ARTHUR PRYOR (1870-1942)AMERICAN TROMBONIST, BANDMASTER, COMPOSER

by

Daniel E. FrizaneB.M.E., Wheaton College

M.M., University of Nebraska

Submitted to the Department of Musicand the Faculty of the Graduate Schoolof the University of Kansas in partialfulfillment of the requirements for thedegree of Doctor of Musical Arts(Conducting).

Document Committee:

Document defended: 7/19/78

To my father,

self-taught trombonist and bandmaster

in the tradition of Arthur Pryor

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES.............................................v

LIST OF ILLUSTRATIONS..............................................vii

PREFACE...........................................................viii

CHAPTER ONE: THE LIFE OF PRYOR.......................................1

Introduction.........................................................1The "Boy Wonder.of St. Joseph:"

Paternal Influence and Early Years (1870-92)........................."He has no equal:"

Virtuoso Years with the Sousa Band (1892-1903).......................On His Own:

The Pryor Band: Live Concerts (1903-33).............................A Pioneer in His Field

The Pryor Band: Recordings and Radio (1903-33).................29Interlude:

His Character, Standards, and Conducting Skills................33An Active Retirement:

The Final Years (1933-42)......................................40

CHAPTER TWO: THE WORKS OF PRYOR................................49

Introduction...................................................49Musical Traits.................................................53Publications...................................................59Categories.....................................................62Marches........................................................64Rags...........................................................74Novelties......................................................78Waltzes........................................................79Miscellaneous Dances...........................................80Piano Solos....................................................80Songs..........................................................81Trombone Solos.................................................82Possible/Spurious Compositions.................................92

APPENDIX: ANNOTATED LIST OF COMPOSITIONS.......................93

Marches........................................................95Rags..........................................................110Novelties.....................................................117

Waltzes.......................................................125Miscellaneous Dances..........................................128Piano Solos...................................................129Songs.........................................................231Trombone Solos................................................136Collections...................................................146Possible/Spurious Compositions................................147

BIBLIOGRAPHY..................................................155

Books.........................................................155Articles......................................................156Recordings....................................................158Miscellaneous.................................................159

LIST OF MUSICAL EXAMPLES

1. Crescent Club (1894), beginning of trio, second time........53

2. The Victor (1904), end of first strain......................54

3. The March King (1895), beginning of first strain............54

4. On Jersey Shore (1904), beginning of first strain...........55

5. Captain Cupid (1908), beginning of second strain............55

6. Baby Parade (1906) beginning of trio........................56

7. Kentucky Club (1899), beginning.............................56

8. Arms of America (1911), meas. 23-26 of trio.................57

9. The Arcade Girl (1910), meas. 2H-28 of trio.................57

10. The Love Kiss (1908), end of piece.........................58

11. On Jersey Shore (1904), beginning of trio..................58

12. The Kentucky Club (1899), dogfight.........................69

13. The March King (1895), end of dogfight.....................70

14. Sweetheart (1897), end of dogfight.........................70

15. Ye Boston Tea Party (1899), end of dogfight................71

16. The Irish King (1905), beginning...........................72

17. La Spaniola (1898), p. 5, meas. 5-9........................80

18. The Patriot (1904), opening cadenza........................86

19. Thoughts of Love (1904), end of third section..............86

20. Air Varie (1895), final cadenza............................8b

21. Blue Bells of Scotland (1904), final cadenza...............87

22. Exposition Echoes Polka (1894), middle of coda section.....87

23. The Tip Topper (1937), introduction........................87

24. Annie Laurie (1895), trombone entrance.....................88

25. Love's Enchantment (1903), trombone entrance...............88

26. Fantastic Polka (1939), start of trio......................88

27. Polka Caprice Type.........................................91

28. Valse Caprice Type.........................................91

29. Valse de Concert Type......................................91

30. Theme and Variations Type..................................92

31. The Arcade Girl (1911), beginning of first strain..........96

32. The Arcade Girl (1911), beginning of dogfight..............96

33. The Arms of America (1911), beginning of dogfight..........97

34. The Arms of America (1911), end of dogfight................98

35. The Gridiron (1898), beginning of trio....................102

36. On Jersey Shore (1904), beginning.........................105

LIST OF ILLUSTRATIONS

Sheet Music

The March King................................................161A Coon Band Contest...........................................161Arms of America...............................................162The Whistler and His Dog......................................162Mr. Black Man.................................................16340 and 8......................................................163In Lover's Lane...............................................164After Sunset..................................................165Po1ka~Exposition Echoes...................................166-167

Programs:

Willow Grove Park, 6 June 1909................................168Willow Grove Park, 3 June 1918................................169

Sheet Music Covers:

Love's Enchantment............................................170The Little Chief..............................................171The Whistler and His Dog......................................172March of the White Rats.......................................173Burlington March..............................................174The Love Kiss Waltz...........................................175

Testimonials:

From John Philip Sousa........................................176From Musical Times and Band Journal...........................177

Advertisements

Novelty Bulletin..............................................178Pryor's Popular Pieces........................................179Arthur Pryor and His Band.....................................180

PREFACE

The career of Arthur Pryor spans an important time in

American history. It saw a transition from a rural frontier life

still largely dependent upon agriculture to an urbanized,

industrial world power. One year before Pryor's birth the United

States became physically united by the Transcontinental Railroad,

which reflects the national unity that had been restored only

four years before with the end of the Civil War. The decade of

the 1870s saw the invention of the electric light, the telephone,

and, of particular significance to Pryor, the phonograph. In the

1880s the development of the electric trolley car made rapid

urban growth possible. Henry Ford built his first automobile in

1893, and ten years afterwards the Wright brothers fulfilled

man's age-old dream of flight.

Despite problems of labor unrest an£ urban blight, these

were exciting times in America. With industrial growth and a more

stable economy, Americans found themselves able to enjoy more of

the pleasures of life, including music. Responding to this new-

found leisure time came several forms of national entertainment,

not the least of which was the traveling concert band.

The band itself was not new to America. British military

bands were here during Revolutionary War days. In 1773 Josiah

Flagg was directing a band in Boston, and the U.S. Marine Band

was established in 1798. The Salem Brigade Band was organized in

1806, and by 1835 Ned Kendall, the celebrated keyed bugle

virtuoso, was conducting the Boston Brass Band. The Dodsworth

Band of New York, directed by brothers Allen and Harvey

Dodsworth, was in existence for over half of the last century,

beginning in the 1830s; it was Allen Dodsworth who designed the

over-the-shoulder marching instruments popular during the Civil

War. D. W. Reeves and C. S. Grafulla were important composers who

conducted bands in Rhode Island and New York respectively. The

American Band of Providence, in particular, had a long history

going back to the 1840s under founder Joseph Green. Several town

bands sprang up in the early and mid-1800s, particularly in

Pennsylvania; many are still in existence today.

The most important bandmaster of the la&t century, the

direct forerunner of Sousa and Pryor, is Patrick S. Gilmore. Born

in Ireland, he became famous as a cornet virtuoso, and in a

famous "duel" with Ned Kendall in 1856 he supposedly proved the

superiority of valves over keys. In 1859 he took over the Boston

Brass Band, renamed it Gilmore's Band, and two years later

enlisted his entire band into the Union Army. In 1864 his song

"When Johnny Comes Marching Home Again" was published under the

pseudonym of Louis Lambert.

Gilmore is most remembered, however, for a series of huge

music festivals he organized and directed. The 18-day Peace

Festival held in Boston in 1872 involved 2000 instrumentalists

and 20,000 singers presenting concerts in a hall seating 100,0001

Gilmore then moved to New York where he directed the 22nd

Regiment Band which toured Europe in 1878. Victor Herbert

directed the Gilmore Band for a few years after Gilmore died in

1892. As we shall see, Pryor almost joined the Gilmore Band in

its final years, and the bandmaster was very disappointed when

Pryor became a conductor of operettas.

In the year of Gilmore*s death, John Philip Sousa resigned

from his position as conductor of the U.S. Marine Band, a

position he had held since 1880. Before this he was a violinist

and conductor of theater orchestras. During his years with the

Marine Band he had established an enviable standard of musical

excellence. With the encouragement of his manager David Blakely

and the initial financial help of some businessmen, Sousa's new

band was to be organized on a different basis; it was to be

independent and self-supporting, something that would be emulated

in years to come by other bandmasters such as Pryor. Before this

time most bands in America had been supported by either some

local civic or business interests, or by the military. While this

arrangement did assure financial stability, it also held the band

accountable to specials interests. "The Sousa Band was totally

dependent upon public approval for its survival, and it was

something of a miracle in show business for a musical

1 H. W. Schwartz, Bands of America (New York: Doubleday and Co.,1957), p. 41.

organization of its size to have played to capacity houses for 39

years."2

The Sousa Band was one of the first professional "business"

bands in America, and certainly the most successful, living

largely off the support of an appreciative American audience who

now had the time and means to enjoy this "golden age" of the

American concert band. A young trombonist from Missouri would

soon do his part to make the Sousa Band what it was, and he too

was destined to make his mark in the world of American band

music.

It is the purpose of this document to study the life and

works of this Missouri trombonist-turned-bandmaster, Arthur

Pryor. Chapter I is a general survey of his life, discussing his

paternal heritage as the son of a town bandmaster, his success as

a trombonist with Sousa and then as conductor of his own famed

band, his contributions to recording and radio, his personality

and family, and finally his retirement and passing.

Chapter II surveys the compositions of Pryor. It begins with

an introduction which summarizes his musical style and the

publication of his music. His approximately 100 compositions are

then discussed in eight separate categories according to style

and medium of performance. The Appendix discusses each

composition individually, grouped according to the categories of

2 Paul *E. Bierley, John Philip Sousa: American Phenomenon. (Englewood Cliffs, N.J.: Prentice-Hall, 1973), p. 154.

Chapter II.

I had the privilege of growing up in a band-oriented family

in which the music of Sousa, Pryor, Henry Fillmore, K. L. King,

and Edwin Franko Goldman was held in high regard. Therefore the

preparation of this document has been a most enjoyable return to

my roots. I am convinced anew that whatever level of

sophistication a musician may claim to acquire and possess,

hearing a stirring march performed by a fine band or a "bravura"

style solo performed by a true artist/showman will always be a

common denominator of musical pleasure for all people, at least

in our Western culture.

I wish to thank former K.U. music history-professor Stuart

Carter who encouraged me to pick a subject that I would enjoy,

and then for suggesting, quite in passing, the name Arthur Pryor.

I also wish to thank the members of my doctoral committee: Dr. J.

Bunker Clark who patiently guided final organization and assembly

of this study, and Dr. Stanley Shumway, Dr. John Grashel, Pro£.

Robert Foster, and Prof. Thomas Stidham for their continuous

support and encouragement. The K.U. Band program under the

leadership of Professors Foster and Stidham has been an

inspiration to me; it is an outstanding example of the

achievements of the American band movement, building on the great

tradition of Gilmore, Sousa, and Pryor. Dr. Stephen Anderson,

processor of trombone, has also shared many helpful suggestions

and offered support.

In an area where little formal research has been done, the

willing assistance of many individuals becomes necessary and is

very much appreciated. Of the many with whom I have corresponded,

four people deserve special mention: the late Glenn Bridges, Paul

Bierley, Lynn L. Sams, and William Pruyn. The lengthy and

detailed letters from these men shed much light from primary

sources on the career and personality of Pryor. In addition, Dr.

Edward Bahr, Herbert Johnston, and Frederick Williams sent many

articles and other information about Pryor. The Chatfield Brass

Band Free Lending Library of Chatfield, Minnesota sent me all the

Pryor music in its collection so that 1 could study it, and Mrs.

Robert Hoe sent me recordings of much of Pryor's music for the

same purpose.

An important incentive in my study was the preparation of a

survey of Pryor's life for the jacket notes of the album Trombone

Solos--Arthur Pryor. I wish to thank Peter Christ of Crystal

Records for this opportunity. The climax of my study came during

a trip to the Library of Congress in Washington, D.C. in January

1984. I acknowledge the help of Jon Newsom and his staff of the

Music Division during my stay there, Newsom's predecessor, James

Smart, was very helpful in correspondence during the early period

of this study. Appreciation is extended to Paula Oliver for

typing my document, and finally , to my wife Ginger and children

Carrie and Matthew for patiently persevering through four years

of my "Pryor commitment."

CHAPTER ONE

A SURVEY OF HIS LIFE

Introduction

"His execution set the prairies afire, his vibrating pedal

tones rattled the windows of the Theatre and killed the gold

fishes and stunned the canaries all the way out to the packing

plant where even the iron gates trembled."1 So said an exuberant

newspaper reporter in Omaha, Nebraska, following a performance by

the young trombone virtuoso Arthur Pryor. A later performance in

Kansas City almost caused a riot when many in the crowd

misunderstood cries of "Pryor, Pryor!" for "fire, fire!"2 And so

it went through the years when the "boy wonder" from Missouri was

the featured star of John Philip Sousa's famous Band.

Although Pryor gave up active public performance while he

was in his forties, his activities as bandmaster and composer

were to keep him in the public eye until nearly the end of his

life. Pryor's Band was a household name for some three decades,

second in fame only to that of Sousa's Band. Regular appearances

in the parks and resorts of America helped to popularize the

concert band as a viable medium of music. Many Pryor compositions

were favorites of both international heads of state and the man

1 Quoted in Glenn D. Bridges, Pioneers in Brass, 3rd ed. (Detroit Michigan: Sherwood Publications, 1972), p. 103.

2 St. Joseph News-Press, 19 December 1941

on the street. His famous solos still challenge trombonists

today.

While the Sousa Band continued to tour until nearly the end

of Sousa's life, the Pryor Band blazed a path of transition:

moving from tours and summer resorts to recording and radio

studios, thus insuring a future for the continued enjoyment of

instrumental music ensembles. Therefore, in terms of the concert

band movement in America, the Pryor Band has had a more lasting

influence. Virtuoso performer, conductor, and composer, Arthur

Pryor has been a major figure in American musical life, and his

influence is still evident today.

The "Boy Wonder of St. Joseph"--Paternal Influence and Early

Years (1870-92)

Arthur Willard Pryor was born on September 22, 1870, on the

second floor on the Lyceum Theatre, St. Joseph, Missouri. His

father was the bandmaster of the town, and the family was living

at the theater at the corner of 5th and Jule Streets. Arthur was

the second son born to Samuel and Mary (Coker) Pryor. The oldest

son, Walter D. Pryor, became a famous cornetist who later was

featured on recordings with the great Herbert L. Clarke. The

youngest son was Samuel O. Pryor who became known for his skill

on the drums, playing in later years in many Kansas City theater

orchestras. He also played the trombone. Both Walter and Sam Jr.

were also to play later in the famous Pryor Band their brother

directed.

The boys' father, Samuel D., was born in Liberty, Missouri,

in June of 1844, the son of a farmer and real estate broker. His

family had fought the Indians there to protect their home. He

moved to St. Joseph in 1854 with his family, and later attended

music schools in St. Louis and Chicago, and was music director of

the Lincoln (Nebraska) Opera House for three years. (This opera

experience included professional tours, and may be one reason

that Arthur was later influenced to direct an opera company

rather than join the prestigious Gilmore Band.) Samuel Pryor and

Mary ("Mollie") Coker were married on November 29, 1866.3

Three years later Sam organized "Pryor's Military Band," at

one time called the "Silver Cornet Band." Later, when the band

went off to the Spanish-American War, it was known as the "Fourth

Regiment Band of Missouri." Sam reportedly was a genius at

getting jobs for his band, and it was soon the featured

attraction at local fairs, parades, lodge meetings (Sam was a

member of the Enterprise Lodge, I.O.O.F.), and funerals. In

funeral processions the band would solemnly play "Nearer My God

to Thee," but when heading back to town it would strike up

"There's a Hot Time in the Old Town Tonight"4 After he told an

offended minister once that he would include hymns in his Sunday

3 St. Joseph Biographical Directory (St. Joseph, Missouri, 1881), p. 866.4 St. Joseph News-Press, 19 February 1939

concerts, the first piece in his next concert was "The Devil at

Loose."5

St. Joseph's Pryor Band must have been a colorful group in

the early days since the uniforms each man provided for himself

came from various lodge or circus bands he had played in

previously. Sam himself had a long beard and usually wore a silk

hat along with bright red pants and a whipcord coat, which

together must have made quite an impression.6

Whatever musical skills Arthur Pryor inherited from his

father, he also inherited a strong tongue. Once Sam was asked by

a father if his son could play in the Band. "'He can't play so

well yet, but is an awfully nice boy.' 'My band is full of nice

boys,' Sam replied. 'What I need is someone who can play like

hell!'"7 He was rather strict with his men in musical matters,

like his son was years later with the more famous Pryor Band.

In 1902, a few days before his death, he was serenaded by

his band outside the Lyceum Theatre. Apparently he was a critic

to the end. After the serenade, someone asked, "Did he die?" Not

only did he live a few more days, but his reaction to the

performance was "Listen to that! After all I've done for that boy

Sammy, he still can't play in time!"8

Being raised in this band environment, it was natural that

5 Ibid.6 Ibid.7 Ibid.8 Ibid.

the Pryor boys would turn to music. In fact, it was said in St.

Joseph that while a rival band in town led by Carl Winkler was

also very fine, "Sam had the Pryor Boys!"9 Arthur's training

began when he was six years old, although one source spoke of his

"competent" drumming ability at age three.10 His mother, Mollie

Pryor, was a pianist, and soon he was studying the piano with

Prof. Plato, a "renowned theorist" living in St. Joseph.11 What

instruction he received on band instruments came from his father.

He was taught to play the violin, cornet, alto horn, bass viol,

and the valve trombone. His exposure to the standard literature

was limited, however.

Until he had almost reached his majority, the most popular of classical music remained a sealed book to Arthur Pryor. He told me this with a humorous smile upon his rather serious features, as indicating the meagreness of his early training.12

The strict training by his father included a rap on the head with

a violin bow if he made a mistake. (This ended abruptly when an

expensive bow was broken.)13 When he was eleven years old, he

appeared with his father's band in Chicago, billed as the "boy

wonder" from Missouri playing the valve trombone.14

Soon after this, a tramp printer left a battered old slide

9 Ibid.10 Arthur Wise and Mary-Margaret Eitzen , "Band March Composers – Arthur

Pryor," The Instrumentalist , January 1971, p. 2811 J . Scott Ames, "Arthur Pryor," The Music World, November

1907, p. 112 Ibid.13 Wise and Eitzen, p. 2814 Bridges, p. 101

trombone with Sam Pryor as payment for a debt. Young Arthur was

fascinated with this instrument, the first one in St. Joseph, so

Sam told him to take it out to the barn and learn to play it. For

some time he tried to master the instrument without using any

slide oil, and he played using only two positions. Later, while

playing pool with a friend, he was told that there were seven

positions and that he had to find them. He did, and in effect

found several more, for in the heyday of his performing career he

made great use of alternate and "false" positions, forcing the

notes to suit him. He could play so incredibly fast that no one

noticed that the "correct" positions were not being used.

Soon Arthur Pryor became a featured member of his father's

band. By this time he was obsessed with mastering his instrument,

and a boyhood friend named John White, who was also a trombonist,

recalled later that Pryor would sit and practice hour after hour,

around ten a day.15 At one point he had to drop out of a

competition in a weekly talent contest in his home town. He kept

winning first prize and the other contestants were upset.16

When he was 13 years old he traveled with his father to

Denver to an encampment of the Grand Army of the Republic. There

he performed "Rocked in the Cradle of the Deep," part of a

serenade concert for General "Black Jack" Logan, who responded "I

15 Bridges, p. 10116 Nolbert H. Quayle, "Arthur Pryor: Some Reminisces," Music Journal, March

1954, p. 37

have never heard that song played with better expression or with

more telling effect... Make the best use of the divine gift you

have my boy."17 He gave the youngster a small American flag,

which quickly became a prized possession.

But he also kept up on the piano. A woman who at one time

lived with the Pryor family in St. Joseph, Mrs. Elizabeth

Thompson, recalled years later how young Arthur would sit at the

piano and "tinkle the keys a little while." He would often send

off his new composition for publication.18

By the time he was 15 Pryor was playing in county fairs in

the area, and was becoming quite well known. In 1889 the Italian

bandmaster Alessandro Liberati organized his own band, and,

during a cross country tour he stopped in Kansas City. He was

told of the young virtuoso of St. Joseph. He took a trip there to

visit the Pryor family, and signed Arthur to appear as soloist

with his band. They toured through the western states that

summer. It was during this time that Pryor began to write the

trombone solos that are still known today. He was doing things on

the instrument that most people did not think possible before,

and no music was readily available for the trombone that could

demonstrate his skills.

During a break from later appearances with Liberati's Band,

Pryor appeared with his father's band in a concert at St. Louis.

17 Ames, p. 118 St. Joseph News-Press, 28 August 1955

In the audience, hearing him perform "Rocked in the Cradle of the

Deep," were members of the famed Gilmore Band, directed by the

pioneer American bandmaster (through Irish-born) Patrick S.

Gilmore (1829-92). The Gilmore Band was at the fairgrounds in St.

Louis for a concert series. The bandmembers rushed off to tell

their leader about Pryor, and the result was an offer to join the

organization.19

Instead, Pryor went to Denver to direct the Stanley Opera

Company. Why he passed up the opportunity to be the trombone

soloist of the Gilmore Band is hard to understand. Band historian

Glenn Bridges believes it was because he wanted to conduct and

not travel so much.20 Another reason may be that he would have

been following the great Fred Innes as soloist, something his

father had said no one could ever do.21

According to the leading soprano of the opera company, Miss

Alice Neilsen, Pryor was successful in this work. She was

especially impressed with his ability as piano accompanist, both

playing by ear and for having an "endless repertoire" of songs

that he knew. She recalled one incident that took place in Omaha,

where his kind encouragement kept her singing through a

performance while caged lions (part of the following act) were

snapping at her heels.22 Pryor claimed later to learn through

19 Ibid., 19 February 1939.20 Glenn D. Bridges, personal letter, March 1981.21 Ibid.22 St. Joseph News-Press, undated.

this opera experience the importance of knowing the piano; this

aided him in his composing.

After directing the opera company for several months, he was

prevailed upon to play a solo in a concert at Salt Lake City

while the company was there. The success of this appearance, even

though admittedly he was out of practice, led to second thoughts

about Gilmore's standing offer. However, a severe illness

intervened, and Pryor returned to St. Joseph to recover.

Gilmore's disappointment and his opinion of Pryor's ability is

revealed in a letter he sent to him at that time:

Had to stop the presses that were printing our program for the tour, on which you were down for a solo. The majority of 250,000 copies which were being printed had to be destroyed... I was, and am, determined to make of you a great card--yes, to make you famous in this great city of New York in the shortest time that it ever took a musical genius so be recognized as a great star.23

Among the many memorials to Gilmore when he died in 1892 was

the first concert of a new band organized and directed by John

Philip Sousa, who had recently resigned as conductor of the U.S.

Marine Band.24 It was while he was soloist with the Sousa Band

that Arthur Pryor achieved lasting fame and brought the trombone

to a new level of capability and respectability.

"He has no equal'--Virtuoso Years with the Sousa Band (1892-1904)

23 Ames, p. 224 Paul E. Bierley, John Philip Sousa: American Phenomenon

(Englewood Cliffs , N.J .: Prentice-Hall, 1973), p. 58.

Tom Shannahan was one of several musicians who left Gilmore

to join the new Sousa Band shortly before Gilmore died. Shannahan

informed Sousa of Pryor's ability on the trombone. By this time,

recovered and back with his work with the Opera Company, Pryor

was at first reluctant to leave. But he decided to accept Sousa's

offer to see him in New York City, arriving there with his

trombone and 35 cents. "Sousa did not know that young Pryor would

arrive with only 35 cents in his pocket nor that the young man

was destined to play before the crowned heads of Europe, and that

he had spent the night on a beach in New York's Union Square."25

At his first rehearsal the next morning, Sousa suggested that he

warm up a bit. Even at this Pryor made quite an impression. "We

had never heard such tones come out of a trombone before, but

fast!" was the reaction of trombonist Marc Lyons. At that first

rehearsal, Frank Holton, then first trombonist, had to give

credit to Pryor for performing a difficult passage to Sousa's

satisfaction that he, Holton, had been struggliag with. Even

though Holton was ready to step down right there, Sousa asked him

to stay on for a time, since "this young fellow may be just a

flash."26

Pryor, Hoiton, and Lyons worked hard along with the rest of

the band getting ready for the great Columbian Exposition in

Chicago in 1893. Pryor showed his trombone solos to Sousa, but

25 St. Joseph News-Press, 14 September 1975.26 Bridges, p. 102

the conductor was reluctant to feature him yet. Finally, while at

the Exposition, he announced to Sousa that if he didn't get to

perform a solo, he would return to St. Joseph. Sousa gave in, and

in the rain that day he played his own composition "Thoughts of

Love" to a crowd who just stood in awe, then cheered and threw

their hats in the air.27 That was reportedly the first of some

10,000 solos that Pryor estimates he played with Sousa during the

11 years he was with him.

While most sources consulted in this study claim that the

aforementioned occasion was Pryor's first solo with the Sousa

Band, It would appear that his first solo with the band,was

actually "Rocked in the Cradle of the Deep," performed in Chicago

on October 14, 1892. This information comes from a program in the

Sousa Scrapbook, a collection of old programs and news clippings

stored at the Marine Corps Library, Washington D.C. However, "it

was apparent that it took time for Pryor to reach the 'front and

center' status a a regular, for there is no mention of Pryor in

the press until May 1893."28 Probably the performance of

"Thoughts of Love" marks Pryor's formal debut as a regularly

featured soloist of the Sousa Band. At any rate, "his rise to

preeminence on the 'slip horn' was little short of miraculous"29

27 St. Joseph News-Press, 19 February 1939.28 Frederick P. Williams, jacket notes for Trombone Solos--Arthur Pryor

(Crystal Records S451, 1983).29 Curtis H. Larkin, "Memories of Arthur Pryor and His Band," part 1, The

School Musician, February 1943, p. 8.

and American audiences would soon be exposed to a new level of

virtuosity for the slide trombone.

While many of Pryor's solos are still published and being

performed today, few performers, past or present, claim to even

equal the skill of Arthur Pryor. He still is considered by many

to be the greatest trombonist of all time. It is not that

performers today cannot play his solos, because they are still

featured by service band soloists and in band concerts in the

park. The lyrical melodies and dramatic variations have always

been popular with audiences. What sets Pryor apart is that he

would perform the already very difficult variations of solos such

as "Blue Bells of Scotland" at incredible speeds and still play

with clean technique. The result was not only an impressive

display of technical gymnastics but an exciting and dramatic

musical experience as well.

This was because Arthur Pryor was a musician as well as a

technician on the trombone. Along with his phenomenal tonguing

ability (single, double, and triple tonguing were used freely)

and lightning fast slide technique (there was no trigger valve on

that horn), he was equally well-known for his beautiful tone and

expressive style of playing. "THAT TONE is unforgettable, to any

way of thinking. There were other players . . . who technically

could play most anything Pryor played, but they never quite came

off the same as Pryor's playing the same piece."30

In fact, he actually preferred slow, lyric ballads and

operatic arias to the fast, spell-binding display pieces that

Sousa insisted he perform first on a program. (Later, in the

early years of his own band, he would first play a song, and then

"follow with the fireworks."31) For a third encore with Sousa he

may perform something like "Oh, Dry Those Tears," a sweet ballad

by Del Riego which was his favorite. Other expressive solos that

he often played were "The Holy City" (Adams), "Celeste Aida"

(Verdi), and "My Old Kentucky Home" (Foster).

His clear, unforgettable tone was marked with a constant

vibrato, the result of a boyhood accident when a mule kicked him

in the face, resulting in partial paralysis.32 "Old-timers used

to waggle the whole instrument and modern performers like Tommy

Dorsey agitate the slide. 'I wave with my lower jaw,' Pryor

says."33

The trombone had seldom had such a wide range before, four

and a half octaves, from b''-flat to FF. (One source, an

advertisement for trombones made by J. J. Pepper Co., claimed

that Pryor could go a whole step lower, but that is hard for this

writer to imagine. Perhaps he could "lip" it down to that

approximate pitch. It would be below the fundamental in seventh

30 Glenn D. Bridges, personal letter, March 1981.31 Ibid.32 Bridges, p. 103. This information was related by brother Walter Pryor.33 St. Joseph News-Press, 19 December 1941.

position.) One popular encore, "We Won't Go Home till Morning"

(known now with the words "For He's a Jolly Good Fellow") would

be played in four octaves.

Pedal tones would come out of that 6-inch bell with all the

ease of the player of a modern symphony bass trombone. One critic

referred to them as "the shot heard round the world"34 His first

trombone had a huge 9-inch bell. When he first joined Sousa he

was down to 6-3/4 inches, but he later established 6-1/2 inches

as his bell size, with a .458-inch bore size, a small instrument

even in that day.35 Band historian Lynn L. Sams (and former sales

manager for the C. G. Conn instrument manufacturer) says "Pryor

endorsed Conn Trombones; without doubt he tried other makes. He

not only endorsed it but he also used it. He preferred and used a

Conn small bore with a small bell. Other trombonists could not

get the tone quality from such a small bore instrument."36

He was also was able to play chords on the trombone. While

it is not uncommon for players to get a double vibration with

their lip, this usually is considered an error to be avoided.

Pryor practiced the technique until he was proficient at four-

note chords.37

Perhaps his most important and lasting contribution to

34 Bridges, p. 103.35 H.W. Schwartz, Bands of America (New York: Doubleday and Co., 1957), p.

200.36 Lynn L. Sams, personal letter, 13 January 1984.37 Curtis H. Larkin, "Memories of Arthur Pryor and His Band," part 1, The

School Musician, February 1943, p. 14.

trombone technique, however, is his legato "singing" style of

playing, evident in the songs previously mentioned. During a

Sousa Band tour a critic in Dublin sums up this influence: "It

was almost too much to believe that such a pure and exquisitely

beautiful tone could be produced on an instrument whose usual

characteristics are aggressive."38 The London Daily Mail stated:

His solo was a revelation of what the trombone can be in the hands of one who has investigated its mysteries and solved "the difficulties. He played his own composition 'Love's Enchantment" with such tenderness that one suspects that the trombone has possibilities as a serenading instrument."39

Through the years he was with Sousa Pryor shared the

spotlight with the premier cornetist Herbert L. Clarke, who said

of him, "Arthur Pryor was among the greatest exponents of the

trombone that ever lived, proving this by his wonderful work,

playing before the most critical of audiences. . . Mr. Pryor

composed and arranged all his programmed solos; most remarkable

solos for technique and intervals in all registers, and which he

always played faultlessly. I doubt if he missed a note at any

concert, no slip of any kind, playing with the utmost ease."40

Clarke goes on to tell how clarinetists from the Sousa Band had

difficulty playing Pryor's solos on their instrument. Therefore,

it is not surprising that in referring to Pryor's years with the

Sousa Band that one should write "it was during his electrically

38 Quoted in Schwartz, p. 199.39 Ibid., pp. 198-199.40 Larkin, part 2, pp. 15 and 32.

successful term with this organization that he was christened the

Trombone King, and he has firmly established in two continents

his indisputable right to the title."41

He played with §ousa for twelve seasons. In 1895 he was

appointed assistant conductor of the Sousa Band, an experience

valuable to him when he left to begin his own band in 1903.

During periods when Sousa was ill, Pryor would replace him as the

full-time conductor, and be would still continue to play his

solos. Besides traveling coast to coast with the band, he made

three tours of Europe, visiting 16 countries and playing before

the crowned heads of state. King Edward VII of England so much

enjoyed one of Pryor's band compositions, "The Coon Band

Contest," that the King had it played at all court concerts

thereafter. "The Contest" was also a favorite of Kaiser Wilhelm

of Prussia, "whose approval has proven sufficient to guarantee

for it a very large, constant sale throughout the Kaiser's

domain. . ."42

But it was his performance skill which drew the most

attention. The Trombonist Club of Paris seat a skeptical

delegation of their membership to critique Pryor's first

performance in the French capital. The delegation's spokesman

reported back,

Is Pryor any good? I should say so. If all the members of

41 "Arthur Pryor," The Metronome, June 1905, p. 10.42 "Tour of Pryor's Band," The Musical Enterprise, March 1905, p. 1.

this club were to meet in this room with their instruments and each of them was to play everything he knew, and then if all this playing were combined and all the knowledge of the different members were united in one grand whole, the ensemble would not make a single measure,of Pryor's wonderful performance. Can Pryor play? Umph!!!43

After a concert before 25,000 people in Leipzig, Germany,

while on his last European tour, members of the Gewandhaus

Symphony Orchestra came backstage to inspect Pryor's trombone.

Skeptical that an ordinary instrument could be played so fast,

they took the slide apart and peered down the mouthpiece44 One of

their trombonists said, "No one can play so well. It is a Yankee

trick!"45 In Germany and elsewhere he was called the "Paganini of

the trombone" in reference to the great Italian violinist Niccolo

Paganini of the early nineteenth century.46

Italian trombonists, incidentally, were aware of Pryor's

ability. During a tour in America by the famous Banda Rossi, one

trombonist of the band was asked why all the players performed on

valve trombones and did not use slide trombones. "'Can't play

'em. . . . Can't anybody play 'em. Did you ever see anybody who

could play one?'" Arthur Pryor's name was Che answer. "'Oh, well,

I admit Pryor can play 'em,' responded the Italian, 'but I was

speaking of regular men. Pryor, he ain't human.'"47

43 Ames, p. 2.44 Larkin, part 2, p. 32. (This was related by Herbert L. Clarke.)45 St. Joseph News-Press, 18 June 194246 Bridges, p. 103.47 George C. Foreman, "Oscar Cowen's Memoirs of Fifty Years as a Town

Bandsman," Kansas Quarterly 15, no. 3 (Summer 1983): 48.

In Europe his playing was not quickly forgotten. Seven years

after Pryor's last tour with Sousa, a London audience responded

to performances of Pryor's solos there by the touring American

trombonist Bert Smith with shouts of "Pryor, Pryor!"48 They

remembered.

Back home in this country, press releases such as this one

from the Springfield, Ohio, Republican of January 27, 1897, was

quite typical: "Undoubtedly the star performance of the evening

from the audience's standpoint was the trombone solo by Mr.

Arthur Pryor, Annie Laurie, with variations. Mr. Pryor was

demonstratively recalled and rendered The Palms (Faure)."49 One

release that was definitely not typical came from a reviewer Ln

Augusta, Maine:

Thursday evening I went to the Opera House to hear Sousa's Band. I guess the music they gave was all right. Anyhow, everybody applauded and seemed to like it. I don't know much about this high-falutin' music. One fellow came out in front of the band and commenced to play on a thing that looked like a tin coupling pin, only it was a heap longer and hollow. He proceeded to shove the old handle out towards the audience, while with his mouth glued to one end he pumped wind into the machine. He rammed that handle out a yard and then he hauled it back and swallowed it, I guess. He played notes way above the lines, and then threw out those little notes with stems on 'em, like a threshing machine shakes off chaff. Finally he struck up with Annie Rooney, or Annie Laurie, or some other girl, and I could keep up with him for a while, but he got nervous again and shook the old thing like a terrier would a rat. The programme had him scheduled as a trombone artist. I'd like to hear him play some nice hymns in his calmer moments, when he wouldn't jiggle the

48 Larkin, part 2, p. 32.49 Williams, jacket notes for Trombone Solos--Arthur Pryor.

machine so much.50

During the years that he was with Sousa, Pryor performed

with the band in many of the places that he and his band would

later frequent, including his home town of St. Joseph. During a

concert there at the Tootle Opera House in 1895 he was presented

with a gold medial by the proud citizens.51 Another time, a local

composer had written a song which he hoped Pryor would perform as

an encore during a concert. Pryor did, and the song, "I Had a

Dream," became very popular, and "for the next ten years it was

the No. 1 song on everybody's hit parade."52 During his days of

fame, it was said that St. Joseph was known for three things:

Jesse James, Aunt Jemima's pancakes, and Arthur Pryor.53

Besides occasionally conducting the Sousa Band in concerts,

he also directed most of the recording sessions of the band.

Sousa did not have an appreciation for what he called the "canned

music" of the new recording industry,54 and conducted only four

recording sessions during his entire career.55 Therefore, he was

more than willing to let Pryor and others conduct the few number

of his men who could manage to squeeze around the primitive

recording horns necessary in those days. This gave the men

50 Ibid.51 St. Joseph News-Press, 19 February 1939. 52 Ibid., 14 September 1975.53 Ibid., 23 August 1942.54 Bierley, p. 19.55 James R. Smart, The Sousa Band: A Discography (Washington: Library of

Congress, 1970), p. 123.

additional income when they were not on tour. While cornetists

Herbert L. Clarke, Walter B. Rogers, and Henry Higgins often

conducted the band, it has been estimated that some 75 per cent

of the Sousa Band labels were conducted by Arthur Pryor.56 As

early as 1904 he was listed as a musical director for the Victor

Company.57 Most of these early recordings were made for the

Berliner and Victor labels, and while the conductors were not

always indicated on the records, the 1900 Berliner catalog for

example does state that the band is performing "under the

personal direction of Mr. Arthur Pryor, the great trombone

soloist and assistant conductor to Mr. Sousa."58 The last thing

that Pryor did while he was with the Sousa Band was to conduct it

in a series of recordings for Victor in August and September of

1903. On some of these he was the featured soloist.59 All of this

experience was to pay off later during the long recording career

of his own band.

It was while the Sousa Band was in Russia in 1903 that Pryor

got into a salary dispute with his leader. According to Sousa

Band vocal soloist Estelle Liebling, Pryor held out for an

increase, but Sousa, always a man of his word (he didn't even

have written contracts with his men in the early years), was hurt

56 James R. Smart, jacket notes for The Sousa and Pryor Bands (New World Records, NW 282, 1976).

57 Bridges, p. 72.58 Smart, p. 18.59 Ibid., p. 28.

by this, and was willing to release Pryor when they came home.60

Pryor left the band to form his own group. He and Sousa did

remain good friends, however. Sousa later said, "Nor was there

anyone on earth to equal Arthur Pryor, the trombone player, when

he was with my organization."61 And Pryor responded, "The real

beginning of my musical career . . . was with Sousa, and that was

the foundation of my present band organization. . ."62 Years l a

t e r , Pryor was an honorary pallbearer at Sousa's funeral,63

and then helped in planning a memorial to his former leader.64

On His Own--The Pryor Band: Live Concerts (1903-09)

When Arthur Pryor left Sousa in late 1903 to form his own

band, he took with him the Italian-born euphonium player Simone

Mantia (1873-1951). Besides being a popular soloist on his five-

valve, double bell instrument, Mantia became the assistant

conductor for the Pryor Band, and stayed until 1934, after

Pryor's retirement.65 Since Mantia was also a skilled trombonist,

he would pick up that instrument on short notice and fill in for

Pryor when the duties of conductor prevented Pryor from getting

in "at least two hours a day of practice"66 that he felt was

60 Paul Bierley, personal letter, 15 October 1983. (This information came from an interview with Ms. Liebling in May 1967.)

61 John Philip Sousa, Marching Along 2nd ed. (Boston: Hale, Cushman, & Flint, 1941), p. 323.

62 St. Joseph News-Press, undated.63 Bierley, p. 96.64 Bridges, p. 48.65 Larkin, part 2, p. 14.66 Bridges, p. 103.

necessary- Mantia also composed several solos of his own, such as

his well-known variations on "Auld lange Syne," and for 35 years

he was trombonist with the Metropolitan Opera House Orchestra in

New York. He also formed his own band, and conducted it for five

seasons at Asbury Park, New Jersey. Unlike Pryor, Hantia was able

to maintain his performing skills, and in 1948, at the age of 75,

he was still playing euphonium solos, this time over the radio as

a member of Paul Lavelle's "Band Of America."67 Both Pryor and

Mantia were considered in 1903 to be the finest performers on

their respective instruments. "Many stars came and went from the

Sousa Band during the forty years of its existence, but it is

doubtful if Sousa ever felt any loss as he did when these two

starts departed."68

After securing and rehearsing his musicians, the Pryor Band

presented their first concert in the Majestic Theatre, New York

City, on November 15, 1903.

As had been anticipated by the hundreds of Mr. Pryor's friends and acquaintances, the concert from first to last was a magnificent success, stamping the new band conductor, not only as a leader of marked talent and distinction, but as one who will, in the course of time, make his name famous in all parts of the United States. . . . The playing of Arthur Pryor's Band is masterly, and evinces that smoothness of sound and effect, so pleasing and satisfying at all times to the trained musical ear. The horn and clarinet sections being especially well balanced.69

The premier concert consisted of nine compositions, including

67 Bridges, p. 97.68 Schwartz, p. 10269 "Pryor and His Band," The Focus, 28 November 1903, p. 1.

selections from Verdi, Ponchielli, and Goldmark. Introduced for

the first time were the Pryor compositions "La Spaniola Waltz,"

and the cakewalk "Mr. Blackman," which "will sweep the country

for sure. . . A large and enthusiastic audience was present, and

the encores as many as well deserved."70

For the next six years he established his band across the

country as a major musical force in America, Second in fame only

to the Sousa Band. Some considered his band superior to Sousa's.

"Since these arguments can never be settled, let us merely say

that these were two superlative bands led by two great

musicians."71 He secured the finest performers and soloists he

could find. Besides Mantia, he had cornetists Bert Brown, Leon

Handzlik, and Oscar Short, clarinetists Tony Sarli and Louis

Christy, flutists John Kiburz and Rex A. Fair, and trombonists

Fortunato Sordillo, Burt L. Smith, Charles Cusumano, A1 Pinard,

and Chris Sorensen.72 He once described his band as "an

aggregation of talent that can be relied upon to serve the

richest menu of music. . ."73 Following the example of Sousa, he

also featured female vocal soloists such as Madame Ernestine

Schumann-Heink and Cecilia Niles. Maud Powell and Dorothy Hoyle

were the featured violinists for a time.74 At first Pryor himself

70 Ibid.71 Smart, jacket notes for The Sousa and Pryor Bands.72 Bridges, p. 104, and various other news releases.73 "Tour of Pryor's Band," The Musical Enterprise, March 1905, p. 1.74 "Arthur Pryor," The Metronome, June 1905, p. 10.

managed the affairs of the band; later others were hired for this

responsibility, including Hal Nelson who served as band manager

in the teens.75

Six coast to coast tours between 1903 and 1909 brought his

band before millions of admirers. In the 1904 season alone, he

directed his band in 269 concerts before an audience estimated at

no less than 300,000 people at Asbury Park, New Jersey.76 Around

2500 people would regularly crowd into the casino there to hear

this great organization "composed of soloists throughout"77 and

its dashing, young conductor. As an added treat, these early

Pryor Band programs would usually include a Pryor trombone solo,

"sufficient in itself to draw an immense audience,"78 although

this was to change as time went by. In 1904 he established his

home in Asbury Park, and his band played there for a total of

twenty summer seasons, more than at any other park.

Asbury Park, where three generations of area residents learned to love Pryor. An erect 5-'10" figure, he always wore immaculate white uniforms on stage, brown suits off stage. He would lead his band on parade through the streets of Asbury Park to signal the start of another season. Pryor's prowess as a musician was recognized by the city fathers when they named the band pavilion on the Asbury Park boardwalk for him.79

The Pryor Band program covers for Asbury Park would feature

a large "A" for Arthur, Arcade, and Asbury, and a large "P" for

75 Herbert N. Johnston, personal letter, 19 July 1981.76 "Tour of Pryor's Band," The Musical Enterprise, March 1905, p. 1.77 "Arthur Pryor's Band," The Musical Enterprise, November 1904, p. 1.78 "Tour of Pryor's Band," The Musical Enterprise, March 1905, p. 1.79 "Jersey Pioneer," Asbury Park Sunday Press, 18 February 1973.

Pryor, Pier, and Park.80 One of his more famous marches, "On

Jersey Shore," was written in honor of Asbury Park, and the

novelty piece "Baby Parade" was for an annual civic event held

there each summer.

Next to Asbury Park, the famed Willow Grove Park north of

Philadelphia was visited most often by the Pryor Band, usually in

late spring before heading east to Asbury. The band was there for

eleven seasons, spanning a twenty year period, from 1906 through

1926, the final season of regular summer concerts at the Park.

Owned and operated by the Philadelphia Rapid Transit Company,

whose trolleys served the Park, Willow Grove was not the ordinary

amusement center of the day. The goal from a visit there was

"something more than mere amusement; to make this a place of real

mental and spiritual worth to the multitudes invited to use it as

freely as if it were their own."81 Music played an important part

in achieving this lofty goal: "So it is that music, planned as an

attribute to its charms, has been developed and made its chief

charm as well as its most valuable asset in the estimation of the

public."82 A small army of guards, who were "carefully selected,

and are thoroughly examined by the honorable judges of the courts

of the county,"83 roamed the grounds, quickly evicting any man

80 Larkin, part 1, p. 8.81 Ray Thompson, Willow Grove Park (Abington, Pennsylvania: Cassidy Printing,

1977), p. 2.82 Ibid.83 Ibid., p. 21.

found without a coat or tie, even in summer.

And how did Arthur Pryor and his band contribute to the

charm of music at the Park? Again quoting from the 1909 booklet:

"Arthur Pryor is America's youngest and most brilliant

bandmaster. He typifies that originality in native band music

which make his a national character, and his return to Willow

Grove Park this season marks an event in the realm of Music."84

In the number of appearances at the Park, the Sousa Band

came in first place with 26, every summer from 1901. The Pryor

Band was in fifth place with its eleven seasons. At one point

Pryor's salary, 500 dollars per day, was third, bettered only by

Sousa and Victor Herbert.85

Concerts were presented there each afternoon and evening,

with an hour intermission during which time the famous Electric

Fountain was turned on and in the evening put on a display of

colored lights. The concert hall was a large, natural

amphitheatre seating 15,000 people, and was called The Grove.

"The Grove was, in an intangible but personal way, something

special to artist and layman alike. . . All who came in contact

with it were, touched by the spirit of The Grove. . . . No

conductor took The Grove lightly."86

The Pryor Band programs here were fairly typical. They would

84 Ibid., p. 8.85 Herbert N. Johnston, personal letter, 19 July 1981.86 Herbert N. Johnston, "Musical Memories of Willow Grove," Old York Road

Historical Society Bulletin 29 (1968): 18, 22.

generally include a variety of transcriptions, such as overtures

and selections from operas (Pryor was particularly fond of

Wagner87), original works such as marches, various dances,

novelties, and descriptive works (often patriotic), and solos.

Pryor's programming philosophy was inherited from Sousa in that

both men sought to please their audiences with a variety of

popular and enjoyable musical selections. Pryor's own

compositional output reflects this. "His programs are models of

good taste, and contain an even and well balanced grouping of

classic, romantic and popular material. His readings are those of

a sound, well-schooled, and thorough musician. . ."88 But in

trying to please the public, he also gave to the masses their

first exposure to classical literature.

As we shall see, the emphasis of the Pryor Band shifted

around 1910 to the recording studio, but he continued his park

appearances for many years, especially during the summers. He

would record in the winters , and then go to Willow Grove, and

then Asbury Park. In 1917 he began a series of nine winter

seasons in Miami, Florida, performing at the Royal Palm Park

there.89 At one time Pryor was even considering building a music

conservatory near Miami to be dedicated to Sousa,90 and there is

evidence that there was indeed a "Pryor Conservatory" at Hialeah,

87 John H. Willaman, personal letter, 17 January 1984.88 "Arthur Pryor," The Metronome, October 1907, pp. 9-10.89 Schwartz, p. 28190 St. Joseph News-Press, undated.

Florida, for a time.91

Following the close of his seventeenth consecutive season at

Asbury Park in 1920, he felt the people there deserved a change.

He turned over this engagement for a few years to his able

assistant Simone Mantia, and spent the next five summer seasons

with his band at Luna Park, Coney Island, New York.92 However,

Pryor did not voluntarily give up his regular seasonal

appearances at Willow Grove after 1918. During a rehearsal that

season, it so happened that a woman of influence at the Park

overheard Pryor admonish his men in typical strong language. (The

excellent acoustics of the band shell did not work to Pryor1s

advantage that time.) It was eight years before The Grove would

echo once again to the sounds of the Pryor Band.93

Not all was hard work at these parks for the band members.

One reason that Pryor sought for these long, regular engagements

was so that the families of band members also could come and

enjoy a vacation. Mornings were often free to take advantage of

the park's amusements. One annual event for several years was the

baseball game between members of the Sousa and Pryor Bands at

Willow Grove Park. This occurred during the brief period they

were there together Between engagements. The conductors would

pitch. The score of the 1916 game has been preserved: Sousa, 16,

91 Larkin, part 2., p. 15.92 Schwartz, p. 283.93 Johnston, "Musical Memories of Willow Grove," Old York Road Historical

Society Bulletin 29 (1968): 30, 31.

Pryor, 29. "Apparently musicians are strong on offense but weak

on defense."94

Other parks where the Pryor Band performed include the Steel

Pier in Atlantic City, Riverview Park in Chicago, Old Delmer

Gardens in St. Louis, Electric Park in Kansas City, and the Ball

Park in his home town of St. Joseph.95 People would flock out to

these parks to enjoy not only a ride on the various amusements

and a picnic and swim, but also a concert by a "name" band. The

parks were very popular with Sunday Schools and lodges for annual

meetings. They were conveniently located on a trolley line,

because, like Willow Grove, they were often owned by the trolley

line which served them, an additional source of revenue on days

when there was no rush hour income. Besides those of Sousa and

Pryor, the bands of Frederick lanes, Patrick Conway, Alessandro

Liberati, Albert Sweet, Bohumir Kryl, and Giuseppe Creatore were

popular attractions, along with their celebrity soloists, in the

early days of this century before jazz, the radio, and the family

automobile would combine to undermine the influence of these

parks on American life.

Band music was also an important part of industrial fairs

and expositions. The first important engagement of the Pryor Band

was the St. Louis Exposition, the World's Fair, in 1904, to be

followed two years later by an engagement at the Pittsburg

94 Schwartz, p. 242.95 Bridges, p. 104, and various other news releases.

Exposition.96 The mayor of Rochester, New York, sent a letter of

thanks following the Pryor Band's appearance at the Industrial

Exposition there in 1908; he especially appreciated the "generous

manner in which you responded to encores,"97 further evidence of

Pryor's debt to Sousa.

Finally, the bands of that day may also be a part of

official ceremony. When Woodrow Wilson was officially notified of

his nomination for the presidency by the Democrats in 1917. the

Pryor Band was there to provide suitable music for the

occasion.98 In summary, the Band was indeed a significant musical

organization in that day, However, as Arthur Pryor knew his band

need not be physically present to have an influence on American

cultural life.

A Pioneer in his Field--The Pryor Band: Recordings and Radio

(1903-33)

After his last tour in 1909, Pryor decided to settle down.

The hectic pace of tour travel was not for him. He had been

married since February 1895 to a young girl from Salt Lake City

named Maud Russell, and they had two sons. During his years of

constant travel, first as Sousa soloist, and then as conductor of

his own band, he would try to spend time with his family, first

96 Ibid., p. 10497 "Growth of Arthur Pryor and His Band," The Metronome, May 1909, p. 10.98 Jacob's Band Monthly, September 1916, p. 76.

in St. Joseph where they stayed with Pryor's parents, and then in

Asbury Park where he had established his home in 1904. Now he

would settle in Asbury Park and concentrate on a career in the

recording studio. His faith in the infant recording industry had

been noted earlier. His work in the studio with the Sousa Band

"seems to have awakened in Pryor an appreciation of the immense

potentialities of the phonograph that corresponded with Sousa's

low opinion of the medium, and throughout its career the Pryor

Band spent more time in the recording studio than any other

ensemble in the United States."99

Since the Pryor Band would continue its seasonal

appearances, as has been noted, and since he had had much

recording experience already, this was a shift in emphasis, but a

definite shift nevertheless. While the Sousa Band continued to

travel and appear in live concerts almost until the end of

Sousa's life, the Pryor Band was to have a greater influence

through its recordings on the establishment of the concert band

as a significant musical force in America. Later, it was to add

to this influence through another new medium, radio.

For some twenty five years, Pryor was on the staff of the

Victor Talking Machine Company as arranger and conductor. As

previously mentioned, his formal association actually went back

to 1904, and even before that when he was with Sousa. Now, with

99 Smart, jacket notes for The Sousa and Pryor Bands.

touring behind him, a steady stream of recordings would pour

forth from the Victor Studio under his supervision. These

recordings were made by the old acoustic process of playing

through the large recording horn directly onto a disc, A master

disc, called a "mother" disc, was made from this original, and

copies could then be made from the master.100 Besides his band,

Pryor also directed the Pryor Orchestra "in person, and all

arrangements are made under his supervision, thus insuring an

artistic result."101 His band members no doubt provided the

nucleus of this ensemble. He also continued to conduct recording

sessions of the Sousa Band, as late as 1926.102

"There are thousands of oldsters who can still remember the

thrill which Pryor's early records gave them, when played on the

old Victrola. . . , Although much of the tone coloring of Pryor's

Band was lost, at least the rhythm and the melody and the main

harmony lines came through with spine-tingling effect."103 Much

more than tone coloring would have been lost had not Pryor begun

to arrange music specifically for recording purposes. He

eliminated the delicate shadings and solidified the sound so that

these early recordings would at least stress the essential

elements of the music. Arthur Pryor is considered a pioneering

100 Seaver, James, personal interview, 18 July 1984.101 1906 Catalogue of Victor Records (Camden, New Jersey: Victor Talking

Machine Company, 1906), p. 18.102 Smart, p. 123.103 Schwartz, p. 240.

arranger in this respect.104

While the Pryor Band continued to appear in the summer at

Willow Grove Park and Asbury Park, and later, in the winter, in

Miami, it would otherwise be busily engaged enlarging Victor's

catalogue. Even in 1906, when the Band was still a touring

organization, there are no less than 168 catalog numbers assigned

to recordings of this very active ensemble. The selections

included all the popular kinds of pieces of that day, such as

marches, waltzes, gavottes, medleys, patriotic airs, fantasies,

novelties, hymns, serenades, and paraphrases. There were also

cakewalks and rags, which helped to introduce and popularize that

emerging American art form later called jazz.105 Nor were the

classics ignored. "In the Victor Book of the Opera, published in

1912, Pryor's Band is listed as recording overtures, finales,

marches, selections, and fantasias from approximately fifty

operas."106 It is estimated that the recorded output of the Pryor

Band is easily twice that of the Sousa Band, although no

discography has thus far been attempted.

No band has ever surpassed the output of the Pryor Band. The band recorded an estimated 5,000 takes and placed 2,000 titles in the Victor Phonograph Company recording Entry Books (now preserved by the Radio Corporation of America). It is believed that Mr. Pryor conducted them all.107

104 Schwartz, pp. 239-40.105 1906 Catalogue of Victor Records.106 Schwartz, p. 240.107 Steve M. Wolfinbarger, "The Solo Trombone Music of Arthur Pryor" (M.M.

thesis, North Texas State University, 1982), p. 9. This information is from Frederick P. Williams, "The Times as Reflected in the Victor Black Label Military Band Recordings From 1900 to 1927," Association For Recorded Sound

The personnel of the band remained more stable through this

arrangement of recordings and live concerts. "It was Pryor's

desire to keep his men in 'year 'round work' and through the

recordings in winters and guarantees for summer appearances he

was better assured of his men remaining with him."108 It was a

very productive andfinancially successful venture. "Mr. Pryor' s

audience is a still larger one, and the superb Pryor-Victor

records ace enjoyed in every part of the world."109

In the 1920s the Pryor Band moved into the of radio

broadcasting. General Electric, General Motors, and Cremo Cigars

were among his sponsors. One popular series of concerts that he

and his band presented was called the Cavalcade of America,

sponsored by the Dupont Company. Another series was called the

Shrader Town Band, presented in 1929.110 For these broadcasts he

would perhaps use only part of his band, around 25 players. By

the early 1930s he was associated with NBC for broadcasting in

New York City.

Interlude--His Character, Standards, and Conducting Skills

It may seem surprising that among the soloists Pryor secured

Collections Journal, 4 (1972), p. 39.108 Lynn L. Sams, personal letter, 19 October 1983.109 1920 Catalogue of Victor Records (Camden, New Jersey: Victor Talking

Machine Company, 1920).110 Fred Pfaff, personal letter, 29 October 1983. (Pfaff, now age 95, is a

former member of Pryor's Band.)

for his band would be trombonists. But in everything he was a

perfectionist, and as time went by he found he could no longer

take the time to practice. He gradually turned over the

performance responsibilities to others. While he continued to

play the trombone throughout his life, his greatest success as a

performer was during his time with Sousa. The last recording he

made of a technical solo was in March 1911, his own "Polka

Fantastic." Less than a year later, in February 1912, he made his

very last solo recordings, selections from Romeo and Juliet

(Gounod) and Samson and Delilah (Saint-Saens).111 While he did

continue to play in public occasionally (on one occasion to

disprove a statement in a Miami newspaper that he could not),112

Glenn Bridges estimates that by around 1920 he had given this up.

At a Pryor Band concert Bridges attended in 1922 at Luna Park, he

was told by a band member that the "old man" (at age 52) was no

longer playing publicly.113 While this is unfortunate, it does

show Pryor's high performance standards. Having thoroughly

mastered his instrument early in life, he would not settle for

anything less than perfection now. He had developed new musical

interests which were taking his time, and his public performance

was a thing of the past.

His standard of perfection did continue on the podium,

111 112 113

however. He would encourage his men with such phrases as "The

right note in the wrong place is a wrong note," and "If you can't

play everything on the page, be sure not to play anything NOT on

the page. Simplify if you must, but don't compose."114

His legendary outbursts of temper, spiced with an equally

legendary tongue, have resulted in a comparison with Toscanini.115

But, unlike the fiery Italian, the offense was quickly forgotten

and the men in the band grew to accept this as a part of the

routine. Clarinetist Louis Morris recalled that Pryor "swore like

hell! But at his brother, on bass drum. We all laughed because we

knew he didn't mean anything.116 After the rehearsal or concert

Pryor would enjoy friendly fellowship with everyone, including

the offender, over drinks together.

During a concert in Asbury Park in 1913, clarinetist Charles

Thetford got into an argument with his conductor. After a

policeman, at Pryor's request, ejected Thetford, the rest of the

bandmembers got up one by one and left the bandstand in sympathy

with Thetford. All this took place as a piece was being played,

finally, Pryor was left with only Mantia and the bass drummer

(could that have been faithful brother Sam?). Obviously this

remaining "band" had to quit playing after a few measures of

futile effort, which eyewitness Nolbert Quayle described as

114 115 116

"excruciatingly funny." After standing motionless for a moment,

Pryor turned, calmly picked up his trombone, and began playing

"Auld Lang Syne," "as only he could play it." Soon, one by one,

the bandmembers reappeared and took their places, with Thetford

being the last one. They sat down and joined their leader in the

refrain. The concert then resumed. Quayle's conclusion was, "It

was a good comedy.117(After Pryor's death in 1942, Thetford became

co-director of the band with Arthur Pryor Jr.)

He knew he had a temper and was not proud of it. But, like

Toscanini, it can be attributed to an extreme musical

sensitivity, not to ego. He once told a friend that poor playing

actually caused a physical reaction in him.118 The tempo would

usually speed up as a result, and on at least one occasion (a

concert at the Capital Theatre, New York, in 1919), he tore off

his collar and stamped on it. Another time, during a concert at

Willow Grove, a bandmember threatened to smash his trumpet over

Pryor's head. Clarinetist Robert Willaman called him a "strange

combination of exalted artist and born roughneck."119 In this sort

of behavior he was the exact opposite of Sousa, who would go to

great lengths not to embarrass a player who made a mistake.120

Perhaps this is due to the contrast of environments in growing

up, Sousa in the genteel atmosphere of our nation's capitol, and

117 118 119 120

Pryor in the rough riverfront pioneer community of St. Joseph. As

was mentioned earlier, Pryor seems to have inherited this

naturally from his father. While conducting, Pryor lived the

music being performed. "Music is his life; the correct

interpretation of it, his life blood; tonal beauty, his life

breath."121 Any violation of the sanctity of this life was quickly

and thoroughly dealt with, but then it was completely forgotten

just as quickly and thoroughly.

Unfortunately, and understandably, not all of his men were

as quick to recover from his attacks as he would like, although

fortunately not many of them threatened to smash their horns over

his head! His temper did cost him some fine players over the

years but at heart he was a very kind and generous man, and his

men respected him for his friendship as well as his musicianship.

Often when sharing meals together (which is something not every

conductor did), the men would toast him with "More power to your

elbow, Mr. Pryor." When euphonium player Ole May was critically

injured in a car accident in 1917, Pryor voluntarily paid the

entire hospital bill for the eight days May suffered before he

died.122 He has been described as "a pleasant, affable man who

asked of his men everything they could give, but who never used

abusive tactics in order to obtain cooperation."123 This is

121 122 123

essentially true. He did not intimidate his men. It was only

after the mistake was made that he became angry, and that for the

sake of the music. "He was never attacked by that dread disease

called 'swell head,' and is both beloved and admired by the

members of his band."124 Tubist Willis Maupin summed up this

paradox quite well, reflecting on his former leader shortly after

Pryor died. "He had a pleasing, affable personality with a

certain charm, but on the podium in front of his band he was hard

as nails, demanding the very best that each musician had to

give."125 He served his art. and was as hard on himself as he was

on his musicians to achieve his purpose.

His high standards were rewarded with critical acclaim. A

New York critic wrote concerning a Pryor Band concert:

Sunshine and shadow, darkness and dawn, laughter and tears, peace and turmoil, hope and despair, every human emotion of joy or sorrow, blended into a medley of melody, a splendor of color, a wealth of harmony, captivating, enchanting, bewildering. . . . In New York and nearly every American metropolis Pryor's concerts have been hailed as marking an epoch in musical annals, and the present tour has been a succession of signal success.126

This praise was not to diminish over the years. A 1919

concert in the brand new Capitol Theatre in New York City brought

forth this response: "To hear 'Pryor's Capitol Band,' as the

organization hereafter will be known, had been likened to a tonic

by the critics who enjoyed the opening concert, the audience

124 125 126

invariably being moved to the most emphatic demonstrations of

enthusiasms by the wonderful achievements in band music wrought

by Mr. Pryor and his competent company of artists.127 (The

reviewer goes on to praise the band for beautiful, controlled

playing at the pianissimo dynamic level, something rare for a

band.) Through such success Pryor was able to pay his men well.

In 1909 he was able to repay his men debts owed from the early

years of touring, $3000 from the first tour alone.128

Pryor himself was an imposing figure on the podium, standing

tall and erect (one bandmember recalled that he wore a girdle at

times129) and giving a clear, precise beat. "His gestures and

actions are all original and brought about not for the sake of

catching the gallery, but through his intense interest in the

work at hand."130 Tubist Fred Pfaff writes:

I never saw a better beat from any other band or orchestra leader. He was very clear with tempo and time changes; the players always knew what was going on. He was demanding to work for since the best was always expected. His temper might flare, but the episode was soon forgotten and nothing would be said off the stand. He was a fine man, a gentleman.131

Pfaff also recalls Pryor's use of a drumstick for a baton

occasionally, perhaps for greater visibility and emphasis. One

reviewer waxed eloquent about Pryor's appearance at a massed band

127 128 129 130 131

concert in St. Louis.

And then there was Arthur Pryor. Mr. Pryor emerged from one of the exits at the psychological moment and a rumble of applause ran round the Coliseum. He was dressed in white, which did not tend to make him inconspicuous at this time of year [winter], and when he took his place on the dais placed for him it was plain that he never could have been anything but a bandmaster. It would have been a crime against the laws of economy to permit that fine figure to drift anywhere but toward a uniform and a baton.132

His "remarkable collection of valuable and beautiful

medals," worn sparingly, enhanced his appearance considerably.133

Many of these he received from nobility during his travels in

Europe with Sousa.

Speaking of Sousa, one reviewer makes some interesting

comparisons of style. "[Pryor] has Sousa's technical

thoughtfulness, but he avoids the showman tricks which were

Sousa's besetting sin." After expressing commendation to Pryor

for avoiding "virtuoso stunts for the piccolo" and having the

trombones come to the front of the platform (it is not hard to

figure out what standard Sousa Band favorite the reviewer was

referring to), he feels that with Pryor "more was made of the

music than the musicians. . . Mr. Pryor never forgets that a

concert is music and not a demonstration by a dancing master.134

An Active Retirement--The Final Years (1933-42)

132 133 134

In 1933 the Pryors retired, moving from their apartment in

Deal, New Jersey, to their 27-acre farm named Driftwood, near

Long Branch, New Jersey. The Pryor Band disbanded after three

decades of existence, longer than that of any of the old

traveling park bands except Sousa's. The Pryors shared their home

with Mr. and Mrs. C. D Haviland, the parents of Mrs. Arthur Pryor

Jr. "Musical curios abound in the modest farmhouse at

Driftwood,"135 as one can well imagine after a lifetime of service

to his art.

During these years, Pryor found time for teaching, although

it also provided an excuse to get away to the city to visit old

friends. He had a studio in the Life and Time Building in New

York City, and the Conn Company reserved a studio for him at

Rockefeller Center. Conn executive Lynn Sams recalls, "Many times

when I visited the store Arthur Pryor came in from his farm and

we had sort of 'open house.' Many of the old-timers were also

there and as you can well imagine, some great stories were told

about those early days."136

But in his teaching, as in all things musical, he was

totally serious. A former student sums up his teaching standard

in one word: perfection. Through long tones, lip slurs, and the

study of arias and hymns he tried to develop in his students the

concept of a singing style that he introduced on his instrument

135 136

years before. As far as his famous technical gymnastics were

concerned, he said "walk before you run!" Work out the parts slow

and steady, and use lots of alternate positions. Handle the slide

loosely so the wrist and fingers don't "stick"; the wrist must be

flexible. He would demonstrate on his own trombone. The lesson

was "all business."137

He would also encourage young promising musicians to go on

in their study. Dr. Leonard B. Smith, former cornet soloist with

the Goldman Band of New York City, and presently conductor of the

Detroit Concert Band, credits Pryor with persuading his father to

allow him to go to New York to study music.138

During retirement years the Pryors enjoyed working in their

garden and keeping several dogs, heirs to the famous bulldog

Roxy, who was the inspiration for Pryor's most famous

composition, "The Whistler and His Dog." Maud Pryor was, like her

husband, an excellent pianist, and one can imagine that she

accompanied her husband as he demonstrated his skills for

fortunate young musicians who would visit their home. "His golden

trombone, whose etched inscription reads, 'Made for Arthur Pryor

by Jake Burkle, 1894,' sits on a shelf in the study, and

occasionally Pryor plays a few sweet-toned lyrics on it."139

Yes, my grandfather played the trombone all of his life – beautifully. He never stopped. I remember the band and the

137 138 139

music all of my life-earliest recollections are of the bandstand in Miami.140

He also traveled to colleges to conduct band clinics, and

guest conducted at special concerts. Mr. Robert Isele recalls

with pleasure the privilege he had of performing "Blue Bells of

Scotland" with the Allentown (Pennsylvania) Band in 1938 under

Pryor's direction. Isele was for many years the trombone soloist

with the U, S. Marine Band, and, in this writer's opinion, comes

closest to duplicating the skill of Arthur Pryor. Yet Isele

writes, "When I did hear his recordings I had the greatest

respect for his incredible technique, and as far as I can see he

certainly was the one that discovered the wonderful things a

trombone could do. I never thought any of the other trombonists

were in his class."141

As a charter member of the American Bandmasters Association

(1929)142, he was concerned about the development of bands in

public schools and colleges. He served as adjudicator at some of

the early school band contests, although he did not enjoy this

task because he felt such sympathy for the losers.143 He was aware

of trends in band music, and, as shall be pointed out in chapter

2, he was disappointed to see the emphasis on concert bands

decline as jazz became more popular.

140 141 142 143

His awareness of trends in band music was complemented by

his ability to sense trends. This was evident many years earlier.

In 1913 he encouraged young Curtis Larkin to stay on his trumpet

despite ridicule from cornet players, because "in another twenty

years everybody will be using trumpets."144 By way of contrast, in

1921 Herbert L. Clarke told a student in a letter that the

trumpet is "only a foreign fad for the time present. . . and was

never intended as a solo instrument."145

Pryor also wrote articles for music publications in his

retirement. He shared with other bandmasters some of the

techniques and ideas he had acquired through the years. His

ability to "dig beneath the surface" is evident in the article

"How To Play a March,"146 something most bandsmen would think they

already knew how to do.

But what he did not write was something most people expected

from him sooner or later, and that was a method for the trombone.

He had been encouraged to write a method through the years, and

he did write out exercises for his students. But when people

would claim that he used some special trick in his playing or of

simply being incredibly talented so that it all came naturally,

he would give up any plans for a book and just say "let them

learn the hard way, like I did."147

144 145 146 147

Of course he did not need to do any of this to establish

himself further in his field. By now his many musical talents and

his contributions to the advancement of the concert band in

America were recognized and appreciated by bandsmen the world

over. "[His] splendid gift of performance and his broad

musicianship, covering composition and conducting, places him on

a high plane, and entitles him to the front rank among American

bandmasters."148

By this time the two sons of Arthur Pryor were well-

established and famous in their own right. Arthur Jr. played the

cornet and piano. Besides being a member of his father's band, he

was also assistant conductor. "The young man has many of the

mannerisms and characteristics of his father- the calm, dignified

pose when conducting, the simple look at a performer when certain

effects are desired, and the flash of the eyes when climaxes were

approached."149 Arthur Jr. was also an advertising executive. As

vice president for a New York-based company, he secured the

talents of people like Oscar Levant, Kate Smith, and Dinah Shore,

as well as the Pryor Band, for the radio programs that his

company sponsored.150

Roger Pryor was a noted actor, dance band leader, radio

personality, and husband of television comedienne Ann Sothern.151

148 149 150 151

His instrument was the trombone, although he credits his father

for teaching him the piano and saxophone as well. He secured

permissions from his father to use a swing arrangement of "The

Whistler and His Dog" as his band's theme song.152

One interesting period during Pryor's retirement was his

years serving in public office. In 1933 he ran for the position

of member of the Board of Freeholders of Monmouth County, New

Jersey. The duties of this Board correspond to those of a council

in a city government. He campaigned as a Democrat on a platform

of lower taxes.153 He was elected and served one term, and kept

his promise to "enter and leave political life an honest man."154

Sometimes he would get together the old Pryor Band, at least

as many members as he could round up, for concerts at nearby

Asbury Park, scene of so many earlier triumphs. In 1942 he agreed

to a series of concerts at the Park to help bolster a summer

program otherwise curtailed by wartime restrictions. He conducted

his band over Memorial Day weekend, and "proved to large

audiences that he was still the world's master band leader."155

It was after a rehearsal for the next series of concerts, on

the night of 17 June 1942, that he suffered a stroke, caused by a

brain hemorrhage. He never regained consciousness, and died the

next morning at 5:20 at his home. He was 71 years old. Friends

152 153 154 155

said that he had been deeply affected by the death, a week

previous, of his personal physician who was a long time friend.156

Arthur Pryor Jr. conducted the next Asbury Park concert,

which was presented on the Fourth of July. It included his

father's last composition, "We'll Keep Old Glory Flying,"

dedicated to the U. S. Armed Forces.157 The City Council of Asbury

Park adopted a resolution at its next meeting in Pryor's honor,

to the man "whose truly outstanding talents brought world fame

and glory not only to himself, but to his adopted city."158

The funeral service was at Trinity Episcopal Church, Asbury

Park, on Sunday afternoon, June 22. The service included a

performance of Pryor's intermezzo "After Sunset," played on the

organ. A tribute was given by Burt L. Smith, one of the

outstanding trombone soloists of the Pryor Band from previous

years. "Pryor was a magnificent conductor. He was a musician

through and through; nobody could get away with anything in his

band. He was the greatest of them all, a better musician than

Sousa."159 He was buried in Clenwood Cemetery, near his home. An

Episcopalian by faith, he was a charter member of the American

Society of Authors Composers and Publishers (1914), as well as

the American Bandmasters Association (1929). He was also a member

of several local organizations, such as the Musicians' Union, the

156 157 158 159

Elks, and the Rotary Club.160 His wife moved to California and

survived him by five years. Arthur Jr. died in 1954, Roger in

1979.

In a tribute to the dying breed of self-taught bandmasters

following Pryor's death, William Shaw of the Chicago Daily News

wrote the following:

As for Arthur Pryor, he came out of a family orchestra which played for the touring attractions that came to ^ Missouri theatre immortalized in the Eugene Field line, 'Tootle's opry house, St. Joe.' Sam, the father, played anything he turned his hand to. Sammy, a son, played drums, his brother Walter, cornet. Arthur, of course, went in for the slip-horn. Sousa heard him, hired him. He played 10,000 solos with Sousa's band. His tone was as smooth and mellow as that of any singer; his fame for it, proverbial!

Once a musician in an act at the Pantages, St. Joseph, got an ovation after a trombone solo. "In Arthur Pryor's home town?" he cried exultantly to Butch Gerrad and Stumpy Davis, standing in the wings. He knew.161

160 161

CHAPTER TWO

THE WORKS OF ARTHUR PRYOR

Introduction

"America's greatest bandmaster, foremost as a writer of

attractive, successful, popular-styled composition." This

description of Pryor and his music from a Carl Fischer

advertisement

of about 1910 sums up quite well not only the style but also

the

philosophy behind the music of Arthur Pryor. It was music

intended

for listening, music intended to give immediate pleasure- It

was all

very predictable in the tonal, symmetrical, and diatonic

style of the

turn-of-the-century American parlor composition. There is

nothing

radical in his music. There is some that would be considered

dated

today, yet there is also a certain timeless charm and

elegance to the

stylized Romantic quality of Pryor's music, especially in

his

marches, that keep his music quite fresh and enjoyable

today. At

least one contemporary bandmaster who has regularly

programmed Pryor

compositions reports that "they are liked by musicians and

audiences

and should be more readily available,"* referring to the

fact that

Pryor's band music has generally been long out of print-

That publishers are not always able to assess objectively

the

qualities of their composers is indicated by the fact that

the same

Fischer advertisement quoted above speaks of the "outspoken

individuality" of Arthur Pryor's compositional style.

Written at a

time when another son of a bandmaster, heir to the >ame

tradition in

America, was writing compositions which were destined to be

ignored

^William Pruyn, personal letter, 3 March 1984.

until mid-century, the output of Arthur Pryor contributes

nothing to

the ongoing development of tonal art compared to the

contributions of

his contemporary Charles Ives. Assuming the existence of a

gap that

has traditionally divided the more progressive composers and

the

*

public at large, it could be debated whether one can indeed

write

attractive, successful, and popular compositions, and still

be highly

original. The history of music has provided few examples.

Yet as a testament to the cultural life of an emerging world

power, the music of Arthur Pryor, and of so many other now-

forgotten

composers of that time, does have a place in the annals of

American

music. This is true for its historical significance if not

for its

inherent musical quality; it cannot be ignored.

As one begins to understand this music in historical

perspective,

it is a small step further to appreciate it for its own

sake; that

is, to find genuine pleasure in the melodies, harmonies,

rhythms—in

short, the sound of this music. After all, it was written to

be

enjoyed, and that is the basis upon which Pryor1s music

should be

judged. It does not presume greatness. It is limiting to a

broad

appreciation of music if one can enjoy music only on the

basis of its

inherent quality as art. Music need not be great to be

enjoyed.

Although it has been said that Arthur Pryor wrote some 300

to 350

compositions, I have been able to document only some 100

compositions

from his pen. This documentation has come from either the

music

itself, stored in the Music Division of the Library of

Congress and

other libraries and collections, or from records kept in the

Copyright Office of the Library of Congress, both on the

cards

51

themselves and in the Catalog of Copyright Entry books. The

fact

that I kept coming across the same titles over and over

again through

advertisements in early music magazines and on the music

itself leads

me to believe that if Pryor did write some 200 additional

compositions, they were for immediate recording or radio

purposes,

were actually arrangements of pre-existing music, or were

otherwise

unpublished. From Pryor's long association with the Victor

Company

as music arranger we can assume that he wrote a great deal

of music.

However, we can understand why everything Pryor wrote he did

not

consider of lasting worth. He was no doubt influenced by

Victor to

some degree as to what to write, and contractual

restrictions may

well have prevented publication.

Considering the fact that in his day Pryor was very famous,

he would have seen to it, if he had indeed written 300

compositions,

that more of his music was published and disseminated. It

was

simply good business for him and his band, and this in turn

was

good business for publishers. Therefore I conclude that the

more

likely number of Pryor's total original output is around 100

compositions. The 100 works include not just compositions

that were

published, because there are some unpublished compositions

known

through copyright registration. Some additional titles also

are

found from secondary sources, generally through labels of

old

recordings, old record catalogs, and old band programs.

These are

discussed in a separate section. Considering Pryor's long

career,

more titles may yet be found.

His facility at composing grew out of his ability to

improvise

at the piano.

52

In an informal circle of friends he would entertain at the

piano

for hours by improvising. Any three or four notes struck at

random on the piano by a guest would be taken as a theme or

motif, which he would proceed to embellish and work into an

impressive composition. He also would use as a theme a

person's

name, improvising on the rhythm and sound of the vowels.

Throughout the years of the Pryor Band's existence many

favorite

compositions in the band repertory were Pryor compositions,

so much

so that at one point he had to make a public statement that

he did

q

not also write the popular compositions of John Philip

Sousa.

While Pryor was not the extrovert patriot that Sousa was,

Pryor

did have a high regard for his country. Patriotic*

selections were a

regular feature of his concerts, and several of his own

compositions

were patriotically inspired. At first he wanted to call his

band the

"American Band," saying in 1905 that

My band has been organized on an artistic rather than a

commercial basis, to promote the healthy growth of our

native

music. I have expended lots of time and deep thought, as

well as

considerable money, upon the formation and exploitation of

my

band, and it is my fervent hope that it may realize, in some

measure at least, my patriotic ambitions.

Some of his compositions that reflect his "patriotic

ambitions0 are

the march "40 and 8," dedicated to the American Legion, and

the

marches "Ye Boston Tea Party" and its successor "Bunker

Hill,"

inspired by events of the Revolutionary War. His popular

trombone

solo "The Patriot" includes a difficult variation on the

tune

"America," and another march, "The Triumph of Old Glory,"

includes

2 H. W, Schwartz, Bands of America (New York: Doubleday and

Co., 1957), p. 283.

3 St. Joseph News-Press, 25 May 1954.

4 "Tour of Pryor ' s Band," The Musical E n t e r p r i s

e , March 1905,

p. 1.

53

our entire national anthem in the trio. Pryor's contribution

to that

distinctly American form of music called jazz through his

ragtime

compositions is discussed under that category.

*

Music Traits

Melody is the primary element in the music of Arthur Pryor.

"Where is the origin of melody-whence do we get it?" he once

said in

an interview. "The inspiration of melody is a gift divine,

and its

proper interpretation can be handed down to posterity by the

composer

only."^ His music is nothing if it is not melodious. The

melodies

are organized from symmetrical phrases and are generally

diatonic,

moving by step or triadic skip. They abound in sequences.

His strongest compositional trait is the extensive use of

the

appoggiatura and the accented passing or neighboring tone

found in

his melodies. The beginning of the trio of "Crescent Club"

march

serves as an example (Ex. 1). (Examples are taken from piano

solos.)

Ex. 1. Crescent Club March (1894), beginning of trio, second

time.

o. - « ' A Vr *

5 m r

t I

1/ JJT m •9—0-

r

*•

-0 0-

&

7 1 |7. P V T

5Ibid.

54

9

The close of the first strain of "The Victor" march is a

good example

of a rising appoggiatura figure (Ex. 2).

Ex. 2. The Victor March (1904), end of first strain.

*

€fa r of f t £

l •at * J u^A

This delight in "surrounding the tonic" note with nonchordal

tones only a step away can be seen in two similar passages,

both of

which are the beginning of the first strain of each march.

(Ex. 3-4)

Ex. 3. "The March King" march (1895), beginning of first

strain

rr.rfjrr

55

Ex. 4. "On Jersey Shore" march (1904), beginning of f i r s

t s t r a i n .

4 If cjr

J-r-rf

"Captain Cupid" two-step gives an excellent example of the

clashing accented neighboriag tones that Pryor often used

(Ex. 5).

Ex. 5. "Captain Cupid11 two-step (1908), beginning of second

strain

These very short, yet very pronounced, dissonances give the

melodies

of Pryor's music a very distinctive color. That they are

dissonant

is always clear, but that they are constantly present is

also clear.

Pryor1s harmonies are triadic and functional, as one might

expect. He made some use of the diminished seventh chord,

generally

treating the chord tones as neighboring tones (Ex. 6) or as

passing

tones (Ex. 7).

56

Ex. 6. "The Baby Parade" two-step (1906), beginning of trio

* # # #

Ex. 7. "Kentucky Club" two-step (1899), beginning

J. .M

f J?LS-

9 ?m 0 {>

He also frequently used the augmented sixth chord near the

end

the trio. In this example from "The Arras of America" march,

the

augmented sixth chord is preceded by a major supertoaic

chord,

resulting in an unusual augmented fourth melodic interval in

the

bass. (Ex. 8).

57

Ex. 8. "The Arms of America" march (1911), meas. 23-26 of t

r i o .

Q

The following example, from "The Arcade Girl" march and two-

step,

uses an enharmonic spelling of the augmented sixth chord

(Ex. 9).

Ex. 9. "The Arcade Girl" march and two-step (1910), meas.

2H-28 of

t r i o .

Hi

Pryor also makes extensive use of secondary domxnants, at

cadences in p a r t i c u l a r (Ex. 10).

58

Ex. 10. "The Love Ki.ss" waltz (1906), end of piece.

^ r\ A

HE

dim. .

His harmonic rhythm is quite steady and predictable. It is

unusual for him to hold a chord for a very long time, but

exceptions

are noted under specific titles.

Pryor is generally not in a hurry to extablish the tonic of

a

key. Many introductions to his compositions are entirely

based on

the dominant chord, and at changes of key he may further

delay the

appearance of the new tonic chord (Ex. 11).

Ex. 11. "On Jersey Shore" march, (1904), beginning of trio.

59

Pryor had 3 strong preference for the major mode, reserving

the

minor mode for sections of a few marches ("The Gridiron" and

"Afifi")

as a means of variation in a trombone solo ("Annie Laurie"),

and for

descriptive purposes in songs ("A Coon Band Contest") and

novelties

("Teddy after Africa").

Rhythmically, Pryor tended to favor shorter note values. His

marches, for example, give the feeling of constant

propulsion.

Naturally, repeated rhythmic motives (at different pitch

levels,

resulting in melodic sequences) unify-whole sections, but

there is a

contrast of motives between the sections. For example, in

"Burlington" march, the first strain is unified by a pattern

of

continuous dotted rhythms, the second strain by a pattern of

half and

quarter notes, and the trio by a pattern of whole and half

notes, all

in cut time.

In Pryor's rags and waltzes he was limited, of course, to

the

characteristic rhythm patterns of the genres. This is also

true of

his trombone solos, particularly of the theme and variations

type,

where the note values get shorter and perhaps the tempo may

speed up

as the piece progresses, such as in the solo "Blue Bells of

Scotland."

Publishers

Pryor's music was published during a 43-year period of his

life,

from 1894 to 1939. Compositions published in 1894 are the

marches

"Crescent Club," "Post Dispatch," and "Trocadero," the

trombone solo

"Exposition Echoes," and the dance "Little Flirt." The

variety of

61

King" march was published for band and orchestra by Pepper,

and for

piano solo by B. F. fianes and Company, but this practice is

rare.

The very last new composition appeared a few months after

Pryor's

death. "The Rookie and His Army Mule" was published by

Irving Berlin

*

of New York City in early 1943 as the ,TArthur Pryor

Memorial

Edition." It had been written some years previously as

"Sammy and

His Missouri Mule," a sequel to the popular "The Whistler

and His

Dog." The very last piece that Pryor wrote, the song "We'll

Keep Old

Glory Flying," remained unpublished,- like many of his

songs.

Some of his band compositions are said on the music to be

"arranged" by various people, most often M. L. Lake and L.

P.

Laurendeau. There is little difference between these

"arrangements"

and music credited exclusively to Pryor. These men were

"house

arrangers" for Fischer, and probably did little more than

prepare

Pryor's music for publication. Considering all of Pryor's

experience

with bands, it is highly unlikely that he would need an

arranger for

his music.

To obtain the greatest financial return from his music,

especially as Pryor became famous, publishers would print

arrangements of his music for various media. Mandolin

ensembles,

banjo soloists, violinists, and guitarists were regularly

treated to

the music of Arthur Pryor. It was typical of the time to

read under

the title of such music "also published for. . . . This was

in

addition to the normal band, orchestra, and piano solo

settings.

Apparently the joy of making music was more important than

observing

a strict medium of performance. C. Roberts and R.

Klugescheid

62

frequently arranged Pryor's music for orchestra, and Louis

Tocaben

arranged his music for mandolin and guitar. Only most of the

trombone solos and the songs remained exclusively for those

media.

The piano settings would be helpful to the band conductor in

that

*

day when the word "score" for band meant that the solo

cornet part

had the word "conductor" accomodatingly stamped on it. A few

cues

might be included in the music, but that was all. In fact,

sometimes, as in the "score" for "Mr. Black Man," the

conductor would

just have to beat time as he counted measures "rest" along

with the

solo cornetist. Under these conditions it was good that the

music is

so predictable. Surely one indication of the gradual

maturing of the

concert band in this century is the gradual inclusion of an

actual

score with the band parts. It is only late in his life

("Will

Rogers" march, 1937) that a composition by Arthur Pryor was

published

with a conductor's score.

Categories

The list of compositions, as given in the appendices, is

divided

according to the category, or type, of piece. These

categories are

march, rag, novelty (often called caprice), waltz,

miscellaneous

dances, piano solo, song, and trombone solo. It has not been

difficult to classify his music, even though it was arranged

for

various media. (Since so much of Pryor's music was arranged

for

"N,

piano solo, it should be pointed out that there are a few of

his

compositions that are pianistic in idiom enough to warrant a

separate

category of "piano solo.")

63

4

Pryor's classifications have not been very helpful at times.

He

seemed to apply rather arbitrarily the terra "two-step," a

popular

dance of the day, to marches (in either 6/8 or cut tine) and

rags.

Often rags are labeled as "cakewalks." In this study the

criteria

has been the music itself. If short note values predominate,

such as

eighth notes in cut time, and there is a great deal of

syncopation of

the beat itself, such as m , this suggests a more moderate

tempo

and the composition is classified as rag. Longer note values

suggest

a faster tempo, and the composition is. classified as a

inarch.

Specific questions are dealt with under specific titles.

In general, one particular composition will receive one

title.

Sometimes Pryor's category will be taken as the title of the

piece.

For example, an old program may list the title "Polka

Caprice" for a

trombone solo, which is Pryor's category for "The Little

Chief.

This may explain the origin of some of the questionable

Pryor titles.

In two instances, part of a large work also appeared as a

separate work. A particularly lyrical section of the

intermezzo

"After Sunset" was also published separately as a song by

the same

title. "A Coon Band Contest" song consists of a newly

composed verse

melody, and a chorus which is the trio of the instrumental

rag.

Also, "new" compositions may be formed from part of other

compositions. "Fox Trot" was put together from sections of

two

previously published compositions, "Frozen Bill" and

"Razzazza

Frederick P. Williams, jacket notes for Trombone Solos--

Arthur Pryor (Crystal Records S651,1983).

64

•

Mazzazza." It was Fischer's attempt to exploit the new fox

trot

craze.

Except for the category of some of the trombone solos, Pryor

wrote no polkas. He also wrote no overtures, except for what

might

have begun the three operettas that have not been*located.

He wrote

little descriptive program music, at least that was

published. Music

portraying battles and natural calamities were very popular

at the

turn of the century, but as the event would be forgotten, so

the

popularity of the work would diminish. It is very possible

that

Pryor wrote some of these, but the only one to be published

is "The

Rookie and His Army Mule," where through sound effects and

spoken

words it appears that the rookie Sammy is trying without

success to

train his Missouri mule for the U. S, Cavalry.

There is some spoken dialogue in other works such as "Frau

Louisa" comedy waltz and "The Baby Parade" two-step, but not

enough

to form a narrative. The text here is for humor, and is

incidental

to the piece. Pryor also used pictorial imagery in his

music, such

as the rhythmic figure in "Danny and His Hobby Horse"

caprice to

suggest hoof beats.

Questionable Pryor titles fro® secondary sources are

included in

the final section of this study. They await further

research.

Marches

"N,

"There i s one type of music in the playing of which the

band has

always been supreme--the march. No other musical ensemble

can play a

march with the z e s t , snap, and l i f e as can a good

band. For years

65

the march has been the very backbone of the m i l it a r y

band."® Pryor

p r a c t i c e d what he preached in giving to the band r e

p e r t o r y s e v e r a l

f i n e examples in this genre.

In this category a r e found only what has been c a l l e d

" s t r e e t " or

*

"quickstep" marches, such as those by Sousa. They have also

been

called "military" marches, alluding to their original

function

involving the movement of troops. Pryor wrote no "grand"

marches

such as are found in classical literature, Elgar's Pomp and

Circumstance for example.

There are at least twenty seven compositions by Pryor that

are

definitely marches. Sixteen are in cut time, eight are in

6/8 time>

and three ("Irish King," "Arcade Girl," and "Afifi") change

time

signatures. Two compositions, "Toute La Nuit" and "Blood

Lilies/1

are not marches according to the standard form, and yet do

not fit

any other category as well. They are certainly in march

time, and are

more like a march than anything else. Also, Pryor changed

styles at

times, so that "Artful Artie" and "African Beauty," more

rags than

inarches, both contain trios that are really march-like in

character.

As mentioned previously, Pryor has not always used the label

"march";

the music itself has determined the proper category.

The keys Pryor uses range from C ("Spirit of the Purple") to

Gflat

("Vanity Fair"), although he favors the traditional "band

keys"

of from one to four flats. The melody is always in the solo

cornet

part, but is often doubled an octave higher by the first

clarinet and

g

Arthur Pryor, "How To Play a March," Musical Courier,

September 1931, p. 45.

an octave lower by the baritone. These two instruments

therefore <Jo

not continuously fulfill their commonly associated functions

of

ornamentation or countermelody, but only when it was deemed

appropriate.

Listening to Pryor's marches means listening to gne clear

melody,

with only occasional second or third lines present-

Trombones often

fill in chords, but they also double the baritone in melody

or

countermelody, or even play offbeats, such as during the

first time

through the trio. This, plus the fact that Pryor seldom

gives the

basses (trombones, baritones, tubas', and low re.eds) the

melody for a

whole strain, leads one to conclude that in no way does he

favor his

own instrument in his scoring.

The functions of the double reeds and saxophones vary from

melody

(the oboe will seldom ornament the melody as does the

clarinet), to

countermelody (tenor saxophone, bassoon), to sustaining

chords (alto

and tenor saxophones). The baritone saxophone usually joins

the tuba

in its unvarying function of keeping the beat. The lack of

continuous

repeat measure signs for the tuba does indicate, however,

that Pryor

does try to provide the tuba with some variety in his part.

He knows

that it is more than a bass drum.

The horns (which at that time meant the E-flat alto horns)

have

the continuous function of playing offbeats. Together with

the tubas,

they form the rhythm section of the typical street march, in

general not

doing much more than doubling the percussion. Eveji

considering Pryor's

tuba parts as discussed above, this is basically true in his

marches.

The "liberation of the horns" in the marches of more recenc

times

67

i n d i c a t e s a b e l a t e d awareness of the i r

melodic c a p a b i l it i e s , f r e e i n g

them from a purely rhythmic f u n c t i o n .

final l y , the p i c c o l o w i l l o c c a s i o n a l l

y branch out i n t o an

e l a b o r a t e ornamentation a i l it s own. In

summary^Pryor1 s s c o r i n g is

not i n n o v a t i v e , but it i s s o l i d , and his

marches sound good.

Pryor uses the t r a d it i o n a l band i n s t r u m e n t

a t i o n he knew from

Sousa, and, perhaps l a r g e l y through the i n f l u e n

c e of such band

composers of the p a s t , this i n s t r u m e n t a t i o

n continues q u it e unchanged

today. There a r e t h r e e p a r t s f o r c o r n e t s ,

c l a r i n e t s , and trombones,

four p a r t s f o r the horns, and one each f o r the o the

r s . C f l u t e p a r t s

a r e not included u n t i l very l a t e in Pryor ' s c a r

e e r ; the D - f l a t

p i c c o l o reigned on high. An E - f l a t cornet p a r t

was provided, which

doubled the solo B - f l a t cornet p a r t . P a r t s were

a l s o provided f o r

the B - f l a t tenor horns in t r e b l e c l e f and B - f

l a t bass m t r e b l e c l e f ,

which t o g e the r were simply the trombone p a r t s

transposed a major

n i n t h h i g h e r . The tenor horn, according to Adam

Carse, was a s o r t of

nondescript b r a s s instrument with v a l v e s , a wide

and conical bore,

whose tone lay between the mellowness of the modern French

horn and

the b r i g h t n e s s of the trombone. Along with the a l

t o horn, to which

it was r e l a t e d , it had a r a the r " n e u t r a l

tone q u a l it y , w h i c h

explains the general demise of both instruments today. " it

was no

doubt on account of the i r conical bore and deep

mouthpieces that the

word horn (or cor) was g e n e r a l l y incorporated in t h

| various names by

which they were k n o w n . S u r p r i s i n g l y , the p

a r t f o r B - f l a t bass

Adam Carse, Musical Wind Instruments (London: Macmillau,

1939;

r e p r i n t , New York: Da Capo P r e s s , 1965), p. 298.

68

4

(whether in t r e b l e or bass c l e f ) was the same as

the t h i r d troojbone

p a r t , while the E - f l a t bass part (always in bass c

l e f ) was c l e a r l y

for the tuba.

Pryor favors the t r a d it i o n a l s t r e e t ©arch form

which he probably

*

learned from Sousa: a short introduction followed by two

repeated

strains, then, with another flat in the key, two times

through the

trio with a dramatic "breaker strain" or "dogfight" in

between. The

trio is generally twice as long as the strains (32 measures

compared

to 16) and may have a short introduction of its own, as in

"The

Gridiron." In the marches of Pryor the trio is often first

repeated,

and then the dogfight and final trio are also repeated, as

in "Vanity

Fair" and "The Kentucky Club."

The dogfight, named after the violent air battles in times

of

war, aptly describes the effect of this strain on the

relatively

sedate mood established by the trio. The dogfight is

characterized

by a loud dynamic level, three phrases of shifting tonal

centers that

follow a general pattern, much unison scoring, and an abrupt

alternating of motives between the treble and bass. It

always ends

on the dominant seventh chord which leads into the trio.

When and

where the term "dogfight" was first used to describe a march

strain

is uncertain, but it is likely that the military association

of the

march would remind bandsmen of the term. It seems especially

appropriate during the "battle" of the high and low

instruments as

they "exchange fire." The dogfight of a march is always

dramatic and

exciting; it is the point of greatest tension in the march.

There is

always a sense of relief and triumph as the dogfight

resolves into

the final trio, as even the casual listener would verify as

he

69

listens to this in Sousa's "Stars and Stripes Forever"

march.

The dogfight from PryorTs "The Kentucky Club" march serves

as a

good example (Ex. 12). There are three phrases with four,

four, and

eight measures in each. The tonalities of the phrases, which

are

submediant, dominant, and dominant seventh, and the short

ootives

alternating between high and low instruments (in the band

setting)

are typical features of this strain. The contrary motion in

the

third strain is not uncommon. The strain ends on the

dominant

seventh chord.

Ex. 12. "The Kentucky Club" two-step (1899), dogfight.

f f

VI

cresc.

A

£t

70

Often the final section of Pryor's dogfights continues to

use a

motive from the middle section, such as the treble octaves

in this

dogfight from "The March King" (Ex. 13).

*

Ex. 13. Pryor, "The March King" march (1895), dogfight,

meas. 10-16.

The half steps in the bass in the above example represents

the

chromatic passages often found in this location in his

marches,

either in parallel motion, as in "Sweetheart," or in

contrary motion,

as in "Ye Boston Tea Party"*(Exx. 14-15).

Ex. 14. Pryor, "Sweetheart" march and two-step (1897), ead

of

dogfight.

71

Ex. 15. Pryor, "Ye Boston Tea Party" march (1899), end of

dogfight.

Sometimes Pryor omitted the dogfight entirely, and

substituted

for it another, new trio strain, which was also repeated, as

in "The

Gridiron" and "Trocadero." And sometimes the dogfight was

expanded

in length, up to 24 measures, as in "The Victor/' While the

term

"trio" dates from the classical minuet-trio form from which

the form

of the street march derived, the dogfight is a purely band

march

addition.

Usually the introductions to Pryor's marches are four

measures in

length; however a few are twice that long, such as in "The

Arms of

America" and "Spirit of the Purple." In two marches, "The

Triumph of

Old Glory" and "Will Rogers," the introduction is expanded

to a

length of 32 measures. Often Pryor repeats material from the

introduction in the first strain, as though the strain grows

out of

the introduction. Examples of this are to be found in "Irish

King"

(Ex. 16) "The March of the Vhite Rats," and "Afifi."

crtsc.

72

Ex. 16. Pryor, "The Irish King" march and two-step (1905),

beginning.

o.. f «-

r v r (>r >

A A A

i^±.

T

4 ifc

This technique of the first strain growing out of the

introduction is used in compositions by Pryor other than

marches. It

appears, for example, in the rag "Frozen Bill" and the

caprice "The

Whistler and His Dog." Incidentally, virtually all of

Pryor's music,

marches or otherwise, have an introduction of some sort. The

only

exception is "Skipperjack Dance," which begins directly with

the

first strain.

For miscellaneous variety in his marches Pryor sometimes

introduced a drum and bugle corps effect, as in "40 and 8,"

or short

phrases from patriotic songs, as in "Arthur Pryor's American

Legion."

73

In performing his marches (and other works as well), Pryor

would

have different sections rest during a strain, and then join

in for

the repeat of the strain. In the second strain of "On Jersey

Shore,"

for example» the cornets and trombones would rest the first

time and

play the second time. Doubling the melody in the clarinet

and

baritone parts would insure its presence. He also encouraged

exaggerating the dynamic levels for special effect.**

Pryor had some definite thoughts regarding the proper

performance

of marches, whether his own or others. Shorter note values

(quarter

Gotes or shorter in cut time) are to be played separated,

while

longer note values should be sustained their full value.

"The result

is the delightful effect of contrast."1 2 The reed section

should not

sharply attack notes. "Let your brass do it. All notes

should have

a beauty and life of their own."*^ All notes should begin

louder

than they end, resulting in a fast diminuendo.

He noted how marches in 2/4 time are played more brightly

than

those in cut time. This is because performers naturally

separate

shorter note values, even though technically there is no

difference

between a quarter note in 2/4 time and a half note in cut

time. The

appearance of the duration seems to make a difference. (This

conclusion is surprising in the light of Pryor's almost

exclusive use

of cut time over 2/4 time in his own marches.)

"The Compositions of Arthur Pryor," The Metronome,

July 1910, pp. 14-16.

*^Pryor, Arthur, "How To Play a March,1' p. 45.

74

4

He was critical of composers who do not indicate their

intentions

more clearly through the use of shorter note values,

accents, and the

like. He thought they should write more specifically what

they would

like to hear. Finally, Pryor said that "grand" marches, such

as

Wagner's "TannhSuser March," should be played witii^all

notes

receiving full value, although "we are never as heavy with

Verdi as

with Wagner." 14

Pryor concluded these suggestions with a timely thought:

"During

my experience I have played 'Sta_r,s and Stripes Forever' at

least

3,000 times and each time I usually see something I did not

see

before. The conductor who is through learning, is through,

and had

better retire."^ While the best of Pryor's marches fall

short of

Sousa's masterpieces, they are always tuneful, logical, and,

as said

earlier, solid.

Ra^s

An important aspect of the Cakewalk craze, which led

directly and

logically to the rise of ragtime as a popular cult, was the

connection of the cakewalk with brass band literature. It

was

clear from the beginning that in some ways the cakewalk

music was

more suitjg to instrumental rendition than to the piano

keyboard.

Even while Pryor was still with Sousa he began to make his

mark in

14

Ibid., p. 56.

15

Ibid.

William J. Schafer and Johannes Riedel, The Art Of Ragtime

(Baton Rouge: Louisiana State University Press, 1973;

reprint, New

York: Da Capo Press, *1977), pp. 113-114.

75

this new style of music. "Pryor understood the coon song and

the

cakewalk and ragtime, and when these tunes began to take the

public

fancy, Sousa soon learned that Pryor had a special knack of

making

arrangements of this music, and he turned most of such work

over to

*

him/"** As assistaot conductor of Sousa's Band, Pryor also

helped

the bandmembers to get the "feel" of this new syncopated

rhythmic

style. No less than seven Pryor rags date from his days with

Sousa; the international popularity of "A Coon Band Contest"

has

already been noted. He was also a pidneer in recording such

music.

"Pryor was one of the earliest composers of music in the

syncopated

vein. His recorded cakewalks, southern melodies, and 'darky'

tunes

predate the earliest ragtime selection by over a year." 18

Growing up in a frontier town on the Missouri River, Pryor

no

doubt had exposure to the traveling minstrel shows of the

day through

his father's show business contacts. Also, St. Joseph is

near

Sedalia, Missouri, considered the birthplace of ragtime. It

is easy

therefore to understand his early affinity for ragtime that

was such

a help to Sousa. "Sousa's Band made a hit with Arthur

Pryor's

ar rangement s . . . t a k i n g the music a c r o s s

America and Europe . " 19

Naturally, this emphasis on ragtime continued when Pryor

formed

his own band in 1903. Several more rags were composed, and

in the

1906 Victor catalog his "Razzazza Mazzazza" is called the

"king of

^Schwartz, pp. 203-04.

18 Williams, jacket notes for Trombone Solos—Arthur Pryor.

19 Schafer and Riedel, p. 31.

76

r a g s . " 20 Carl F i s c h e r , who p u b l i s h e d

the rags of many composers,

c a l l e d Pryor ' s "Frozen B i l l " the " r a g g i e s

t of a l l r a g s . " 2 1 Called

v a r i o u s l y " r a g , " "calkwalk," " t w o - s t e

p / ' or "dance c h a r a c t e r i s t i c , M

the s e compositions c o n s i s t i n g of syncopated

melodies of short note

values a r e q u it e e a s i l y c a t e g o r i z e d ,

and form a his t o r i c a l l y

s i g n i f i c a n t p a r t of the output of J'Arthur

Pryor, who had a thorough

understanding of both the wind idiom and the new rhythms of

ragtime,

0 O

[creatingj a new genre of band music."

However, in all of his musical arrangements for the band

throughout his long career, he would not add a rag style, or

any jazz

style, to a classical composition. Reflecting late in his

life on

the whole jazz movement that his rags helped to foster, he

felt that

while jazz is legitimate entertainment, "a splendid thing

for those

who want to dance,"2 3 jazz versions of the old masters

"have so

confused the younger generation that youths put a swing

rhythm into

music when they think they are playing it straight . . .

Tschaikowsky

has s u f f e r e d t e r r i b l y . " 24 Because of this

he once c a l l e d j a z z the

"parasite of music,"2 5 lacking originality except in the

area of

rhythm. He realized the concert band's contribution to

American

cultural life, and was saddened to see it supplanted by jazz

1920 Catalog of Victor Records.

^Quoted from an advertisement on a publication, Carl

Fischer,

New York, ca. 1910.

^Schafer and Riedel, p. 135.

^St. Joseph News-Press, 18 June 19^2.

24

Ibid., 19 December 19M.

25Ibid., 18 June 1942.

77

ensembles as time went by. "The concert bands deserve credit

for

bringing the people closer to good music."

All of Pryor's rags are in either cut or 2/4 time. They are

in

the quickstep march form, except that a few (such £s "That

Flying

Rag") are in an ABA form before the trio; that is, the first

strain

appears once again after the second strain. Instead of a

dogfight

between statements of the trio, another strain may appear,

which is

the second strain of the composition transposed here to the

key of

the trio, a fifth lower. This is the case in "Southern

Hospitality"

and "Canhanibalmo Rag." Incidentally, as in his marches,

Pryor does

not always use the label "trio," but it is clear from the

context.

There may be a fermata at the end of the introduction of a

rag

("Southern Blossoms"), a short coda at the end of the piece

("An

Arkansas Huskin' Bee"), and generally the final strain is to

be

played much slower, suggesting a freer approach to tempo

than in the

march-

In general, however, tempos should be steady and moderate in

the

rags. "Classic ragtime composers repeatedly asked that their

works

be played at moderate tempos," which rag specialist John

Stark

describes as "slow march time," about a quarter note for 100

on the

metronome.2 7

A traditional march tempo of about 120 beats per minute

would

impart a pronounced rushed feeling to the phrases anfr be

most

^St. Joseph News-Press, 19 December 1941.

^Schafer and Riedel, p. 144.

/

7S

inappropriate to the style. The eighth notes and sixteenth

notes are

to be played evenly, without the "swing" feel of jazz.

Ragtime

exists as an abstract tradition, and is not to be influenced

by

momentary nuances of emotional expression in performance. It

is more

i

disciplined than ja2z. "In this sense ragtime is more akin

to other

folk music of the nineteenth century than to jazz/'*®

While some titles in this category may be open to debate, I

feel

that they fit here better than in any other category. They

all have

to some degree the ragtime rhythms that characterize this

style. The

debate would deal more with form than with style. In

"borderline"

compositions it is the trio which is generally most like a

march.

Those compositions that Pryor actually calls rags generally

fit this

category best.

Novelties

In the spirit of a family outing at the local amusement park

long

ago, these entertaining compositions formed an important

part of any

band's repertory. Because they described local events or an

aspect

of current life style, they became dated very quickly» but

they did

serve the need of a pleasant diversion in their time. In

fact, it

was their very timeliness that made them so popular.

The musical forms of course vary, but in general there is an

introduction, key changes within, and clear, distinct

sections that

are often repeated. There may also be appropriate special

effects.*~~

Near the end of the composition, Pryor likes to build up to

a sudden

JO

Schafer and Riedel, p. 147.

79

pause, followed by some sound effect, and then concludes

with a fast

chordal cadence.

Waltzes

One can understand Pryor's natural affinity for ragtime; it

is

more difficult to understand his affinity for waltzes. These

are

light, charming, and elegant waltzes in the Viennese

tradition. No

doubt Pryor's European travels with Sousa further solidified

whatever

earlier exposure he had. These are longer compositions than

those

discussed in previous categories, but they consist of

several

distinct and symmetrical sections, whj,ch is typical of all

of Pryor's

music.

Basically there are three large sections between an

introduction

and a coda. The three sections, sometimes labeled by number,

can be

further divided into three (sometimes two) strains. The

section

labeled "coda" includes a theme or two from the first

section, and

then smoothly moves into the true coda (or "codetta") which

may

include motives from earlier strains, but not whole strains.

The

codas are generally to be accelerated, and instead of one

final tonic

chord there are sometimes two fast chords, as in "La

Spamola" and

"Love Thoughts."

These are stylized waltzes, not intended for dancing. There

are

often ritards at the end of sections, and even ferma^s and

breaks

within sections, as in "Love's Enchantment." Pryor

frequently

employs the device of hemiola for metric variety, such as in

this

excerpt from "La Spaniola" (Ex. 17).

80

Ex. 17. "La Spaniola" waltz (1898), p. 5, meas. 5-9.

As in his marches, Pryor prefers shorter note values, giving

the

waltzes a somewhat hurried feeling. The smooth dotted half-

note

melody of "The Love Kiss" is exceptional.

These comments apply to all of Pryor's instrumental waltzes,

however those known primarily as trombone solos will be

individually

discussed in that category. The vocal waltzes, which are

shorter

than the other waltzes, are discussed under the category of

songs.

"Frau Louisa" ("A Comedy Waltz"), even though formally a

waltz, could

also belong in the novelty category.

Miscellaneous Dances

This category is for a few isolated compositions which do

not fit

any of the preceding categories. Other than that which can

be said

about all of Pryor's music, there are no unifying

characteristics

here. Four compositions are in this category.

Piano Solos

Considering Pryor's skill as a pianist, it is somewhat

surprising

that he wrote so few compositions that in their pianistic

idiom are

81

•

clearly intended as piano solos first, although all three

compositions were also published for band and orchestra.

Lyric

melody continues to dominate these pieces, as it does all of

Pryor's

music, hut the metric pulse is subdued here. The restful

titles

reflect accurately the quiet, pseudo-impressionistic mood of

these

typical "parlor" piano solos so popular at that time.

The right hand generally carries the melody, either in

single

notes or more often fully harmonized, while the left hand

keeps a

subdued beat of low octaves and chords. Arpeggios and

various

ornamented figures add the pianistic touch. Though the mood

is more

restrained and passive, the sections are still clearly

distinct.

Songs

Considering Pryor's talent for writing lyrical and very

singable

melodies, it is not surprising to find that he composed the

music for

several songs. I was able to locate only seven of his songs,

and to

acquire a recording of one more. There is evidence that he

wrote

several more, both from primary sources (included here) and

secondary

sources (included in the list of questionable titles). This

does not

include compositions from other categories that were

partially

provided with a text, such as "Mr. Black Man" and "Artful

Artie." It

is surprising that Pryor wrote no music for vocal ensemble,

at least

thus far discovered. There may well be some in the three

operettas

that he supposedly wrote.

The songs are generally strophic, with a short introduction

and

refrain. The introduction is often derived melodically from

the

verse. For a few songs Pryor wrote the text as well as the

music.

82

Trombone solos

"The genius of Arthur Pryor is prominent in all of his

trombone

works . . . . His solos are excellent for developing

confidence,

aggressiveness, and a sense of 'bravura* in young players."2

9 If it

it

were not for this category of compositions, the name of

Arthur Pryor

would be largely forgotten today. For those who have not

heard him

perform, these solos also perpetuate his reputation as a

trombonist.

"Pryor's theory [was] that each soloist should compose most

of the

solos he was to play, which would best display his own

individual

talent and ability."3 0 Since Pryor knew of no existing

literature to

adequately demonstrate his skills, one could assume that he

felt

compelled to write these solos. One may say that Arthur

Pryor was

one of the first composers of a distinct body of solo

literature

specifically intended for the trombone that has retained its

popularity through the years and is still available and

popular

today.

While Pryor1s trombone solos are not profound in the sense

of

possessing great musical substance, th^ are serious in their

approach to the instrument as one possessing outstanding

lyrical and

technical capabilities. The three factors influencing the

content of

his solos are an immediate appeal to his audience, his gift

for

Vern Kagarice et al., Solos for the Student Trombonist:

An Annotated Bibliography (Nashville: The Brass

Press ,~M979), p. 10.

30

Glean D. Bridges, Pioneers in Brass > 3rd ed. (Detroit:

Sherwood Publications, 1972), p. 28. (Bridges also relates

that

Pryor encouraged Herbert L. Clarke to begin writing cornet

solos for

himself.)

83

»

melody, and his virtuoso performance skills. There are no

novelty

trombone solos, full of smears, growls, or other comic

effects.

Pryor treated his instrument with great respect. Trombone

smears are

found only in his rags, where they are stylistically

appropriate.

Audience appeal was a basic concern of Pryor, as it also was

for

Sousa. Whether it be through beautiful and dazzling solo

performances, marches, rags, or the music of symphony and

opera, they

wanted to communicate with as many people as possible in

their

concerts. Their long careers as popular conductors testify

to their

#v

success. This desire for popular appeal is reflected in

Pryor's

trombone solos.

Recalling that Pryor actually preferred to perform lyrical

ballads instead of his virtuoso display pieces, his concern

for

expressive melody becomes apparent. He was not only a

dazzling

showman; he was also a musician, as well known for his tone

as for

his technique. Many of the solos he played consisted of only

lyrical

melody. The bravura style present (but not exclusively so)

in all of

his solos must be considered in the light of his total

performance

repertory, his virtuoso skills, the apparent lack of

virtuoso

literature for the trombone, and the audience he sought to

impress.

In spite of their relative fame, Pryor's trombone solos form

only

a small part of his total compositional output. This

reflects the

comparatively short period of his life that he was active as

a

soloist, from about 1890 to 1910. Some of Pryor*s solos use

existing

tunes, either as a theme with variations, or just inserted

for the

sake of interest, as is "Dixie" in the coda of "Annie

Laurie." Host

84 «

solos, however, are completely original compositions,

written to

satisfy his immediate need for program material,

He was no doubt performing many of his solos long before

they

were published. For example, "Thoughts of Love" was

performed with

Sousa's Band at the Columbian Exposition in Chicago in 1893,

eleven

years before it was published. In the early days of his

career

publishers would understandably be skeptical of much of a

market for

such difficult music.

The solos were published during two periods oj Pryor's life:

from

about 1895 to 1915, and then in the late 1930s. The later

compositions no doubt were written many years earlier, and

then Pryor

edited and submitted them for publication perhaps as a

retirement

project. They may have existed previously under different

titles

since no record of these late titles exists until the pieces

were

published.

Through his solos Pryor demonstrated what the trombone could

do

in expression and technique, similar to the work of avanEe

garde

trombonist Stuart Dempster today, in the area of tone

production and

timbre. This is all simply part of the ongoing process of

discovering

what a marvelous musical instrument the trombone is. What

Pryor did

with the trombone was as novel to many people back then as

the things

Dempster is doing now: one simply builds on the other.

Traditional techniques cannot be ignored, since it is

mandatory

in order to learn and m.aster new techniques; learning and

mastering new techniques enhance and define more clearly

traditional techniques. The old and the new, so seemingly

separate, are actually inseparable and, in the long run.

85

complementary, even if in the short run this seems not to be

the

case.

The s o l o s , of course, form a c a t a l o g of the v i r

t u o s o s k i l l s in

performance f o r which Pryor was famous. Foremost of Pryor

' s v i r t u o s o

*

skills is the matter of speed. Tempo never presented a

threat to

him. Whether the passage was by step or full of wide leaps,

he could

freely move around his instrument with ama2ing speed and

accuracy.

Extensive use of alternate and "false" positions freed him

to this

level of dexterity in performance.

Pryor's sense of expression in performance is apparent in

the

logical use he made of tempo rubato. This is reflected in

his solos

with indications for frequent breaks, fermatas, and the use

of

markings such as ritard, accellerando, and rallentando.

Indeed, the

cadenzas are simply a logical extension of the freedom of

tempo

inherent in his entire trombone solo repertory.' This is not

to imply

that there should be a constant flux of tempo, but that

tempo freely

gives way to expression when deemed appropriate.

Cadenzas are to be found in all his solos. Consisting of

chromatic runs, arpeggios, and various figurations, they are

in the

best Romantic tradition of "giving the performer a chance to

exhibit

his technical mastery"3 2 within the limits of expression,

timing, and

good taste. Unlike many Romantic era cadenzas, however,

Pryor's

cadenzas are lacking in thematic material.

Stuart Dempster, The Modern Trombone (Berkeley: University

of California Press, 1979), p. 1. (Dempster has recorded

some Pryor

solos. )

32 Villi Apel, Harvard Dictionary of Music, 2nd ed.

(Cambridge:

Harvard University Press, 1969), p. 120.

86

Besides his beautiful tone, dazzling speed, and sense of

expression evident in tempo flexibility, there are a few

specific

devices that appear in the solos that merit comment. Pryor

would

often use a fast series of octave jumps, as illustrated here

from

He also used the natural harmonic series of the trombone in

harmonic

glissandi, as illustrated from "Thoughts of Love" (Ex. 19),

and fast

lip slur arpeggios through the positions as illustrated from

"Air

Varie" (Ex. 20).

Ex. 19. "Thoughts of Love" (1904), end of third section.

The Patriot " (Ex. 24).

Ex. 18. "The Patriot " (1904), opening cadenza.

si

Ex. 20. "Air Varie" (1895), final cadenza.

8?

He sometimes would feature very wide leap s , expanding the

assumed

range of the instrument, as here in "Blue Bells of Scotland"

(Ex. 21).

Ex. 21. "Blue Bells of Scotland'' (1904), final caderjza.

• • .

) l * i-s-i 3 5 T

r-r

Sf

^ *

Pryor was fond of the turn, such as here in the coda of

"Exposition

Echoes" (Ex. 22).

Ex. 22. "Exposition Echoes Polka" (1S94), middle of coda

section.

ClfHC .

Besides pauses and breaks at cadence points, Pryor placed

them

wherever he felt that they were musically justified, even

within a

beat) as here in "The Tip Topper" (Ex. 23).

Ex. 23. "The Tip Topper" (1937), introduction.

Many of Pryor*s solos begio with a dramatic rising^arpeggio,

as

in "Annie Laurie" (Ex. 24), or with a high octave leap, as

in "Love's

Enchantment" (Ex. 25). They were no doubt intended to get

the

attention of the audience.

86

Ex. 24. "Annie Laurie" (1895), trombone entrance.

m baity

Ex. 25. "Love's Enchantment" (1903), trombone entrance rs

Cad.

In performing his soLos Pryor will'often rush together the

first

two notes of a series of eighth or sixteenth notes.

Apparently he

Liked this effect enough to write it in the music. It became

a

stylistic trademark of his performance (Ex. 26).

Ex. 26. "Fantastic Polka" (1939), start of trio.

In general, Pryor's trombone solos have provided performance

opportunities that combine sensitive expression, technical

command,

and audience appeal for generations of trombonists. They

continue to

be historically significant and worthy additions to the

literature of

the instrument.

In a recent study of Pryor trombone solos,^ they were

divided

into four types based on form and musical style. The types

are valse

Steve M. Wolfinbarger, "The Solo Trombone Music of Arthur

Pryor" (M.N. thesis, North Texas State University, 1982).

caprice, valse de concert, polka caprice, and theme and

variations.

Several of the solos use these type names as subtitles. The

prototype or typical Pryor solo begins with a lengthy

introduction

and cadenza, the body follows with three sections, and

concludes with

*

a dramatic coda and cadenza.

The introduction begins with the piano alone; the trombone

entrance is marked with some dramatic gesture such as a

rising

arpeggio. The trombone will often alternate thematic

material with

the piano, and then play a lyrical theme of its own at a

slower

tempo. The introductions almost always end in a dramatic

cadenza.

The body, or central section, of the four types differ. In

the

theme and variations there is a simple statement of the

theme

followed by up to three variations separated by short piano

interludes. The variations are progressively more difficult,

but

they are not always strict variations of the melody itself.

In "Air

Varie," for example, Pryor retains the harmony and a very

general

outline of the theme, but modifies the melody line of the

variation

in such a way that its relationship to the theme is only

vaguely

apparent- Therefore, the variations are not always simply a

matter

of adding more notes. In "Annie Laurie," one variation of

the theme

is achieved by contrast in meter, mode, and style.

The body of the polka caprice consists of a polka (played

twice

with an interlude), a trio in the key of the subdominant and

one

statement of the polka in the tonic key.

The bodies of the valse caprice and the valse de concert

have similar

structures, but the body of the valse de concert is more

elaborate with

more sections and themes than that of the valse caprice. In

the vals

de concert the three sections are labeled by number and are

thematica

distinct from each other. The sections are in different but

related^

keys. There is a return in the coda (after the third

section) to the

v.

original key and theme of the composition, but the return to

original

key and theme is within the third section of the valse

caprice, which

may or may not have a coda.

The three sections in the body of the theme and variations

type

are each in binary form (consisting of "theme or variation,

and

interlude), while the three middle sections of the two valse

types

are each in ternary (ABA) form. The three sections of the

polka

caprice type divide differently according to the specific

composition. The central section of the polka caprice and

the valse

caprice is called the trio, and it is in the key of the

subdominant.

Only the theme and variations type stays in the same key

throughout

the whole composition.

The coda is generally not regularly structured (that is,

arranged

by antecedent/consequent phrases), but consists of some

fanfare-like

figures, as in ''The Supervisor," or fast turns, as in

"Exposition

Echoes." These are repeated all at a fast tempo and lead to

a sadden

pause followed by the cadenza. As the soloist sustains the

last note

of the piece (high and loud), the piano will often play a

short

phrase from the main theme, as in "Starlight" waltz caprice.

To summarize, the following charts of these four types are

presented. They are partially based on Wolfinbarger's study.

The

Roman numerals for "key" refer here not to chords but to

tonality.

91

The opening introductions generally will serve as such for

the

entire composition, while the shorter introductions within

the piece

serve for just that section. In a three-strain section the

middle

strain is often played by the piano alone, or with the piano

and

*

trombone alternating phrases. The shorter introductions and

interludes are usually for piano alone- The piano

accompaniments,

incidentally, are also difficult, and require accuracy and

dexterity

%

Ex. 27. Polka Caprice Type.

POLKA TRIO

4/4 I C 2/4 iKt P TH CD7

Key: I (V) I V I IV IV IV

POLKA

1-2 P CODA C

I I I (V)-I

Ex. 28. Valse Caprice Type.

3/4 I C T 2 F *7^2 T H"7 1 content

Key: I (V) I V I IV IV I 1 v a r i e s

Ex. 29. Valse de Concert Type.

1 2

3/4 I C 1 2 V rT^l 3 (4) P

Key: I (V) I V I IV IV IV IV

3 CODA

*7^3 5 T* T 4 C (T) CD1

IV IV IV M (V) I I

IV IV IV

92

Ex. 30. Theme and Variations Type.

Th VI V2

4fU I C J Th intl H7l inc1 'V2 int*

Key: I throughout

V3

C f~V3 TnTI C *

+ fast • or• 1 t'

Possible/Spurious Compositions

In the course of this study I came across several titles of

compositions credited to Pryor which have been proven

incorrectly

credited, or which I have been unable to verify by finding

either the

music itself or copyright information. Further research is

needed -

These titles have come from old programs, recordings,

catalogs,

books, and in one case a newspaper article. For the sake of

completeness all such titles are here included along with

source of

original•title, or, if spurious, source of correction.

Letters

containing lists of known and "mystery" titles have been

sent to many

band historians and libraries in an effort to find

information.

Their help is hereby acknowledged.

APPENDIX

In the following discussion of the individual compositions

of

Arthur Pryor, charts are provided to enable the reader to

easily see

the form, or "layout," of each piece. These include keys and

meter

as well as the basic arrangement of strains and sections^

Pryor

freely arranged his symmetrical strains into both binary and

ternary

sections. A march begins (after the introduction) with a

two-strain

binary form arid ends with a trio-dogfight-trio (ABA)

ternary form.

Although this arrangement is more common, sometimes there is

a second

trio strain without dogfight, as in several rags, resulting

in a

binary form for each half of the composition.

Taken as a whole, these compositions have a two-section form

overall, as in the first and second sections of a march,

described

above. But if Pryor chose to go back and repeat the first

section

(or part of it) of a composition, as in the classical

minuet-tnominuet

form, the result is a three-part form overall. This he does

in several of the trombone solos and novelties.

The second section of his compositions, which could be

called the

"trio section," is almost always in the key of the

subdominant. In

his more formally complex works he employs two subdominant

relationships, as in the trombone solo "Thoughts of Love"

(B-flat Eflat

A-flat B-flat). Sometimes Pryor will employ a tertian key

relationship, as in the waltz "Frau Louisa" (G E-flat G).

The only

time he regresses to the key of the dominant is within a

section

where there is an ABA form, and the B strain will be in the

key of

the dominant. Only in "Little Nell," "Skipperjack Dance,"

and the

theme and variations type of trombone solo does Pryor stay

in one key

93

94

throughout; this does not rule out, however, the contrast of

major

and relative minor mode to sustain variety.

For each composition the publisher, copyright registration

date,

and copyright registration number is given, as found in thg

Library

of Congress Copyright Office- This information was taken

from the

music itself (frequently the date and number were written on

it J,

from the copyright catalog cards, or from the various

volumes of the

series Catalogue of Copyright Entries, (The Library of

Congress

siglum is DLC.) The registration numbers and exact

dates^were not

available for all of Pryor's compositions.

The following key is necessary to read^the charts. Numbers

above

the symbols indicate the number of measures contained

therein.

Parentheses indicates that that particular strain is

repeated, with

perhaps only minor differences at the end of each strain.

I introduction C caden2a

1-2 a secoad introduction, int interlude

different from the first

CD codetta

1, 2 first, second strain

IB f i r s t s t r a i n repeated with P polka s t r a i n

notable d i f f e r e n c e

T t r i o s t r a i n Th theme

T - l , T-2 f i r s t , second s t r a i n of t r i o VI v a

r i a t i o n one

A B used with more complex ext extension

forms f o r e a s i e r reading

DR drum

95

Marches

A f i f i , March

Cover: Dedicated to A f i f i Temple of Tacoma, Washington

A.H.O.N.M.S.;

Inside: To Wm. Fink, a friend since boyhood, this March is

dedicated.

N-V^Carl Fischer, copyright 2 April 1910--band. Dlfc E229188

N/Y.: Carl Fischer, copyright 2 April 1910--piano solo. DLC

E29199

N.Y.: Carl Fischer, copyright 9 July 1910--orchestra, arr.

Charles

\ Roberts. DLC E236909

16 16 16 4 16 16 16

(1) 2 2B 6/8 1-2 T D T

Bb DR Eb:

The first strain begins with the melody of the introduction.

Both endings of the first strain modulate to the relative

major key.

The second half of the second strain is different each time;

the

first time it moves to the dominant chord, the second time

to the

tonic chord. The introduction to the trio is a 4-measure

drum solo.

In the piano solo it is on the note B-flat. Keys given in

the chart

are for piano solo; band keys are a whole step lower. The

clarinet

part has ornamentation in the final trio. The trio has a

text,

printed in the piano solo and in some of the band parts:

Afifi, Afifi,

With its sliding gliding Bump-a-de Bumps,

And its Rag-a-de Jag-a-de sandy jumps,

I got mine and so did Brother Bill, j

Hang on to the rope,

"Hurrah" A f i f i .

it i s not known to^what the t e x t i s r e f e r r i n g .

The words " A f i f i "

and "hurray" a r e a l s o to be shouted at the end of the

phrases in the

d o g f i g h t .

I 4

2/4 I

g:

The Arcade Girl March & Two Step (This march has a l s o

been c a l l e d

"Matinee G i r l / 1 )

N.Y.: Carl Fischer, copyright 5 July 1910—band. DLC E236921

(American Star Journal 1337)

N.Y.: Carl Fischer, copyright 5 July 1910—piano solo. DLC

E236937

N.Y.: Carl Fischer, copyright 15 July 1910--orehestra, arr.

Charles

Roberts. DLC E2371SQ

4 16 16 4 32 24 32

6/8 I (1) (2) 1-2 2/4 T D T

Eb: Ab:

96

This march changes time signatures at the trio.The

introduction

is in unison. The chief Pryor characteristic is seen at the

opening

of the first strain: the accented passing and appoggiatura

tones.

Ex. 31. "The Arcade Girl" march and two step (1911),

beginning of

first strain.

The introduction to the trio is all on the dominant ninth

chord of

the new key. There is a unique phrase structure in the

dogfight,

appearing in both the submediant and the dominant

tonalities. The

structure is 1 - 4 - 3 as far as the number of measures in

each

phrase (Ex. 32).

Ex. 32. "The Arcade Girl" march and two step (1911),

beginning of

dogfight. '

| [A J j iJ: -rf?I*PI i 1 —

tr

\\fl- 7

=F*T= - K r—

ri' p

A A

t-H to. l

1 ' » 1 h ' r j

The piano solo keys are given in the chart; band keys are B-

flat and

E-flat. The baritone has a countermelody in the first

strain.

The Arras of America March

N.Y.: Carl Fischer, copyright 12 July 1911—band. DLC E260768

97

N.Y.: Carl Fischer, copyright 1 September 1911--band, arr.

L. P.

Laurendeau. DLC E266869. (American Star Journal 1828)

N.V.: Carl Fischer, copyright 17 August 1911--piano solo.

DLC

£265065

N.Y.: Carl Fischer, copyright 19 February 1912 - orchestra

with piano

accompaniment, arr. Charles Roberts. DLC E282024

8 16

t I (1)

C:

16 16

2 2B

32

(T)

24 32

D T

F:

There are two unique features in the long dogfight. First, a

doubly diminished seventh chord is sustained for 4 measures,

resolving on a weak beat. The haraoaic suspense is apparent

even in

a casual listening.

Ex. 33. "The Arras of America" march (1911), beginning of

dogfight.

I

0

•H J p J 5 m

WW

The second unique feature is the syncopated contrary motion

at

the end of the dogfight.

98

Ex. 34. "The Arms of America" march (1911), end of dogfight.

This syncopation does not appear in the band arrangements.

Keys

given are for piano solo; band keys are a whole step lower.

The

final trio of the band arrangements features a difficult

clarinet

o rnamenta ti on.

Arthur Pryor's American Legion March

N.Y.: Edw. B. Marks, copyright 1924—band.

N.Y.: Jos. W. Stern, copyright 25 November 1919—piano solo.

DLC

E463219

N.Y.: Edw. B. Marks, copyright 1 Mav 1925 - unknown medium.

DLC

E568016

16 16 16 16 16 16

Z I (1) (2) (T) D T

F: Bb:

The lengthy introduction includes phrases from the U.S.

national

anthem ("Oh say can you see" in the bass) and "Yankee

Doodle"

(piccolo and clarinet). Phrases from "Dixie" and "Yankee

Doodle" are

found in the dogfight. The second and third trios include

countermelodies in the clarinet. Band keys are given; keys

of the

recently discovered piano solo are B-flat and E-flat. In the

piano

solo dogfight the phrase "home again" is set to music> and

the cover *

features a short tribute by Pryor to the recently returned

fighting

men of his country.

•

101

40 and 8 March

Dedicated to Glenn L. Berry, First Commander, Long Branch

Post #44,

The American Legion.

N.Y.: Carl Fischer, copyright 15 March 1939--band. DLC

E76025

4 16 16 16 16 16 16 24 16 24 16

1 1 ( 1 ) 2 3 1 D R T D T D T

C: F: TUTU *

Pryor's final marches became more complicated. There is a

third

strain in the first part of this march, and the trio is

played three

times, each with added musical lines. Half of the third

strain is in

the distant tonality of E-flat, and the strain includes

phrases from

the French national anthem, "Yankee Doodle," and "Dixie/'

The final

appearance of the first strain (just before the trio)

includes the

opening phrases of the American national anthem. The trio

can

include a drum and bugle corps. The opening drum SQ^O is

repeated in

each of the three trio appearances. The trumpet part can be

played

on an open bugle in F. The final trio consists of six melody

lines

with born offbeats, although the trombone part is similar to

the drum

part. It is quite a dramatic conclusion.

Graham Paige Legion March

Words and music by Arthur Pryor and Earl Donegan

D e t r o it : Graham Paige Motors Corp., copyright 14

February 1928--

o r c h e s t r a , a r r . M. L. Lake. DLC E686095

The i j u s i c i s u n a v a i l a b l e . Perhaps this

composition was

commissioned by the automobile manufacturer.

The Gridiron March (two-step)

St. Joseph: Chas. Brokaw, copyright 1898--band.

St. Joseph: Chas. Brokaw, copyright 1898—piano solo.

St. Joseph: Chas. Brokaw, copyright 1898—orchestra.

St. Joseph: Chas. Brokaw, copyright 13 December 1897--medium

unknown.

Paris: Hachette, copyright 20 July I920--orchestra with

piano

accompaniment. DLC E485018

4 16 16 4 16 16

t I (0 (2) 1-2 (T-1) (T-2)

d: F: Bb:

This march is somewhat unusual in that it begins in the

minor

mode, and there is no dogfight. There are two trio strains

instead;

they are of equal length and each is repeated. The second

ends with

a long chromatic run, ascending in the first ending,

descending in

the second. This is rather unusual for the composer. The

introduction to the trio is interesting: as the contrary

motion

102

begins (which is in itself not unusual), the composer begins

the

lines not at the interval of the octave, but at the interval

of the

ninth (Ex. 35). The keys for piano solo and band are the

same. The

baritone plays an unusual countermelody in the first trio

strain

consisting of quarter note triplets against the quarter

notes of the

melody. The trombones have a more traditional countermelody

in the

second trio strain.

Ex. 35. "The Gridiron" march (1898), beginning of trio.

& m *#££ ±

&' k I L-> =

J?

f -4h

»

Guardians of the Air March

Brooklyn: A. Schrader and Son, copyright 7 August 1929—piano

solo.

E unp. 9701

The music for this unpublished work is unavailable.

Heart of America March

Dedicated to Edwin J . Shannahan, originator of Kansas C it

y ' s

slogan, "Heart of America."

N.Y.: Carl Fischer, copyright 20 April 1916—band, a r r . M.

L. Lake.

£383041 (American Star Journal 2057)

N.Y.: Carl Fischer* copyright 2 February 1916—piano solo

E278292

N.Y.: Carl Fischer, copyright 4 May 1916--orchestra E383352

4 16 16 16 32 24 32

6/8 I (1) (2) IB T D T

F: Ab: F: Bb: ^

The most unusual feature of this march is the inclusion of

what

could be called an interlude strain between appearances of

the first

strain. This interlude is in the key of the lowered mediant

of Aflat.

There is no modulation into this strain; the fifth of the

key

of F (the note C) simply becomes the third of the new key of

A-flat.

103

However, the modulation back to F from A-flat can be

explained in

more harmonic terms: the tonic chord with lowered seventh

functions

as an augmented sixth chord leading to the C triad in second

inversion, which then becomes the dominant chord of the key

of F.

All this happens in the second ending of this interlude

strain. In

oo other march does the composer move to such a distant key,

but the

modulation is very smooth here. Another interesting aspect

of the

march is that the tonic F chord does not appear until the

third

measure of the first strain. All is dominant harmony until

this

po-int. The dogfight includes two appearances of the first

phrase

("Hy country tis of thee") of "America." Band keys are a

whole step

lower than the piano solo keys given. The trombones have a

couatemselody in the final appearance of the first strain

(after the

interlude strain), and the baritone has a countermelody in

the trio.

A triangle is to be used in the dogfight. This march is my

favorite.

The Irish King March and Two-Step

N.Y.: Carl Fischer, copyright 29 Hay 1905--band. DLC C95841

(American Star Journal 863)

N.Y.: Carl Fischer, copyright 1905--piano solo-

N.Y.: Carl Fischer, copyright 11 September 1905--orchestra.

DLC C102225

4 16 16 24 32

6/8 I ( I ) (2) BAGPIPE 2/4 (T)

C: F:

Unlike "Blood Lillies," there is a definite Irish element

here.

Three Irish songs are included, "Wearing of the Green/'

"Killarney,"

and "St. Patrick's Day," and there is an added "bagpipe"

strain

before the trio- The "bagpipe" is the piccolo and oboe over

a

clarinet drone, with the drum giving a constant beat. The

melody

here is in the mixolydian mode (lowered seventh) which adds

to the

Irish modal element. The introduction to the march and the

first

strain begin with the same melody, and there is a trombone

countermelody (marked "solo") in the final trio. This is one

of the

three marches of Pryor which has a time change. Keys given

are for

the piano solo; band keys are F and B-flat.

Kentucky Club Two-Step

N.Y. : Carl Fischer (?), band.

St. Joseph: Chas. Brokaw, copyright 1899—piano solo.

St. Joseph: Chas. Brokaw, copyright 7 August 1899—unknown

medium

(piano solo?), DLC 51003

Paris: Hachette, copyright 13 November 1919--orchestra and

piano/conductor. DLC E468232

4 16 16 16 16 16

t I (1) (2) (T) (D T)

104

The first strain with many short eighth-note runs is

definitely

more difficult than the second strain .or the trio. The

entire

dogfight was reproduced (Ex. 12) in Chapter 2 as an example

of a

dogfight. The trio has many skips of a third. The band

arrangement

is not available. Keys given are for piano solo.

*

Liberty Hall March

Philadelphia: J. W. Pepper, copyright 1900—band.

Philadelphia: J. W. Pepper, copyright 1899--orchestra.

4 16 16 32 16 32

6/8 I (1) (2) T D T

Eb: Ab:

This is one of Pryor's better marches from his early days.

The

baritone and trombones have a countermelody in the first

strain, and

there is a strong trombone countermelody in the final trio.

In some

of the band parts the dogfight is in a different key than

the trio.

This appears to be for the purpose of eliminating the need

for

accidentals in those parts. Keys given are for band

arrangement; the

piano solo (if there is one) is unavailable.

The March King March (,TThe latest two-step.")

Dedicated to "The King of Marches/' John Philip Sousa.

Philadelphia: J. W. Pepper, copyright 1895--band-

Location unknown: B. F. Banes, copyright 26 January 1895—

piano

solo.

Philadelphia: J. W. Pepper, copyright 1900--orchestra.

8 16 16 16 16 16

I I (1) (2) (T) (D T)

G: C:

While this does not measure up to the best of Sousa, it is

nevertheless a fine march. The first strain is characterized

by

numerous appoggiaturas (Ex. 3), and the trio by much

stepwise motion

in the melody line. Keys given are for the piano solo; band

keys are

E-flat and A-flat.

The March of the White Rats ^

Dedicated to the White Rats of America.

N.Y.: Bell, copyright 1901--band.

N.Y.: B e l l , copyright 6 February 190l--piano solo. DLC

C1801

4 16 16 16 16 16

6 / 8 I (1) (2) (T) (D T)

G: C:

105

Since there are pictures of two men on the cover of the

piano

solo edition, and they are labeled as "Big Chief" and

"Little Chief,"

it would appear as though the White Rats was some kind of

organization, like a lodge. The introduction and first

strain begin

with the same melody. Keys given are for the piano solo; the

band

keys are E-flat and A-flat. The second and third trios

include a

trombone-baritone counterroelody.

*

On Jersey Shore March -v-

N.Y.: Carl Fischer, copyright 2 July 1904—band. DLC C73762

N.Y.: Carl Fischer, copyright 28 July 1904—-piano solo. DLC

C75102

N.Y.; Carl Fischer, copyright 21 July 1904—orchestra. DLC

C74749

4 16 16 32 16 32

e I (1) (2) T (D T)

C: F; ^

Though it does not say this on the music, from other sources

(advertisements and magazine articles), we know that this

march was

written in honor of Asbury Park. This was at the time Pryor

moved

there and began his annual summer appearances. The

introduction

features a prominent diminished fifth interval in the

melody.

Ex. 36. "On Jersey Shore" march (1904), beginning.

The appoggiaturas ic the first strain have already been

noted (Ex.

4). The second strain begins with an octave drop (half note

pickup

to whole note) which is quite distinctive. Although this

seems to be

one of Pryor's more popular marches today in that it has

*been

recorded twice in recent years, I do not consider it to be

any

Heritage of the March, U.S. Coast Guard Band, Lewis Buckley,

conductor (Robert Hoe Records, Vol. YYY); The Pride of

America—Golden

Age of the American March, The Goldman Band, Richard F.

Goldman and

Ainslee Cox, conductors (New World Records NW 266).

106

better than many others that have been neglected. Keys given

are for

piano solo; band keys are a whole step lower. The trombones

have a

couutertnelody in the first strain.

Post-Dispatch March

Dedicated to the St. Louis Post-Dispatch (newspaper)

Philadelphia: J. W. Pepper, copyright 5 September 1901--band

Philadelphia: J. W. Pepper, copyright 1894—piano solo.

Philadelphia: J. W. Pepper (?), copyright 1902—orchestra.

4

t I

F:

16

(1)

16

(2)

2

1-2

16

(T-l)

d;

16

(T-2)

Bb:

There is no dogfight in this march, but a second trio strain

instead. However, the key signature does not change-until

the second

trio strain, unusual for street marches by any composer.

There is a

change of mode at the trio, from F to D minor, but the key

signature

remains the same.

There is a lyrical baritone countermelody in the first and

second

strains of the march. The introduction to the trio consists

of just

2 measures of downbeats/offbeats. The first strain of the

trio is of

further interest in that the melody is in the low register

of the

clarinets, while the trumpets play an ornamental figure

above them.

While most of Pryor's marches are in the standard march

form, the

changes here indicate that Pryor was not afraid to

experiment early

in his career. Piano solo and band keys are the same.

Soldiers of Fortune March

Dedicated to Hope Harding Davis, a "special march, written

expressly

for 'Soldiers of Fortune/ an Allan Dwan Production,

presented by

Mayflower Photoplay Corporation."

N.Y.: Carl Fischer, copyright 8 June 1920—band. DLC E489578

(American Star Journal 2135)

N.Y.: Carl Fischer, copyright 2 February 1920—piano solo.

DLC

E474163

N.Y.: Carl Fischer, copyright 1 March I920--orchestra• DLC

E479465

4 16 16 16 16 16

t I (1) (2) (T) (D T)

C: Eb: Ab:

This is the only instance known of Pryor writing "film"

music.

The march begins in the minor mode, moving to major in the

second

strain. Melodic motives from the introduction of the march

are used

in the dogfight. Piano solo keys are given; band keys are a

whole

step lower. The trombones and baritone have a countermelody

in the

repeat of the first strain. This is one of Pryor's better

marches.

107

The Spirit of the Purple March

Dedicated to the Grand Lodge of Elks Reunion, Miami,

Florida, 1928.

Asbury Park: Arthur Pryor, copyright 18 June 1928--band. DLC

C1E694462

Asbury Park: Arthur Pryor, copyright 20 February 1928—

melody, DLC

C1E686126

T

8 32 32 T8 13 16 XT1

t I (1) (2) 1-2 3 3B (4) *

C: F:DR AULD LANG SYNE

This rather lengthy inarch combines the spirit of patriotism

with

the spirit of good fellowship as one might expect at an Elks

reunion.

The second strain ends with phrases from the U. S. national

anthem

and "Yankee Doodle." A drum solo playing a street beat leads

off the

trio with the trumpets joining in. Like "40 and 8 March,"

the

trumpet part can be played on the open F bugle, so that a

drum and

bugle corps can join in at this point. The trumpets^ and

drums repeat

this strain with the low brass joining in with "Auld Lang

Syne." The

second half of the song is repeated and the march concludes.

Pryor

creates a good melody line using only the open notes to

accompany

"Auld Xang Syne," which shows some skill since he is limited

to just

one trumpet note to accompany the dominant and subdominant

chords of

the song.

Sweetheart March and Two-Step

Philadelphia: J. W. Pepper, copyright 1897 (?)--band.

Philadelphia: J. W. Pepper, copyright 1897--piano solo

Philadelphia: J. W. Pepper, copyright 1897—orchestra-

4

6/8 I

C:

16

(1)

16 16

(2) (T)

Fr

16 16

(D T)

Introduction and first strain begin with the same melody.

While

most of the trio melody is in the bass in the piano solo, it

is all

in the solo cornet part of the band arrangement. Band keys

are F and

B-flat.

Toute La Nuit (All Night) One-Step-Two-Step-Rag

N.Y.: Carl Fischer, copyright 19 May 1914—band, arr. M. L.

Lake.

DLC E343708

N.Y.: Carl Fischer, copyright 19 May 1914—piano solo. DLC

E343679

N.Y.; Carl Fischer, copyright 19 May 1914—orchestra. DLC

E343707

4 16 16 16 16 4 32

2/4 I (1) 2 2B 1 1-2 (T)

f: Ab: f: Db:

108

This is one of the "borderline" compositions, but it is more

like

a march than a rag; for example, there are no syncopated

divisions of

the beat which seem to characterize all of Pryor's rags. The

trio is

in longer note values and is especially like a march. In the

first

strain, short rhythmic figures in the cornet are echoed in

the

clarinet an octave higher. The first strain appears once

again after

the second strain, something which does happen in*several of

Pryor's

rags but seldom in his marches (using the categories of this

study).

There is no dogfight; the one trio strain is

sicnply^repeated.

The Triumph of Old Glory (Our President's March)

N.Y.: Carl Fischer, copyright 31 May 1907—band. DLC C153348

(Universal Band Journal 928)

N.Y.: Carl Fischer, copyright 25 July 1907--piano solo. DLC

C157913

N.Y.: Carl Fischer, copyright 13 August 1907--orchestra,

arr. R.

By virtue of the very long introduction and the use of

several

patriotic songs throughout, this march comes closest to

being Pryor's

grand march. It is like the quodlibet of music history, and

reminiscent of the music of Charles Ives with the frequent

phrases of

tunes heard here and there. The introduction moves quickly

through

the tonalities of G, B, F-sharp, and finally to D, which

leads to the

tonic G in the first strain. The opening phrases of the U.

S.

national anthem is heard twice in the introduction. The

first and

second strains are of the usual 16-measure length, but they

conclude

with phrases from the French national anthem, "Dixie,"

"Yankee

Doodle," and "Hail to the Chief." The first trio strain and

dogfight

are original, although the latter uses motives from the

introduction,

including the opening phrase of the national anthem.

However, the

final trio is the entire U. S. national anthem with a

counteraelody

from the first trio strain appearing in the high woodwinds.

There is

some ornamentation in the trumpets, with the anthem

appearing intact

in the trombones and baritone. Also in the band part,

mention should

be made of the woodwind tremolos and the alternation of high

and low

instruments found in the introduction, all designed by the

composer

for dramatic effect. Actually, the march is quite ordinary

in terms

of the quality of the original music, but there can be no

doubt that

with the added tunes Pryor created a 11 show-stopper" in

this patriotic

extravaganza. Band keys are a half step higher than the

piano solo

keys given.

Klugescheid. DLC C1594S4

32 16 16 16

I I (1) 2 2B

G: C:

32 16

T D NAT'L

ANTHEM

109

Trocadero March

Philadelphia; J. V. Pepper, copyright 1894—band.

Philadelphia: J. W. Pepper, copyright'1894—piano solo.

Philadelphia: J. W. Pepper, copyright 1900—orchestra.

4 16 16 4 16 16

t I CD (2) 1-2 (T-l) CT-2)

C: F: *

There is no dogfight, but a second trio strain iustead. Part

of

the second strain of the march has the melody in the bass

with the

treble instruments playing offbeats. The introduction to the

trio is

in unison. Band keys are E-flat and A-flat. There is a high

countermelody in the baritone in the repeat of the first

strain and

in the first strain of the trio. The trombones join the

baritone for

a strong countermelody in the final second trio strain.

Vanity Fair March

Philadelphia: J. W. Pepper, copyright 7 May 1900—band. DLC

C7192

Philadelphia: J. W. Pepper, copyright 1899—orchestra.

4 16 16 4 16 16 16

t I (1) (2) 1-2 (T) (D T)

Db: Gb:

Because of the key signatures and fast rhythms, this is one

of

Pryor's more difficult marches, but it is worth the effort.

The

first phrase is dominated by the rhythmic motive JJJJ \JJ ,

while the

trio is mainly quarter notes. The baritone has a

countermelody in

the first trio, while the high woodwinds have ornamenting

figures

during the final trio. Keys given are the band keys.

The Victor March

To the Victor Talking Machine Co.

N.Y.: M. Witmark, copyright 3 October 1904—band. DLC C79278

N.Y.: M. Witmark, copyright 8 June 1904—piano solo. DLC

C72292

N.Y.: M. Witmark, copyright 1904—orchestra.

8 16 16 16 24 16

t I CD (2) T (D T)

Bb: Eb: D.C.

This is Pryor's only march where there are instructions

given to

return to the beginning and repeat the first half of the

march, in

the tradition of the old minuet-trio-minuet. The dogfight is

longer

than the trio, which is unusual and creates a somewhat

unbalanced

feeling in the second half of the march, although each

section is

fine in itself. Band keys are E-flat and A-flat. There are

high

woodwind runs in the final trio.

110

4

Will Rogers March (America's Cowboy Philosopher)

N.Y.: Carl Fischer, copyright 17 March 1937--band. DLC

E6Z222

16 16 16 16 32 16 32

t I 1 IB (2) T D T

Bb: Eb:

This spirited march clearly shows that Arthur Prydr did not

run

out of good melodies near the end of his life. The

introduction

leads through the tonalities of B-flat, D and I before

returning to

B-flat in the first strain. The introduction consists of the

repetition of a fanfare-like figure, at first stated in the

trumpets

and repeated in the woodwinds. This idea continues in the

first

strain where the high woodwinds echo, with arpeggios and

trills the

melodic motives of the trumpets. The melody of the trio is

one of my

favorites; it is again accompanied with high woodwind runs

and

trills. The dogfight uses the fanfare-like figure of the

introduction. The drum part during the first appearance of

the trio

is to be played on "horse hoofs/' perhaps to emphasize the

cowboy

element. Band keys are given, and a complete condensed score

is

provided.

Ye Boston Tea Party March and Two-Step

"Patriotically inscribed to our colonial forefathers."

St. Joseph: Chas. Brokaw, copyright 1896--band.

St. Joseph: Chas. Brokaw, copyright 1896--piano solo. DLC

58868

St. Joseph: Chas. Brokaw, copyright 1897--orchestra.

A 16 16 16 16 16

6/8 I (1) (2) (T) (D T)

G; C:

In the second strain of this march Pryor uses a rhythm in

the

melody that he has also used in a few other 6/8 marches: /?

<£^75 • It

has the effect of breaking the monotony of the constant

long/short

feel of the quarter note/eighth note pattern that is such a

part of

the 6/8 march. Keys given are for piano solo; band keys are

B-flat

and E-flat. There is a low brass countermelody during the

first

trio, and an ornamented countermelody in the high woodwinds

during

the final appearance of the trio.

Rags ^

An African Beauty Two-Step

Philadelphia: J. V. Pepper, copyright 1900--band.

Unknown publisher, copyright 19Q3--orchestra, arr. Mackie-

Bever DLC

305272

4 16 16 16 16 16

t I (1) (2) (T) (D T)

Eb: Ab:

Ill

The trio and dogfight are in a march style with none of the

ragtime rhythms- The melody of the first and second strains

stress

the sixth scale degree, making it in effect the dominant

note of the

melody. The baritone has a slow moving, lyrical melody high

in its

range in the first strain, and in the final trio the high

woodwinds

have a syncopated (in rag rhythm) and ornamented version of

the

melody. A fanfare in the trumpets leads into this final

trio. Keys

given are for band. *

An Arkansas Huskin' Bee Dance Characteristic

St. Joseph: Cbas. Brokaw, copyright 3899--band.

St. Joseph: Chas. Brokaw, copyright 9 February 1899—piano

solo. DLC

31552

St. Joseph: Chas. Brokaw, copyright 9 February 1899—

orchestra. DLC

11597

Paris: Hachette, copyright 13 November 1929--orchestra with

piano

accompaniment. DLC E468233

4 8 8 8 8 8 8 8 6 7

2 / 4 I (1) (2) 1 (T) (3) T 1 18 CODA

F: C; F: Bb: g: Bb: F:

In both the piano solo and the band arrangement half of the

melody of the trio (alternating every 2 measures) is in the

bass.

The third strain in the chart functions as a dogfight,

coming as it

does between statements of the trio and being in the

relative minor

key. The coda uses the beginning melody of the trio. Piano

solo

keys are given; band keys are a perfect fifth lower. This is

not a

hard driving rag, but rather light in style. On the band

parts it is

called a "two-step march."

A r t f u l A r t i e March and Two-Step

N-Y.: Carl Fischer, copyright 13 May 19Q8--band- DLC C181444

(American Star Journal 1209)

N.Y.: Carl F i s c h e r , copyright 23 June 1908--piano s o

l o . DLC C183992

N-Y.: Carl F i s c h e r , copyright 29 J u l y 1 9 0 8 - -

o r c h e s t r a . DLC CI86177

4 16 16 16 16 16

2/4 1 (1) (2) 1 (T) (2)

F: Bb:

The introduction and first strain begin the same

melodically.

The first half of the piece is in ABA form, and the second

strain

reappears as the last strain of the piece, transposed to the

key of

the trio. The last strain, second time, is to be played

"slow."

Three pickup eighth notes with a fermata over each note lead

into it-

The trio uses longer note values than the other strains, and

has a

text. The second time the trio is to be whistled. Band keys

are

indicated; piano solo is unavailable. The text is as

follows:

112

Come here, ray artful, artful Artie,

For I know you love ice, and I love you,

Let's run away, away, away from here,

And never come back no more.

The text does not appear in all the parts. The baritone has

a slower

moving countermelody in the first strain. While the piece is

not

labeled as such, it is definitely a rag, except for the trio

which

stands out from the rest with its slower rhythm.

Mr. Black Man March and Two-Step

Detroit: Shapiro, Remick and Co., copyright 1904—band.

Detroit; Whitney-Warner Publishing Co., copyright 3 February

1904—

piano solo. DLC C63974

4 16 16 16 16 16 16 16

2/4 I (1) 2 2B 1 (T) 3 T

a: C r a: F: d: F;

In both the first and second half of this piece, each in ABA

form, there is contrast of mode between major and relative

minor.

This contrast is also seen within the very first'strain

where the

first four measures are in the tonality of A minor, the

second four

are in C, the next four in A minor and the last four in C.

The long

first ending of strain two ends on the dominant of C, the

second

ending on the dominant of A minor. As in "Artful Artie,M the

trio

here is the most march-like strain, and it uses relatively

longer

note values. It also has a text, which does not appear in

the band

parts. The band arrangement calls this piece a Cakewalk. The

third

strain (after the trio) functions as a dogfight by mode and

location

(between the trios), again as in "Artful Artie." The text is

as

follows:

Oh Mister Black Man, whar have you been

I'se gwine to leave you if you don't run right round here

And love your baby, love love her true

And if you don't she'll lose you.

Canhanibalmo Rag

N.Y.: Carl Fischer, copyright 22 November 1911—band, arr. L.

P.

Laurendeau. DLC E272811 (American Star Journal 18294

N.Y.: Carl Fischer, copyright 8 August 1911—piano solo. DLC

E265068

N.Y.: Carl Fischer, copyright 8 August 1911—orchestra with

piano

accompaniment. DLC E262588

4 16 16 16 16

2/4 I (1) (2) (T) (2)

Bb i Eb:

113

Appropriately enough, this rag with the difficult name is

also

difficult to play. Syncopation extends further in the

measure, and

the melody and countermelody (in the baritone) are

continuously

alternating short,-syncopated figures. A polished

performance would

need an ensemble that can "feel" ragtime as Pryor reportedly

could

teach it. The final strain, which is the second strain

transposed,

features a high lyrical baritone countermelody. It is to be

played

"slower" the second time. Band keys and piano keys are the

same.

A Coon Band Contest Cakewalk Two-Step

N.Y.: Bell Husic, copyright 1 December 1899—band. DLC C78271

(The above with same registration number is also listed for

N.Y.:

Emil Ascher.)

N.Y.: Bell Music, copyright 27 November 1899--piano solo.

DLC C77420

K.Y.: Bell Music, copyright 1 December 1899—orchestra. DLC

C78272

(For all the above the copyright is by'the compose^.)

4 16 26 4 16 12 16

2/4 I (1) (2) 1-2 (T) (D T)

C: F:

The Kaiser's favorite band composition is indeed worthy of

one's

attention, head of state or otherwise. This lighthearted rag

bounces

right along in the best stylistic tradition, although it

follows the

march form more than any other rag discussed so far. The

dogfight,

for example, follows exactly the example given in the

introduction to

Pryor's marches (Ex. 12), although in the slower and

"happier" rag

the dogfight admittedly loses some of its "fight/1 The

baritone has

a countermelody in part of the second strain, and the trio

calls for

several smears from the trombones, a device Pryor used only

in his

rags. Band keys are the same as the piano keys given.

Apparently

this piece was also popular with circus audiences, since it

appears

as part of a four-record set titled "A Tribute to Merle

Evans," who

was bandmaster for many years of the Ringling Bros. Barnum

and Bailey

Circus. The 1970 recording discreetly lists the title as "A

Band

Contest Characteristic." In 1940 an arrangement for band by

Frank

Morton was published by Emil Ascher, and today (as of 1977)

there is

a simplified arrangement for band available from Alfred

Publishing

Company. Arranged for young bands by John Kinyon, it leaves

out the

trio and is called "Happy Band Rag."

Fox Trot -N.

N.Y.: Carl Fischer, copyright 6 December 19l4--band, arr. M.

L. Lake.

DLC E354928 (American Star Journal 2018)

N.Y.: Carl Fischer, copyright 9 February 1915—piano solo.

DLC

E359029

N.Y.: Carl Fischer, copyright 5 November 19l4--orchestra,

arr. M. L.

Lake. DLC E353118

114

The only reason that this composition appears in this

category

is that it is made up of sectioas of two previously

published rags.

The only new music in it is a 2-measure codd which has the

familiar

melody that goes with the phrase "shave and a haircut - two

bits.11

In order to take advantage of the new fox trot dance craze,

Fischer

assigned staff arranger Mayhew Lake to put together a "new"

composition from pieces it already published, and this is

the result.

Stylistically it is no longer a rag in that now dotted

rhythms

predominate. "Fox Trot" consists of the introduction and

strains

one and two (each repeated) of "Frozen Bill," followed with

the

trio of "Razzazza Mazzazza" and the second strain of "Frozen

Bill/1

again both repeated. A flat is added to the key halfway

through,

and the "original" coda ends the piece. Band keys are D-flat

and

G-flat; piano solo keys are G and C. Even though Pryor is

given

credit as composer, and no doubt he received some kind of

royalties,

one wonders what he thought of this. I am inclined to think

that he

would have an open mind to style changes to please the

public, but

that he would not want to give the impression that a new-

title means

a brand new composition.

Frozen Bill Rag

N.Y.: Carl Fischer, copyright 21 May 1909—band. DLC C208227

(Universal Band Journal 1130)

N.Y.: Carl Fischer, copyright 24 June 1909--piano solo. DLC

C210109

N.Y.: Carl Fischer, copyright 30 June 1909—orchestra, a r

r . Charles

Roberts. DLC C210726

4 16 16 16 16

2/4 I (1) (2) (T) (2)

F: Bb:

This is an excellent example of ragtime style, and it

incorporates

the changes from a march form that one w6uld come to expect.

The second

strain appears again as the final strain which does have the

effect

of rounding'out the form. The last time it is to be played

"very

slow," with fermatas over the three pickup notes leading

into it.

Piano solo keys are given; band keys are D-flat and G-flat.

The

baritone has a high countermelody in the second strain, and

in the

same strain after the trio.

A Kansas Two-Step

Dedicated to a Kansas Editor (no other information given) ^

Philadelphia: J. W. Pepper, copyright 1895—band.

Philadelphia: J. W. Pepper, copyright 12 December 1895—piano

solo.

4 8 8 8 8 8 8 8

t I U) (2) 3 (T) (3) T (1)

F: Bb: g: Bb: F:

115

The introductioD ends with a fermata over the dominant

seventh

chord. There is a short trombone smear at the end of strain

one.

Strain two is evenly divided between the submediant and

dominant

tonalities, and is like the first half of a dogfight. Strain

three

has the melody entirely in the bass; in the band arrangement

it is in

the baritone and tuba parts. The melody consists almost

entirely of

eighth notes acd is rather difficult. A reappearance of the

first

strain at the end of the piece rounds out the form. Band and

piano

keys are the same.

Passing of Ragtime: Characteristic Two-Step

Elkhart, Indiana: C. G. Conn, copyright 4 October 1902—piano

solo.

DLC C34156

4 16 16 16 16 16

2/4 I (1) 2 1 (3) (4)

D: g: Bb:

The key sequence of this rag is unusual. The third strain,

in

the minor mode, is labeled "African war dance," and features

several

upward leaps of fifths and octaves, suggesting war cries.

Pryor

played-^onn trombones during his career, but this is his

only use of

the company as his publisher. The Sousa Band recorded this

rag under

Pryor1s direction on four occasions in 1902 and 1903.

Apparently

the band arrangement was not published.

Razzazza Ma2zazza

N.Y.; Carl Fischer, copyright 27 December 1905--band- DLC

C110586

(American S t a r Journal 887)

N.Y.: Carl Fischer, copyright 2 April 1906--piano solo. DLC

017970

N.Y.: Carl Fischer, copyright 30 December 1905--orchestra.

DLC

CI 11235

4 16 16 16 16 16

2/4 I (1) (2) 1 (T) 2

F; Bb:

Called "a clever trombone sneeze" in Fischer advertisements

because of the use of some smears, this fine rag with the

"raggyM

title features a countermelody in the trio for the tuba,

instead of

the usual "oom-pahs." The baritone has a countermelody ^in

the second

strain which is repeated in the transposed final second

strain after

James R. Smart, The Sousa Band: A Discography

(Washington: Library of Congress, 1970), p. 63

116

the trio. In the drum part, bells are called for in the trio

(second

time), and slapsticks in the final strain of the piece. (In

recordings of rags by the Pryor Band-the use of slapsticks

in final

strains is common.) The final strain in the piano solo is

marked

"slow and broad,11 and in the band parts "grandioso." The

trombone

smears are limited to pickup notes; the smear is not

highlighted as a

solo device as it is in "The Coon Band Contest." The trio

has slower

note values and is more like a march trio. Piano sglo and

band keys

are the same. This composition has recently (1980)

reappeared as an

arrangement for trombone trio and piano by Byron HcCulloh,

published

by Accura Music of Athens, Ohio.

Southern Blossoms-A Dark Town Two-Step

(In the piano solo, "Southern Blossoms" is given as the

second k title.)

Philadelphia: J. W. Pepper, copyright i9 October 38-98--

band. 57408

Publisher unsure (Pepper?), copyright 25 January 1898 by

Arthur Pryor

and Henry Higgins—piano solo.

Philadelphia: J. W. Pepper, copyright 1898--orchestra.

4 8 8 8 16 16 15 4

t I (1) (2) 1 T (3) T CODA

F: d: F: Bb: g: Bb:

A strain in the relative minor tonality appears in each half

of

this piece between statements of the more prominent stra.in,

creating

an ABA form in each half. The piece begins with a trombone

smear,

and the introduction ends with a fermata over the dominant

chord.

Melodic material from the introduction is repeated in the

trio, which

is unusual. The opening trombone smear also appears in the

coda,

just before the final cadence chords, so one can conclude

that the

smear is the unifying element here. Piano solo and band keys

are the

same. There is a baritone countermelody in the second

strain, and

part of the third strain is a bass solo.

Southern Hospitality Ragtime Cakewalk

St. Joseph: Chas. Brokaw, copyright 1899 (?)--band.

St. Joseph: Chas. Brokaw, copyright 21 February 1899--piano

solo

DLC 20915

St. Joseph: Chas. Brokaw, copyright 21 March 1899--

orchestra. DLC

14428

*>,

4 8 16 16 16

2/4 I (1) (2) (T) 2

F: Bb:

The final second strain is transposed to the key of the

trio. It'

is not marked to be played any slower. This is another fine

rag that

demonstrates Pryor's mastery of the style.

117

That Flying Rag

N.Y.: Carl Fischer, copyright 19 October 1911—band, arr. L.

P.

Laurendeau. DLC E269627 (American Star Journal 1825)

N.Y.: Carl Fischer, copyright 8 August 1911--piano solo.

N.Y.: Carl Fischer, copyright 8 August 1911—orchestra with

piano

accompaniment, arr. Charles Roberts. DLC E265099

4 16 16 16 16 16 16 16

2/4 I (1) 2 2B 1 T (D T) *

C: Eb: C: F:

This is a superb rag, my favorite and one of Pryor's best.

The

title suggests a faster tempo than usual, and this is

appropriate.

Several chromatic runs occurring throughout the piece would

be more

effective for one thing, but overall it just seems correct

to go fast

here, even though some may feel this detracts from the

proper rag

style. There is a middle strain in the first half of the

piece that

is in the key of the lowered mediant, something that

occurred only

once before, in "Heart of America" ma-rch. The long endings

of this

repeated strain lead respectively to the dominants of E-flat

and C.

The dogfight functions as such even though it does not

harmonically

follow the norm (Ex. 12). Finally, the tonic chord does not

appear

until the third measure of the first strain of the piece,

illustrating again the composer favoring a "delayed tonic"

effect.

The first six measures are all on the dominant chord. The

band keys

are a whole step lower than the piano keys given, and the

baritone

has a rather continuous countermelody throughout, something

unusual.

In short, it is a driving, exciting rag in the best, albeit

"pushed,"

tradition.

Novelties

The Baby Parade: A Two-Step Patrol

N.Y.: Carl Fischer, copyright 2 April 1906--band. DLC CI

17936

Universal Band Journal 848)

N.Y.r Carl Fischer, copyright 31 May 1906--piano solo. DLC

C122548

N.Y.r Carl Fischer, copyright 6 March I906--orchestra.

, A B A

8 r l6 16 16 it r8 167 16 16 17 10

2/4 I (1) 2 2B 1 1-2 (T) 1 2 1 CODA

C: Eb: C: F; C: Eb: C:

This composition was written for the annual baby parade held

at

Asbury Park. It is in three large sections overall (ABA)

with an

introduction and coda. The introduction consists of a drum

street

beat, but surprisingly it is in the bass drum and tuba, not

in the

snare drum. On the piano it is on the note G. The second

strain is

in the key of the lowered mediant, with the long endings

leading to the

appropriate dominant chord to continue- In the middle

section (introd118

uction to the trio and the trio itself) the rhythmic motive

f J* is

the unifying element, and the melody is in the bass. It is a

lyrical

melody, like a lullaby, in contrast to the lighter,

"bouncier" melody

of the first and last section; is this the baby awake?

Towards the

end of the third section there is a gradual decrescendo, the

spoken

word "Mama/1 a phrase from the "lullaby/1 a baby cry, and

the final

cadence chords played fortissimo. Piano solo keys are given;

band

keys are a minor third higher. The percussion call^for tin

horn,

sleigh bells, whip, and slapstick (for spanking baby).

Danny and His Hobby-Horse Caprice

Dedicated to "my f r i e n d " Danny Maher, who i s a

jockey.

N.Y.: Carl Fischer, copyright 31 July 1907— band. DLC

C158207

N.Y.: Carl Fischer, copyright 13 August 1907—piano solo. DLC

C159486

4 16 12 16 16 16 15 11

2/4 I 1 2 1 (T) 1 1 CODA

G: C: F:

The picture here may be that of a child riding his hobby-

hors€

in an imaginary race* The introduction consists of a

repeated, three-note

"horse-hoof" motive using the notes D D-sharp and E.

This figure continues on into the first strain, with

markings to

"accelerate" and "ritard," suggesting an uncooperative

horse. The

second strain has the harmonic pattern of a dogfight and

functions as

such. The trio melody line contains several descending fcide

le*ps in

addition to the "horse-hoof" motive. The final first strain

ends

abruptly just before what would be the final tonic chord.

The coda

consists of the introductory motive in between the spoken

words "get

up," "whoa," and "Mamma, my hossey fall down" (which follows

a fast

descending chromatic scale of two octaves). A fast ascending

major

scale and final tonic chords then conclude the piece- The

band parts

are not available, but the band key is a half step higher.

In Darkest Africa

London: Ascherberg, Hopwood, and Crew, copyright 31 May 1911

—band.

DLC E258699

This composition is listed in the Catalog of Copyright

Entries

as part of a band collection. No other information is

available.

It is categorized here because of its descriptive titt*, but

this is

only a guess. It may be a foreign edition of "Teddy after

Africa."

Goody Two Shoes Caprice

N.Y,: Carl Fischer, copyright 5 July 1910—band. DLC £236920

(American Star Journal 1339)

119

N.Y.; Carl Fischer, copyright 18 August 1910—piano solo. DLC

237165

N.Y.: Carl Fischer, copyright 20 July !910--orchestra, arr.

Charles

Roberts. DLC 237153

8 16 16 16 16 16

2 / 4 1 1 2 1 (T) 1

F: Bb: F: —

*

The "horse-hoof" rhythmic motive used in "Danny and His

Hobby

Horse" is also used here. However, there are several wide

and sometimes

awkward intervals in the melody lice, and, along with the

ritards and

sudden pauses in the first strain, there is the suggestion

of a

beginning dancer. Since "any baby toy" may be sounded ("if

wanted")

before the first strain, another possibility is a child

taking his

first steps. The second phrase contrasts sudden loud and

soft dynamic

markings. The piano solo and band arrangement are in the

same keys.

In Lover's Lane Tone Poem

N.Y.: Carl Fischer, copyright 26 May 1908--band. DLC C182228

(Universal Band Journal 1037)

N.Y.: Carl Fischer, copyright 29 July 2908—piano solo. DLC

C186223

N.Y.: Carl Fischer, copyright 29 July 1908—orchestra.

r8 ? 32 16 16 32 8

6/8 2/4 1 (2) lB^- T (D.C.) CODA

Eb: Gb: Eb: Ab:

This is the only composition that Pryor calls a tone poem.

The

clarinet shares the^melody equally with the cornet, and

there is an

important oboe solo in the second strain. The composition

consists of

a collection of lyrical melodies with some "kisses" (both

"long" and

"short") indicated in the coda. (The percussion section is

assigned

the unique task of figuring out how to create this sound

effect.)

The introduction is in 6/8 time, but this meter is not

repeated

throughout the rest of the piece. The first strain features

a

repeated note figure in the clarinets answered by lyrical

phrases

in the cornets. Phrases of the oboe in strain two are

answered by

clarinet runs as Castanet rhythms give a Latin quality to

the melody.

The trio, the only strain of the piece not included in the

lengthy

da capo repeat, divided melodic interest equally, first to

the

clarinets, then to the cornets. There are no

countermelodies. The

coda consists of the clarinet phrase in augmentation from

the first

strain, and the "kisses" alternating with the final cadence

chords.

(On a Pryor Band recording the "kisses" are played on the

bells.)

Castanets (during the oboe solo) and sleigh bells are called

for in

the percussion part. Overall, the melodies are so light and

simple

that this could hardly be a serious love affair. It seems

more

like children playing, or young teens on a first date. Band

keys are

given; the keys of the recently discovered piano solo are a

whole step

higher.

120

The Rookie and His Array Mule

(Arthur Pryor Memorial Edition)

N.Y.: Irving Berlin Inc., copyright 3 February 1943--band,

arr. M. L.

Lake. DLC Ell 1238

8 32 16 32 32 14 16

6/8 I 1 2 1 3 IS CODA

F: C: F: Bb: F:

This posthumous publication is the final published

composition to

appear from the pen of Arthur Pryor. In a way it is

appropriate in

that it is a sequel to his most popular composition, "The

Whistler

and His Dog." Pryor grew tired of continued requests to

perform

"Whistler," so he wrote a piece called "Sammy and His

Missouri Mule"

that he hoped would "relieve the monotony somewhat. 'Sammy'

has a

whistling part too, and winds up with that old Missouri

yell, 'Show

me No doubt to do his part for the war effort, Pryor

retitled

the piece "The Rookie and His Army Mule," but the "cast of

characters" is exactly the same with the rookie Sammy trying

to train

his obstinate Missouri mule for cavalry service. As stated

previously, it is the only Pryor composition that tells

something of

a story. ,

The introduction is rather free harmonically and

rhythmically,

with two long descending glissandos in the clarinets (is

this to

suggest "hee haw"?) and ending with a drummer saying, "Get

up, you

Missouri mule! Get Goin'l" punctuated with cracks of the

whip. The

first strain begins with the same melody as the

introduction, and

features a 2-measure phrase repeated in sequence and echoed

in the

piccolo and whistling. The third strain functions by

location and

key as the trio. The final strain (before the coda) is the

second half

of the first strain, and it leads directly into the coda.

Each strain

of the piece has a different tempo .indication than the

previous one,

ranging from moderato to allegro, but the coda is marked

"vivace/' and

then "accelerando" as we were told that the mule is running

away. Hoof

beats in the percussion add to the excitement. Sammy shouts

"whoa!"

repeatedly, a cymbal roll ends in a "glass crash," followed

by a

pause. Sammy's superior officer (?) then speaks softly

"Sammy,

here's your saddle" (which we assume he had forgotten);

there is the

clarinet glissando again (from the introduction), and spoken

"show

me," and the final chordal cadence. It is all very clever

and no

doubt was quite a timely crowd-pleaser. In its light 6/8

rhythms it

is much like "The Whistler and His Dog."

St. Joseph News-Press, 19 December 19M. This is a quote

by Pryor.

121

Teddy After Africa Humoresque Two-Step

N.Y.: Carl Fischer, copyright 24 June 1909--piano solo. DLC

C210108

N.Y.: Carl.Fischer, copyright 24 June'l909--orchestra, a r r

. Charles

Roberts. DLC C210072

8 16 16 16 4 32 4 21 12

2/4 I (1) 2 1 1-2 T I IB CODA

c; F: c: *

Inspired by Teddy Roosevelt's exploration, this 6'omposition

is a

stereotyped impression of the "dark continent," concluding

with a bit

of America. The introduction features the rhythm J3JP in the

bass, suggesting tribal drums. The use of the minor mode for

much of

the piece, along with a repeated and accented raised fourth

in the

melody of the first strain, further suggests a pseudo-exotic

quality.

However, the trio, which is in the major mode, is quite

lyrical and

not at all exotic. The melody of the first half of the trio

is in

the bass. After the trio, the repeated first strain ends

with the

final cadence being extended through broken, rising

diminished

seventh chords which lead to the dominant chord. The

performer is

then to "imitate wild animals." The coda consists of a fast

rendition of "Yankee Doodle," half in the minor mode and

half in

major, followed with further imitations ("chicken, goat,

pig, and

cow") in between the final four chords of "Yankee Doodle."

This

leads to the opening phrase of "Dixie," followed by a fast

final

cadence. Apparently Pryor did not want Roosevelt to forget

that he

was an American.

The Whistler and His Dog Caprice

(On the cover of the piano solo it reads "march two-step.")

N.Y.: Carl Fischer, copyright 30 August 1905--band. DLC

C1017&0

(Universal Band Journal 805)

N.Y.: Carl Fischer, copyright 30 August 1905--piano solo.

DLC

C101701

N.Y.: Carl Fischer, copyright 27 July l90S--orchestra. DLC

C99585

As was stated in introductory comments, many of Pryor's

compositions were also arranged for various

mandolin/guitar/banjo

ensembles; these were published about the same time as the

band,

piano solo, and orchestra arrangements. However, "The

Whistler and

His Dog" is by far the most popular composition by Arthur

Pryor, and

we will include here all the known arrangements of this

famous

composition. It will be noticed that these continue a^ a

steady rate

into the 1960s. There are no doubt other arrangements that

for some

reason have escaped notice here.

N.Y.: Carl Fischer (?), copyright 1905 ( ? ) - - t h r e e

mandolins and

guitar, with piano accompaniment.

N.Y.: Carl Fischer, copyright 1908--banjo solo, a r r .

Howard Curry.

N.Y.: Carl Fischer, copyright 1912—banjo and piano, a r r .

Joe Morley.

122

Leipzig: D. Rahter, copyright 1935 — orchestra, arr. Leopold

Wemnger.

("Der Pfeifer und Sein Hund")

N.Y. : Carl Fischer, copyright 1938—accocdian solo, arr.

Anthony

Gaila-Rini.

N.Y.: Carl Fischer (?), copyright 1938—flute/piccolo solo

with piano

accompaniment, arr. Charles Roberts.

N.Y.: Carl F i s c h e r , copyright 1943--piano s o l o , a

r r . Maxw^l

E c k s t e i n .

N.Y.: Carl F i s c h e r , copyright 1944—renamed "The W his

t l e r ' s Song,"

t e x t by Al Trace, arranged somewhat as a song.

N.Y,: Carl F i s c h e r , copyright 1945—the above "The W

his t l e r ' s Song,"

arranged f o r dance o r c h e s t r a by Paul Weirick.

(Perhaps this i s

what Roger Pryor used as the theme song f o r his band.)

N.Y.: Carl F i s c h e r , copyright 1951--arranged as a

song, t e x t by Frank

Luther.

N.Y.: Carl F i s c h e r , copyright 1953—arranged^for

Hammond organ by

Thomas J . F i l a s .

N.Y.: Carl F i s c h e r , copyright 1959—arranged f o r

band f o r parade and

f i e l d use by Howard Akers.

N.Y.; Carl Fischer, copyright 1950--simplified piano

arrangement by

Maxwell Eckstein.

N.Y.: Carl Fischer, copyright 196l--flute/piccolo solo with

piano

accompaniment, arr. Hugo M. Stuart.

N.Y.: Carl Fischer, copyright 196l--clarinet solo with piano

accompaniment, arr. Hugo M. Stuart

N.Y.: Marks, copyright 1962—piano solo, arr. Louis Gordon.

North Hollywood: Hall, copyright 1962--"arranged for all

organs" by

Dave Coleman.

Perhaps Carl Fischer deserved to get from this composition

all it

did through the years, because shortly after the piece first

appeared

Fischer seemed to advertise it more than Pryor's other

compositions.

One "Novelty Bulletin1' of their band and orchestra music

had this to

say:

Pardon our waxing enthusiastic about Arthur Pryor's

"Whistler

and His Dog." There's plenty of reason for our joy. If ever

there was a novelty composition inclined to become a popular

craze, then "The Whistler and His Dog" is i_t. Leaders who

have

never heard it cannot picture to themselves how it takes

with an

audience. It holds them from start to finish and leaves it

cheering, applauding and demanding it repeated again and

again.

Recently a leader who used it for the first time remarked to

one

of the boys, "Did you ever see a bunch hook on to anything

the

way they did to 'The Whistler?"1 Not good English perhaps,

but

it tells the tale. . . . Your whole audience will whistle it

with you. The melody is so catchy you can't lose it.

Everybody

likes.it. Everybody wants it. TRY IT AND MAKE THE HIT OF

YOUR

LIFE.

Carl Fischer, Novelty Bulletin of band and orchestra music,

November 1905.

123

While Carl Fischer's advertising department was not known

for

their verbal restraint at that time, it.does appear from

other less

biased accounts that "The Whistler and His Dog" did indeed

sweep the

country, and did more to spread the fame of Pryor and his

band than

anything else. And, as we have seen, its fame did not

diminish. A

reminiscence by Pryor Band tubist Willis Maupin includes

this memory:

In the many newspaper notices of (Pryor1s) demise ^here was

always mention of his most popular composition, "The

Whistler and

His Dog," featuring a whistling chorus and ending with a dog

bark. The playing of this piece was always the source of a

lot

of fun. In my Chautauqua band our bass player could imitate

a

hound dog to perfection, so much so that whenever he let out

that

bugle note every dog in the neighborhood responded with an

answering chorus. At the York, Nebraska chatauqua the

secretary

owned a large Irish setter and in response to that hound cry

he

came bounding down the aisle of the auditorium barking

excitedly

at every jump, crossed in front of the stage and out the

back

entrance, all to the hysterical delight of the audience. At

Carthage, Missouri, the town marshall tried to sell us a dog

license.

It was listed as one of the hit tunes of 1905 by ASCAP,6 and

everywhere "leaders of the orchestras are simply swamped

with

requests for 'Whistler and His Dog' please.This was of

course

true of the Pryor Band, so much so that the composer got

tired of it

and wrote the companion piece "Sammy and His Missouri Mule."

He

assured an interviewer in 1941 that "there isn't a copy

of.the

'Whistler' in the house. I still like it, but it embacassgs

me a

little because every time we gave a concert they want it.

Pryor

wrote it as a memorial to his boyhood pet bulldog named Roxy

who died

sometime after the composer left St. Joseph to begin his

music

career. It was given to him by one "Uncle Jack Hughes." The

Pryors

kept several dogs during their retirement years at

Driftwood, so

apparently Pryor1s love for "man's best friend" continued

throughout

life.

4 16 24 16 16 4 16

6/8 I (1) D 1 (T) I IB

C: F: C:

^St. Joseph News-Press, 21 November 1942.

^ASCAP Hit Tunes (New York: American Society of'Composers,

Authors and Publishers, n.d.), p. 2.

^Carl Fischer advertisement, The December 1905,

^St. Joseph News-Press, 19 December 194*1.

9Ibid.

124

This famous composition is not really any different than

many

other Pryor compositions, although the main melody (in

strain one) is

particularly charming and easily remembered. It has a range

of a

twelfth, so it is not particularly singable. It is to be

whistled,

and no doubt conjured up the picture of a little barefoot

boy

whistling down the country lane with his faithful companion

at his

heels. The tune begins with a long upward sweep of an<octave

on the

dominant note- The introduction begins with the same melody.

The

dogfight follows the standard form given earlier (Ex. 12),

even

though it is extended in length and appears earlier in the

piece than

usual. The trio is 16 measures loag# like the main theme, so

this

makes the dogfight the longest strain, very unusual for the

composer.

There is no coda; the dogbark occurs just before the final

cadence.

In the band arrangement, however, there is a short whistling

"call"

heard just before the dog bark. The band keys are a whole

step lower

than the piano solo keys given, and call for some additional

whistling in the dogfight. The tubas are instructed to "bark

through

your instrument like a large dog," accompanied by a bass

drum roll.

The clarinets have offbeats during the main melody, and the

bells are

featured the second time the trio is played. Overall the

composition

is not at all spectacular, and it seems that, although no

clear

sources can be given, Pryor himself was surprised by its

success.

Some of the waltzes, the march "Triumph of Old Glory," and

even the

sequel "The Rookie and His Army Mule" are much more

elaborate

compositions and no doubt called for more effort in

production than

"Whistler." It simply goes to show that a "catchy" tune

combined

with a warm memory of one's past will more likely capture

the public

fancy.

It should be pointed out that there are six compositions by

Arthur Pryor for band that have been reissued and are still

available

from Edwin F. Kalmus & Co., Opa-Locka, Florida. These are

copies of

the original Brokaw/Pepper/Fischer band parts without any

attempt at

editing for modern instrumentation. "A Kansas Two-Step" is

the only

orte that comes with a C flute part (added in manuscript to

the

original parts), and "The Whistler and His Dog" includes a

two staff

score in the trumpet key. ^

The selections are:

An Arkansas Huskin' Bee

Bunker Hill March

A Kansas Two-Step

The March King March

125

«

On Jersey Shore March

The Whistler and His Dog

Waltzes

Aeroplane Dip Waltz: H e s it a t i o n Walt2-Valse Boston *

N.Y.: Carl F i s c h e r , copyright 23 April 1914—band, a r

r . tl. L. Lake.

DLC E346470 (Universal Band Journal 1405)

N.Y.: Carl Fischer, copyright 11 Hay 1914—piano solo. DLC

E343698

N.Y.: Carl Fischer, copyright 27 April 1914—orchestra. DLC

E346472

A B A

8 *32 16 321 16 3? '32 301 12

3/4 I 1 (2) 1 (3) (4) 1 (2) 1 CODA

Bb: F: Bb: Eb: Bb: F: Bb.:

There are three sections between the introduction and coda.

The

sections are ternary, binary, and ternary respectively.

After the

fermata at the end of the introduction the tempo continues

without

change until the coda which is marked "vivace." Part of the

fourth

strain is a lyrical baritone solo. The main theme (strain

one)

features several dotted half note neighboring tones, which

may be the

"dip" implied in the title. Perhaps in performance these

notes were

sustained a bit longer, suggesting the "hesitation" effect.

Keys

given are for band; the keys of the recently discovered

piano solo

are a whole step higher. Several breaks in the first strain

(that

are not in the band arrangement) also stress the

"hesitation" effect.

Country Club Waltzes

Philadelphia: J. W. Pepper, copyright 1696--band.

St. Joseph: Chas. Brokaw, copyright 1896--piano solo.

P h i l a d e l p h i a : J . W. Pepper, copyright 1 8 9 6 -

- l a r g e o r c h e s t r a , 1900--

small o r c h e s t r a .

1

16 ' 3 2 32 4

3/4 1 1 2 1-2

Eb: Bb: Eb:

"321 *32 32 321

1 3 4 3

Ab: Eb: Ab:

3 CODA

^ 16 321 *20 32 16 IP ^

1-3 (5) 6 1-4 1 5 CD

Db:

The p l u r a l "waltzes" i s a p p r o p r i a t e here s i

n c e each of the four

s e c t i o n s could be played s e p a r a t e l y as an i

n d i v i d u a l p i e c e . Each

s e c t i o n d i v i d e s i n t o two or t h r e e s t r a

i n s . The coda s e c t i o n i n c l u d e s

126

two strains that appeared previously. There is a grand pause

of 2

measures between these strains. The introduction stresses

the

dominant chord; the first strong tonic chord is in the fifth

measure

of the first strain. Band keys are the same as piano solo

keys. The

entire melody of the second strain is in the clarinet, with

some

rather difficult runs and arpeggios in the baritone

providing a

countermelody, ^

Frau Louisa: A Comedy Waltz

N.Y.; Carl Fischer, copyright 10 May 1906--band. DLC C121075

(Universal Band Journal 869)

N.Y.: Carl Fischer, copyright 3 July 1906--piano solo. DLC

C124764

N.Y.: Carl Fischer, copyright 31 Hay 1906--orchestra. DLC

C122475

A B * A

8 T~8 8 8^ T32I r§ g ^ 15

3 / 4 I (1) (2) (1) (3) (1) (2) 1 CODA

0: D: G: Eb: G: D: G:

Between the introduction and coda there are three sections

in an

ABA form. The A sections consist of three strains, also in

ABA form.

Rhythmically the most interesting feature of this

composition is the

contrast of continuous eighth notes in the melodies of

section A with

the continuous dotted half notes in section B, resulting in

two

different "moods'1 to Louisa- Harmonically the most

interesting

feature is the middle section, which functions as a trio,*

in the

distant key of E-flat. The note G provides a smooth

transition: the

tonic of G becomes the third of E-flat. The introduction and

coda

both use phrases from the German melody sung to the words

"The More

We Get Together." The introduction concludes with the spoken

text

"Louisa? Tanz mit?" while the coda gives instructions to

"strike

piano with knuckles," stamp foot (downbeat) and say "Sh -

Sh"

(offbeats) for two measures, and say at the end "Dat vas

fine yah?"

The band keys are a whole step lower than the piano solo

keys given.

The clarinets and baritone play the melodies in strains one

and two

respectively, while the piccolo is featured in an

ornamentation

during the repeat of the "trio." This is a "fun" waltz that

must

have been a crowd-pleaser.

La Spaniola Waltz

S t . Joseph; Chas. Brokaw, copyright 1898--piano s o l o .

S t . Joseph: Chas. Brokaw, copyright l 8 9 8 - - o r c h e

s t r a .

WALTZ SEC. 2 SEC. 3

17 16 16 16' 1 32 1? r4 T6 llT

I (1) 2 1 1-2 (3) ( i ) 1-3 (5) (6)

3'• C : a : C : f : Ab:

.CODA

8 19 it 7

1-4 1 EXT

M a:

127

Again there are three sections between introduction and

coda;

however the sections here are dissimilar. The I7~measure

introduction is the result of a slight extension of the

third phrase.

Introductions to the second and third sections consist

simply of

repeated rhythm patterns on the tonic chords of each

section. The

hemiola technique used ia the third strain was pointed out

earlier

(Ex. 23). The introduction to the coda section is a

modulation from

A-flat back to A minor. This is smoothly done by making A-

^lat (Gsharp)

the third of a dominant seventh chord on E, and that simply

resolves to the A minor tonic chord on the downbeat of the

coda. The

effect is that of the augmented sixth chord of the key of A-

flat

(built on F-flat) being the same as the dominant seventh of

the key

of A minor (built on E). In the coda there is a long

extension on

the dominant seventh chord (through arpeggios and a repeated

rhythm

figure) before the final four-measure cadence marked

"presto."

Generally the rhythms in this composition are quite fast and

suggest

a rather wild Spanish dance. „

The Love Kiss Waltz

N.Y.: Carl Fischer, copyright 24 June 1908—band. DLC C284117

(Universal Band Journal 1044)

N.Y.: Carl Fischer, copyright 3 July 1908--piano solo. DLC

C184710

Carl Fischer, copyright 25 August I908--orchestra. DLC

C187899

16 32 32 32 4 32 36 16

3 / 4 1 1 2 1 1-4 (3) 1 CODA

Eb s Ab:

This waltz is unusual in that it does not return to the

original

key, even though it does repeat the first strain in the

second key.

The introduction consists of turns and other melodic figures

around

the notes of the dominant seventh chord built on B-flat. All

of this

extended dominant sound does not resolve until the down beat

of the

first strain (marked "valse"). This shows ODce again the

composer's

love of delayed resolution. The tempo is quite free in the

introduction, and three fermatas placed within phrases of

the third

strain break the smooth flow of that trio-like strain. The

rhythm of

the first strain consists mainly of dotted half notes,

giving it a

restful, sustained quality. The final first strain (now in

A-flat)

ends with an extended cadence leading into the coda. The 16-

roeasure

coda is the second half of the first strain, but now the

first 8

measures are to be played very loudly "with power" while the

final 8

measures are marked very softly "with pathos," giving this

waltz an

unusual subdued ending. There are more expression marks in

this

piece than usually appear in the music of Pryor. For

example, the

first strain is to be played ,Twith grace and tenderness/'

and later

(in A-flat) "grandioso.'* Piano solo and band keys are the

same.

128

Miscellaneous Dances

The Broadway Tango

N.Y.: Carl Fischer, copyright 19 May 1914—band, arr. M. L.

Lake.

DLC E347125 (American Star Journal 2001)

N.Y.: Carl Fischer, copyright 19 May 19I4--piano solo. DLC

E343678

N.Y.: Carl Fischer, copyright 39 May 1914—orchestra with

piano

accompaniment. DLC E343706 *

. A B A

8 r16 16 167 % 3? U6 16 TT

2/4 I (1) (2) 1 1-2 T (1) (2) 1

a: C: a: F: a: C: a:

This composition uses throughout the rhythm of the habanera,

the

most popular jgnce of the New World at the time of the

Spanish-

American War. It is the ancestor of the Argentine tango, but

otherwise it is not known how Pryor came to call this piece

a tango.

The habaflera rhythm is 2/4 this is Pryor1 s only

composition to

use this rhythmic motive as a unifying element. It is in

three

sections in ABA form using both minor and major modes. The

introduction and first strain begin with the same melody,

and the

piece ends rather abruptly at the end of the final strain

one with no

ritard or other closing device. This is one of Pryor's more

successful and convincing attempts at introducing an exotic

element

in his music. One wonders why he did not choose to repeat

it. Band

keys are a whole step lower than the piano solo keys given.

The

baritone has a continuous countermelody.

Little Flirt ("The Latest Dance")

Dance by Prof. Edward A. Prinz

St. Joseph: Washburn, copyright 1894--piano solo.

2 8 16 8

4/4 1 1 3/4 2 4/4 1

A: D: A:

This short (one p|£e) simple, and yet tuneful piece is in

two

distinct styles: a bouncy melody full of dotted rhythms, and

a

lyrical waltz. It is in ABA form. The introduction is marked

"allegro,1* while the following melody is marked "moderato."

Little Nell Song and Dance Schottische

Philadelphia; J. W. Pepper, copyright 5 June 1899--band. DLC

28614

Philadelphia: J. W. Pepper, copyright 29 March 1698--piano

solo.

Philadelphia: J. W. Pepper, copyright 1899—orchestra.

Willi Apel, Harvard Dictionary of Music, 2nd ed. (Cambridge:

Harvard University Press, 1969), p. 365.

129

8 16 8 16 16 2

£ 1 1 2 1 DANCE BREAK

G:

This charming little piece consists of an introduction, the

main

section in ABA form, and a "dance" which ends vith a short

"break,"

like a coda. The second strain in the main section functions

like a

little dogfight, in tonality as well as location. The dance

consists

of two identical 8-measure phrases. Band key is F, "ind

trombone solo

key (as Pryor played it) is B-flat. The style throughout is

light

and happy. Although it is in cut time, 4/4 time would be

better.

S k i p p e r j a c k Dance

N.Y.: Carl Fischer, copyright 31 May 1901—band, arr. L. P.

Laurendeau. DLC C8167 ("By permission of Chas. 0. Brokaw.")

N.Y.r Carl Fischer, copyright 1901—orchestra, arr*,L. P.

Laurendeau.

8 2 12 8 8 2

( 1 2 D 2 (3) BREAK

Ab: v

Despite a few ragtime rhythms, thib*NCoraposition cannot be

categorized as such. The melodies simplyvdo not possess the

bouncy,

ragged qualities one finds in a rag. Th^most unique

characteristic

of this piece is that there is no introduction; the first

strain

opens the piece directly. The effect overall is that of a

series of

strains, with the dogfight (in standard form) offering some

variety.

The continuous tonality is monotonous. The "break" functions

as the

break in "Little Nell," as a short coda. Band key is given.

Piano Solos

After Sunset Intermezzo

N.Y.: Carl Fischer, copyright 31 July 1907--piano solo. DLC

C158208

N^.; Carl Fischer, copyright 31 August 1907—band. DLC

C161062

N.Y.: Carl Fischer, copyright 1907--orchestra, arr. R.

Klugescheid.

8 16 8 16 20 4 16

4/4 I 1 2 1 3 1-2 1

Eb: C: Eb: Ab: Eb:

A single-line melody in the first 2 measures soon'-gives way

to a

full chordal accompaniment for the remainder of the

introduction.

The second appearance of the first strain features fuller

chords than

the first, with a greatly ornamented melody. It is to be

played "con

grazia." The third strain functions as a trio; the melody

here uses

longer note values, giving the effect of slowing the pace of

the

composition. It was published separately with text as a song

(see

130

below). It was also published separately as a violin solo

and a

cello solo. A quiet syncopated chord figure in the left hand

is

repeated throughout this third s t r a i n the shortened

secoad

introduction is derived from the first introduction, and the

final

first strain has the thinner texture of its first

appearance. The

band arrangement, which is in the same keys as the piano

solo,

features a trombone/baritone couatermelody in the second

strain, but

nowhere else. This is somewhat surprising considering the

potential

here for lyrical second melodies, but it does show that

Pryor does

not need second melodies; one good melody is sufficient for

his

purposes. Much tempo rubato is needed in the performance of

this

expressive and beautiful composition. It will be recalled

that

reportedly Toscaaini was highly impressed with this piece.

Canoeing Idyl

N.Y.: Carl Fischer, copyright 24 June 1909—piano solo. DLC

C210110

N.Y.: Carl Fischer, copyright 5 May 1909—band. DLC C206705

(Universal Band Journal 1129)

N.Y.J Carl Fischer, copyright 30 June 1909—orchestra, a r

r . Charles

Roberts. DLC C210723

8 16 16 16 16 15 12

6 / 8 1 1 2 1 (3) 1 "FINALE"

F: Ab: F: Bb: F:

The form here is nearly the same as that of "After Sunset/1

except the third "trio11 strain is repeated. It is repeated

with a

thinner harmonic texture, which is unusual, since one might

expect

the reverse to be the case. The first strain features a

repeated

little "flourish" of thirty-second notes ( z j f f l . )

which gives some

truth to the claim of a Fischer advertisement that "you can

hear the

swish of the paddle." The contrasting second strain is in

the

tonality of the lowered mediant, A-flat, which was first

seen earlier

in the march "Heart of America." On a recording by the Pryor

Band

the tempo of the third strain picks up to nearly that of a

march.

Bells enhance the melody line here. The "finale" is in two

parts:

material from the introduction, and a rising arpeggio line

preceding

the final cadence. The second part is marked "presto," and

is a

surprising ending to this otherwise very restful piece.

Perhaps

there is some programmatic significance here. Band keys are

same as

piano solo keys.

An Egyptian Love Dance from Original Dance Suite

N.Y.; Carl Fischer, copyright 25 July 1907--piano solo. DLC

C157879

N.Y.: Carl Fischer, copyright 14 May l907--band. DLC C151568

N.Y.: Carl Fischer, copyright 24 June 1907--orchestra, arr.

R.

Klugescheid. DLC C155407

131

4 16 16 14 6

4 / 4 1 1 2 1 CODA

a: C: a:

This composition, in a simple ABA form with introduction and

short coda, is more march-like than the previous two piano

solos, and

the texture is thinner, but it still is best as a piano

solo. The

introduction and first strain stress the dominant note E,

and

throughout the composition there is a subdued

downbeat/offbeat rhythm

which gives the slow inarch effect. The coda uses a motive

from the

first strain and ends on a high tremolo on the tonic triad.

Except

for just two places marked fortissimo (a descending triplet

figure in

the middle of strain one) the entire composition is to be

played

softly, fading at the end to the dynamic level of pppp. The

prevalent minor mode in the style of a slow march give the

piece a

rather somber mood. While the title is always mentioned in

connection with "Original Dance Suite," no other music or

information

about this suite has been located. The "band arrangement

begins in

the key of B-flat minor and gives much of the melody to the

clarinet.

Songs

After Sunset, text by Alice Mattullath (high voice; A-flat,

low

voice: F)

N.Y.: Carl Fischer, copyright 30 December 1910. DLC E250178

The music for this song is the third strain of "After

Sunset"

intermezzo, discussed previously. The melody of the 4-

measure

introduction is not derived from the melody of the verse in

this

case. The introduction also serves as the interlude between

the two

stanzas; there is no refrain. As in the intermezzo, there is

an

extra phrase added to the verse, resulting in a length of 20

measures. The song is to be performed "con amore" and "dolce

expressivo." The arch-like melodic line covers the range of

a

twelfth. The accompaniment consists mainly of arpeggios. The

text

of verse one is as follows:

Give me your hand and promise you'll be true,

Give me your heart and I'll give mine to you.

Though many leagues divide us, though grief or joy betide

us,

But one thought shall ever thrill my being; you, only you!

One thought shall ever thrill my being; you, love, only you!

Baby Love: A Lullaby, text by Nixon I. Stone (Eb)

Respectively dedicated to Miss Elise Mannering Keteltas

Hackett

N.Y.: Carl Fischer, copyright 28 February 1906. DLC C115183

Following a 6-measure introduction there are two verses and

refrain, each 16 measures long. In a flowing 6/8 meter, this

tender

132

song i s addressed t o a s l e e p i n g c h i l d , o r ,

in an a l l e g o r i c a l sense,

to a c h i l d who has died and i s awaiting r e s u r r e c

t i o n . The f i r s t 6

measures of the verse a r e w r it t e n over aa E - f l a t

pedal*point which

s t r e s s e s the s u s t a i n e d q u a l it y of the

melody l i n e . The melody i s very

flowing and e x p r e s s i v e , even with an octave leap

at the phrase "break

of the day." The t e x t of verse one and the r e f r a i n

i s as follows:

Sleep ray baby love, sleep in thy way *

Night is come over thee, soon 'twill be day

Dream through the night my love sweet dreams so pure

Dreams that will make thee happy I'm sure.

Rock my baby love, rock without fear

God will receive you in dreamland to play,

Then He'll return you at break of the day

Sending to dreamland the one so dear, sleep baby sleep,

Sleep my baby, sleep my love, baby love, sleep.

A Coon Band Contest or The Tune that Won the Ham for That

Coon Band

N.Y.: Bell, copyright by Arthur Pryor 27 November 1899. DLC

77421

This song consists of three verses of text (by Pryor) to

three

distinct musical strains. A 4-measure introduction is

followed by

two strains in a rather heavy, ponderous style, which

quickly changes

into a light ragtime style for the third strain. If one

considers

the first strain as the verse, the second strain as the

interlude (it

is half the length of the first), then the third strain is

the

chorus. Musically this is the effect. The first strain is in

D

minor, the second is in T major but stressing the dominant,

and the

final strain is clearly in F major as though the interlude

resolves

into it. The final strain is the trio of the instrumental

rag of the

same title. While some rubato tempo would be appropriate for

the

first part of the piece, the rag must be performed at a

steady tempo.

The trombone smears from the instrumental version are

imitated in the

piano accompaniment. The introduction of the song uses the

melody of

the verse. The song begins in 4/4 time, switching to 2/4 at

the rag

"chorus."

The text is an example of ethnic humor that would be

inappropriate today. It is not in dialect, but it is casual

with

some slang and bad grammar, such as "them coons," "ain't,"

and

"gals." The song describes a coon band contest where the

prize ham

was won by some kiad of divine leader ("from above"). He

played his

winning tune on the trombone so well that he stole "the

black gal's"

hearts, and was shot by a jeal«ous boyfriend. Even though he

was then

buried "like they do all sporty coons," the other "stiffs" m

the

cemetery learned "that awful tune," and they haunt the

Countryside

each night playing it. While that is the general story, many

of the

phrases of the text do not make much sense and seem

incidental.

Crusader: A Sacred Song, text by James O'Dea

N.Y.: Shapiro, Remick and Co., copyright 1904. DLC E118849

133

«

It is listed oc the Library of Congress catalog card as "No.

2 in

G minor." The music is unavailable. This is the only sacred

composition by Pryor.

Deep Evening, text by Eva Williams

N.Y.t Burt Smith and Arthur Pryor, copyright 21 October

1931. DLC E

unp. 46530 (This is the entry from volume 200 of the Catalog

of

Copyright Entries >)

The music is unavailable.

Down at Asbury Park, text by James Danoday (F)

N.Y.: Carl Fischer, copyright 17 August 1905—song. DLC

C100841

N.Y.: Carl Fischer, copyright 30 December 1905--band,"arr.

Tobani.

DLC CI11244 (Universal Band Journal 842)

N.Y.: Carl Fischer, copyright 30 January 1906--orchestra,

arr.

Tobani. DLC CI 13176

After an 8-measure introduction this waltz song has two

verses

and a refrain, each 32 measures long. The introduction

begins with

the same melody as the refrain. The melody has a

surprisingly large

number of skips but it is Quite smooth overall. For variety

Pryor

will insert a shorX/long rhythm ( / J ) within a phrase,

contrasting

with the usual JJ. The piano accompaniment is largely in the

"oompah-

pah" waltz tradition, but sometimes doubles the melody. The

text

speaks of romance at the park from a bygone era, but it also

sings

the praises of Asbury Park in particular. There is a

reference to

the annual baby parade at the part in the phrase "why even

the babies

go on parade." Also, mention must be made of the pun in the

phrase

"you can't be short if you would belong—down at Asbury

Park." The

text of-the chorus is as follows:

So take me down to Asbury Park on the Jersey Shore

Let me listen to music grand, I ask for nothing more

Both our hearts will beat in tune as underneath the smiling

moon

To sweetest music we will spoon down at Asbury Park.

•r

The arrangement for band is in the same key of F major,

however there

is a long strain added on that is not from the song. It is

in the

key of the dominant, and is played between the settings of

the song,

giving an ABA form overall of song-added phrase-song.

I'd Love To Love You Again, text by Burt Smith

(Perhaps this is the Burt Smith who was trombone soloist

with

Pryor's Band.)

Copyright 13 November 1931. DLC E unp. 47598

The music is unavailable.

134

Miami, This Is You, text by Sue Clement (low key: Ab)

Miami (?): Sue Clement (Mrs. Justin Dean), copyright 21

August 1926.

DLC E645529

This waltz song obviously sings the*praises of Miami. It

consists of a 4-measure introduction followed by two verses

and

refrain, each 32 measures long. The introduction begins with

the

same melody as the verse, and there is ouch stepwise melodic

movement. The accompaniment doubles the melody throughout.

It is a

sentimental tribute to Pryor's "second home." Except for a

rather

sudden pause in the opening phrase of the verse, "now I have

reached-

Miami,1' the song flows along quite smoothly. The refrain

reads as

follows:

Miami, Miami, Miami by the sea,

With all the beauties you offer

There is no other place for me.

I have traveled this country over **

And the old world too;

Miami, Miami dear,

I give the honors to you.

Oh What Will Television Do to Me

Copyright 4 September 1931. E unp. 45195

In 1926 the first demonstration of television took place,

and in

1931 an English organization named the Electric and Musical

Industries established a television research team, Perhaps

Pryor's

song was in reaction to this. Four years later the team

would

develop a complete and practical television system that was

adopted

by the British Broadcasting Corporation. Unfortunately,

Pryor's

song has not been located.

Sweet Lorena Ray, text by Deamor R. Drake (key of G)

St. Joseph; Chas. Brokaw, copyright 1896.

The music for this song was found on the back cover of

another

Brokaw publication. The fact that it is an advertisement in

small

print along with three other songs leads me to believe that

there may

be more to the song than what appears here. There is no

introduction, and the word "chorus" appears above the

opening line.

On the other hand, "Little Flirt" was complete on one page.

We have

here a walt2 song of 32 measures in which the singer is

proposing to

^Encyclopedia Brittanica, 1974, ed., s.v. "Television."

135

"Sweet Lorena Ray." Again Pryor occasionally reverses the

usual

waltz measure division to short/long (J J ) for rhythmic

variety, and

it flows smoothly along until two pauses in tSe last line,

on "bride"

and the third syllable of "Lorena." To really make his

point, the

singer may end on an optional high G. The text is as

follows:

Lorena, Sweet Lorena Ray, with your face divine

Smiles that brighten all the day *

Say you will be mine

Then no matter what betide, love will light our way

Happy with my little bride, Sweet Lorena Ray.

Travel Travel Little Star, text by Vincent Bryan (key of D,

perhaps

Eb)

N.Y.: Leo Feist, copyright 22 January 1910. DLG E223572

Information about this song was obtained from a recording

sent to

me from Mr. Bill Pruyn. The comedy team of Montgomery and

Stone

perforin the song along with band accompaniment. It has

nothing to

do, musically or textually, with "Twinkle Twinkle Little

Star," but

instead it speaks of two "stars" who have bought a circus.

When the

circus does not live up to expectations and the audience

demands a

refund of their money, the "stars" have left town with the

sheriff in

pursuit. It is all very humorous, and Pryor's light-hearted

melody

certainly contributes to its success. After a very short

fanfare, •

the song begins with an introductory strain of 16 measures

in 2/4

time. There are two verses in a moderate tempo, and the

refrain in a

fast tempo. The last phrase of the refrain is even repeated

by the

band in a faster tempo yet, as the performers make their

exit, all in

the best vaudeville tradition. The refrain text is as

follows:

Travel travel little star

In your one horse circus car,

Each policeman you get by

Must have cinders in his eye.

Lots of fame attached to you,

Sheriffs have attachments too;

How they'll wonder where you are.

Travel little star.

We Want Beer, text by Burt Smith

Copyright 20 October 1931. DLC E unp. 47562 ^

The Prohibition Era was nearing its end at this time. It

would

be interesting to see what this song says, but it is

unavailable.

We'll Be There, Uncle Sammy (Patriotic March Song), text by

William

K. Deveroux (key of C)

N.Y.: M. Witmark, copyright 7 September 1917. DLC E407848

Written shortly after the entrance of the United States into

World War I, this spirited march song was perhaps vritten to

inspire

young sen to serve in the armed forces. The text recalls the

courage

of American soldiers in previous wars and how an attempt at

neutrality has failed in the present war. Therefore "now

we're

anxious for the battle, for Old Glory bright and fair!'1 The

tune is

excellent, and one can imagine the recruits singing this

song as they

lined up to enlist in the "war to end all wars." The rhythm

of the

melody (in 2/4 time) uses mainly quarter and eighth notes,

but Pryor

effectively sets each phrase of "We'll be there" in the

refrain in

half notes, giving it special emphasis. The opening of the

refrain

also serves as an 8-measure introduction to the song. There

are five

verses. Pryor may well have arranged this stirring song for

band,

but apparently such a version was never published. *-The

piano

accompaniment, with its continuous melody,

downbeats/offbeats, and

occasional "flourishes" at cadence points, sounds like a

band

arrangement as it is. The refrain text is as follows:

We'll be there, Uncle Sammy, we111 be there! (repeat)

Tell to us the old, old story, that you need us for Old

Glory;

We'll be there, Uncle Sammy, we'll be theret

We'll Keep Old Glory Flying, text by Ada Truax Fletcher

Dedicated to the U.S. Armed Forces

Copyright 28 September 1942. DLC E unp. 310411

This is the last composition written by Arthur Pryor, and it

was

performed by his band under the direction of Arthur Jr. at

Asbury

Park shortly after his death. It was after a rehearsal for

this

concert, on the night of 17 June 1942, that Pryor suffered a

fatal

stroke. While he did not serve in the military himself,

there was

always a strong patriotic emphasis in his concerts, and it

is

appropriate that this was his final composition.

Unfortunately the

music is not available.

Trombone Solos

Air Varie

Philadelphia: J. W. Pepper, Copyright 1895.

Chicago, Chart, copyright 5 November 1945, arr. Jaroslav

Cimera. DLC

EP5999 (The solo was renewed in 1974 by Arthur P. Schmidt,

who

was later bought out by Summy-Birchard Company.)

137

, 1 1 t Th

30 8 24 8

4/4 I C 3/4 Bolero 4/4 Th int

bb: Bb:

VI V2 V3 CODA

*24 81 ^4 1 24^ r4 T1 *

VI int V2 3/4 1-2 V3 int-2 C CD

M,Air Varie,' I understand, is the most difficult trombone

solo

ever composed, and that the great soloist, Arthur Pryor

himself, made

many tries at Camden, New Jersey, in the old days to record

it

satisfactorily, but never released any of his attempts." One

may

question whether it is the most difficult trombone solo ever

written,

but it certainly is one of Pryor's most difficult solos.

According

to Glenn Bridges, the reason Pryor never released a

recording had

nothing to do with his ability to play it, but had 'to do

with where

to make cuts in the piece to fit the time permitted by the

early

recordings. A much later recording of "Air Varie" by

Jaroslav

("Jerry") Cimera became popular when it was released, and

"if Jerry

Cimera could play it on a record, why couldn't Pryor do it,

who could

play rings around Cimera, and Jerry himself.told me this. It

had to

be cut too much; it is as simple as that." According to the

Sousa

Band Scrapbooks, Pryor was playing this solo as early as

1893, late

in the fall.

The composition is of the theme and variations type. The

introduction combines an expressive melody with short,

cadenza-like

flourishes, concluding with a lengthy cadenza of, among

other things,

several diminished seventh chord arpeggios on an ascending

chromatic

line. The introduction is exactly the same as that for

Pryor's

"Fantastic Polka;" it is not known for certain which solo

was written

first. From various sources it appears as though "Air Vane"

was

written first, but later Pryor would perform "Fantastic

Polka" more

often; he apparently was fond of this introduction so he

included it

with the latter composition- When "Fantastic Polka" was

finally

published in 1939 (although Pryor had first recorded it in

1910),

"Air Varie" had perhaps been out of print for a time, so

Pryor

"officially" included the introduction with "Fantastic

Polka."

The theme and each variation are in a three part, ABA, form

with

eight measures in each phrase. The middle phrase is in the

dominant

tonality. The first piano interlude is a Spanish Bolero,

while the

12B. H. Walker, "I Teach the

April 1952, p. 27.

^Glean D. Bridges, personal

14 Williams, jacket notes for

Solo Brass," The School Musician,

letter, 23 May 1981.

Trombone Solos--Arthur Pryor.

138

next two are the first phrase of the theme. As is true of

the other

solos of this type, the first variation consists of

triplets, and the

second of sixteenth notes. Here the third variation is in a

different meter and features slow pedal tones alternating

with fast

arpeggios. The coda consists mainly of a long cadenza with

fast

arpeggio lip slurs through six positions of the instrument.

If one

possesses the skill and endurance to perform "Air Varie," it

is well

worth the effort. (These comments are based on the Cimera

arrangement; the original Pepper edition has not been

iocated.)

Annie Laurie

Philadelphia: J. W. Pepper, copyright 1895.

Cleveland: Ludwig, copyright 19 March 1958, arr. Glenn P.

Smith. DLC

EP117127

Th VI V2 *

28 rT6 T""7 fl6 8^ IS 8 1

4/4 I C Th int VI int V2 int-2

Eb: c:

V3 CODA

W r8 32 8 1

3/4 V3 2/4 1-2 Dixie Y.D.

Bb:

The old Scottish tune "Annie Laurie" is used as the theme

for a

set of variations. The most unusual aspect of this popular

composition is the third variation, which is a melodic

variation of

the theme in the minor mode, in slow tempo and in a

different meter.

The coda section includes "Dixie" (the entire song with no

variations), and as the trombone sustains the last note the

piano

plays a phrase from "Yankee Doodle."

The chief differences in the Smith arrangement are that the

unusual third variation is located between Pryor's first and

second

variations, and that there are no extra tunes added at the

end. The

piece ends with the sixteenth-note variation, with only a

short,

cadenza-like scale run at the final cadence giving a sense

of

finality to the entire composition.

Blue Bells of Scotland

London: Chappell, copyright in U.S.A. by Arthur Pryor

2KApril 1904.

DLC C69288 (Later assigned to and published by Carl

Fischer.)

N.Y.: Carl Fischer, copyright 29 June 1944, trombone solo

with band

accompaniment, arr. E. M. Pearson. DLC E124024

I Tb VI V2

r23 T"1 16 T"1 f24 Ti, 7 1

4 / 4 I C 1 - 2 Th i n t VI int V2 i n t - 2 C

F:

139

V3 int-3 final

chords

This most popular of Pryor's trombone solos, called t!a

tour-deforce

of the^ate nineteenth and early twentieth century trombone

solo style," is another set of variations on a Scqttish

melody.

The introduction begins with the first phrase of the theme

alternating with short cadenzas. This is followed by an

original

melody entirely given to the solo. A long cadenza concludes

the

introduction. Fast slurred octaves are a feature of the

second

variation, and the final variation is to be played faster

(marked

t "vivace") than the others (marked "allegro"). The 2-

measure

interlude, leading into the final chords of the piece, is

taken from

the theme. Countless young and aspiring trombonists have

tried their

skills on "Blue Bells," and it has remained a crowd pleasing

favorite

through the years since Pry or first performed it wi-th the

Sousa Band

in 1899.

Exposition Echoes Polka

Philadelphia: J. W. Pepper, copyright 1904.

Philadelphia: J . W. Pepper, copyright 1902, cornet/trombone

solo with

band accompaniment, a r r . Mackie-Beyer.

• PQ^A TRIO

4 16 16 4 1 6 * 16 16 TP

2/4 I P ( i n t ) I P 1-2 (T) CD

Ab: Eb: Ab: Db:

CODA

4 1 6 12 1

1 P CD C

Ab:

This is Pryor's only solo where the trombone begins with the

piano in the introduction, and the introduction does not end

with a

cadenza. Written in a modified Polka caprice form, this

composition

ends with a "coda" section which, with its polka strain, is

really a

shortened version of the opening polka section. The codetta

is

marked "vivace," and consists of repeated melodic turns

similar to

those which open the piece. In a light style throughout, the

composition reflects the spirit of a polka quite well.^ This

is the

only Pryor solo that has not been available in recent years.

15Vern Kagarice et al., p. 27

140

F a n t a s t i c Polka

N.Y.: Carl Fischer, copyright 20 July 1939. DLC EP78681

POLKA

32

4/4 I C

bb:

8

2/4 1-2 C

Bb:

16 8 16

P iat P

F: Bb:

TRIO POLKA

Eb:

4 161 *8 2? 20

1-3 (T) 1-4 P COLA C

Bb:

As stated earlier, the introduction here is exactly the same

as

that for "Air Varie." The light polka melody (first strain)

includes

several ascending melodic skips. The half and full cadence

points of

the trio have some three octave skips. The final polka

strain closes

with an extended cadence which includes some echoing of

phrases

between the solo and piano. The coda, marked "presto," calls

for

arpeggios and lip slurs. A short piano interlude leads to a

final,

short cadenza which is an ascending dominant seventh chord.

It is

interesting that the same introduction can serve so well for

compositions of completely different types.

La P e t it e Suzanne

N.Y.: Carl Fischer, copyright 25 February 1937. DLC EP61203

"Although this solo has not received Che accord that some of

his

other works have received, its technical Remands and melodic

beauty

exemplifies the best of Pryor's output." Written in valse

caprice

form, this solo makes more use of sensitive expression than

technical

skills. The entire introduction including the cadenza is on

the

dominant seventh chord} the tonic chord does not appear

until the

downbeat of the first strain. Each of the five phrases of

strain one

begin with downbeats in the piano, with the trombone

entering on the

second beat. There is an added phrase in the second strain

as well.

The trio is distinguished by wide descending intervals in

the melody

line, and the coda is marked as not to be played any faster

than the

previous strains, which is somewhat unusual. The final

cadenza is

quite lengthy and consists almost entirely of arpeggios on

the

TRIO

8

3/4 I C

Db:

40 40 8 4? Z

1 2 I 1 1-2

Ab: Db: Gb:

32' 8 40 ' 23

(T) I 1 CODA C

Db:

16 Vern Kagarice et al., p. 10.

141

dominant seventh chord. Overall this solo has some very

smooth

melodies, and except for a few breaks and fermatas it flows

along

continuously in rich legato lines. It has more musical

substance

than some of Pryor's more well-known solos.

The L it t l e Chief

N.Y.: Carl Fischer, copyright 12 July 1916. DLC E3891&

POLKA TRIO

30 **12 16 12 TP r4 20 TP

4/4 I C 2/4 1-2 P i n t P 1-3 (T) CD

Ab: Db: Ab: Db: Gb:

POLKA

1-4

^ 20*?

Db:

The introduction of this polka caprice is rather long and

complicated, moving smoothly through the tonalities of C-

flat, Eflat,

and F before resolving to D flat after a short cadenza. The

trio has an extended second phrase; no further phrase is

repeated or

added on. The codetta to the trio is in effect like an extra

strain

added on to the trio. The final polka has an extended

cadence

consisting of fast ascending arpeggios over an A-flat pedal

point. A

short cadenza precedes the final tonic chords. Unlike the

other

solos of this type, there is no coda, but only the extended

final

cadence. Many fast notes throughout make this a rather

spirited

polka.

Love's Enchantment

London: Chappell, copyright in U.S.A. by Arthur Pryor 16

October

1903. DLC C56768 (Later assigned to and published by Carl

Fischer.)

London: Chappell, copyright in U.S.A. by Arthur Pryor 24

November

1903—piano solo. DLC C59395

London: Chappell, copyright 13 November I903--orchestra. DLC

C5S707

Arlington, Virginia: Harold Brasch, copyright 1970--trombone

solo

with band accompaniment, arr. Harold T. Brasch.

1 2 ^

8/7 1 2 32 321 r4 32 16 ST

I C 3/4 1 2 ] 1-2 (3) (4) 3

F: Bb:

142

pr

1-3

Eb:

3

•37—521 15

5 6 1-4

N

CODA

<32 32

C 1 IB

F:

This composition is of the valse de concert type, the most

formally complicated of the four types. The first half of

the

opening introduction is a slow march in 4/4 time; it begins

with a

short fanfare. The second half is in 3/4 time. The trombone

cadenza

begins with an octave leap on the dominant note followed by

a

dramatic descend on the dominant seventh chord. The first

strain has

an abrupt break after the opening motive of each of the four

phrases;

this is an effect Pryor was fond of, and he makes deliberate

use of

it in recordings. There are a few harmonic glissandos at

cadence

points in the solo. After some key changes the introduction

to the

coda section modulates back to the original key of F. The

final

appearance of strain one has the melody'in the piano^with

the

trombone playing arpeggios and scale runs. This strain is

omitted in

the piano solo arrangement of the composition, which begins

in the

key of D. Overall, the composition is a charming and light

walt2,

providing a pleasing balance of musical interest and

technical

"gymnastics." Interestingly, the original (1903) solo

trombone part

is entirely in the tenor clef; this is the only time that

this clef

appears in all of Pryor's solos.

The Patriot

London: Chappell, copyright in U.S.A. by Arthur Pryor 1

April 1904

DLC C67972 (Later assigned to and published by Carl

Fischer.)

POLKA

23 r 4 \Z l5 3 TP

4/4 I C 2 / 4 1-2 <P) i n t 1-2 P

Bb: Fr Bb:

TRIO POLKA

*4 16 5-p r% - j p 16

1-3 (T) CD 1-2 P CODA C

Eb: Bb: America

The introduction to this polka caprice uses phrases from

"The

Star Spangled Banner." The trombone entrance is a fast two

octave

ascending arpeggio on the B-flat triad following the first

phrase of

the national anthem. A series of ascending octave slurs is

the main

feature of the cadenza. The second time the trio strain is

played

the piano accompaniment has a countermelody. In the coda the

trombone has an ornamented version of ''America," followed

by a fast

phrase of "Yankee Doodle-" A short arpeggio on the dominant

seventh

chord by the soloist leads to the final tonic chord. A

recurring

143

melodic interval in the polka and trio strains is an

ascending third.

Since this is the case, there is less melodic distinction

between

these strains than is usually the case. While it may be true

that

"this solo exhibits considerably more technical display than

tunefulness and substance," it is still fun to play and no

doubt

aroused some patriotic fervor.

*

Starlight

N.Y.: Carl Fischer, copyright 20 July 1939. DLC EP78680

TRIO

16 J16 16 1? *4 32 321 15 ^3 '

3/4 I C 1 2 1 1-2 T-l T-2 I C IB ext

F: C: F: Bb: F:

This waltz caprice is perhaps Pryor's easiest"solo to

perform,

yet it is not lacking in bravura style. Its range is only

two

octaves, or an octave and a half if one alters the opening

cadenza

slightly. As is most typical of the waltzes, it is light and

tuneful

overall. The first strain features several quick, wide

intervals

that call for a nimble, flexible style in performance. While

the

melodies are tuneful, they are not as smooth as those found

in the

other waltzes. The introduction to the final section (piano

alone)

is the same as the opening introduction, an unusual feature

of this

solo. The cadence of the final strain is extended, and leads

into a

short, ascending dominant chord arpeggio before the fin'al

tonic

resolution- The piano plays a phrase from the first strain

as the

soloist sustains a high F. This solo is important in the

repertory

because it provides authentic "Pryorian" bravura for young

players,

and may even inspire more practice to conquer his other

solos.

The Supervisor

N.Y.; Carl Fischer, copyright 20 July 1939. DLC EP78679

I Th VI

* 4 2 8 1 rl6 iT1 r24 8 1

4/4 I 1-2 C Th int VI i n t - 2

Bb:

V2

r24 17 1 26

V2 i n t - 3 2/4 Finale

^Vern Kagarice et a l . , p. 16.

144

This theme and variations solo is perhaps the easiest of its

type, but it still guarantees a workout for the performer.

It is

unusual in that the second variation'consists of triplets,

and the

first consists of eighth and sixteenth-note rhythms. Pryor

creates

variations here that are related to the theme in a very

geQeral way;

the subtle relationships are interesting.

The introduction is in the tonality of D-flat for a short

time.

Rhythmic motives for the introduction are also those of the

first

variation. Part of the final interlude is in the relative

minor

mode; there are two short caden2a arpeggios withia this

interlude.

The "finale," which functions as a coda, has no cadenza.

"The

Supervisor" is another fine Pryor trombone showpiece.

Thoughts of Love (Love Thoughts)

London: Chappell, copyright in U.S.A. by Arthur Pryor 1

April 1904.

DLC C67973 (Later assigned to and published by Carl

Fischer.)

St. Joseph: Chas. Brokaw, copyright 8 May 1899--band. DLC

31036

St. Joseph: Chas. Brokaw, copyright 31 January 1898--piano

solo. DLC

10469 (?)

St. Joseph: Chas. Brokaw, copyright 1898—orchestra.

N.Y.: Carl Fischer, copyright 30 December 1939—

cornet/baritone/trombone solo with band accompaniment, arr.

Roberts. DLC E82598

Chicago: Rubank, copyright 11 June 1954, trombone solo with

band

accompaniment, arr. C. Johnson. DLC EP81246

Chicago: Rubank, copyright 1965, trombone solo with piano

accompaniment, arr. C. Johnson, included in Concert and

Contest

Collection compiled and edited by Himie Voxman. (This is the

same as the 1954 band arrangement, and is a shortened and

simplified arrangement of Pryor's original.)

, 1 , 2

16 '32 32 16 TP *"4 32—TZ 3?

3/4 I C 1 1 i n t IB 1-2 3 (4) 3

Bb; F: Bb: Eb:

3 CODA

^ 16 TP f15 32 321

1-3 (5) (6) 1-4 C 1 CD

Ab: M Bb;

Next to "Blue Bells of Scotland," this is probably Pryor's

most

popular solo. The reader will recall that it "officially"

launched

his solo career with the Sousa Band at the Columbian

Exhibition in

Chicago in 1893. The introduction of this valse de concert

begins

with a unison fanfare on the dominant note F. Each phrase of

the

first strain builds to a wide upward leap before resolving.

The

repeat of the strain features a countermelody in the piano.

The

third section (the fifth and sixth strains) call for some

145

particularly fast passage work on the trombone. In the sixth

strain

the melody is in the piano. The introduction in the coda

section is

a modulation back to the F dominant seventh chord, on which

the

following cadenza is based. The cadenza includes a

descending run of

over two octaves. The codetta features fast ascending

arpeggios of

diminished and major chords over a two-octave range. Under

the

triumphant final high B-flat in the solo part, the piano

plays a

phrase from the first strain. This solo has a particularly

dramatic

conclusion, and one can well imagine the enthusiasm of that

crowd of

long ago. Crowds since then have reacted no differently. The

band

arrangement keys are the same as the trombone solo, but the

piano

solo keys are a half step lower. In both, the melody of the

fifth

strain is different than that in the trombone solo, and the

sixth

strain is omitted entirely.

The Tip Topper -

N.Y.: Carl Fischer, copyright 25 February 1937. DLC EP61204

POLKA [

24 "18 16 16 4 I P v

4/4 I C 2/4 1-2 P int 1-3 P

Eb: Bb; Eb:

TRIO POLKA

1 T61 rZ TP 34

1-4 (T) 1-3 P CODA

Ab: Eb:

Although this solo is subtitled "Introduction and Polka/' it

is

of the polka caprice type. The lengthy introduction of a

"heroic"

nature ac'Cually begins in the relative minor mode. A brief

cadence

in the tonality of G-flat appears before moving to the

opening

cadenza. There is then an unusual separate and lengthy

introduction

to the polka strain itself for the piano alone. The polka

strain is

full of tempo rubato markings; the following interlude, with

the

melody shared between piano and trombone, is in a more

steady tempo.

On the repeat of the trio the melody is in the piano» with

the

trombone providing a countermelody often echoing the melodic

motives.

The coda is characterized by a series of melodic turns and

is marked

"presto." Once again, a final cadenza (made up of ascending

and

descending diminished and major triads on B-flat) resolves

into the

last chord of the composition. If a cadenza is supposed to

dramatically heighten the sense of harmonic

resolution^Vryot' s

cadenzas certainly achieve their purpose in his solos.

146

Collections

Arthur Pryor's Collection of Trombone Solos

Philadelphia; J. W. Pepper, copyright 17 September 1910. DLC

C162106

This collection consists of Pryor compositions other than

his

standard trombone solos simply arranged for trombone solo

and piano.

For example, the tune of "Liberty Hall" march is ta^en and

arranged

for trombone solo and piano accompaniment. Hone of these

selections

are similar to Pryor's standard solos for the trombone.

Contents:

Burlington fetch

Country CluB"Waltz

Crescent Club March

The King Schottische

Liberty Hall March

Little Nell Song and Dance Schottische

Masurka Patriotic

Post Dispatch March

Serenade

Sweetheart Waltz

"The King Schottische" is "The March King" march with some

dotted

rhythms that do not appear in the original. No doubt it was

to be

played at a slower tempo. The origins of "Serenade" and

"Mazurka

Patriotic" are not known. It is possible that these pieces

appear

only here; it is more likely that these pieces find their

origins in

some of the possible titles discussed in the next section.

"Serenade" is in an ABA form: a lyrical melody with a lively

waltz

strain in the middle. A short introduction and coda surround

the

ABA section. T,Ma2urka Patriotic" features triplets and

dotted

rhythms in a 3/4 meter throughout. After a short

introduction, the

first half is in ternary (ABA) form, and the second half is

in binary

form, with all strains repeated. The second half is called

the

"trio," and adds a flat to the key. The piece contains no

patriotic

songs.

The Sousa-Prvor Band Book

Philadelphia: J. W. Pepper, copyright 18 May 1930. DLC

A265186

This march size band book brought together some of the

popular

compositions of these two famous bandsmen. No doubt this

collection

was an important part of a band's library back in those

days. The

contents are as follows:

An African Beauty March

Bonnie Annie Laurie March

Burlington March

Pryor

Sousa

Pryor

147

Crescent Club March

Esprit du Corps March

Globe and Eagle March

Guide Right March

Kansas Two-Step

Liberty Hall March

Little Nell Schottische

March King March

Mother Goose March

Post Dispatch March

Pet of the Petticoats March

Resuioption March

Right Forward March

Right Left March

Southern Blossoms March

Sweetheart March

The Triton March

Transit of Venus March

Trocadero March

Vanity Fair March

Wolverine March *

Possible/Spurious Compositions

All for You

This composition appeared on a Pryor Band concert presented

at

Willow Grove Park, 25 June 1915. Pryor played it as a solo.

American Fantasy

This composition appeared on a Sousa Band concert on 14

October

1898. The program is preserved in the Sousa Scrapbooks of

the

U.S. Marine Band.

At the Court of Jack the Giant Killer

This composition appeared on a Pryor Band concert presented

at

Willow Grove Park, 9 June 1915. Pryor played it as a solo.

Pryor

Sousa

Sousa

Sousa

Pryor

Pryor

Pryor

Sousa

*Sousa

Pryor

Sousa

Sousa

Sousa

Sousa

Pryor

Pryor

Sousa

Sousa

Pryor

Pryor

Sousa

148

Back Among the Hills I Love So Well

This composition was recorded by Pryor for the Berliner

Gramophone Company. He is given credit as the composer.

The Bandmaster March and Two-Step

Mixed in with advertisements for other compositions on the

back

of a Brokaw publication is an advertisement for this march

with

Pryor given as the composer. A copyright catalog card was

then

located with this title published by Chas. Brokaw of St.

Joseph,

DLC 28324, 24 April 1899, with the composer given as Milton

Willard. Since Willard is Pryor1s middle name, I suspected

that

this was a pseudonym for Pryor. Then I was informed that

according to Arthur Pryor Jr., Arthur Pryor Sr.^did indeed

use

this pseudonym to avoid a contractual dispute. SB I conclude

that "The Bandmaster" was written by Pryor; unfortunately

the

music has not been located in order to confirm this through

style

analysis. Charles Welty is credited as being the arranger,

and

the Sousa Band reggrded it under Herbert L. Clarke's

direction on

20 December 1904. The composer listed on the recording is

Willard.

Cherry Blossoms: A Japanese One-Step

This band composition credited to Pryor was recorded by

Pryor's

Band on the Victor label on 22 April 1904. The second strain

of this march-like composition is exactly the same as that

of

Pryor's "Blood Lilies: A Japanese Two-Step" which was

copyrighted in 1905. The title may have come from an offer

the

Japanese made about this time of cherry trees for our

nation's

capital. Perhaps "Cherry Blossoms" did not sell very well

[it

was reportedly published in 1904), so Pryor wrote a new

composition around the second strain. The title of the new

piece

refers to the Japanese lily which is white spotted with red;

it

may allude to the Russo-Japanese War of 1904-05. According

to

the recording, "Cherry Blossoms" is in Pryor's compositional

style.

18 Williams, j a c k e t notes f o r Trombone Soios--Arthirg

Pryor.

19 William Pruyn, personal l e t t e r , 21 March 1984,

^James R. Smart, The Sousa Band; A Discography (Washington:

Library of Congress, 1970), p. 32.

^ W i l l i am Pruyn, personal l e t t e r , 8 April 1984.

149

Dance of the Honeybells

This title is listed only in Berger's Band Encyclopedia.2 2

No

other information is available.

E s p i r it o d'Corps *

This is a composition Pryor performed as a solo in a concert

of

the Sousa Band on 17 June 1893. Sousa wrote a march with a

similar title, included in the Sousa-Pryor Band Book.

Forever Intermezzo

This is a tromtjgne solo recorded by Pryor in April 1901 and

December 1902. Listening to the recording I would say that

it

is like a song and not at all like the virtuoso solos that

he is

known for. According to old programs, Pryor did perform a

solo

"Forever" by Lorenz; couPtf^the record labels credit the

composer

incorrectly? —'

Hohenfreidberger March

This march was reportedly arranged by Pryor2 4 but it was

written

„by perhaps either D. Ertl or Friederich der Grosse. In the

New

Grove Dictionary this composition is listed as "doubtful" by

Frederick the Great, King of Prussia (1712-1786). 3 It is

not

included in his complete works.

^S(enneth W. Berger, Band Encyclopedia (Evansville. Indiana;

Band Associates, 1960), p. 159.

23 Williams, j a c k e t notes f o r Arthur Pryor--Trombone

Solos,

and Smart, p. 42.

24 William Pruyn, personal l e t t e r , 8 April 1984. Pruyn

a l s o

noted that a 1906 Victor recording log l i s t s F r i e d e

r i c h der Grosse as

composer of this march "and t w o - s t e p . "

^ the New Grove Dictionary of Music and Musicians, s . v .

"Frederick I I , " by Eugene Helm.

150

Lasses Trombone

While proof is lacking at present, in all probability this

is a

misspelling of the popular trombone smear composition

"Lassus

Trombone," written in 1915 by Henry Fillmore. Fillmore wrote

several compositions of this type as part of a "family" of

smear

pieces for trombone; there is nothing in Pryor's output for

solo

trombone resembling this at all.

Little Marcia Marie Polka

There are records that this trombone solo was recorded on

three

occasions by Pryor: twice in 1895, and on 1 September 1897,

all

listing Pryor as composer. It is very probable, therefore,

that Pryor did compose this piece. We know that he wrote

several

polkas, and it may be that this is iix earlier title for

"The Tip

Topper" polka, which was not published until 1937. No

recordings

have been located.

Matinee Girl March

This title comg^ from two Sousa Band recordings, in April

1898

and June 1899. According to those who have heard these

recordings, this march is the same as "Arcade Girl" march.

Mazurka Patriot i c

This is the trombone solo that appears in the Pepper

collection

discussed previously.

Megaphone Bells March

According to Bill Pruyn,2 8 this march was written by Simone

Mantia, Pryor's euphonium soloist and assistant conductor.

Pruyn

believes the title to be "Megaphone Belles," and that it

refers

to cheerleaders.

26

Williams, jacket notes for Arthur Pryor--Trombone Solos,

and Smart, pp. 9, 11, 21.

27 Smart, p. 21.

2S William Pruyn, personal l e t t e r , 3 March 1984.

151

My Lady Sleeps

This title appears in two recordings of the 1906 Victor

catalog,

both credited to Pryor. It also appears in a Pryor Band

program

of 25 June 1915, and it was.recorded by Pryor with the

Victor

Orchestra on 4 March 1904. Glenn P. Smith suggests that the

title may have come from a Longfellow poem, "Stars of the

^jjmmer

Night;" the last phrase of each verse is "my latfy sleeps."

Woodbury set Longfellow's poem to music, and perhaps Pryor*s

solo

is an arrangement of this song.

Offenbach-iana March and Selection

This is no doubt an arrangement of tunes by the French

operetta

composer Jacques Offenbach. During an American tour

Offenbach's

"attention was called . . . to an arrangement of his most

famous

melodies by Coa^d called 1Offenbachiana;' this he played at

every concert." This information came from a young violinist

in his orchestra named John Philip Sousa. Pryor may have

transcribed this arrangement for band.

Parisian Melodies

This composition appears credited to Pryor on a recent

recording

for which I have written biographical notes. This recording

was

taken from.an original Pryor trombone solo recording made on

28

May 1901. Two recordings of "Parisian Melodies" are listed

for

this day, and on both Pryor is listed as "arranger," perhaps

in

the same sense that he is the "arranger" of "Blue Bells of

Scotland." "Parisian Melodies" is in the form of the valse

caprice type and uses the opening phrase of "Marseillaise1'

in the

introduction and coda, the only places that are in 4/4 time.

It

is in the typical virtuoso trombone solo style seen in

Pryor'$

other solos. It probably is composed by Pryor, but to be

consistent with the criteria concerning other titled, it

must be

placed in this category. No music or copyright information

has

been located.

29 Williams, jacket notes for Arthur Pryor*-Trombone Solos.

30 Glenn P. Smith, personal l e t t e r , 9 March 1984.

31 John Philip Sousa, Marching Along (Boston: Hale, Cushman

& Flint, 1941), p. 55.

32 Williams, jacket notes for Arthur Pryor—Trombone Solos.

152

Queen T it a n i a March

This title appears in Berger's.gand Encyclopedia^ and in an

Asbury Park newspaper article. There is some evidence from

the

article that it may have been connected with Asbury Park's

annual

baby parade, but it is not the same composition as "The Baby

Parade" according to Pruyn. *

Remember

This song appears on a Pryor Band program of 15 J u l y

1930. Pryor

i s c r e d it e d as the composer.

A Rustic Patrol

This title also appears on the Pryor Band program of 15 July

1930. It may be "The Baby Parade: A Two-Step Patrol."

Salute to the Stars and Stripes March

This is anoth^g title that only appears in Berger's Band

Encyclopedia, Because this is a band encyclopedia it is

unlikely that the author would confuse this march with

Sousa's

masterpiece- On the other hand, considering the substantial

dimensions of Pryor's other patriotic marches such as "The

Triumph of Old Glory," it is unlikely that this composition

would remain unpublished and unknown.

Serenade

This is another unknown title from Pepper's collection of

Pryor

trombone solos. It was discussed previously.

^Berger, p. 159.

34 Asbury Park Sunday Press, 18 February 1973.

^William Pruyn, personal letter, 21 March 1984. (In this and

other letters Pruyn gives as his sources several former

Pryor Band

members that he knew in years past.)

^Berger, p. 159.

153

The Signal Polka

la several sources, both old and new, it i s clear that this

solo

i s by E l l i s Brooke. it was published by Carl Fischer.

Sunset a t Hialeah *

This composition appears on a Pryor Band program of 19 July

1930.

This night be "After Sunset" retitled for the local audience

of

Miami of which Hialeah is a northern suburb.

Trombone Sneeze

This is no doubt Pryor's most well-known spurious

composition.

It appears to his credit on a recent recording. According to

the

music itself which was sent to me, the composer of this

"serio

comique" piece (as it is called) is Chris Sorensen, Jr., a

Boston

trombonist and member of Pryor*s Band. W. Paris Chambers is

the

arranger. The recent recordi^ was taken from a 1902 Sousa

Band

recording conducted by Pryor. Apparently no other name

appears

on the original record label, so the composer was assumed to

be

Pryor. In doing research at the Library of Congress I came

across this title by Sorensen (published by Carl Fischer,

copyrighted 23 June 1908, DLC 183989) and later learned that

Sorensen was a member of Pryor's Band. It shows that

composers

can be erroneously credited on record labels.

Trombonium

This trombone smear composition was written by "Buell F.

Withrow," but he is unknown apart from this composition.

Given

credit for arranging this piece for band is "Ribe Danmark,"

a

known pseudonym for J. Bodewalt Lampe who was a well-known

"house

arranger" for the Remick publishing firm. ,TThe trio of

'Tromboniura' bears a suspiciously marked resemblance to the

verse

of Lampe's own 'Creole Belles.' Another Lampe composition,

'Georgia Sunset Cake-Walk,1 recorded in 1908 ^ Arthur

Pryor's

band, also sounds much like 'Creole Belles.'" All this, plus

the fact that there is no convincing evidence that Pryor

wrote

Smart, p. 76.

op

Schafer and Riedel, p. 115

154

any trombone smear solos, leads me to conclude that Lampe

wrote

it and not Pryor. The Pryor Band may have performed it , and

this

started the rumor.

The Jingaboo

On the Evening of A Wedding Day

Uncle Tom's Cabin

In spite of frequent, recent accounts of these three comic

operas

from Pryor's pen, no music, copyright information, or

contemporary accounts in any source has been located to

suggest

their existence. However, PryorTs granddaughter recently

wrote

with this information: "Yes, he wrote the operettas but 1

don't

know where or how. I think it was in connection with the

Montgomery Theater in St. Joseph, Missouri." One would

assume

therefore that these were early works, perhaps'-datiag from

his

assocation with the Stanley Opera Company, and that the

music has

been lost.

The Village Belle

Described as a song and dance schottische, this title

appears on

a Brokaw advertisement as being composed by Milton Willard.

From

the information given previously under "The Bandmaster

March",

one may conclude that Pryor wrote this composition also.

39 MaryRuth Pryor Scala, personal l e t t e r , 21 April

1984.

BIBLIOGRAPHY

Books

Apel, Willi- Harvard Dictionary of Music. 2nd ed. Cambridge,

Mass.: Belknap Press of Harvard University Press, 1969.

v

Apel, Paul H. Music of the Americas North and South. New

York:

Vantage Press , 1958. *

*

Baker's Biographical Dictionary of Musicians. Edited by

Nicolas

Slonimsky. 6th ed. New York: G. -Schirmer, 1978.

Berger, Kenneth W. Band Encyclopedia, Evansville, Indiana:

Band

Associates, 1960.

Bierlev* Paul E. John Philip Sousa: American Phenomenon.

Englewood

Cliffs, N.J.r Prentice-Hall, 1973. *

. Hallelujah Trombone 1 The Story of Henry Fillmore.

Columbus: Integrity Press, 1982.

. The Music of Henry Fillmore and Will Huff. Columbus:

Integrity Press, 1982.

. The Works of John Philip Sousa. Columbus: Integrity Press,

1984. (Revision and reprinting of John Philip Sousa: A

Descriptive Catalog of His Works. Urbana: University of

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Press, 19730

Blesh, Rudi. They All Played Ragtime. New York: Oak, 1966.

Bridges, Glenn D. Pioneers in Brass. 3rd ed. Detroit:

Sherwood

Publications, 1972.

Bryant, Carolyn. And the Band Played On. Washington D.C.:

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Catalog of Victor Records. Camden, N.J.: Victor Talking

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Carse, Adam. Musical Wind Instruments. London: Macmillan,

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New York: Da Capo Press, 1965.

Clarke, Herbert L. How i Became a Cornetist. Kenosha,

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Leblanc Corp., n.d.

Claghorn, Charles E. Biographical Dictionary of American

Musicians.

West Nyack, N.Y.: Parker Publishing Co., 1973.

Dictionary of American Biography, suppl. 2 (1958), s.v.

"Pryor,

Arthur," by Paul E. Bierley.

155

156

Fennell, Frederick. Time and the Winds. Kenosha, Wisconsin;

G.

Leblanc Corp., 1954.

Foster, Robert E. Multiple-Option Marching Band Techniques,

2nd ed.

Port Washington, N.Y.: Alfred Publishing Co., 1978. (Chapter

I:

"A Short History of the Marching Band.")

Goldman, Richard Fraako, The Concert Band. Nev York:

Rinehart. 1945.

*

. The Wind Band: Its Literature and Technique. Boston: Allyn

and Bacon, 1961.

Kagarice, Vern, Leon Brown, Karl Hinterbichler, Milton

Stevens,

Robert Tennyson, and Irvin Wagner. Solos for the Student

Trombonist. Nashville: The Brass Press, 1979.

Lake, ttayhew. Great Guys. Grosse Pointe Woods, Michigan:

Bovaco

Press, 1983.

St. Joseph Biographical Dictionary. St. Joseph, Missouri,

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Schafer, William J., and Johannes Riedel. The Art of

Ragtime. Baton

Rouge: Louisiana State University Press, 1973; reprint, New

York:

Da Capo Press, 1977.

Schwartz, H. W. Bands of America. Garden City, N.Y.:

Doubleday and

Co., 1957.

Smart, James R. The Sousa Band: A Discography, Washington

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Library of Congress, 1970.

Smith, Norman, and Albert Stoutamire. Band Music Notes. 2nd

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Thompson, Ray. Willow Grove Park. Abington, Pennsylvania:

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Exposition Press, 1944.

Wright, A. G., and Stanley Newcomb. Bands of the World.

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Ames, J. Scott. "Arthur Pryor, a Little Biography." The

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157

"Arthur Pryor." Metrogome, June 1905, pp. 10-11.

"Arthur Pryor." Metrotome, October 1907, pp. 9-10.

"Arthur Pryor and His Band." Metronome, February 1905, p.

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"Arthur Pryor and His Band at Willow Grove Park." Metronome,

Julv

1906, p. 10. ~

"Arthur Pryor ' s Band," The Musical E n t e r p r i s e ,

November 1904, p. 1.

"Band Versus Band Room." J a c o b ' s Band Monthly, March

1916, pp. 59-

61.

"The Compositions of Arthur Pryor." Metronome, July 1910,

pp. 14-16.

"Growth of Arthur Pryor and His Band." Metronome, Mav 1909,

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Johnston, Herbert N. "Musical Memories of Willow Grove." Old

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Road Historical Society Bulletin 29 (1968): 16-38.

"Largest Theatre in the World." Jacob's Band Monthly,

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p. 73.

Larkin, Curtis H. "Memories of Arthur Pryor and His Band."

The

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14-

15, 32.

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"Pryor and His Band." The Focus, 28 November 1903, p. 1.

Pryor, Arthur. "How To Play a March." Musical Courier, 26

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1918, p. 64.

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Walker, B„, H. "I Teach Solo B r a s s . " The School

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15$

Williams, Frederick P. "Willow Grove Park Concerts."

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Wise, Arthur, and Mary-Margaret Eitzen. "Band March

Composers-Arthur

Pryor." The Instrumentalist, January 1971, p. 28.

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(January

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20-

25. (These articles are the publication of Wolfinbarger's

entire

Master of Music thesis.)

Recordings (Pryor works in parentheses)

American Sampler. Stuart Dempster, trombone, Victor

Steinhardt,

piano. Olympic 01y-104. ("The Supervisor," "Jhe Tip

Topper.")

Cornet Solos. Herbert L. Clarke, cornet, with the Sousa Band

and

the Victor Orchestra. Original recordings, 1904-1921.

Crystal Records S450t 1979.

Cousins. Gerald Schwarz, cornet, Ronald Barron, trombone,

Kenneth Cooper, piano. Nonesuch H-71341, 1977. ("Blue Bells

of Scotland," "Exposition Echoes Polka," Thoughts of Love.")

Dermis Smith, Trombone. Pandora PAN 2001. ("Blue Bells of

Scotland.")

Heritage of the March. Band of the Scots Guard, D. R. Beat,

conductor. Robert Hoe Records, vol. WV. ("Burlington

March," "Crescent Club March," "Heart of America March," "A

Kansas Two-Step," "Liberty Hall March," "That Flying Rag,"

"Triumph of Old Glory," "The Victor March.")

Heritage of the March. Memphis State University Band, Sidney

McKay, conductor. Robert Hoe Records, vol. YYY.

("Canhanibalmo Rag," "Captain Cupid," "The Gridiron March,"

"Mr. Black Man," "On Jersey Shore," "Razzazza Mazzazza,"

"The

Spirit of the Purple," "Trocadero March," "Vanity Fair

March.")

Heritage of the March. U.S. Coast Guard Band, Lewis Buckley,

conductor. Robert Hoe Records, vol. 39. ("Afifi March,"

"The Arcade Girl March," "Arms of America March," "Arthur

Pryor's American Legion March," "The March King Ma*rch,"

"Post

Dispatch March," "Soldiers of Fortune March," "The White

Rats

March," "Ye Boston Tea Party March.")

John Swallow, Trombone. Harriet Wingreen, piano. Golden

Crest RE 7015.

("Blue Bells of Scotland.")

159

Leonard Falcone! Baritone. Joseph Evans, piano- Golden Crest

RE

7016. ("Blue Bells of Scotland.")

The Pride of America-Golden Age of the American March. The

Goldman Band, Richard F. Goldman and Ainslee Cox,

conductors.

New World Records NW-266, 1976. ("On Jersey Shore March.")

*

Robert Isele, Trombone Solos. With U.S. Marine Band. Robert

Hoe

Records, PDB 117. ("Annie Laurie," "Blue Bells of Scotland,"

"Fantastic Polka," "Love's Enchantment," "Thoughts of

Love.")

Soloists of the Detroit Concert Band. William E. Lane,

trombone,

Detroit Concert Band, Leonard B. Smith,-conductor. ("Blue

Bells of Scotland.") 1

The Sousa and Pryor Bands. Original recordings, 1901-1926.

James R. Smart, commentary. New World Records <HW-282, 1976.

("The Patriot," Arthur Pryor, trombone, with the Sousa

Band.)

Too Much Mustard. Pryor's Band, Arthifr Pryor, conductor,

and *

others. London: Saydise Specialized Recordings Limited, SDL

221. ("Canhanibalmo Rag.")

c

A Tribute to Merle Evans. The New England Conservatory

Circus Band,

Merle Evans, conductor. Golden Crest Records, 1970. ("A Coon

Band Contest")

Trombone Solos--Arthur Pryor. With the Sousa Band, Pryor

Band

Pryor Orchestra, or piano. Original Recordings, 1897-1911.

Crystal Records SA51, 1983. ("Blue Bells of Scotland,"

"Little Nell," "Love Thoughts," "Love's Enchantment,"

"Parisian Melodies," "The Patriot," "Polka Fantastic.1')

Miscellaneous

St. Joseph Public Library, St. Joseph, Missouri: newspaper a

r t i c l e s

concerning Arthur Pryor from S t . Joseph F r e e - P r e s

s , 1939-1975.

Long Branch Public Library, Long Branch, New Jersey :

newspaper

a r t i c l e s concerning Arthur Pryor from Asbury Park

Press., 1942-

1973.

Personal correspondence, 1981-84: ^

Bahr, Edward, Delta State University, Cleveland, MS,

Bierley, Paul E., Columbus, OH.

Bornemann, Charles, Orlando, FL.

Bridges, Glenn D., Fraser, Ml.

Brandon, Steve, Savannah, GA.

Bryan, P. R., Duke University, Durham, NC.

160

Burk, James, University of Missouri, Columbia, MO.

Byrne, MSgt. Frank, U.S. Marine Band, Washington DC.

Cox, Ainslee, Goldman Memorial Band, New York, NY.

Dillon, Steven, Edison, NJ.

Evans, Merle, Ringling Bros. Barnam and Baily Circus,

Sarasota, FL.

Falcone, Leonard, Michigan State University, E. Lansing, MI.

Ceiger, Loren D., Lancaster, NY. *

Graves, Alison, St. Joseph Public Library, St. Joseph, MO.

Hawkins, Billy, Palomar College, San Marcos, CA.

House, Keith, Central Methodist College, Fayette, MO.

Isele, Robert, Hillcrest Heights, MD.

Johnston, Herbert, Abington, PA.

Kessler, MSgt. James, U.S. Army Band, Fort Mayer, VA.

Levine, MUC Gerald, U.S. Coast Guard Band, New London, CT.

Lillya, Clifford P., University of Michigan, Ann Arbor, MI.

Moses, Kenneth, University of Miami,- Coral Gables, FL.

Newsom, Jon, Library of Congress, Washington, OCT

Omeis, William, Youngstown, OH.

Perkins, Jim, Chatfield Brass Band, Chatfield, MN.

P f a f f , Fred, Maitland, FL.

Pruyn, William, Ringling Bros. Barnum and Bailey Circus,

Sarasota, FL.

Rehrig, William, Baltimore, MD.

Sams, Lynn L., Napa, CA.

Scala, MaryRuth Pryor, San Jose, CA.

Scoles, Muriel, Long Branch Public Library, Long Branch, NJ.

Smart, James R., Library of Congress, Washington, DC..

Smith, Glenn P., University of Michigan, Ann Arbor, MI.

Smith, Leonard B., Detroit Concert Band, Detroit, MI.

tubiash, Pearl, American Bandmasters Association, College

Park,

MD.

Wiehe, Larry, Clemmons, NC.

Willaman, John, Byron, MN.

Williams, Frederick P., Philadelphia, PA.

Wolfinbarger, Steve, McNeese State University, Lake Charles,

LA.

Personal interviews, 1981:

Fennell, Frederick, Miami, FL.

Shiner, Matty, Duquesne University, Pittsburg, PA.

Spiros, Lucas, U.S. Marine Band, Washington DC.

Wiley, Russell, University of Kansas, Lawrence, KS.

"N,

Record list from personal collection of Glenn D. Bridges.

161

Cooduclor

Solo lib Cornet*

1051

THE MARCH KING. THE LATEST TWO-STEP. ARTHUR PRYOR.

Swiss's BwJ.

TRIO

IW&ilO. >

t i Sols.

S£S=U>Hr£tfS£Z*

Km» T. KjUMvn £ Oo^ Uc-'

Solo p ' r ^ o t " ' A COON BAND CONTEST.

or Soprano Saxophone CAKEWALK. ARTHni TRYOR.

U±z*r,

TWO trsssr

=mJM

rr«r

Erall A*cher«Mftfi Bway,N V Cvpyrfghf fhfW by irlkut Pry

162

PRICE 7bf

pall Band*** Arms of America.

MARCH.

Solo Bb Cornet.

jjm'rtean

Star J'l.

1838.

Arthur Pry or.

a " fty

imffinBUSg

liur.s"27£r&srdi:f£c

SI a ass

U.S.cf*

Printed in the tl.S. A. QpyrfrM MVWU 6v Cart F % ^ g £ „ ^ b

^ £ , } r , t l , f l M y i m "

" T h © W l W l e r a n ^ S0/nr'AAP<'**ca

Solo orl8tB*»Cornet. ^ n Pan^yJ^p(ano ce^ot whutu. . A.

PRYOR.

M„«rtO ——"—T I ^ —

BendJt. M g o*-

^^sSstiSsTt

WbUtfeT •i ,«l CUT.

BSSCODA

hietie. PMMIL f / M

e^s> 4

Printed 1& the U.S.A. '••* . . .

. .. v » jntero atonal CopynjM Secured.

Co?rrf/rAf MCUVhy Ctrl FM<A<' New York

163

Solo Bt Cornet.

Mr. Black Man.

C«k* Walk.

JL

ARTHUR* PRYOR.

£

•15£2} .

n a « B r r ' * i i , a r i < m

Ba<« 8fcU.

• • I ' u > J I B B U I « I M

Copyrifktrf, MCMIV, by Sftepim, Rtmitk 4- Co. Detroil 4 Atie

Y" ri

Solo or 1st Bl Cornet

Q2281

40 and 8

March ARTHUR PRYOR

ft]4 3v»Ivft

TRIO 2

lir Sola

npen valves

DS<t! e

9 T 11

>8401-26(7*10) Copyright 1QW hy C * r l Pivhcr. fn< , N c u

Y»*k

inffrnrtficma/ Cof^isNr &cu*f>4 tn»tcii»r t *

164

soio or 1ST "in Lover'sLane"

C o r n e t . T o n e Poem.

Carl Flfchtr Edit (en

6 All? mod1.0

1037.

Full Band 76f ARTHtJH PRtfQR.

Bass. " " i Clar.

WW J IJijlJfefS

EBmmSff

Born.

Solo.

C2. Bar.

SL if-tfcf if_r

liSPP§|

CODA.

Kiss. Kiss. Kiss. Kiss. Kiss. Kiss.

* • - i i p;fif- r-

TP rti. • * r

11989*8^ Copyright MCUVm,by Carl Fi*vher, Krw York

International Copyright Secured

165

, 'After Sunset" Full San J h.00

Solo or 1S.TB1> Cornet. Intermezzo.

Smttl/ Qrcfi-AiyG4ee.*t06 OrfiHcl oVfA.i Pa.atrti/ifl ARTHUR

FRY OH.

* Mo^l° —p rthfit FHUQKUA '»/>?» . MCM.60 JR e**•

994. m Alto A CI J

face el.

need.

Tempo I.

CUr. Bar. Bassoon.

h^h-BIri*1••• i " - l r-rl-rrf? Lr- - i p r i v 1* - &rJl v>

1 1 j i i i j j j *

Ob.Fl. m OTTVM? rit ofempn . ...

*rtd lib

O g f W i r i

4 1

" ' " ' ' i c . f f . W i 'T'll c»Py" fM ^ c r f d . •

Printed ic the U.S.A. feht MCMt'it by Curl FistKt'.tfm Y&rk.

166

POLKA-EXPOSITION ECHOES.

Solo for Trombone or Baritone.

*

Trombone.

\ r t h u r Pry or.

Intro. „ O fr*fif abcffif r-rff rffffrff t

/

Poltkk *.f t. ^ .

rrts.

r\ .

' US ^4 * ***

,r>

P fr* t .

Copyt>fk< MDCCCXCIV by J. W.P*ppt>

167

ff irmpn

it i 1 i s

/

s^rtrfr

Cad. 3^

Pnlfcn gxpfli.BrboM .'Tfomb.l

16S

CAPITAL

I ) H « M >

PHILADELPHIA

ItrVFUft

M l N M i

^ ' k *

*tJf + r + + + I ^ H K P r*

.<**•««»

I V I I A M ! • * • • > t<uu r * k « x A » : * p t o r i ' H

I M v<ji<

T it l e s | « ) M U C p O S l l 5 I«irrn< U it * * * *

0 * l r T n * i C w c « n r l f t t V H09M.

1 M ^ I H U V X • • < C * r * * I m x l « a«v>t

J ^ O a n S Ar»rwr1 U».Uc> & 3 I C S *«*TV».J<h

'o i * i u I M A I I I I I W Pircmci.Gutiiilm.

Tr*U«». A M ' i M * . H « r i > f i , P«JI»M»( Stilly ind A

f tm

fei C«IIIOI«A el fltnii, IK«KIW D<rW«n4b «UQuarin

ittd Alortgtgtt tar Sole.

»HJiA0Sb»M* eta<»*Kr »o» evA»4WT«tr«s w e a p o n

B« ?I«M tUUJi'l

\ \

THE LSND TITLE & TRUST Co. •• Sunday, June 6th, 1909 \

FFICIAL fO. J

RQ6RAMME

- Pryor

CONCERTS AFTERNOON<fc t V t H J N Q W

Pryor

^ it M V I ^»*C«vp

AND HIS Band

(WOMt *4WTt»

, 4 M C u f t lW

—J

169 »•

AMUSEMENT FEATURES

Willow Grove Park

DtfleeliAd

I*nneb Row Bead Theater

FhotCfr«ph Studio

Trort frf the World CoaJ Mine

Two C*rrwi«ti The Whip

Venice Cmiy Village

4 Scenic Railway Mlrror-Muc

Flytni Mtchfcrm Phonograph Parlor

Mountain Seen*: Railway

Skee Bill Radn* RoUer*Coa*ter

Miniature Electric Rillsvty

Cindy H>d Soft Drink Booths

C M bo

The Ufeslde Cafe

tarctM to fall * l r« »f tM L»i»

The Japanese Cafe

) N I \ M O M I U t V * l i W W

The Roatic Lunch

| K it M M M A m i H i . i

MUSICAL ATTRACTIONS FOR 1918

UUJt n u t ( A » W OICKBTU MVSMBIWM

tiTm HTH m n t in . •

ncroa nisnr w® o worm*

conu m re am . . . .

wrnai un w<>br—iTfi < • Mr»i»A«ira

«9UU A» IB

Monday, June 3,1918

FFIC1AL PO&PAHHE !9N.ctiitis5C

• <- - »

j .

^ • Pryor •

AFTUWQON AHt> £VEHWC

ARTHUR PRYOR'S

AMERICAN BAND

ARTHUR MtTOR

170

TROMBONE SOLO

WITH P I A N O ACCOMPANIMENT

3-sr —/

(TROMBONE SOLOIST OP SOUS AS QANO.J

NET P R I C E S . „d

TROMBONE SOLO WITH PIANO ACCOMPANIMENT2 6

SOLO PART 0.6

PIANO ACCOMPANIMENT 2.0

CHAPPELL&CP ITP

SO. NEW BOND STREET, LONDON. W

. c . «C5A-e*

MA* ae • t * f o a i > e a * m * 9 u t n • ©• wiecxsc

171

,-•*'/ -.

: V / / ^ \ ; . V / / A \ \ V / / ^ . \ V V / / A \ \ V / /

J ^ \ > V / / ^ . V ' ' , y / / A > \ V / / A \ \V

r itfn,u r j r r y o r s

B E S T C O N C E R T S O L O S

FOP^

l i b C O R N E r T

T R O M Q O N E

OP*

I b A I M T O N E

W it H

P I A N O

A C C O M P A N I M E N T

* r w T it T T Y . CHTCP

— P O L K A C A ? M d < -

0 L u e E>ei.L«s ° r 5 ^ O T L A N D

A T t S A H Q V A M A T I O N A

LOV<^'^ C M C H A N T M C - r it

V A L & C P C C O N < = . ^ I \ T

THC P A T R I O T

POL>*. A

T LOVC

V A L 4 C 8 C Q . y N Q f t . T v r

T H O U G H T S

ag-»&v^

ioo

LOO

1 . 0 0

1 0 0

1.00

C A R L F I S C H E R

S&fc&fcft NJE.W Y O R K SB0*>9» ftOVLSTOH »T 399-H9 M WABASH

AV6

B O S T O N • C H I C A G O

- - L- .» •

172

*

173

174

h 1 $ I

wm

tfciKTnl^Xannari' • * • '

'Dedicated to" c / "

J£S£P

Published by

P H I L A O C L ® H I A ,

AXQiocuST M R r r T s

CHICAGO.

147-149 WABASH AVENUG

175

THE LOVE KISS

WALTZ

PUBUSHED JU.SO TOR*

0 R . C H E 5 X R A

TOR PIANO 5 Q L O MU.ITK.TOT DAHD

ARTHUR PRYORP

u a t W K S D B v

C A R L H S C H E R - v

4«a AVE Cc e d ! f c £ ' t ^ l ' A , R - E , ^ E , * ' ^ O R

^ w '

176

r DON'T FAIL TO

" get a copy of

our Great CAKE WALK Hit

A COON BAND CONTEST.

by

ARTHUR PRYOR,

ASS'T CONDUCTOR OF

Sousa's Band.

Plnyed throughout Europe with phcnominal succe99 by JOHN

PHILIP SOUS A and Ms band.

* T

Head ivliut

Bandmaster

i *

1

Uie grc»nt

w ay a:

"My greatoftl encore'.' x

177

utmrn.—i imiiEiiiiiffl nm. % i».

ARTHUR W. PRYOR,

T M I i l i M f n » M l i MMll,

SOUSA'S PEERLESS CONCERT BAKO.

Arthur W. Hryur la lb« lr*J1i>c tramVut*

wlfllrt of lb« vntll. As a «PUJ«I be U «(>•

frjgstftl. |l« h » t&r rv» p i i ) l«

(be h1*1ml f n d * fnwn ih# ablnrf

«rli(oi and all i1* m»mt»r« • / tlit |x^rMl»n.

in* ultnt ami wwhlrrtVI FiMtijnn liave

a w l hl« pln/inr l»> >• ^ran"i#(*l rK^BJV

o*A*t TJi» •< * IUn»l «*Hft

*li»ni li» l« iu>W iiUvliijr, all micnl' hint lo

b>' »|h.»j»pru«Hk»b(y ft" «>*»*«"< "•• tlx

t r - n u j i r In Amrrl'm nr Kilfu*» Tlita l» •

cvan>l irtlMlv to 'IU«nVnifJ urti'i- rt f*ni«rk«

t<*s a*. •'•ins to Km Hifttfilf

f«l«4ln? In tlv- HuMint pfnfr^Uit, U

UK orll'l M » t (w wN^iInt niiiniKiiililM

iinl (RMII hu (-II™ n»u«lri»r» Mr

frynr< rifTMil'IIM« i >ri 11 uiil n ml h l> ttnilifiiF

of a in)

art lit* »J'- n» Bbitkcd * i th allin'Vio<)>

t-r onnel >•«) Int'lll^nl e»[i«*jnn ati<l

miitic foim^ Jte ]>).«>• «<t)u of Kir nw-4

lllljnilt *fc»Hn «4a «» tin- iR'mUiitp, ai»l

a»i«'«u*h t i c ir*'>+ nf Hi' •Urtlniliy <4

hi. MUI lUaliH r l ' M H ' A ka l*Krt

uculmti"! Mxl a|»|<m4ifnl l»» it '

pA^r^U"! than Iry llif s*nrni |«i»'tlf, li« I*

nlrem»l» pu|*jbr »ith hU all

nrvrilK Unit*.I «WI«*. lit* i«u*»»CU-i>l aoti»

•(ni)lnc )<JAI »|i(iUu*.

sir »• >r> in w i . afiO

It |*tnl;>f"ir \ run lVi»n«Uj >1<I

••riallrhe I' *A airmrtlr* r-nltvrru»-ln(«l>

IlKvnl. ••( ph^»lnf u*r»ei-«lllj a * ! • «*«1

rnnwmivnilM, (ml tia» ni«a* ««rm u d

ffo<v><-*»ri'[»ln nn«|.nrf»w»of

* * * « ' • fetid nuk« nn mrnH*! iM)» riwrlnr «l* U l

„r out m l r n t U t. Pry« erU • » b ( » m «

than <h« avrru* r r » H « »

.a ft*J IK« "t M*l> H», aiul *">n tnak*

rS!TrM i f ' llt*» M «1«f »M puw M If UfT

S j S l S - r - n 3 * a r t lh» III.to d.toVJn'*™#. " 0 «

H.<D« Till M«hio* ' *Uki,

k a Cfcmtl* «ow* »Uh61m, b« plaj»lnflAjr<*i*Tf%

Tti» ft»Uo»1o« .•m of Mr. Pry*?* vlll ten* U «bo* hh n m l o

* aNHiy U tt '»Un

ftoni hi* r™»CaDK "Air Vartf."

Aimolt w. P8TM.

W* adH* «hfl bar* the r^pwtun I I j lo go and h^ar hlia

llaiiil

anJ *lote». plains thU <MJ|b(fOl lr»« »1«WB rcmtti *1 a » m

niMij-r

M iA-1 ponlf tU r«>lal F>, »HkU li a bair i » - a i*w*i• Hi

wlikb la M*Xo th» InrtrumfM. (Kit ]« i»ttli lt» lip alen* Ha

Mr Pmr MN. ndvJt*1 •. a J. W, t V r c " Pwnlw—AltlB'a W*

Timber* BtRfi an t A K - ulo*!1y

Ufi « eltwUhaeilieWmwf bait •llb«iol aat itimwilty, Anrt h*

U -ell lh-1 »f itmulU'

tmnbm«"a voederand ' i W ih ilralrf' io all «*h#T«rak»^~ On

u lw |»w1an«*4nrtlilnK o w r «ir»<»i«»-J w*

MarleC aail U»%aed baal»>rt aT»* j#«WiHr"®«d». Is (MUI1®O,

ftwtitb*bulm M» i««e>4

M3c ^

i l l i nait* ~4 iba / W Prpprt Tiw'«i4»a

fsurUidufi^ballc«Un*' r. Pmu blih n» V. (o M*1 &

m

178

*

NOVELTY BULLETIN o r

BAND AND ORCHESTRA MUSIC

» U 1 U « H B D A N D F O R • A L E

CARL FISCHER « a - 6 i e o o p c n « q u M i

0>I0 P O U t t t H AVENUI

vcir. HI NOVEMBER, I * 0 3 .

NEW YORK

KO. IV.

^o.^urwa^c.Kenthi1 , ^ W his T L E R A N D his D O G

B>llc about Artlmr Pry or'* — •

There's plenty of rc»<AQ (or aeir joy. If ever

Inclined In lieveme A popular crare, ttien the "The

WHISTLER 1,c.ii!er3uho h

10 themselves

11 hold* them

cheering,

A W|]MIIȣ

Novell y in two-

«cp form msd

positively the

mn-t cxtraonltattiy number we have ever heard to

cntcli tliv pnWIe ecvr. Your whole tudtenee trill

tvliiwtl" it with yon. The nielody |» » catchy yoa

can't low it. *

TRY IT AND MAKE THE

HIT OF YOUR LIFE : : :

conception in ti novelty two-Ale p ever published,

es il. Everybody wanta il. It*4 the lill of l!W.r>.

t 10 Plrti, 6 0 1 4 Parta, OOc.t *•». 11.00; PUM

l PUao Aele, ReulJ, Me,

wo* a ?iovelt> composition

Whistler and I fin Dog" i« It.

.< neverheard iu-nnnol picture

awitiaku «itli an audience

nni start to 6ttl»li find leaves it

aod demanding it repeat*

til •Riio tntl uphill Recently t

l««l«f who U»AJ jt fot tb« first

Itcnr mnarbrO to see of Lbe

boyJ ' " Ifid yon evtr M I Iroosb

hook ©0 w neydilag tb« wy

the/ did 10 'THE

• m | W his T L E R ? "

U I C Not jpod Barf tit

n i « P«>»P«. bat It

tells lieUie."

NOW.

OTHER SUCCESSES BY ARTHUR PRYOR

Irish King March

Tie Vwcb Willi the Jriafc Soap.

'Blood Liliies Intermezzo

A qsila! BSH qurer, b«t *t<7 catchy JafitBfte

JntemetKs

La Spaniola Waltz

A beautiful, f*M<onu» Wclu.

'Bunker Hill flarch

Aims big fait.

Arkansas Huskin' Bee

CbUtrtwfrtlt, tfluAl, tetthy ^p«w

'On Jersey Shore March

Tfe« big ktdTtfc bit «t A»bQxj Pt*k,

Love Thoughts Waltz

A s4saifie«sv mtluJlOM H'alti

'The Gridiron flarch

Plot mpfj U.trcli. Great Ifuj.

' Ye Boston Tea Party

AM Donbl* Bomber for Orth.. urd Baod,

ITJ SrCu to««tbrr ««tb -IWrr? A•<*u f d t l *

'Southern Hospitality

Fta«. U good * M*rtb u lite beat.

PVICG5 OP ABOVBT" (0 P«n* Mc.1 14 Part*. OOc.: Fun, SI.OOi

Pbino J3c.

•AIM F«Wih*j fee *md. Prta* »0c.

isr B«B4 wiy. pric*, (ftc. fn Preparsthn r RQ7QZZQ IWtlVCh

179

4

Pryor ' S

P O P U L A R P I E C E S

RAZZAZZA • •

• « MAZZAZZA A Clmf TrombflR* SOMI«<

M l l K W it " * * 1 f a m U t t » U » a t 11 • l u l l * 7

X

W r w > • " n l M M n l j w t w M W M H I H i X • W W I I

B A B Y

P A R A D E A | * it r a l

TVtaml HW>n>V l U a a H W ' ^ f T v m

« t w « . [ i it i x n w i i K M ^ > i » « i n f « . • • • )

IRISH KING MARCH

I M n a w O I I W

M it ( M f i r f lw M w f U I W « » t » »«1 «<l H»

ON JERSEY SHORE MARCH

N r t M t , 1 1 ^ 1

m n B i * U t l w t* M * « l

> ! • • • * 4 v% > i » y < O M it e * v t o > • • i> v w i

LA SPANIOLA WALTZ •

& '—"•-* n « M ) ~ r - - n l i | « •/ a w n MM

BUNKER HILL MARCH

« * • «J M p i i f l M r 7 « m <

ARKANSAS HUSKIN' BEE

m WHISTLER

AND HIS DOG

A l > l * r * • » • ! « *

i n i B a M K U V a t » - 7 n i l n H M * t M <>> N • • l a

t a V ' f t i c a M ' I I | H

• • o a f l W M I > W H ' ; M X W I M f « <M ^ W V

BLOOD LiLLIES Jap. Intemi.

t ftpmMirtt iiM>ti»i<>mnii"

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