lively chapter has been meeting on beauti- 
ful Barnegat Bay in the New Jersey shore area. Organized, 
by Doris Smith (seated at the console), the club has about 
35 members to date. 




TOLEDO, OHIO CHAPTER. A guest artist, a brief instruc- 
tion period, and a great deal of membership participation 
has helped this group to build its membership up to near 
one hundred. Highlight of the past summer's activities was 
a "Chuck Wagon* dinner at a members house on Lake 
Erie with organ music and a sing-along session on the 
beach. GrinneWs Music Store sponsors the club. 



OROVILLE, CALIF. CHAPTER. Over 2000 guests at- 
tended a recent concert sponsored by the Feather Organ 
Club. The program featured June Melendy and Lee Lees 
playing solos and duets of classical, popular, and jazz tunes. 
The evening was so successful that Pres. Miles Marders is 
planning several more concerts in the near future. Valley 
Music Shop of Oroville is the club sponsor. 



Fu^ oizmi/^ h\cuiwwjcw(h y 0rville R - Foster 




Pedal and Left Hand 
Coordination 



Here, at last, is the column IVe been promising you. Many 
hundreds of you have written me about your particular 
problems, and I have had quite a time keeping up with the 
correspondence. I like to get your answers out as soon as 
possible, but sometimes I find the mail piles up, in spite of 
myself. But keep the letters coming , . . it's always a pleas- 
ure to hear from you, and I'm glad when you tell me that 
my suggestions help you. 

There is nothing more important in playing rhythm on 
the organ than good coordination between the left hand 
part and the pedal. This is the very basis of good rhythm, 
and should be approached with caution and a great deal of 
systematic practice. I would ask you to take a look at the 
Part IV of my seven-book course Play the Hammond Organ 
(Publ. by Willis Music Co., Cincinnati), and to study the 
illustrations there. It is difficult to reproduce music in these 
columns, and so I am going to depend on your studying this 
Part IV book in order to understand thoroughly what I am 
outlining here. 

THE PEDALS. First of all, let us consider the use and the 
abuse of the pedals. More home organists play poor pedals 
than anyone else in the world, and there is really no excuse 
for it. If they would take a little time to get their pedal 
technique developed, it would last a life-time. God gave us 
eyes in order that we might form judgments . . . and if we 
spend some time in taking a good look at the pedals as we 
do them, we would find the rest of our playing would im- 
prove as if by magic. I am going to give you a good exercise 
for the pedals which will help you greatly, if you follow it 
carefully, step by step. First of all, the ladies should not 
wear bouffant skirts to practice pedals . . . the skirts get in 
the way of seeing the pedals, and in the beginning, if we 
cannot see what pedals we are striking, then we make many 
mistakes. Later, your ear will improve to the point where 
you will be able to tell a mistake in pedals very quickly; but 
for the present, ladies, wear slacks, pedal-pushers, capris or 
sheath, or some similar garb which will permit a quick 
glance at your feet as you are playing the pedals. Do not 
remove your shoes (men or women) to play the pedals. 
This affectation, repulsive as it is, is all in the mind. You 
can learn to do good pedals with your shoes on, the same as 
you walk about your daily tasks. You learn to feel the cor- 
rect pedals through the light sole of your shoe, the same as 
you learn to walk with shoes. You wouldn't think of remov- 
ing your shoes in driving a car; yet many of you, I'm afraid, 
create a ludicrous situation when you sit down at the organ. 
I believe this is the origin of the phrase "They laughed 
when I sat down at the organ." ... It is totally unnecessary 
for you to give your audience the chance to "laugh at you" 
(and they will!) by removing your shoes. Turn the bench 
slightly at an angle like this: ORGAN 

Now you can glance readily 
at your left foot and see as 
well as hear how you are 
progressing. We are going 
to use the heel as well as the 
toe in this exercise (yes, also 
on the spinet you can use the heel as well as the toe!) I am 




marking the pedal parts with the sign OVER the note 

for the toe, and the sign UNDER the note for the heel. 
Study this exercise carefully in your easy chair, away from 
the organ before you ever attempt it at the keyboard. Much 
of your best practice on organ should be done away from 
the organ. Get it in your mind first what you are going to 
do . . . then the doing becomes much easier. Here is the 



exercise : 








A 
C Eb D 
U U 


A A A A A 

FS G Eb D Ft G Eb D Ct 

u u u u 


A 

E Eb 
U 


D 
U 


A A 

Ft A Ab 
U 


A A A A A 

G Bb A F* D Eb D Ft G Eb 

u u u u u 


A 

D C* 
U 


c 
u 



Notice, you begin with the heel on C, then play Eb with the 
toe, then D with the heel, then F# with the toe; turn your 
heel toward you to play the G, then toe on Eb; then turn 
the heel away from you to catch the D. Hold the D until 
your toe strikes the F#, then bring your heel toward the 
body and play the G with the heel . . . and so on. Make sure 
you watch your toe and heel each time they strike a note. 
You should do this exercise through completely at least 
three times before stopping. Then rest a bit by doing some 
chord progressions with left hand alone, or do a right hand 
melody for variety. Then go back to the pedals alone again. 
You should average about 21 times for this exercise each 
day; three times through, at seven short periods each day. 

RHYTHM FOR LEFT HAND AND PEDALS. Let us take waltz 
rhythm first, since that involves a slower change of pedals. 
In 3/4 time, you have two chords following each pedal, 
which gives more time to move the foot from one pedal to 
the next. You start each change of chord with the pedal 
name of that chord: for the C chord, the pedal is C. For the 
G chord the pedal is G, and so on. If you have a number of 
measures employing the same chord, then you alternate the 
pedal to avoid monotony. You can use any other note of the 
chord as an alternating pedal, but the usual alternate is the 
fifth of the scale, the dominant. On this basis, the alternat- 
ing pedals for the following chords would be: 

CHORD ALTERNATING PEDALS 
C C and 

G G and D 

F F and C 

A A and E 

Bb Bb and F and so on ! 

Here is an exercise to practice in the key of F: 

L.H. Chords 3 ACF ACF ACF ACF ACF ACF ACF ACF ACF ACF 
Pedal 4 F C F C F 

In 4/4 time, there are TWO pedals and TWO chords in 
each measure, like this : 

L.H. Chords 4 ACF ACF ACF ACF ACF ACF ACF ACF 
Pedal 4FC FC FC FC 

Now, do this same exercise on all the chords you know, 
making sure that you match up the pedals with the chords. 
Do this continually, and you'll soon be playing good 
rhythm. Work hard on these exercises I have given you 
here, and you'll find you'll soon be having even more FUN 
AT THE HAMMOND! 



Miss Maryland 
wins talent award 



A $1,000 first prize in the talent contest at the recent 
Miss America Pageant in Atlantic City, N. J, was won by 
Hammond organist Beverly Ann Smith. This blue-eyed 
blond from Baltimore drew a storm of applause from the 
more than 7,000 spectators in Convention Hall plus the 
votes of the judges with her stirring presentation of the 
Warsaw Concerto on the Hammond Organ and piano. 

The prize money will be used to further her education 
at Western Maryland College in Westminster. Beverly 
plans to major in music and math as well as continue her 
Hammond organ studies with Mildred Alexander. In ad- 
dition to her dedication to music, Beverly finds time to 
maintain excellent grades and participate in swimming, 
ice skating and dancing. 

Prior to being named "Miss Maryland," Beverly had 
played many other featured roles. This 18-year-old 
played the Hammond Organ on the Maryland state float 
during the inaugural parade; played the Hammond on 
the Field Enterprise float in Washington's "Cherry Blos- 
som Parade" and Baltimore's "Oriole Day Parade," and 
played the Hammond on the prize winning float at the 
Winchester, Va. "Apple Blossom Parade." 

The Hammond Organ Studios of Baltimore saw to it 
that Beverly had the same type of organ for these occa- 
sions as she has at her home ... a Hammond, of course. 




ON TOU R with the Hammond Organ 



DUO CONCERTS WITH 
SHAY TORRENT and 
AXEL ALEXANDER 



Nov. 


4 


Levy-Page Temple of Music 
Norfolk, Va. 


Nov 


7 


W atk i n s B r oth er s 
Hartford, Co nn. 


Nov 


8 


H .OvS , of New London 
Waterford, Conn. 


Nov 


11 


Macy's H.O.S. 
New York, N;Y. 


Nov 


14 


Gamble Music Co. 
Gales burg, ill. 




Nov. 15* H.O.S. of Phoenix 
Phoenix, Arizona 

Nov. 20* Killam's Music 
Quincy, III. 

^Showcase 
tTeachers Workshop 




PORTER HEAPS 

Nov.1* H.O.S. of Chattanooga, inc. 

Chattanooga, Ten n . 
Nov, 6*f Graham Music Co. 

Carmel, Calif. 
Nov. 7* Vallejo Music Shop 

Vallejo, Calif. 
Nov. 8* Peets Music Co. 

Eureka, Calif. 
Nov. 12* H.O.S. of Long Beach 

Long Beach, Calif . 
Nov. 13* Schmidt-Phillips Co. 

Santa Ana, Calif. 
Nov. 14*t H.O.S. of Riverside 

Riverside, Calif. 




HAL SHUTZ 

Nov. 1 Williams Piano Co. 

Rapid City, S.'-D. 
Nov. 3 Williams Piano Co. 

Sioux Falls, S. D. 
Nov. 6 T. Eaton & Co. 

Vancouver, Canada 





ORGAN MUSIC FOR 

by Dr. Mario Salvador 

Time passes quickly, too quickly for those who are 
"busy." Christmas is then around the corner and the organ- 
ist hastily picks up whatever he played last year and starts 
to practice. Adequate preparation should have impelled 
him to do at least something new and do it well. We have 
picked a few selections for this joyous season which should 
prove palatable to the average church goer. Using these 
examples we will attempt to find registration which will 
make these same compositions full of artistic merit. 
Improvisation on "Good Christian Men" by Alec Rowley. 
Hinricksen Edition, Ltd. The pipe organ registration indi- 
cated is vague and very general. The composer expects the 
organist to use some imagination. The melody is introduced 
in the Pedal. We would like to suggest Pedal 32 and where 
available add the Solo Pedal Unit 16' and 8' but very soft. 
We ought to start on the upper manual, say on A# with a 
combination such as 00 4532 111. The reader will notice 
that we are not restricting ourselves to merely 8' tone. The 
lilting character of the music suggests a little dab of bright- 
ness in the tone color. On the second line where the com- 
poser suggests the Great manual at the second half of the 
first measure we will stay on the upper manual so that the 
left hand may play the melody which enters at the last 
measure of the second line on the lower manual using the 
pre-set Clarinet 8'. At the bottom of the page where the 
Great manual comes into play we should play on the lower 
manual with A# 00 6766 433, a rather sturdy foundational 
tone and observing the gradual crescendo with the swell 
expression pedal. At the fourth last measure from the end 
of the composition where the Swell manual is indicated we 
could try a very soft string tone on the upper manual 
B 00 1233 100 and then ending on the lower manual as 
suggested with the expression pedal fully opened. No one 
will doubt that registration is the key to this piece if we 
are to feel animated. 

The First Nowell (from Six Carol Preludes) by Gordon 
Phillips. Oxford University Press. This is a short and simple 
piece which depends on an exacting organ type staccato 
touch. We mention this piece only because we might safely 
introduce the 16' tone in the manual. However, we would 
have to take off this 16' registration on the last page where 
the music descends into the very lowest register of the 
manual. For this reason it would be consistent and better 
not to be tempted by the 16' tone and forget this color 
completely. Thus, we may play the entire composition on 
the following, 02 6756 554. The Pedal should be quite as- 
sertive, say, with 65 and possibly the Pedal Solo Unit with 
16', 8', 4' used with some preponderance of intensity. 
Cantique de Noel by Adolph Adam. Arranged by T. Tertius 
Noble. G. Schirmer, Inc. This is an old time favorite but 
nevertheless full of dramatic impact. We would like to have 
an interesting contrast in the manuals. Let us examine the 
melody in the left hand and try to impart to it a very rich 
string tone. We must determine what we want here before 
we do anything else. Should we decide to use the lower 
manual A# 00 4757 543 then we could direct our attention 
to the accompaniment. The flute tone would be our best 
choice but it should be assertive enough to balance the 
melody. Hence, the upper manual A# 00 6503 002 should 
work out pretty well. However, consideration must be given 
to the acoustical background and this might necessitate 




some minor changes in this particular registration, at least 
in the last three digits. 

When we arrive at the second stanza, namely, page five, 
the melody appears in the right hand in harmony while the 
left hand takes the accompaniment. Again, let us see what 
we desire in the manual on which the melody will be 
played. Here we can add a very soft 16' tone to a strikingly 
colorful combination such as 22 5787 765 with the expres- 
sion pedal never fully opened until the very last melodic 
phrase. The left hand, on another manual, would then 
utilize 00 6633 234. We need not hesitate to make some use 
of the tremulant in this piece but we should not overdo this. 
Pastoral Dance on "On Christmas Night" (from Three 
Christmas Pieces for Organ) by Robin Milford. Oxford 
Press. This piece is rather tricky but worth the trouble of 
learning it. The scintillating play in the manuals should be 
brought out with light flute work. I would recommend that 
we start the composition on the upper manual A# 00 6224 
113. The melody in the Pedal should utilize only the Solo 
Pedal Unit 4' with some assertion. Where this is not avail- 
able then use the regular 8' tone. At the bottom of the third 
page we use both hands on the lower manual using a less 
brilliant tonality such as one of the pre-sets containing the 
diapason tone. Here the Pedal harmonic controllers 22 
would suffice. But on the fourth page where the melody 
enters in the left hand we should play the latter on the 
upper B 00 7888 420, an assertive reed against the lower 
AS where we will use 00 5735 233. At this point the Pedal 
increases to harmonic controllers 34 and the addition of the 
Solo Pedal Unit, 16', 8' and Bourdon 32' which will have a 
telling effect. On the last page we should close on the lower 
manual B 00 4300 111 with the Pedal as at the beginning 
except here it should be softer. 

Variations on an Old Carol Tune by Geoffrey Shaw. J. B. 
Cramer and Co. Ltd. This composition will not give much 
trouble. The registration is clearly indicated. However, let 
us point out certain places where we can enhance the com- 
position with a livelier tonality. In the first variation, marked 
page three, we have the indication Choir 8 and 2 in the 
right hand, Great 8 in the left hand. Examining the music 
carefully, on the Hammond this should be translated in this 



manner, 



Right hand 
Left hand 



Upper manual 
Lower manual 



00 8006 004 
00 5684 342 



The last six measures of this piece could be played on one 
of the pre-sets on the lower manual containing the diapason 
tone. 

Again, on page five, we can either use the pre-sets but it 
would be better to find a more characteristic combination. 
For the flute tone we can consider 00 3120 000 and for the 
melody in the left hand we may use 00 5353 321. Later, the 
8' and 2' registration can be added to the already existing 
flute combination by pulling out the following, 00 3124 002. 

On the top of page six, this variation is the point of repose 
in this composition. No ordinary flute tone will suffice. One 
should choose the most velvety tone possible. Depending, 
of course, on the acoustics of the building, the following, 
00 3441 100 should prove very effective. The accompani- 
ment should be very soft but rich, such as the following, 
00 1222 111. 



mm 



YOUTH 

AT THE 
HAMMOND 



BILLY and DIANE BECKER share the 
Hammond Spinet in their Sarver, Pa. 
home. Diane, only 13, has recently been 
appointed head organist at a local 
church where ten year old Billy often 
accompanies her at the organ. 

BOB and PATTY AGEE were both 
award winners for their performance at 
a benefit show held at the Lindenhurst, 
N. Y. high school Playing the school's 
Hammond Concert Organ, 12-year-old 
Bob came in second and 11-year-old 
Patty was the runner up. Both are stu- 
dents of Mrs. Christos Vrionides. 

RONNIE ALPHIN has already gained 
superior ratings in a number of state- 
wide musical competitions, including 
the Alabama Federation of Music Clubs' 
Festival this spring. The Sheffield, Ala. 
youngster, just 7 years old, is a student 
of Mrs. Geo. E. Jackson. 

WALTER MURPHY, JR. of Yonkers, 
N.Y., began taking organ lessons at the 
age of 4%! To compensate for his small 
size, he learned to play while standing 
on his right foot using his left foot to 
play the pedals. Five years have passed 
and Walter has progressed to the point 
where he frequently appears in concerts 
with his teacher > Rosa Rio. 

BRUCE RENAUX has been the guest 
soloist at numerous charitable functions 
in the Fairhaven, Mass. area. Two most 
memorable events in Bruce s eleven 
years were his appearance on the Ted 
Mack Amateur Hour (where he won 
third prize) and sharing a concert with 
recording artist Bill Dalton. Mrs. Yo- 
lande Breault is the boys teacher. 

ELEANOR CUSHING of Wallingford, 
Pa. was a recent winner in a music con- 
test for Delaware County parochial ele- 
mentary schools. This attractive young 
lady has played for church services and 
for a church wedding. 



II 








n 



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10 




V 




CHRISTMAS FOR THE HAMMOND ORGAN 

Arr. by Leslie D. Cradlaugh . , . Remick Music Corp .$1.50 

48 pages of short, simple arrangements of well known carols and 
hymns on three-staif scoring. Words and chord symbols included. 




CHRISTMAS ORGAN ALBUM 

J. Fischer & Bro . $2.50 

A big book of sixty pages consisting of Christmas music suitable 
for the church organist. Just about the best single volume of 
Christmas music I've ever seen. You church people might do well 
to have this on hand when Christmas comes. You'll like the 
Christmas Favorites number based upon hymns, and the Carols 
for Quiet Stops, Standard Christmas material includes the famous 
Gesu Bambino, Dubois' Noel, Guilmant's Pastorale, Adam's O 
Holy Night, and many others. 

IT'S CHRISTMAS TIME AT THE HAMMOND ORGAN 

Arr. by Raymond Shelley . . . Plymouth Music Co $1.50 

Simple arrangements of 14 Christmas songs which include some 
pop-type tunes like I'll Be Home For Christmas, Let It Snow, etc. 

ANGELS WE HAVE HEARD ON HIGH 

Arr. by Fred Feibel . . . Boston Music Co 90$ 

A rather long ( eight pages ) and not too easy arrangement of the 
popular traditional French carol. Could be done very effectively 
in church. I'm planning to use this at Christmas time, my people 
will like it. 

VARIATIONS ON "I SAW THREE SHIPS" 

By John Duro . . . H. W. Gray Co 75$ 

This is a single, not too difficult. It's a very fine arrangement and 
will fit in beautifully in your Christmas programs. 

ORGAN PRELUDE ON "IN DULCI JUBILO" 

By Harold Rohling . . . Abingdon Press 75$ 

A superior arrangement, one of the nicest In Dulci Jubilo's I've 
seen in a long time. The familiar Christmas melody alternates 
with a lively forte section which offers admirable contrast. By all 
means, look this up for your Christmas schedule. 

MEDITATIONS-FOUR EXPRESSIVE PIECES FOR ORGAN 

By George Frederick McKay . . . Abingdon Press $1 

Four short numbers in the dissonant style of writing. Some of the 
harmonies will make your hair curl! Fine music, though, and 
not difficult, except that there is a fair sprinkling of sharps and 
fiats to watch. 

If we organists would scream loud enough, publishers might 
desist from the practice of printing two-page pieces on opposite 
sides of the same sheet, which necessitates turning the page. Sel- 
dom is there any reason why it couldn't be printed on facing 
pages. Let's start screaming. 

SIX SERVICE PIECES FOR ORGAN 

By Joseph Roff . . . Abingdon Press $2 

A good collection of original music for the church service, de- 
signed for the average organist. The Trumpet Voluntary sounds 
as it should. You might find the Prelude more acceptable as a 
postlude, I would. Other titles include a Postlude, Supplication, 
Interlude, and Improvisation. 



SACRED HARP SUITE, $1 • FOUR ORGAN PRELUDES ON EARLY 
AMERICAN TUNES, $1.25 • FOUR PSALM PRELUDES $1.25 
By Robert J. Powell . . . Abingdon Press 

During the past few years there has been quite a revival of in- 
terest in early American sacred music, especially hymns. I sin- 
cerely hope that this interest continues, for the music is stunning. 

The Sacred Harp Suite is really a theme and variations, and is 
based upon the tune "Do Not I Love Thee, O My Lord." The 
name "Sacred Harp" identifies a style of hymn singing indigenous 
to the South, centering in Alabama. Organists interested in this 
type of music will be fascinated with the collection Original 
Sacred Harp, published by the Sacred Harp Publishing Co., Inc., 
Haleyville, Ala. The hymns are printed on four staffs, in shaped 
notes. The melody is carried by the tenor. 

The Four Organ Preludes are written in the classical idiom of 
Bach. The Four Psalm Preludes are short, two-page original 
numbers printed, of course, so you'll have to turn the page in 
each one! 

THREE LITURGICAL PRELUDES 

By Gordon Young . . . Abingdon Press $1 

Three short, very attractive, and very easy pieces. If you're look- 
ing for something that won't require much practice, this is it. 

15 HARMONIZATIONS ON HYMN TUNES 

By Jane Marshall . . . Abingdon Press $1 

Some of your favorite hymns with the wildest harmonizations 
you've ever heard! Not suitable for singing, but, well, look them 
over. Perhaps as interludes here and there. 

BACH BOOK OF AIRS 

Compiled and edited by Edwin Shippen Barnes . . . Boston Music . . .$2 
I imagine that this is a reissue of something that has been pub- 
lished before, only this time with Hammond registrations. No 
matter, I'm glad they reissued it because I didn't happen to have 
this collection and it looks to me to be very useful. Contains 
fifteen Bach favorites, many arranged from oratorios, cantatas, 
sonatas, etc. Three are arranged from the Well-Tempered Clavi- 
chord, three more from the Christmas Oratorio, two from violin- 
cello suites. This gives you an idea. 

EIGHT PRELUDES ON OLD SOUTHERN HYMNS 

By Gardner Read . . . H. W. Gray Co $2.75 

To me, this collection is really thrilling. Mr. Read has a terrific 
musical imagination and his preludes on these hymn tunes, many 
from the Sacred Harp, are of the finest. No, they're not easy at 
all, they'll all take a mite of practice. Would make fine concert 
material. 

G. F. HANDEL-THREE PIECES 

Arr. by Homer Whitford . . . H. W. Gray Co . . $2 

Larghetto from the "Violin Sonata," Sinfonia from "Solomon," 
and the aria "Thanks Be To Thee." The first and last are aria- 
type pieces familiar to the routined organist. The surprise to me 
was the Sinfonia, it's delightful, happy and rollicking, and not 
nearly so difficult as it looks. All those fast sixteenth notes fall 
under the fingers just as they should. Will make a fine Postlude. 

FIVE WAYSiDE IMPRESSIONS IN NEW ENGLAND 

By H. Alexander Matthews . . . H. W. Gray Co $3 

Very listenable recital-type music. You're playing a concert in 
your church and you don't want everything to sound like service 
music. You want a contrast, something melodious, descriptive, 
with lush harmonies. Not intellectual-type music, something easy 
to listen to. This will do the trick. You'll have to practice on most 
of them, they're not too easy. 



INDEX TO PUBLISHERS 

Abingdon Press, 77 W. Washington, Chicago, 111. 
Boston Music Co., 116 Boylston St., Boston 16, Mass. 
J. Fischer & Bro., Glen Rock, N. J. 
H. W. Gray Co., 159 East 48th St., New York 17, N. Y. 
Remick Music Corp., 488 Madison Ave., New York 22, N. Y. 
Plymouth Music Co., 1841 Broadway, New York 23, N. Y. 



11 



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•• 



COMMENTS ## 




HAIv 



f% 







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THE BL^NK SISTERS-Carol, Ruth Ann, 
Mary, Betty, and Cindy— have captivated 
the hearts of folks in the Fort Myers, Fla. 
area with their unusual ability at the 
Hammond Chord Organ. The girls have 
appeared on TV, at Hammond Organ So- 
ciety meetings, and have been the sole at- 
traction at a Captiva Island Community 
Center program. 

Five sisters who play the Chord Organ 
well presents a rare opportunity for imagi- 
native programming. The girls have de- 
veloped an unusual format for their 



program with the help of arranger Don 
McLean. After each girl is introduced, she 
plays a solo and then joins her sister(s) for 
a duet, trio, then a quartet. Climax of the 
performance arrives when 4-year-old Cin- 
dy plays her solo and joins in for a quintet 
of Hammond Chord Organs on the tune, 
"Jingle Bells." 

In addition to the Chord Organ, the Blank 
home has a new Hammond Self -Contained 
Organ and the older girls are starting ped- 
al lessons. Mrs. Marjorie Kephart is their 
teacher. 




WELBY WALKUP is a talented 9-year-old 
who, after less than six months of lessons on 
the Chord Organ, was invited to perform at 
the Albuquerque, N.M. Home Show. His 
teacher is Mrs. Jean Beckley, 




MARJORIE TETREAULT, a Montreal, 
Canada housewife and office worker, is still 
amazed at her ability to create beautiful 
music without musical training and consid- 
ers her Chord Organ her most prized posses- 
sion. 

TOM JETER of Trenton, Tenn. plays the 
Hammond Chord Organ by ear, drawing 
upon his experiences as a cornetist in high 
school and Univ. of Tennessee marching 
bands. 



12 




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The JIM UPSON family is a big booster 
for the Hammond Chord Organ with 
daughter Betty and son Bob showing ex- 
cellent progress. The Upsons and the Ax- 
sons pictured below have appeared on 
WSAV-TV in Savannah, Ga. in a program 
sponsored by Upchurch Music Co. 





The BEN AXSQN family is another close- 
ly knit group who derive many hours of 
enjoyment with their Chord Organ. Mrs. 
Axson and son Randy are both proficient 
and enthusiastic Chord Organists. 




DUBUQUE, IOWA CLUB. Boat rides, water skiing, and other outdoor 
sports plus the Hammond Chord Organ were the ingredients of 
this club's picnic meeting at a lakeside cottage this past summer. 
Other imaginative programs have included a "This Is Your Life" 
surprise program for Maurice Renier complete with all family mem- 
mers, old girl friends and many humorous and valuable gifts. This 
group always seems to make each meeting more fun than the last. 
Renier Piano and Organ Co. sponsors the club. 



Hammond 



CHORD 



iUBS 




HARMONY CLUB OF OTTUMWA, IOWA. Averaging about twenty-five 
members at each meeting, the Harmony Club programs usually con- 
sist of group instruction sessions and solo performances by the mem- 
bers. Their meeting place varies with the season-picnics and steak 
fries during the summer and indoor meetings at the homes of various 
members when the cold weather comes. 




COLUMBIA, SOUTH CAROLINA CLUB. This club, pictured here at a 
recent Hobo Party, has been one of the most active in the country 
since its reorganization last December. Membership has steadily 
increased with their informal meetings and extensive participation 
by all members. They have received commendations from the local 
V.A. Hospital, American Red Cross, and the American Legion for 
their concerts for shut-ins in the Columbia area. The group is 
sponsored by the Rice Music House. 



13 



PLAYING TIPS 




A Lifetime of Music 
for your Children 



J You can do a great and lasting service 
to your children by encouraging them to 
play the Hammond Chord Organ. This 
can be approached in an informal man- 
ner, and he or she can learn a great deal 
with your help; Even if you have just 
recently started to play the organ, you 
are way ahead of your child in years and 
maturity, and therefore you have a greater 
ability to study and reason out many 
problems. 

Little need be said about the many 
lifelong advantages of having pleasant 
childhood musical experiences which add 
up to years of wholesome enjoyment of 
music. In most of their activities children 
need and expect to have a fairly quick 
return for their efforts. Very often, un- 
fortunately, at an age when a child wants 
(and should have) fairly immediate re- 
sults, he is forced to study an instrument 
which may take a year or more before 
he can play a few selections acceptably. 
This is the crux of the problem of musical 
study on most instruments, often resulting 
in disinterest or even antagonism toward 
music, toward the music teacher, and to- 
ward his parents who unwisely may be 
forcing too hard. 

The Hammond Chord Organ is an ex- 
ception to this because even a very young 
child can learn to play several selections 
very well in a week or two, thereby devel- 
oping a happy attitude toward playing 
and learning. This is a fact which has 
been proven to me many times. Further- 
more, the musical development does not 
have to stop at the playing of a few songs, 
but can go on to higher and higher musi- 
cal attainments. The Hammond Chord 
Organ has such a wide musical potential 
that neither the adult nor the child need 
feel that it is good only for getting start- 
ed^ Actually, the limitations are individual 
ones with each person, but not with the 
instrument. 

Here are some suggestions pertaining 
to ways of getting started. Give them 
a try! 

Playing a Melody. If you have created 
an atmosphere of interest by having the 
child see how much fun you have when 
you play the organ, then it is time to 
start, whether he is four or fourteen. 
Learning to play a melody would be 
the first objective, then the chords could 
be added later. Try selecting easy songs 
which sound familiar to him, and show 
him where the notes are located oh the 
keyboard, a few at a time without having 
him refer to the music page. Most chil- 
dren pick this up rapidly. You could refer 
to the music as your guide, but initially 
the idea is to teach him a few songs by 
rote— learning the notes by location On the 
keyboard. Two good songs for this are 
in your Owners Playing Guide on page 
25: Yankee Doodle and Merrily We Roll 
Along. 



Playing the Chords. Once the melody 
is learned, the addition of the chords 
with sustained left pedal is relatively easy 
to teach. If your child is too small to 
reach the pedals, wedge the glass heel 
rest or a small flat ash tray between the 
left pedal and the bottom of the organ. 
The bass notes will sound along with the 
chords, But only when the chord buttons 
are pressed! 

Other songs of your choice would be 
good to use. The main idea is to use songs 
in the key of C (no sharps or flats), and 
preferably those which contain no more 
than the four basic chords: C, F, G7, D7 
(or Dm). Show him which chord buttons 
to use and when to change them. You'll 
find that he can soon play a complete 
melody with chords. 

Using Musics as a Guide. If your child 
is in the four to seven year age group, 
there is a series of books which works 
wonderfully well for this young age: The 
Anichord Method* This explains to the 
parents what is to be done so that they 
can help even their pre-school children 
to find the notes and the chords by using 
animal pictures and colored button caps. 
The ideas are musically very sound be- 
cause the child learns musical fundamen- 
tals and later note reading, all at a slow 
and pleasant pace. 

Music From the Page. If your child is 
in the third grade or higher he can learn 
to, read music by association; of lines and 
spaces at first, then later by letter names. 
The first step is to observe how the lines 
and spaces on the music staff are associ- 
ated with the keyboard. To do this, get a 
grease pencil or dark crayon and mark 
the keyboard as follows: 




The lines you have drawn on the keys 
E, G, R, D, F, represent the lines c-f the 
music staff. The Number 1 on the 6 rep- 
resents the first added line below the staff. 
Don't discuss letter names, fust use these 
lines as a guide to associating the page 
to the keyboard. Notes on spaces, of 
course, are the white keys between these 
lines. Help him to pick out by notes the 
few melodies he has already learned by 
rote. Then try a new easy selection, 
such as My Bonnie in Music for Singing 
Album. 

Chords by Letter Name. You will find 
that your child will learn the location 
of chords by LETTER NAME just about 
as rapidly as he would by numbers, so 
put away the numbered button caps, and 
show him that each kind of chord is 
named at the left, and the abbreviation 
for each is shown at the right of the 



chord button section. One thing to notice 
at once is that the mj indication on the 
organ is not used with letter names on the 
music. Just a Capital letter indicates 
MAJOR. If he learns to find the melody 
and chords on those several beginning 
selections, he is ready to try a new song 
using the music, rather than being shown 
each note and chord. Give him plenty 
of help and encouragement. 

Steps Whicjh Follow. The next step 
is to write the letter names on the key- 
board near the back of the white keys. 
Dp not remove the lines. The keyboard 
will look like this: 




The next two steps can be delayed for 
a long time or introduced fairly soon, 
according to the age and aptitude of 
the child: 

1) Remove the lines from the keyboard, 
leaving just the letter names. He would 
then start to read notes by letter name, 
but still would get some assistance by 
seeing these names on the keyboard. 

2) Rerhove the letter names from the 
keyboard, leaving the keyboard un- 
marked. The true reading of notes would 
then take place. This requires careful 
thought, so don't be in a hurry to remove 
the letter names. 

If occasionally you use one of the 
earlier procedures I have suggested on 
a new song, even to teaching him a new 
melody by showing him where the notes 
are on the keyboard, you will be helping 
to make things easier and more fun at 
times. By no means should you feel that 
this is a retrogression— going back to the 
earlier steps of learning. 

Other topics such as counting, under- 
standing note values, playing two or more 
parts in the right hand, etc., can hardly 
be included m an article of this length 
—each being worthy of considerable study. 
Needless to say, if your child is old 
enough (preferably seven or more), and 
a competent music teacher is available, 
make use of the teacher's training and 
experience to give him a good foundation. 

Whether you or someone else helps 
your child to get started in active partici- 
pation in music, you can contribute much 
to his present and future enjoyment by 
showing genuine interest in his progress. 
It Is a proven fact that situations in which 
the parent and child work together to- 
ward mutual accomplishments can create 
the strongest of ties in a child's life to 
make him feel loved, wanted, and secure. 
What possibly can be more important? 
♦Available in three volumes, $1.95 each, from: Melchord 
Music Co., 2851 N. Halsted St., Chicago 14, III. 




Rudolph's Christmas Album for Hammond Chord Organ 

$T.50 Belwin, Inc., Rockville Centre, L.I., New York 



Thirteen Christmas songs about evenly divid- 
ed between tlie recent novelty type tunes and 
the old Carols. Arrangements by David Can 
Glover are excellent and include balancer 
settings and pedal directions. 

PARTIAL LIST OF CONTENTS: 
Rudolph The Red-Nosed Reindeer 
The Night Before Christmas 



Rockin' Around The Christmas Tree 

When Santa Gets Your Letter 

I Heard The Bells On Christmas Day 

It Came Upon The Midnight Clear 

O, Come All Ye Faithful 

Silent Night 

Jingle Bells 

While Shepherds Watched Their Flocks 



34 Christmas Songs and Carols for Hammond Chord Organ 



$2.50 Melrose Music Corp., 31 West 54th St., New York 19, N.Y. 
Rather easy arrangements by Elmer Ihrke of Angels We Have Heard On High 
a long list of Yuletide favorites. This collec- 
tion includes enough music to entertain your 
relatives and guests throughout the holiday 
season. 



PARTIAL LIST OF CONTENTS: 

The Christmas Song ( Chestnuts Roasting 
On An Open Fire) 



Deck The Halls 

First Noel 

Good King Wenceslas 

I Saw Three Ships 

Jolly Old St. Nicholas 

Joy To The World 

We Three Kings Of Orient Are 

Birthday Of A King 



28 Great Hits for Hammond Chord Organ 

$1.25 M. M. Cole Publishing Co., 823 S. Wabash Ave., Chicago 5, lit. 

Easy, simplified arrangements of old stand- The Caissons Go Rolling Along 

ards plus a few country and western hits 

arranged by Walter Richard. 28 tunes in all, 

excellent for beginners. 



I Only Want A Buddy, Not A Sweetheart 

Kentucky Babe 

Lonesome And Blue 

Mexicali Rose 

Ridin' Down The Canyon 

The Strawberry Roan 

Ta-ra-ra Boom-der-e 



PARTIAL LIST OF CONTENTS: 
A Hot Time In The Old Town Tonight 
Bringin* Home The Bacon 

Forty Best of the Year for Hammond Chord Organ 

$2.50 Hansen Publications, Inc., 1842 West Ave., Miami Beach, Fla. 

This album might be better titled, "40 Best Chicago 

Of ANY Year/* for every number is a popular 

standard. All types of music are represented, 

most of them in easy arrangements, a few 

might offer a little challenge. 

PARTIAL LIST OF CONTENTS: 

Autumn Leaves 
Because Of You 



Cruising Down The River 

Five Foot Two, Eyes Of Blue 

It's A Big, Wide Wonderful World 

Liechtensteiner Polka 

Rico Vacilon 

Twilight Time 

Whispering 



This Love of Mine for Hammond Chord Organ 

$1.50 Dorsey Brothers Music, Inc., 240 West 55th St., New York 19, N.Y. 
A fine collection of twenty-three tunes from It Started All Over Again 
the early 1940' s, most of them record hits of 
the great Tommy Dorsey band. Arranged by 
Elmer Ihrke. 



PARTIAL LIST OF CONTENT5: 

Everything Happens To Me 
I Should Care 



Jersey Bounce 

Just As Though You Were Here 

Let's Get Away From It All 

Opus One 

There Are Such Things 

Tuxedo Junction 

Why Try To Change Me Now 



Ife- 





if 



£&, 






lllllllill 



New, Enlarged Music Catalog 
for the Hammond Chord Organ! 

The revised Hammond Chord Organ Music 
Catalog is now available. More than 40 new 
albums plus many new Chord Organ solos and 
instructional aids have been added to the new edition. 

The almost 4000 songs listed in the new catalog cover the full 
spectrum of music. There are hymns, show tunes, marches, 
waltzes, polkas, and classical favorites— something for every 
musical taste. Full ordering information is also included . . . 
each entry includes the name and address of the publisher, 
the price of the album, and a complete list of tunes. 

This new Hammond Chord Organ Music Catalog is 
available now at your local Hammond Organ dealer . . . 
see him soon and pick up your copy. 



15 



How to get this for your 

Sunday School without asking anyone for money! 



uite a few churches throughout the country are 
now in the process of acquiring a Hammond 
Extravoice Organ for their Sunday school through an unusual 
plan developed by the Hammond Organ Company in con- 
junction with the S&H Group Saving Program. Perhaps your 
church would be interested in acquiring one for club or 
Scout meetings, or even the most solemn of church services. 

Most attractive part of the plan is that the church does not 
need cash; there is no fund drive, no pledges. Instead, mem- 
bers of the congregation bring their S&H Green Stamps to 
the church. When 328 books of stamps have been turned in, 
your church will have "PAID IN FULL"* for the versatile 
Hammond Extravoice Organ. That's just 4 books each from 
82 church members. 

In one community, local service clubs helped a church to 
collect the stamps/And in another, a supermarket agreed to 
match the Green Stamps given to parishioners who pur- 
chased goods from their store for one day. This enabled the 
church to get 328 books together within just a few weeks. 

Think of it. If you act now you can have this Hammond 
Organ in your Sunday school for Christmas . . . and to use 
all year long for your Scout group meetings, women's club 
and mens club activities or even the most solemn of 
church services. 

There are very few churches who could not make excellent 
use of another organ and this new plan makes it very easy 
for them to get it. If your church is interested, have them 
write us for further details. 



NOTE * Th ' s offer is subject to federal, state and local regulations and is 
- void where regulated, prohibited or taxed. 




Hammond Organ 



*Local sales tax not included. Bench extra 



Litho in U.S.A.