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Page 11 text:
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LITTLE ROCK HIGH SCHOOL BAND State Contest Record Little Rock, Arkansas L. Bruch Jones, Conductor ..... First Place 1931, ‘32. '33 Dixie Contest Record ....................................... Superior 1935 Superior 1934, ’35. ‘36, ‘37, 38. 39 National Contest Record...................Superior 1936. '37, '38. '39, ’40 Regarded as the South's most outstanding band. Band Rosier, Season QJQ-. G L. Bruch Jones........................................................Director Bill Emerson ...................................................Student Leader J.MMY Wuitsitt.......................................Assistant Student Leader Gl-HNN Riddi.I.I.................................... Assistant Student Leader David LcdbT............................................Aimtant Student Leader Db Llute and Piccolo JiMMt Walton First C Flute and Piccolo Jimmy Walton George Scmobneck Second C Piute and Piccolo David Rked Roy Bkll Third C Piute and Piccolo H. I.. Lambert Eb Piute and Piccolo Roy Spuncl Hamilton Fit;mister Pirn Oboe David Ledet Second Oboe Jkvrll Nottage English Horn Dan McAnincu . Charles Bossingek Pint Bassoon Jimmy Virgin Second Bassoon H. A. Courtney Contra-Bassoon Duane Brothers Lb Clarinet James Wray Pint fib Clarinet Merhi. BOYCE George Sihbert John Vi.amidhs Louis Stout Second fib Clarinet Blakely Si.nter Calvi n Hoi.t Robert Fair Jimmy Blevins Third fib Clarinet W. O. Fleming Hobart Hunt Mack Dietz C. C. Collins Fourth fib Clarinet Dwight Pattison John Shermbr Charles Dietz George Thompson A Ito Clarinet Leonard Stride i James Gammill Bobby Burton Arthur Stranz Ban Clarinet David Ri agan Bobby Baker Harry Page Lowell Dabbs Eb Contra-fiats Clarinet McKay Riggs Grover Hemphill fib Contra-Ban Clarinet Chester Creech Firtt Alto Saxophone Billy Finch Don Campbell Second Alto Saxophone Charlene Cox Tenor Saxophone S. G. Catlett Robert Naylor David I.edet . Paul Marion . Merei. Boyce . Bill Emerson . Paul Marion George Surer r OmcERs .................Preiident .... Vice-President Secretary and Treasurer . . fiunneif Alanager .... Qujrtermaiter ............... Librarian Baritone Saxophone Winston Morgan Ban Saxophone John Long Pint Comer Oiarles Crook Ambrose Walker Second Cornet Earl Rankin J. A. Wanamaker First Trumpet Winston Weese Pint Ftuegel Horn Donald Woolsey Second Fluegel Horn Donald Flanders Pint French Horn James Williams Second French Horn Billy Hammann Jack Hunter Third French Horn Rupert Blakely Bob Hemby Fourth French Horr. Charles Treadway Pint Trombone Jimmy Wuitsitt Elmer Hewitt Second Trombone Oscar Barnes Be n Ash Ban Trombone Milton Barrett Homer Hawkins Euphonium Glenn Riddell Richard Landes Baritone Bobby Wells Eb Ban Billy Davell Carl Matchett fib Ban Robert Parr M. E. Yancy Sanford Smith Robert Lincoln String Ban Mary Joe McKnight 5njrr Drums and Traps Glynn Roberts John Oi.tman Robert Blendkn J. W. Owens Bass Drum and Cymbals John Hussey Tympam Paul Marion Alar tmba-Bells-Chimes-Vibraharp Mary Harden Jbanbtte Briggs Harp Sarah Nell Marshall I-aurib Butts MARSHALL HIGH SCHOOL BAND Chicago, Illinois Flutes Helene Kpstien Dorothy Shi.oSBHRG Alice Helfgoit Anne Haas Harry Ma kih Dorothy Shelton Marguerite Millikan Oboes Dina Blackman Teddy Gordon English Horn William Roscoe Bassoons David Klfinerman Bennie Cohen fib Clarinets Jordan Canzone, Jerome Sacks Harold Rotii Frieda Karn Spartaco Tinucci Jacob Friges David Kaplan Mickey Diana Ethelyn Cook Bernadine Goldberg Max Shmulfvith Harold Com ins Victor Zajbc Jean Swirsky Harriett Fumel Marvin Chaiken Eleanor Wolfson Berenice Fitch Gerald Kanter Maynard Meyers Albert Stun Vivian Primus Geraldine Young Pearl Rosen Marion Muefson Henry Wildberger Gilbert Swig Dorothy Lavin Alto Clarinets Lawrhno Ross Leo Katzman Harold Wei.lbk Bass Clarinets Casper Boghosian Syrene Silver Vivian Chez Alto Saxophones Harris Krawitz Sophia Gorlach Sol Feldman Paul Roth Tenor Saxophones Geraldine Dkyo Dolly DeBruzzi Baritone Saxophone Robert Resnick Cornets Thomas DiCicco Paul Pozen Herbert Omens Bernard Parmbt Jerome Gordon Krling Lund Sheldon Lewis Trumpets Sidney Katz Margaret Morgan Leonard Wasserman Martin Tuchow Howard Watt French Horns Leon Mendelsohn Ruth Slutzky Dorothy Kaplan Shirley Slutzky Marvin Lehtman Herbert Mazer Martin Blachman Baritones Bernice Simon Joh n Roscoe Thelma Ginsberg Trombones Albert Cassoria Jerome Bfrlin Thelma Koons John Boenzi Melvin Miller Seymour Rosofsky Felicia Kinzie Sousaphone i Matthew Ellenhorn Yale Williams John Flynn Harold DeMirsky String Ba'S David Tfplitz Marshall Simon Sanford Klingman Percumon Gene Wile ns Martin Brouner Marvin Kaplan Gi-rald Rosenberg
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Page 10 text:
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L. Bruce Jones Director of High School Hand and Orchestra, Little Rock, Arkansas Graduate of University of Illinois; in lattle Rock twelve years; co-organizer and first president, Arkansas School Band Association, 1930; co-organizer and first president, Dixie School Band and Orchestra Association, 1934; on National Band Clinic conducting staff, 1936; has conducted numerous hand clinics throughout the South; serves as judge in many state and regional contests. Conducts Region 7 Band Clinic at l.ittle Rock, Arkamas. Is outstanding leader in promoting band and orchestra development in South. Produces outstanding organization- see his band record herewith. Harold Bachman Director of Hand, I'diversity of Chicago Harold Bachman is director of the band at the University of Chicago and enjoys a national reputation as a teacher and as an authority on school band problems. For twelve years he has been an associate editor and a frequent contributor to the Educational Music Magazine, a journal which ha a wide circulation among school music teachers. He conducts special summer school classes and clinics for high school band directors at Northwestern University, University of Michigan. University of Kansas. Technological University at Lubbock, Texas; and the University of Idaho. He is in demand as a conductor of massed band festivals and clinics, and has appeared as guest conductor and speaker at such affairs in many states. He is considered an authority on band literature and band technique. He is greatly in demand as a judge of school band contests. He has judged in state and national band contests in almost every state where such affairs are given any great importance, and his activities in this field have earned him an enviable reputation. Harold Bachman is also the director of the professional concert organization known as Bachman's Million Dollar Band. This band received its nickname during the World War from General Hunter I iggett, who said. “That band is worth a million dollars to the American Army.” This band has played on many of the large chautauqua circuits, at state and county fairs, and given concerts in auditoriums and theaters throughout a large portion of the United States. It has played in almost evety important city between Miles Gty. Montana, and West Palm Beach. Florida, and as far ea-t as New York Gty and Asbury Park. New Jersey. During six years of the “boom” days in Florida, this band played before thousands of tourists from all over the United States. Mr. Bachman is a member of the American Bandmasters Association, an organization of professional bandmasters, of which the late John Philip Sousa was the first president, and which numbers among its members and olficers Edwin Franko Goldman, Arthur Pryor, Taylor Branson, Frank Simon. Lieut. Charles Benter, A. A. Harding, and other men famous in the band world. Clifford P. Lillya Conductor, Marshall High School Hand, Chicago Played in Joliet High School Band under A. R. McAllister; studied cornet with Mrs. Jessie Fields, Joliet, Illinois. Graduate of V under Cook School of Music. Chicago. Since 1931 has been in Chicago Public Schools as instructor of instrumental music. Since September. 1936, has been director of bands, Marshall High School, Chicago. Guest instructor University of Kansas, summer, 1936. Guest instructor University of Michigan, summers. 1937 ‘38-'39. Componliom A Childhood Fantasy, Witmark; A Christmas Fantasy, ABC. Arrangementt (in collaboration with Harold Bachman)—Overture Ariane, Boyer, Witmark; Overture Anacreon, Cherubini, Witmark. Author—Lillya Cornet Method, Books One and Two, M. M Cole; Basic Band Book, Carl Fischer, Inc. AJjudutitor and guest conductor at many contests and festivals. There is an old saying that “an army unit is no better than its non-commissioned officers.” This statement may be paraphrased by saying that a band or orchestra, no matter how fine the director may be, is no better than its section leaders. The first chair player affects the total efficiency and spirit of a band in a variety of ways. Being an upper classman, he has the respect and admiration of the younger pupils. Hence, his conduct, whether good or bad, becomes to these pupils a standard by which they build their own behavior patterns. In this the first chair player has a responsibility which outweighs even the musical aspects of his position. In addition, he must strive to be of sterling musicianship. His performing ability must be of a superior standard, and he should be constantly seeking to improve it. From the standpoint of routine, and the savoir-faire of rehearsal and performance he should be as flawless as possible. An active and clear thinking mind is also an asset, since in every organization emergencies arise where the principal of the section must make decisions without recourse to asking the director's advice. Our section leader must be. as the name implies, a leader, not a driver. He must seek to inspire those who work under his direction to higher ideals, and to invite, rather than command, suggest rather than dictate. He must be a good citizen. As a leader he must be willing to accept responsibility and hence at times will find himself in the spot-light. But he must be of strong enough character to sacrifice his own interests when they do not serve the best interests of the group. The musical unit, as a social group, places high value on such qualities of citizenship as promptness, dependability, and cheerful cooperation. While working to attain a high standard in the qualifications listed above, the section leader has one responsibility to himself, which is peihaps more difficult of accomplishment than all others. He must not lose perspective when evaluating his importance to the group problem, nor his relationships with his fellow students. He must learn to have poise without egotism, to command without being overbearing, to see his point of view without losing the other fellow's, and to retain a lively interest in things other than music. In this way he will dcvelope an integrated personality as an adult, ready to carry on in a larger sphere the work he began as one of our legion. First Chair of America. f 6 ]
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