Hammond Times Vol 24 No 3 October 1962

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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.

CON

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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

[ ^p^csq jjrnti -^r~ ay

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%

. •■■ ■

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

■■%

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.