100:(September 7, 1907 â March 17, 1976) was an American violinist, editor, arranger, and composer of educational music studies for studio, homogenous, and heterogeneous class instrumental (strings and band) instruction. In all, Whistler and colleagues published around 83 known educational music collections and methods for instrumental ensembles. Among his best known works are his violin and viola etude books, "Introducing the Positions," "Preparing for Kreutzer," "From Violin to Viola," and "Developing Double Stops" all of which were published by the
268:, a position that provided him ample opportunity to hone his newly acquired compositional and pedagogical skills. According to Arthur Wahlberg, Whistler "built the music department into one of the strongest in .â SUHS faculty, staff, and students likewise dedicated their 1934 yearbook to him: âThe Magnet Staff Broadcasting Company dedicates to Mr. Whistler this twenty-seventh program of Selma Union High School network. Under his baton for the past four years the musical department of SUHS has won not only local but state-wide recognition.â
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melodies to reinforce those skills. The transitional exercises, most likely inspired by
Whistler's interactions with violist, Ămile FĂ©rir, address aspects of tone production, note-reading, finger placement, intonation, C-string resonance, and finger strength specific to viola. The progressive course of study is typical of Whistler's work, introducing first-position scales, etudes, duets, and melodies in a new major or minor key up to 3 sharps and flats. Etude are selected from the methods of
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given differences in each volume's sequence and/or structure. The viola volumes differ from the violin in the sequencing of positions, but are near identical in structure and content up through fifth position with the vast majority of the exercises have been transposed down a fifth. Half position in the viola book replaces the violin's sixth and seventh position, and note-reading exercises have been added to teach violists how to read
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ideal for teaching band and string instruments over the past century. Strings typically use the "Sharp" approach, which begin in D major, followed by G, C, F, B-flat, A, and E-flat major, respectively. Bands typically use the "Flat" Approach, which begins in B-flat major. Beginning-level students using
Whistler's texts will need to be well versed in the key of C major before they start.
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Hohmann-Wohlfahrt
Beginning Method for Violin; E. Rollin Silfies to Harvey S. Whistler, dated March 12, 1954, works being discussed are probably the First Etude Album and First Duet Album, which were both published in 1954. All letters are in possession of the "Harvey S. Whistler Papers" Special Collection, Ohio State University, Thompson Library.
116:, Gilbert Waller, and others, Harvey S. Whistler sought to enhance instrumental music education around the United States by composing, arranging, and editing music educational resources and repertoire for aspiring young musicians. Whistler's instrumental works are known for their repurposing of nineteenth-century solo instrumental
544:, wrote Rubank saying, âA few days ago I received your sample of music comprising a violin method by Harvey S. Whistler . . . I want you to know that in my opinion it is indeed a very fine work.â Rosseels then used Whistler's books to teach his five-year-old son violin. E. Rollin Silfies, Supervisor of Instrumental Music in the
706:, and many others. The results are sequential, well-paced, and level-appropriate technique building methods for both beginning- and intermediate-level students. Examples include Whistler's "Modern Klose-Lazarus: Comprehensive Course for Clarinet: A compilation of two famous methods, entirely revised, re-edited, and re-styled."
517:) and their seven duo albums for either two violins or violin and viola, and three trio albums for string or piano trio. All albums were progressive in sequence, keeping in mind the limitations of both beginning and intermediate chamber ensemble, and contain arrangements of marches, waltzes, classical, and traditional tunes.
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helps developing- and proficient-level violinists learn alto clef and adapt to the increased physical demands of the viola. The collection consists of two parts: 1) transitional exercises to help violinists become familiar with the âintricaciesâ of the viola, and 2) a progressive course of etudes and
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violinist becoming thoroughly acquainted with the intricacies of the larger instrument .â While this explanation may seem odd by modern-day standards, violists were not always as abundant as they are today. In the 1940s when this book was written (1947), American string educators were concerned about
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is divided into seven sections. The first four sections develop sixths, thirds, octaves, and fourths in first, third, second, fourth and fifth positions respectively, as well as exercises to practice shifting between each of the positions. The following sections are more advanced, focusing on octave,
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After these shifting exercises, various nineteenth-century Ă©tudes provide ample practice in an assortment of major keys (G, D, F, B-flat, A, and E-flat). Both volumes then end with a series of more advanced etudes employing each of the positions, as well as a virtuosic showpiece that demonstrates for
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introduced the positions sequentially in ascending order (i.e., second, third, fourth, etc.) and, thus, were âof no value to students in the public schools.â Whistler felt it more efficient to begin in third and fifth position, arguing that these positions were not only easier, but also employed more
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J. F. Mazas was among the first violin pedagogues to advocate for an odd-even approach to positional instruction. In op. 34, he states, âThe movement of the finger, while traversing the extent of the instrument, naturally carries the hand to pass from the 1st position to the 3rd, from the 3rd to the
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Volume two is similar in structure, but focuses on different techniques. The book begins with the same bowing variations applied to a different etude and âdaily exercisesâ that focus on trill development and higher-position arpeggios. The reinforcing Ă©tudes that follow cycle through minor instead of
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remain as relevant as ever in applied and group instructional spaces given its simple, but elegant pedagogical design. Similar volumes were also written for cello (1947) and viola (1953); however, they cannot be implemented in tandem with the violin volumes without significant supplemental resources
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Dakon (2011) asserts that
Whistler's methods exhibit three pedagogical characteristics: (1) most works were "retrospectively formatted," meaning they were made up of nineteenth-century etudes that were repurposed for homogenous and heterogeneous instrumental classrooms; (2) most methods used elastic
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Dr. Whistler, best known to his friends as Harvey, was truly a gentleman, scholar and standing tribute to the professional fields of music and education. . . . His choice of fashioning his life to serve others, irrespectively, came of his inheritance, personal greatness and intelligent evaluation to
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for the Fresno State
College Training School (FSCTS). Similar to modern-day String Projects, the FSCTS provided instrumental instruction to area school children and teacher training to collegiate students studying instrumental music education. Whistler directed the string and wind ensembles, managed
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uses an odd-even approach to positional instruction, in that third and fifth position are taught in volume one, followed by second, fourth, sixth, and seventh positions in volume two. Each sections teaches the position first using a variety of exercises and Ă©tudes in C major from nineteenth-century
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for a couple reasons. First, he believed contemporary school string class methods could not address shifting and positional studies well enough to prepare students for technical demands of the standard orchestral repertoire. Second, other traditional nineteenth-century positional methods for violin
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If using
Whistler's books, it is important to note that they use the 'C', 'natural key', or 'piano' approach, meaning they begin in the key of C and progress through G major, F major, D major, and B-flat major, respectively. While more common in piano instruction, this approach has proven less than
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refers to itself as "An indispensable ensemble collection for stringed instrument groups, suitable for duet, trio and quartet playing, as well as string orchestra performance." In other words, each piece in the collection could be performed adequately in either duet, trio, quartet, or ensemble form
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Harvey S. Whistler's contributions to
American music education are eclectic, consisting of 83 known music pedagogical texts, a psychometric music aptitude test, and more than a dozen writings in music psychology, pedagogy, administration, instrument craftsmanship and appraisal. Of these, Whistler's
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have been viewed as among âthe most fertile soil for the growth of violin technique,â and a primary point of entry into more advanced technique. That said, careful preparation is needed before attempting these exercises. To do this, Whistler employs Ă©tudes from twenty-one different violin methods,
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In practice, much of these volumes appear not to be consecutive, meaning that students can, and perhaps should study them simultaneously. For students already studying
Kreutzer, Whistler's method provides an ideal assortment of supplemental studies, especially in cases where technique needs to be
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Since your retirement comes up this month, I do want you to know how much I have enjoyed our association. Every once in a while, Harold and I discuss
Whistler humor and Whistler situations over the years, and I must say out thoughts are always pleasant . . . It is my hope that the fruits of your
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Frank W. Hill to Harvey S. Whistler, dated
December 11 (no year; the date is most likely c. 1951 since Hill discussed the first upcoming publication of the American String Teacher journal in the letter); Gustave Rosseels to Rubank, dated August 20, 1951, the method spoken of is Whistler's Modern
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consists of two volumes each addressing various aspects of Kreuzter's Ă©tudes. Volume one begins with a series of bowing variations similar to that of Kreutzer no. 2, and several âdaily exercisesâ that develop tone production, finger strength, and intonation. These techniques are then reinforced
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The text contains a gradual course of study in sixths, thirds, fourths, octaves, fingered octaves, tenths, and chords. Whistler states, âThe early pages of the work easy enough to be studied upon the completion any beginner's book, and a stage of advancement comparable to the famous etudes of
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Whistler's battery of shifting exercises are extensive and thorough, exploring nearly all relevant finger combinations on each string of the instrument. The exercises begin with same-finger classical shifts shown in Figure 1. In these exercises, students practice the shift in its simplest form,
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introduces viola training into Whistler's curriculum, which up until this point has been centered primarily on developing violin technique. Whistler explains, âThe important role played by the viola in orchestral and chamber music literature, as well as its ever-increasing popularity as a solo
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All of Whistler's duo and trio albums use the same technique, with the purpose of ensuring these valuable texts were not, as Whistler stated, âgoing to waste as far as public schools were concerned.â To Whistler, these methods belonged not only in the private studios, but in school classrooms.
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Dakon (2011) asserts Whistler resigned from the Army as a Second Lieutenant. This is incorrect. Military documents found in the "Harvey S. Whistler Papers" Special Collection at the Ohio State University Thompson Library indicate Whistler was promoted to 1st Lieutenant in 1945 shortly before
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provide students with a capstone series of nineteenth-century Ă©tudes that integrate all manner of left- and right-hand skills into a variety of rhythmic and tonal contexts. It is no coincidence that Whistler choose Kreutzer as the subject of this method. For the better part of two centuries,
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a series of five reports âquot 127 teachers and performers of distinction . . . from various levels of music instructionâ on the most pressing pedagogical issues involving violin, viola, cello, and string bass instruction. Among the survey respondents were Rex Underwood, Frank W. Hill, and
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student teachers, and assisted the Head of the Instrumental Department, Howard S. Monger. Citing his work, Arthur G. Wahlberg, Head of the Music Department, later wrote, âHis work was so outstanding he could have remained with us indefinitely.â Whistler graduated on June 13, 1930, with a
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grace note, more commonly referred to as a guide note. Once the guided shift is complete, the new finger is placed. During initial stages of practice, the guide note should be heard and elongated. âAs the student perfects ability to shift from on note to another, the small note
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where Whistler performed as a violinist from 1925 to 1930. Though the circumstances of their meeting have been forgotten, Whistler studied with Hummel for several years (ca. 1929â1934), beginning what would become a lifelong collaboration and friendship between the two musicians.
640:, and Nikolaus Ferder Kittel. He also began work on a multivolume dictionary titled âBow Makers of the World: A Critical and Historical Encyclopedic Dictionary.â The work was never completed. Harvey Samuel Whistler died on March 17, 1976, at Ventura Community Hospital in
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Whistler, H. S. (1944). Modern Hohmann-Wohlfahrt: Beginning method for violin; a compilation of two famous methods, entirely revised, re-edited, and re-styled to meet the demands of modern education (Vols. 1â2). Chicago: Rubank. (Part of the Modern Instrumentals Series)
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Whistler also wrote a number of texts under pseudonyms, such as Henry W. Davis, making the attribution of additional works difficult, if not impossible. Several of Whistler's other compositions and arrangements can be found in various Rubank folios and were not counted
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Upon completing the same-finger shifting exercises, students move onto new-finger classical shifts, shown in Figure 2. In these exercises, the same-finger shift is practiced again, but as a preparatory motion the new-finger placement. Whistler indicates this using an
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fingered-octave, tenth, and chromatic double-stop scales and passages. In each section, double-stops intervals are trained systematically using âbrokenâ and âpreparedâ intervallic exercises on each string set (see Figure 3). Whistler also employs various Ă©tudes from
652:, and was survived by his wife, Georgeanna Whistler. Dakon (2011) states "Whistler's family and friends remembered him most for his love of learning, his intense compassion toward others, an uncanny sense of humor, and his exuberant presence." James C. Carter of the
331:) for heterogeneous group instruction, arguing that these long-established studies were âgoing to waste as far as public schools were concernedâ and should continue to be studied. Whistler would adopt this ârepurposingâ approach throughout much of his later works.
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rhythmic pattern used is also strategic. By shifting in a slur, teachers can see and hear whether the student's shift is relaxed and hushed. The repeated half notes then provide the student time to listen and adjust their intonation as necessary after the shift.
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In the years that followed, Whistler turned his attention to a number of other hobbies he had entertained since the 1930s, namely academic writing, collecting instrument bows, and appraising antiquities. In 1962, he was invited to join the editorial board of the
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the declining number of students studying stringed instruments across the United States, especially with regards to violists. When public-school orchestras director could not fill their viola sections, they needed a method to help violinist assume these roles.
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In Summer 1938, Whistler left SUHS, handing its directorship over to Nord. Whistler, in turn, assumed Nord's position as Instrumental Music Instructor at Charles W. Eliot Junior High School (EJHS), but only briefly. He resigned in July 1939 to begin a
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for Viola (1953) in memory of Ferir whom he states inspired the work. It is likely Whistler meet with Ferir at some point to between 1946 and 1949 while living in Los Angeles, which would suggest parts of From Violin to Viola were also inspired by
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By mid-1950, Whistler's and Hummel's texts had garnered significant praise among performers, studio teachers, supervisors of instrumental music, and collegiate faculty around the United States. Frank W. Hill, Treasure and future President of the
528:. After approximately 18 months of visits, courtship, and many cinnamon buns, Harvey and Georgeanna were married in December 1955. The pair remained inseparable, working together in almost every aspect of Whistler's work outside of Rubank.
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_______ (1952). Preparing for Kreutzer: an intermediate course of violin study based on the famous works of Kayser, Mazas, Dont, De Beriot, Dancla, Blumenstengel, and other masters of the violin repertoire (Vols. 1â2). Chicago: Rubank.
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Public Schools wrote, "I received the copies of your two new books . . . we played through practically all of . . .The whole group was most enthusiastic about them as was I." To this point, Dakon (2011, pp. 15â16) further states:
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First Lieutenant Harvey S. Whistler resigned from military service in 1946 during the closing of World War II. During this period, resignations of officers from active duty were being encouraged as part of the phase-out of the military
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Despite serving in the war effort, the years between 1941 and 1947 were some of Whistler's most productive as an author and arranger. Whistler published five music folios and methods for orchestra with Hummel and colleagues, including
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music publishing companies, three of which were publicly performed by local city bands. Whistler also remained active in the community running his own private violin studio and serving in the California-Western Division Chapter of the
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Outside of work, Whistler continued violin studies with the Russian concert violinist, Josef Piastro Borissoff (c. 1930â1932), and began composing music for his school ensembles. By 1939, Whistler had published six marches with
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Whistler, H. S. & Nord, A. C. (1939). Beginning strings: The "world's masters" method for stringed instruments. A system of teaching violin, viola, cello and string-bass, with piano accompaniment. New York: Carl Fischer.
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the needs of others. And from this his life reached fulfillment in the desire to serve to the betterment of fellowman and to his country, all of which he held deep responsibility, regard and warm, honest love and affection."
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Glorious Youth March (1933, Carl Fischer), Spirit of the Day March (1934, CF), Stadium Triumph March (1935, CF), Campus Honors March (1937, CF); Gridiron Glory March (1939, Volkwein Brothers); Banners Flying March (1939;
204:(1925-1930). Personal records suggest Whistler used this period to study piano more seriously and to become better acquainted with woodwind, brass, and percussion instruments, eventually labeling himself a âlegitimateâ
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through a set of eight first-position etudes and seventeen higher-position etudes that cycle through the major keys ranging four sharps and flats. True to Kreutzer, Whistler dedicates the remainder of the method to
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Whistler dissertation "deals best with Thomas's Chicago years; including an exhaustive bibliography." Whistler later published parts of the dissertation detailing Thomas as a violinist in the October 1944 volume of
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_______ (1949). Ensembles for Strings: An indispensable ensemble collection for stringed instrument groups, suitable for duet, trio and quartet playing, as well as string orchestra performance. Chicago: Rubank.
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Whistler, H. S. (1940). Solos for strings: An indispensable string instrument collection for solo or sectional unison playing for violin, viola, cello, string bass, with piano accompaniment. Chicago: Rubank.
686:. Several of his string texts are still recommended in nationally renown repertoire lists, like the ASTA Certification Program, the ASTA String Syllabus and the Indiana University-Bloomington String Academy.
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Addenda Sheet. White. Brief Summary of the Musical Training and Experiences of Harvey S. Whistler. In possession of the "Harvey S. Whistler Papers" Ohio State University Thompson Library Special Collections.
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The development of instrumental music education in American public school began around the turn of the twentieth century. Like many of his early- to mid-twentieth century contemporaries, Samuel Applebaum,
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Georgeanna's Beaver Whistler (b. 1928, Leetonia, OH; d. January 9, 2024, Thousand Oaks, CA). Her brother was Paul Beaver, a pioneering musician of electronic popular music using the Moog Synthesizer.
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At the time of his death, Whistler owned 106 bowsâamong them a Dominique Peccatte and two bows by Francois Tourte. Harvey S. Whistler Estate documents titled âBows for Violin,â in possession of
141:, to hotel owners, Harvey Samuel and Sallie Byrn Whistler. His mother, a classically trained pianist, insisted that music be part of Harvey Jr.âs education and oversaw his earliest training on
2141:, Dakon, J. M. (2011). Dr. Harvey Samuel Whistler Jr. (1907â1976): An influential pedagogue and researcher in music education. Journal of Historical Research in Music Education, 33(1), 5-26.
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285:(MENC) as a string clinician and administrative committee member. Most notable of these appointments were his two-terms as President of the California-Western Central Section (1934-1935).
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Modern Hohmann-Wohlfahrt: Beginning method for violin: a compilation of two famous methods, entirely revised, re-edited, and re-styled to meet the demands of modern education (Vols. 1-2).
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in Music (D.Mus.), for his work in music education. Two years later, on June 15, 1942, Whistler graduated from OSU after successfully defending his dissertation, âThe Life and Work of
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Cinnamon buns were one of Whistler's favorite snacks. Interview with Georgeanna. Interview with Georgeanna Whistler, August 26, 2009, Camarillo, CA. In possession of the Jacob Dakon.
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scoring, meaning they were composed and arranged to meet the instrumentation needs of different classroom settings, and (3) they are written using the "C" or "Natural" key approach.
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James C. Carter, eulogy for Harvey S. Whistler, dated March 20, 1976, in possession of the "Harvey S. Whistler Papers" Special Collection, Ohio State University, Thompson Library.
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Whistler, H. S., & Thorpe, L. P. (1950). Musical Aptitude Test (Series A): For Grades 4 through 10. Hollywood: California: Test Bureau. Includes answer sheets. Tests, Se-Z.
585:(1961), published by W. Lewis, Chicago. Around the same time, Whistler began collaborating with Louis P. Thorpe, Professor of Secondary Education and Clinical Psychology at the
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_______ (1954). Essential exercises and Ă©tudes for viola: An intermediate course of study for the development of technical proficiency in the first position. Chicago: Rubank.
1209:, and fourth-finger extensions. All exercises progressively increase in difficultly as the course progresses. The book, however, does not address viola sizing or positioning.
628:, all key figures in the founding of ASTA, as well as renowned string pedagogue, Samuel Applebaum. Also a renowned bow collector, Whistler published several articles in the
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all claimed to use Whistler's texts in some fashion, either in instrumental classrooms, applied studio studies, methods courses, or other preservice teacher-training programs.
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406:. He then spent the next three and a half years at various U.S. universities serving as a military instructor, classification officer, and orientation officer for the
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Recommeation letter, Auther C. Walhberg. In possession of the "Harvey S. Whistler Papers" Special Collection, Ohio State University, Thompson Library, Columbus, OH.
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moving from each respective finger in first position to the same finger in third position (1-1, 2-2, 3-3, 4-4). This sequence is then repeated on each string. The
145:. His father, like-minded in his wife's approach, ensured his son attended the local symphony every other week. Around age 9, Harvey Jr. expressed an interest in
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in Summer 1954. While there, Whistler met Georgeanna Kathryn Beaver, a graduate student in music education with two prior degrees in violin performance from the
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to publish educational texts for school string and band ensembles. The pair got to work immediately publishing a number of folios and method books, among them
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One month before graduating from Fresno State, Whistler was appointed Director of Instrumental Music at Selma-Union High School (SUHS) and Grammar School in
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Selma-Union High School, The Magnet: 1934 Annual, in possession of the "Harvey Whistler Papers" Special Collection, Ohio State University, Thompson Library.
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Whistler, H. S., & Hummel, H. A. (1950). Twenty grand orchestra folio: Twenty elementary compositions grand for beginning orchestras. Chicago: Rubank.
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for preparation of Kreutzer no. 23. The book concludes with a series of advanced double-stop Ă©tudes from various methods, as well as several caprices from
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development. In both sections, he writes a rudimentary review of the specified technique, followed by a series of reinforcing intermediate-level Ă©tudes.
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Modern Arban-St. Jacome: comprehensive course for trombone or baritone: A compilation of two famous methods, entirely revised, re-edited, and re-styled
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is a compositional technique in which the score allows for diverse groups of instrumentalists to play the same piece of music. For example, Whistler's
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described by Rubank as a âseries of famous methods and studies entirely revised, re-edited and re-styled to meet the demands of modern education;â his
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5th, from the 5th to the 7th etc. We can therefore consider the 2nd, 4th and 6th only as intermediate or half-position positions.â Jacques F. Mazas,
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As Whistler traveled the western and central United States promoting his books at conferences, school districts, and universities, he arrived at the
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Harvey S. Whistler's Military Records. In possession of the "Harvey S. Whistler Papers" Special Collection, Ohio State University, Thompson Library.
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_______ (n.d.) Music Psychology Textbook. Unfinished manuscript. Harvey S. Whistler Papers, The Ohio State University Library Special Collections.
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Modern Arban-St. Jacome comprehensive course for cornet or trumpet: A compilation of two famous methods, entirely revised, re-edited, and re-styled
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_______ (1947). Introducing the positions for cello (volume 2: Second, second-and-a-half, third, and third-and-a-half positions. Chicago: Rubank.
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is ideal as either a primary double-stop method or as supplemental material. The method can also be easily coordinated with analogous sections of
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Whistler attributed his knowledge of music arranging and composition to Herman A. Hummel, a professional songwriter, arranger, and composer from
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Emile Ferir (b. July 18, 1873; d. April 26, 1949) was former principal violist with the Los Angeles Philharmonic until 1946. Whistler dedicated
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just one year earlier. Unlike Isaac's book, however, Whistler and Nord arranged and sequenced standard nineteenth-century string methods (e.g.,
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wrote, âJust a note to tell you I am using your books right and left, especially the new ones.â He also requested that Whistler send copies to
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Whistler, H. A. & Aller, G. (1957). Autumn Nocturne: Selected Solos for Cello with Piano Accompaniment (Shifting Solos). Chicago, Rubank.
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Upon returning home in 1946, Whistler resumed collaborations with Hummel, publishing a number of folios for both strings and band ensembles (
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to study educational administration with additional coursework in sociology and psychology. He graduated two years later in June 1935 with a
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597:, and another on memorizing piano music. They also began a textbook on the psychology of music, however, the project was never completed.
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Rubank advanced method for drums: an advanced course of study designed to follow up any of the various elementary or intermediate methods
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Modern Klose-Lazarus: Comprehensive course for clarinet: A compilation of two famous methods, entirely revised, re-edited, and re-styled
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After graduation, Whistler and his colleague, Arthur C. Nord (1890-1970), began work on a large-scale string class method book entitled
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_______ (1942). Pigskin Parade. In J. M. Fulton, E. Chenette & Others "Let's Cheer" Band Book. Philadelphia, PA: Theodore Presser.
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_______ (1947). Developing double stops for violin: A complete course of study for double note and chord development. Chicago: Rubank.
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Whistler, G. K., & Whistler, H. S. (1965, May). Francois Tourte: Bow maker supreme, part 1. Music journal, 23(5), 26â27, 75â77.
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Whistler retired from Rubank in 1962 at age 55. Edward H. Wolske, President of Rubank Inc., wrote the following to congratulate him:
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Whistler, H. S. & Hummel, H. A. (1954). Concert and contest collection for viola with piano accompaniment. Miami, FL: Rubank.
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Many of Whistler's books contain collections of edited and re-sequenced nineteenth-century string etudes from pedagogues such as
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_______ (1959, JulyâAugust). Memorizing piano music: Help from a pair of psychologist-musicians. The Piano Teacher, 1(6), 4â8.
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_______ (1946). Introducing the positions for violin (volume 2: Second, fourth, sixth and seventh positions). Chicago: Rubank.
581:(1947â48), with his long-time friend and authority on fine string instruments, Ernest N. Doring. The two would later co-author
124:. His "Introducing the Positions for violin" remains one of the most recognized shifting etude books in the violin literature.
874:. Once students have familiarized themselves with a position, Whistler then introduces shifting into the respective position.
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1288:
Dakon, J.M. (2011). Dr. Harvey Samuel Whistler Jr. (1907-1976): An Influential Pedagogue and Researcher in Music Education.
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Seeking to help music instructors tailor repertoire selections to each year's changing class enrollment, many of Whistler's
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Whistler, H. S., & Hummel, H. A. (1949, 1954). First solo album: For violin with piano accompaniment. Chicago: Rubank.
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Alongside his Rubank writings, Whistler also worked on a number of academic projects. In 1948, he wrote an article for
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Letter by Jean Aileen Boothsby, daughter of Herman Hummel, dated January 15, 1989. In possession of Kenneth Boothsby.
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_______ (1957). Starlight Waltz: Selected Solos for Cello with Piano Accompaniment (Shifting Solos). Chicago, Rubank.
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_______ (1953). Introducing the positions for viola (volume 2: Second, fourth, and fifth positions). Chicago: Rubank.
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and Lazarus Method for Clarinet. Whistler, in turn, edited and resequenced select etudes from each text to create the
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_______(September, 1965, September). Francois Tourte: Bow maker supreme, part 2. Music journal, 23(6), 45â46, 77â79.
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Who's Who Today in the Musical World: A Biographical and Pictorial Record of Musicians of Today, Compiled in 1936-7.
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_______ (1953). Chromatic Fingering Chart for Violin: Through Seven Positions and Half-Position. Chicago: Rubank.
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in fourth and fifth position. The cello volumes are overall quite distinctive in structure and focus primarily on
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_______ (1949). String time: An elementary ensemble collection for stringed instrument groups. Chicago: Rubank.
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796:, as the title suggests, is a two-volume series that focuses specifically on the development of positional and
153:. At age 13, he switched to Will C. Hays (ca. 1920-1925), his orchestra director and former violinist with the
2652:(4), 30, 50-51, 55. Whistler, H. S. & Whistler, G. B. (1962). String symposium, part IV: The string bass.
1468:
Whistler, H. A. (1947). Introducing the positions for cello (volume 1: The fourth position). Chicago: Rubank.
2644:(3), 54-56, 86, 88, 91. Whistler, H. S. & Whistler, G. B. (1962). String symposium, part III: The viola.
1406:
_______ (1944). Introducing the positions for violin (volume 1: Third and fifth positions). Chicago: Rubank.
256:, music special secondary specialization (i.e., teacher licensure), and an honorable mention in scholarship.
201:
177:
71:
1922:
Whistler, H. S. & Doring, E. (1947, September). Jean Baptiste Vuillaume and his Master Workman, part 1.
1109:
major keys and require shifting in first, third, and fifth positions. Also explored are more thoroughly are
827:
149:
and enrolled in lessons with George W. Hastings (c. 1916-1919), a renowned band and orchestra director from
1448:
_______ (1953). Introducing the positions for viola (volume 1: Third and half positions). Chicago: Rubank.
1365:
_______ (1954). String companions: duet collection for violin and viola duet (Vols. 1â2). Chicago: Rubank.
1033:
To develop double-stop shifting between positions, Whistler implements a similar approach to that found in
525:
300:
provides a rare description of California's public-school instrumental program structure during the 1930s.
998:
806:
426:, wrote on January 31, 1946, welcoming his friend home. âI suppose you are happy to be a civilian again.â
91:
Violinist, Music Educator, Composer, Music Arranger, Editor, Author, Bow Collector, Antiquities Appraiser.
1348:
Whistler, H. S., & Hummel, H. A. (1955). Elementary scales and bowings for strings. Chicago: Rubank.
398:
Intending to refocus his efforts on Rubank, Whistler's plans were interrupted by the U.S. insertion into
379:
2356:âBand Concert at Park Tomorrow to Start Series: Harvey S. Whistler March Composition will be Featured.â
311:
was intended for use among âmixed string instrument groups in the public schoolsââa sentiment shared by
2460:
Whistler, H. S. (1944, October). Theodore Thomas as a Violinist. Violins and Violinists, 6(4), 140-148.
1198:
868:
832:
699:
670:
558:
324:
320:
236:
540:, then American String Teacher Journal Editor. Gustave Rosseels, the original second violinist of the
1599:
_______ (1960). Music Time Band Folio from Solo and Unison Elementary Band Playing. Chicago: Rubank.
1382:
Whistler, H. S., & Hummel, H. A. (1954). First trio album: for three violins. Miami, FL: Rubank.
1194:
1139:
857:
367:(1940), a method book for full-orchestra classes and Whistlers second attempt at a classroom method.
1130:
2636:(2), 53-56. Whistler, H. S. & Whistler, G. B. (1962). String symposium, part IIb: The violin.
2628:(1), 74-77. Whistler, H. S. & Whistler, G. B. (1962). String symposium, part IIa: The violin.
2589:
Whistler, Harvey S. (1959). "Memorizing piano music: Help from a pair of psychologist-musicians".
1072:
725:
671:
The Jerome Lawrence and Robert E. Lee Theatre, Research Institute, Ohio State University Libraries
1359:
Whistler, H. S., & Hummel, H. A. (1954). First duet album: For two violins. Chicago: Rubank.
578:
2294:
Herman August Hummel (b. Dec. 24, 1892, Crawfordville, Indiana; d. Nov. 1967, Las Vegas, Nevada)
1340:
_______ (1959). Pathway orchestra folio: For training, assembly, and concert. Chicago: Rubank.
1334:
_______ (1954). First quartet album: For strings (two violins, viola, cello). Chicago: Rubank.
213:
154:
150:
221:
1190:
1182:
340:
81:
1519:
Whistler, H. S. (1939). Fanfares of the Air for Three Trumpets or Cornets. Chicago: Rubank.
2767:
2762:
521:
352:
336:
2364:, June 28, 1935; âSummer Band Concerts to Begin Friday Night with Program at Lacey Park.â
1929:
_______ (1947, OctoberâNovember). Jean Baptiste Vuillaume and his Master Workman, part 2.
1842:
_______ (1952, March). Testing for musical talent. Educational Music Magazine, 31, 16â17.
1385:
_______ (1955). Dorian album for string trio; violin, cello & piano. Chicago: Rubank.
1324:
_______ (1943). Ensemble Time: For instrumental trio or quartet playing. Chicago: Rubank.
8:
2519:
is a class method scored for full orchestra (strings, winds, and percussion) instruction.
1371:
_______ (1955). Apollo album: For violin duet with piano accompaniment. Chicago: Rubank.
641:
610:
labor do endure and I am certain that some of your work will be around for years to come.
545:
49:
35:
1545:
On the Air: Sixteen Scintillating Radio Styled Tunes for Musical Groups that âStep Out.â
170:
2241:
1761:
1391:
_______ (1954). Program album for string trio (violin, cello, piano). Chicago: Rubank.
1388:
_______ (1955). Lydian album: For string trio (violin, cello, piano). Chicago: Rubank.
1374:
_______ (1957) Lyric album: For violin duet with piano accompaniment. Chicago: Rubank.
851:
637:
403:
273:
138:
2231:
1445:
Whistler, H. S. (1947). From violin to viola: A transitional method. Chicago: Rubank.
1428:
_______ (1948). Christmas time: For violin with piano accompaniment. Chicago: Rubank.
707:
682:
instrumental methods are the most significant, 65 of which are still in print through
633:
176:(Witchesâ Dance), Op. 8 at his high school graduation ceremony, the final movement of
2443:
2433:
1557:
Brandenburg, A. H., Skornicka, J., Welke, W., Wersen, L., & Whistler, H. (1942).
1066:
970:
966:
728:: an intermediate course of violin study based on the famous works of Kayser, Mazas,
562:
293:
277:
265:
187:
1856:
Whistler, H. S., & Whistler, G. B. (1962). String symposium, part I: The cello.
1007:
402:. On July 19, 1942, thirty-four days after his graduation, Whistler enlisted in the
2620:
Whistler, H. S. & Whistler, G. B. (1962). String symposium, part I: The cello.
2474:(3 ed.). New York, NY: Institute for Research in Biography, Inc. p. 1009.
2155:
ASTA Certificate Advancement Program: Violin: American String Teachers Association.
1425:
_______ (1962). Melodies in first position: For violin and piano. Chicago: Rubank.
960:
studies should begin as soon as students are able. With that end in mind, he wrote
797:
541:
411:
253:
1940:
_______ (1947, December). Jean Baptiste Vuillaume and his Master Workman, part 3.
850:
violin methods, such as those of De BĂ©riot, Scholz, Ries, and Hohmann, as well as
1947:
_______ (1948, January). Jean Baptiste Vuillaume and his Master Workman, part 4.
1202:
1110:
756:
683:
375:
121:
105:
714:, both nineteenth-century clarinet pedagogues, wrote renowned clarinet methods--
2429:
Theodore Thomas : America's conductor and builder of orchestras, 1835-1905
1126:
733:
703:
653:
490:
for Viola (vol.1, 1953; vol.2, 1954). He also worked with Hummel to create the
328:
312:
192:
113:
2447:
1898:
The organization and administration of music departments in secondary schools.
1351:
_______ (1957). Intermediate scales and bowings for strings. Chicago: Rubank.
1258:
Pierre Key's Musical Who's Who: A Biographical Survey of Contemporary Musician
298:
The Organization and Administration of Music Departments in Secondary Schools,
2756:
2380:
The organization and administration of music departments in secondary schools
1704:
1098:
981:
they should be well prepared for double-stop scales, Ă©tudes, and repertoire.
952:
Figure 3. Broken and Prepared Sixths, p. 2; Broken and Prepared Thirds, p. 4.
752:
711:
60:
2570:
Whistler, Harvey S.; Thorpe, Louis P. (1952). "Testing for musical talent".
1777:
905:
879:
625:
537:
399:
383:
356:
296:
in education and administrative credentials. His master's thesis entitled,
240:
101:
2560:. Hollywood: California: Test Bureau. Includes answer sheets. Tests, Se-Z.
1802:: A fundamental course for individual or like-instrument class instruction
1791:: A fundamental course for individual or like-instrument class instruction
1272:
Community Leaders and Noteworthy Americans: Bicentennial Edition, 1975-76.
1693:
1206:
1186:
1102:
974:
957:
823:
649:
423:
232:
2399:
Beginning Strings: The âWorld's Mastersâ Method for Stringed Instruments
1368:
_______ (1954). Selected duets for violin (Vols. 1â2). Chicago: Rubank.
736:, Blumenstengel, and other masters of the violin repertoire (Vols. 1-2),
1713:
1709:
1422:
_______ (1957). Scales in first position: For violin. Chicago: Rubank.
1080:
729:
2503:
Joseph Roda to Harvey S. Whistler, January 31, 1946, in possession of
2427:
2360:. July 8, 1933, pg. 11; âMunicipal Band Concerts Begin this Evening.â
2208:(5 ed.). Chicago, IL: Who is Who in Music, Inc. pp. 425â426.
1580:
Program and parade band folio: An introduction to standard repertoire.
693:
305:
Beginning Strings: The World's Masters-Method for Stringed Instruments
2016:
_______(1969). Dominique Peccatte: From barber to bow maker, part 4.
2009:
_______(1969). Dominique Peccatte: From barber to bow maker, part 3.
2002:
_______(1969). Dominique Peccatte: From barber to bow maker, part 2.
1788:
1757:
1720:
1153:
1114:
989:
442:(1943). He also published 26 texts on his own, including his 16-book
228:
771:
2607:
Letter from Edward H. Wolske to Harvey Whistler, in possession of
2469:
1700:
1672:
1251:
The Heritage Encyclopedia of Band Music: Composers and their Music.
1118:
948:
465:
346:
239:. While there, he assumed a position as Chief of Musical Staff for
205:
157:. By age 18, he had developed considerable ability, performing the
2382:. University of Southern California, Los Angeles: Master's Thesis.
2270:. Vol. 2. Westerville, OH: Integrity Press. pp. 815â816.
1594:
First Concert Folio for Band: For Training, Assembly, and Concert.
1362:
_______ (1953). Violin mastersâ duet repertoire. Chicago: Rubank.
1337:
_______ (1957). Pre-ensemble folio: For strings. Chicago: Rubank.
956:
Like many nineteenth-century violin pedagogues, Whistler believed
117:
2044:
Whistler, H. S. (1976). Appraising bows for musical instruments.
1988:
_______(1968). The musical collector's desideratum: Violin bows.
1910:
Whistler, H. S. (1944, October). Theodore Thomas as a Violinist.
1799:
1753:
1736:
1688:
1677:
1602:
1285:
New York, NY: Institute For Research in Biography, p. 1009.
1122:
1063:
Having developed technique in higher positions and double-stops,
371:
2611:, Ohio State University's Thompson Library, Special Collections.
2507:, Ohio State University's Thompson Library, Special Collections.
1900:
Masters Thesis, University of Southern California, Los Angeles.
1552:
Chorale classics: For ensemble, band, orchestra, or mixed voices
1488:
1434:
_______ (1954). First etude album: For violin. Chicago: Rubank.
1025:
785:
482:, 1950). In the years that followed (1951-1957), Whistler wrote
432:
First Steps in Band Playing: A Class Method for All Instruments
104:. music publishing company, and are still available through the
2673:, Ohio State University's Thompson Library, Special Collections
2232:
American Society of Composers, Authors, and Publishers (1980).
1684:
894:
886:
645:
388:
Theodore Thomas: America's Conductor and Builder of Orchestras,
146:
2415:. Ohio State University, Columbus, OH: Doctoral Dissertation.
1995:
_______(1969). Dominique Peccatte: From barber to bow maker.
1732:
1616:
Paving the way: From instrumental instruction to band playing
365:
Paving the Way: From Instrumental Instruction to Band Playing
247:
In 1929, Whistler completed his coursework and was appointed
209:
142:
120:
for heterogeneous and homogenous instrumental classrooms and
1884:
_______ (1962). String symposium, part IV: The string bass.
1493:
Whistler, H. S. (1933). Glorious Youth March. Carl Fischer.
1480:
1312:
1267:
5th ed. Chicago, IL: Who is Who in Music, pp. 425â426.
940:
351:
Around the same time Whistler left EJHS and enrolled in his
2037:
_______(1969). Nikolaus Ferder Kittel: The Russian Tourte.
2030:
_______(1969). Nikolaus Ferder Kittel: The Russian Tourte.
2023:
_______(1969). Nikolaus Ferder Kittel: The Russian Tourte.
1748:
1741:
1725:
1585:
Walters, H. L., Whistler, H. S., and Hummel, H. A. (1954).
1274:
Raleigh, NC: American Biographical Institute, p. 915.
1253:
3 vols. Westerville, OH: Integrity Press, pp. 815â16.
1055:
927:
898:
Figure 2. Introducing the Positions for Violin, 1944, p. 9.
890:
Figure 1. Introducing the Positions for Violin, 1944, p. 8.
600:
259:
2432:. Chicago, IL: University of Illinois Press. p. 286.
1907:. Doctoral Dissertation, Ohio State University, Columbus.
1780:: An elementary method for individual or class instruction
648:
one month earlier. He is buried was Grandview Cemetery in
137:
Harvey Samuel Whistler Jr. was born September 7, 1907, in
2558:
Musical Aptitude Test (Series A): For Grades 4 through 10
2171:
Vol. 1 (Fairfax, VA: American String Teacher Association)
1954:
Whistler, H. S. (1955, March). Giovanni Battista Rogeri.
1592:
Frank, F. L., Hummel, H. A., and Whistler, H. S. (1958).
1508:
_______ (1939). Banners Flying March. Volkwein Brothers.
1505:
_______ (1939). Gridiron Glory March. Volkwein Brothers.
1870:
_______ (1962). String symposium, part IIb: The violin.
1863:
_______ (1962). String symposium, part IIa: The violin.
1249:
Bierley, P. E., & Rehrig, W.H. (eds). (1991, 1996).
720:
Modern Klose-Lazarus: Comprehensive Course for Clarinet.
454:
for violin (vol.1, 1944; vol.2, 1946) and cello (1947),
436:
Ensemble Time: For Instrumental Trio and Quartet Playing
1877:
_______ (1962). String symposium, part III: The viola.
1496:
_______ (1934). Spirit of the Day March. Carl Fischer.
414:
Whistler resigned from service. Military records state:
1607:
Volume 1: Whistler, H. S. & Hummel, H. A. (1941).
780:
656:
family wrote the following about his departed friend.
589:. Whistler and Thorpe published three works in total:
1769:
1499:
_______ (1935). Stadium Triumph March. Carl Fischer.
1090:, all in an effort to prepare students for Kreutzer.
448:
Modern Hohmann-Wohlfahrt: Beginning Method for Violin
1559:
Americana Collection: For Band, Orchestra, or Voices
1029:
Figure 4. Double-Stop Shifting Exercises, pp. 20â22.
676:
593:(1950), an article on testing for musical talent in
370:
On August 15, 1940, the Mendelssohn Conservatory in
200:
Following high school graduation, Whistler attended
2401:, Vol.1 for Viola (Chicago: Carl Fischer, 1939), 5.
2266:Rehrig, William H. (1991). Bierley, Paul E. (ed.).
1502:_______ (1937). Campus Honors March. Carl Fischer.
1295:
288:In summer 1933, Whistler enrolled part-time at the
2236:. New York, NY: R. R. Bowker Company. p. 539.
918:students their progress upon completing the book.
2494:resigning from service at the conclusion of WWII.
2027:(949, 950, 951). pp. 31â37, 81â87, 127â131.
1628:
1290:Journal of Historical Research in Music Education
2754:
1394:
1232:New York, NY: Authors International Publishing.
1223:
466:Rubank, Inc. and expanding interests (1947-1962)
347:Composer, arranger, scholar, soldier (1939-1947)
1917:
1522:Edwards, S., Holmes, G. E. and others. (1940).
1460:
1437:
132:
2569:
1974:_______(1967). Fake bows: To be or not to be.
1603:âTriumvirateâ full-orchestra class method book
1212:Other popular books for viola by Whistler are
1012:Petite Gymnastique du Jeune Violoniste, Op. 40
914:should not be heard,â (emphasis in original).
208:. Whistler also continued studying violin and
2556:Whistler, H. S., & Thorpe, L. P. (1950).
1961:Doring, E. N., & Whistler, H. S. (1961).
1814:
1489:Educational compositions for other publishers
591:Musical Aptitude Test for Grades 4 through 10
2470:Institute for Research in Biography (1946).
2246:: CS1 maint: multiple names: authors list (
1564:Whistler, H. S. & Hummel, H. A. (1948).
1543:Whistler, H. S. & Hummel, H. A. (1940).
1277:Institute for Research in Biography (1946).
216:, Carl Grissen, violinist and author of the
1891:
1514:
1303:
1165:instrument, certainly is justification for
1155:From Violin to Viola: A Transitional Method
755:texts were arranged using elastic scoring.
534:American String Teachers Association (ASTA)
307:(1939). Published in 1939 by Carl Fischer,
2778:California State University, Fresno alumni
1260:s. New York, NY: Pierre Key, p. 434.
355:program, both he and Hummel were hired by
339:degree in education and musicology at The
1481:Full orchestra and band methods and music
1313:String quartet and string ensemble folios
1201:, and several others. Also addressed are
716:Klosé Méthode complÚte de clarinet (1843)
694:"Retrospective formatting" or repurposing
567:University of California in Santa Barbara
374:(now defunct) conferred upon Whistler an
212:with Kornelis Bering, violinist with the
2783:University of Southern California alumni
2588:
2410:
2377:
1821:Easter Dawn: Reverie (Trumpet or Cornet)
1218:Essential Exercises and Etudes for Viola
1117:, advanced string crossings and slurred
1024:
947:
893:
885:
601:Retired author and appraiser (1962-1976)
260:Public school music educator (1930-1939)
2732:(New York: Harold Eisenberg, 1920), iv.
2425:
2397:Harvey S. Whistler and Arthur C. Nord,
2268:The Heritage Encyclopedia of Band Music
1667:Modern Pares: Foundation Studies Texts
1279:Biographical Encyclopedia of the World,
1239:(4th ed.). New York, NY: R. R. Bowker.
800:in all seven positions. Whistler wrote
2755:
2472:Biographical Encyclopedia of the World
2265:
2183:
1265:The International Who is Who in Music,
555:St. Mary's Academy in Portland, Oregon
231:. In 1929, Hummel moved his family to
2730:The Art and Science of Violin Playing
2717:Introducing the Positions for Violin.
2393:
2391:
2389:
2324:
2322:
2135:
2133:
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2125:
2123:
2121:
2119:
2117:
2115:
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2109:
2107:
2105:
2103:
2101:
2099:
2097:
2095:
2093:
2091:
2089:
2087:
2085:
2083:
2081:
1654:
1079:including the preparatory volumes of
2413:The life and work of Theodore Thomas
2281:
2279:
2277:
2261:
2259:
2257:
2227:
2225:
2223:
2221:
2219:
2217:
2215:
2203:
2199:
2197:
2195:
2179:
2177:
2163:
2161:
2149:
2147:
2079:
2077:
2075:
2073:
2071:
2069:
2067:
2065:
2063:
2061:
1905:The life and work of Theodore Thomas
923:Introducing the Positions for Violin
794:Introducing the Positions for Violin
632:regarding bows and luthiers, namely
557:; the Instrumental Music Program at
1834:
1214:Introducing the Positions for Viola
781:Popular string instrumental methods
283:Music Educators National Conference
13:
2386:
2319:
2188:. Evansville, IN: Band Associates.
1851:
1770:Rubank elementary/advanced methods
942:Developing Double Stops for Violin
768:was written in a similar fashion.
746:
197:for a local Fresno radio station.
14:
2819:
2788:Musicians from Fresno, California
2274:
2254:
2212:
2192:
2174:
2158:
2144:
2058:
1587:Challenger Concert Folio for Band
1566:California Gold Centennial: March
1246:Evansville, IN: Band Associates.
1057:Preparing for Kreutzer for Violin
994:20 Etudes in Double Stops, Op. 32
872:50 Easy Melodious Studies, Op. 74
677:Characteristics and contributions
587:University of Southern California
290:University of Southern California
77:University of Southern California
2773:20th-century American violinists
1981:_______(1968). Guest editorial.
1963:Jean-Baptiste Vuillaume of Paris
1661:Modern Pares: Foundation studies
1296:String methods and chamber music
842:often in orchestral literature.
583:Jean-Baptiste Vuillaume of Paris
575:Violins & Violinist Magazine
565:in Meadville, Pennsylvania; and
235:at the behest of Sam Fox of the
2803:20th-century American composers
2735:
2722:
2709:
2695:
2685:
2676:
2663:
2614:
2601:
2582:
2563:
2550:
2540:
2531:
2522:
2510:
2497:
2487:
2478:
2463:
2454:
2419:
2404:
2371:
2350:
2340:
2331:
2306:
2297:
1524:Marching Along in Time and Time
722:Similar work was done with the
393:Violins and Violinists Magazine
315:, who had written his namesake
2798:Schoolteachers from California
2288:
1663:. Chicago: Rubank. (12 books)
1629:The Modern Instrumental series
1573:Solo & ensemble band folio
1377:
1343:
1228:Authors International (1938).
934:Practical Method for Cello, Op
497:for beginning-level students (
444:Modern Instrumentalist Series,
249:Supervisor of Teacher Training
1:
2234:ASCAP Biographical Dictionary
2184:Berger, Kenneth, ed. (1960).
2051:
1798:Rubank elementary method for
1659:Whistler, H. S. (1944-1952).
1395:Violin method books and music
1354:
1270:Vickers, J. T. (ed.) (1975).
1263:Mize, J. T. H. (ed). (1951).
1237:ASCAP Biographical Dictionary
1224:Biosketches of H. S. Whistler
1121:. Of particular note are the
1037:(see Figure 4). In practice,
772:"C" or "natural" key approach
486:etude collections (1952) and
224:, the Czech violin virtuoso.
202:Fresno State Teachers College
72:Fresno State Teachers College
2808:Ohio State University alumni
2411:Whistler, Harvey S. (1942).
2378:Whistler, Harvey S. (1935).
2204:Mize, J. T. H., ed. (1951).
2011:Music Journal, Anthology, 52
1918:Musical instruments and bows
1461:Cello method books and music
1438:Viola method books and music
1256:Key, P. V. R. (ed.) (1931).
805:available at the time, like
526:Cleveland Institute of Music
480:Twenty Grand Orchestra Folio
133:Musical training (1907â1930)
7:
2517:Essentials for Band Playing
1826:
1609:First Steps in Band Playing
1539:Colors on Parade (Whistler)
1150:more carefully scaffolded.
553:Other institutions such as
450:in two volumes; as well as
440:Essentials for Band Playing
186:at his studio recital, and
10:
2824:
2719:Chicago, IL: Rubank. p. 9.
2706:(Bonn: Simrock, 1832), 41.
2671:The Harvey Whistler Papers
2609:The Harvey Whistler Papers
2572:Educational Music Magazine
2505:The Harvey Whistler Papers
2316:November 19, 1933, pg. 12.
1815:Solo wind and brass pieces
1623:Essentials of band playing
1621:Volume 3: _______ (1943).
1614:Volume 2: _______ (1940).
1533:Varsity Victory (Whistler)
1242:Berger, K. (ed.). (1960).
1052:for more melodic content.
1003:MĂ©thode de Violon, Op. 102
764:with any instrumentation.
666:The Harvey Whistler Papers
595:Educational Music Magazine
559:Louisiana State University
237:Sam Fox Publishing Company
98:Harvey Samuel Whistler Jr.
23:Harvey Samuel Whistler Jr.
2743:Introducing the Positions
1949:Violins and Violinists, 9
1942:Violins and Violinists, 8
1924:Violins and Violinists, 8
1912:Violins and Violinists, 6
1787:Rubank elementary method
1216:(volumes 1 & 2), and
1043:Introducing the Positions
1035:Introducing the Positions
847:Introducing the Positions
787:Introducing the Positions
488:Introducing the Positions
452:Introducing the Positions
408:Adjutant General's Office
87:
66:
56:
42:
28:
21:
2793:American music educators
2715:Whistler, H. S. (1944).
2704:MĂ©thode de violon, Op.34
2167:Gregory Hurley, editor.
1896:Whistler, H. S. (1935).
1892:Theses and dissertations
1874:(3), 54â56, 86, 88, 91.
1774:Whistler, H. S. (1940).
1633:Whistler, H. S. (1941).
1530:National Fame (Whistler)
1515:Rubank albums and pieces
1304:String class method book
1292:, 33(1), pp. 5â26.
962:Developing Double Stops.
294:Master of Science Degree
2362:Hanford Morning Journal
2020:(7), 43, 88â89, 92â93.
1819:Whistler, H. S. (1941)
1536:Noble Spirit (Whistler)
1039:Developing Double Stops
1018:24 Exercises for Violin
985:Developing Double Stops
837:Practical Violin Method
684:Hal Leonard Corporation
579:Jean Baptiste Vuillaume
577:on the violin luthier,
542:Paganini String Quartet
456:Developing Double Stops
254:Bachelor of Arts Degree
241:Fox West Coast Theaters
127:
16:American music educator
2426:Schabas, Ezra (1989).
1931:Violins and Violinists
1135:Le MĂ©canisme du Violon
1094:Preparing for Kreutzer
1088:Blumenstengel (Op. 33)
1049:Melodious Double Stops
1030:
1015:; and Blemenstengel's
953:
899:
891:
663:
612:
571:
484:Preparing for Kreutzer
421:
214:San Francisco Symphony
155:San Francisco Symphony
1965:. Chicago: W. Lewis.
1028:
951:
897:
889:
818:Schule de Lagenspiels
761:Ensembles for Strings
658:
607:
551:
472:Ensembles for Strings
416:
341:Ohio State University
82:Ohio State University
2366:The Hanford Sentinel
1881:(4), 30, 50â51, 55.
1178:From Violin to Viola
1172:From Violin to Viola
1162:From Violin to Viola
644:, after suffering a
522:University of Oregon
460:From Violin to Viola
337:Doctor of Philosophy
2206:Who Is Who in Music
1999:(5), 27â28, 59â61.
1978:(5), 36â37, 71â72.
1823:. Chicago: Rubank.
1811:. Chicago: Rubank.
1804:. Chicago: Rubank.
1793:. Chicago: Rubank.
1782:. Chicago: Rubank.
1668:
1651:. Chicago: Rubank.
1644:. Chicago: Rubank.
1637:. Chicago: Rubank.
1625:. Chicago: Rubank.
1618:. Chicago: Rubank.
1611:. Chicago: Rubank.
1589:. Chicago: Rubank.
1575:. Chicago: Rubank.
1568:. Chicago: Rubank.
1561:. Chicago: Rubank.
1554:. Chicago: Rubank.
1526:. Chicago: Rubank.
789:series (1944, 1947)
642:Ventura, California
619:where he published
317:String Class Method
220:violin method, and
75:Master of Science,
50:Ventura, California
36:Ventura, California
2728:Harold Eisenberg,
1666:
1655:Foundation studies
1244:Band Encyclopedia.
1047:Josephine Trott's
1031:
954:
900:
892:
855:MĂ©thode de Violon,
798:shifting technique
702:, Hohmann, Alard,
638:Dominique Peccatte
404:United States Army
376:Honorary Doctorate
184:in E minor, Op. 64
171:NiccolĂČ Paganini's
139:Fresno, California
70:Bachelor of Arts,
2591:The Piano Teacher
2186:Band Encyclopedia
2039:Music Journal, 24
2032:Music Journal, 24
2018:Music Journal, 27
2006:(6), 19, 39, 41.
2004:Music Journal, 27
1997:Music Journal, 27
1983:Music Journal, 26
1886:Music Journal, 20
1879:Music Journal, 20
1872:Music Journal, 20
1865:Music Journal, 20
1858:Music Journal, 20
1767:
1766:
1596:Chicago: Rubank.
1582:Chicago: Rubank.
1547:Chicago: Rubank.
1174:was that method.
1045:, or paired with
1022:, among others.
863:MĂ©thode de violon
811:MĂ©thode de Violon
766:Solos for Strings
621:String Symposium,
563:Allegheny College
503:First Etude Album
410:. By early 1946,
361:Solos for Strings
309:Beginning Strings
278:Volkwein Brothers
266:Selma, California
95:
94:
2815:
2747:
2739:
2733:
2726:
2720:
2713:
2707:
2699:
2693:
2689:
2683:
2680:
2674:
2667:
2661:
2618:
2612:
2605:
2599:
2598:
2586:
2580:
2579:
2567:
2561:
2554:
2548:
2544:
2538:
2535:
2529:
2526:
2520:
2514:
2508:
2501:
2495:
2491:
2485:
2482:
2476:
2475:
2467:
2461:
2458:
2452:
2451:
2423:
2417:
2416:
2408:
2402:
2395:
2384:
2383:
2375:
2369:
2368:. June 25, 1936.
2354:
2348:
2344:
2338:
2335:
2329:
2326:
2317:
2310:
2304:
2301:
2295:
2292:
2286:
2283:
2272:
2271:
2263:
2252:
2251:
2245:
2237:
2229:
2210:
2209:
2201:
2190:
2189:
2181:
2172:
2169:String Syllabus,
2165:
2156:
2151:
2142:
2137:
2041:(6), 31â32, 57.
2034:(5), 26â28, 74.
1976:Music Journal 25
1958:(779), 374â375.
1903:_______ (1942).
1888:(5), 53, 69â70.
1835:Music psychology
1807:_______ (1946).
1796:_______ (1945).
1785:_______ (1940).
1669:
1665:
1578:_______ (1949).
1571:_______ (1948).
1550:_______ (1941).
932:Joseph Werner's
499:First Solo Album
412:First Lieutenant
382:.â According to
218:Learn with Tunes
19:
18:
2823:
2822:
2818:
2817:
2816:
2814:
2813:
2812:
2753:
2752:
2751:
2750:
2740:
2736:
2727:
2723:
2714:
2710:
2700:
2696:
2690:
2686:
2681:
2677:
2668:
2664:
2660:(5), 53, 69-70.
2619:
2615:
2606:
2602:
2587:
2583:
2568:
2564:
2555:
2551:
2545:
2541:
2536:
2532:
2527:
2523:
2515:
2511:
2502:
2498:
2492:
2488:
2483:
2479:
2468:
2464:
2459:
2455:
2440:
2424:
2420:
2409:
2405:
2396:
2387:
2376:
2372:
2355:
2351:
2345:
2341:
2336:
2332:
2327:
2320:
2314:The Fresno Bee.
2311:
2307:
2302:
2298:
2293:
2289:
2284:
2275:
2264:
2255:
2239:
2238:
2230:
2213:
2202:
2193:
2182:
2175:
2166:
2159:
2152:
2145:
2138:
2059:
2054:
1920:
1894:
1854:
1852:Music education
1837:
1829:
1817:
1772:
1657:
1647:_______(1942).
1640:_______(1942).
1631:
1605:
1517:
1491:
1483:
1463:
1440:
1397:
1380:
1357:
1346:
1315:
1306:
1298:
1226:
1159:
1061:
946:
791:
783:
774:
757:Elastic scoring
749:
747:Elastic scoring
708:Hyacinthe Klosé
696:
679:
634:Francois Tourte
603:
468:
380:Theodore Thomas
349:
262:
229:Cleveland, Ohio
180:Violin Concerto
135:
130:
122:elastic scoring
79:
74:
52:
47:
38:
33:
24:
17:
12:
11:
5:
2821:
2811:
2810:
2805:
2800:
2795:
2790:
2785:
2780:
2775:
2770:
2765:
2749:
2748:
2734:
2721:
2708:
2694:
2684:
2675:
2662:
2613:
2600:
2581:
2562:
2549:
2539:
2530:
2521:
2509:
2496:
2486:
2477:
2462:
2453:
2438:
2418:
2403:
2385:
2370:
2358:The Fresno Bee
2349:
2339:
2330:
2318:
2305:
2296:
2287:
2273:
2253:
2211:
2191:
2173:
2157:
2143:
2056:
2055:
2053:
2050:
2048:(1), 140â152.
1944:(9), 348â354.
1926:(7), 264â268.
1919:
1916:
1914:(4), 140â148.
1893:
1890:
1853:
1850:
1836:
1833:
1828:
1825:
1816:
1813:
1771:
1768:
1765:
1764:
1751:
1745:
1744:
1739:
1729:
1728:
1723:
1717:
1716:
1707:
1697:
1696:
1691:
1681:
1680:
1675:
1656:
1653:
1630:
1627:
1604:
1601:
1541:
1540:
1537:
1534:
1531:
1516:
1513:
1490:
1487:
1482:
1479:
1462:
1459:
1439:
1436:
1396:
1393:
1379:
1376:
1356:
1353:
1345:
1342:
1314:
1311:
1305:
1302:
1297:
1294:
1235:ASCAP (1980).
1225:
1222:
1158:
1152:
1065:Preparing for
1060:
1054:
945:
939:
845:Subsequently,
790:
784:
782:
779:
773:
770:
748:
745:
724:Preparing for
695:
692:
678:
675:
668:are housed in
602:
599:
515:Quartet Albums
467:
464:
348:
345:
313:Merle J. Isaac
261:
258:
193:Zigeunerweisen
178:Mendelssohn's
134:
131:
129:
126:
114:Merle J. Isaac
106:Hal Leonard Co
93:
92:
89:
85:
84:
68:
64:
63:
58:
54:
53:
48:
46:March 17, 1976
44:
40:
39:
34:
30:
26:
25:
22:
15:
9:
6:
4:
3:
2:
2820:
2809:
2806:
2804:
2801:
2799:
2796:
2794:
2791:
2789:
2786:
2784:
2781:
2779:
2776:
2774:
2771:
2769:
2766:
2764:
2761:
2760:
2758:
2744:
2738:
2731:
2725:
2718:
2712:
2705:
2698:
2688:
2679:
2672:
2666:
2659:
2655:
2654:Music Journal
2651:
2647:
2646:Music Journal
2643:
2639:
2638:Music Journal
2635:
2631:
2630:Music Journal
2627:
2623:
2622:Music Journal
2617:
2610:
2604:
2596:
2592:
2585:
2577:
2573:
2566:
2559:
2553:
2543:
2534:
2525:
2518:
2513:
2506:
2500:
2490:
2481:
2473:
2466:
2457:
2449:
2445:
2441:
2439:0-252-01610-6
2435:
2431:
2430:
2422:
2414:
2407:
2400:
2394:
2392:
2390:
2381:
2374:
2367:
2363:
2359:
2353:
2343:
2334:
2325:
2323:
2315:
2309:
2300:
2291:
2282:
2280:
2278:
2269:
2262:
2260:
2258:
2249:
2243:
2235:
2228:
2226:
2224:
2222:
2220:
2218:
2216:
2207:
2200:
2198:
2196:
2187:
2180:
2178:
2170:
2164:
2162:
2154:
2150:
2148:
2140:
2136:
2134:
2132:
2130:
2128:
2126:
2124:
2122:
2120:
2118:
2116:
2114:
2112:
2110:
2108:
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2090:
2088:
2086:
2084:
2082:
2080:
2078:
2076:
2074:
2072:
2070:
2068:
2066:
2064:
2062:
2057:
2049:
2047:
2046:Valuation, 23
2042:
2040:
2035:
2033:
2028:
2026:
2025:The Strad, 80
2021:
2019:
2014:
2012:
2007:
2005:
2000:
1998:
1993:
1992:(4), 80, 98.
1991:
1986:
1984:
1979:
1977:
1972:
1969:
1966:
1964:
1959:
1957:
1956:The Strad, 65
1952:
1950:
1945:
1943:
1938:
1937:(8), 304-309
1936:
1932:
1927:
1925:
1915:
1913:
1908:
1906:
1901:
1899:
1889:
1887:
1882:
1880:
1875:
1873:
1868:
1866:
1861:
1859:
1849:
1846:
1843:
1840:
1832:
1824:
1822:
1812:
1810:
1805:
1803:
1801:
1794:
1792:
1790:
1783:
1781:
1779:
1763:
1759:
1755:
1752:
1750:
1747:
1746:
1743:
1740:
1738:
1734:
1731:
1730:
1727:
1724:
1722:
1719:
1718:
1715:
1711:
1708:
1706:
1702:
1699:
1698:
1695:
1692:
1690:
1686:
1683:
1682:
1679:
1676:
1674:
1671:
1670:
1664:
1662:
1652:
1650:
1645:
1643:
1638:
1636:
1626:
1624:
1619:
1617:
1612:
1610:
1600:
1597:
1595:
1590:
1588:
1583:
1581:
1576:
1574:
1569:
1567:
1562:
1560:
1555:
1553:
1548:
1546:
1538:
1535:
1532:
1529:
1528:
1527:
1525:
1520:
1512:
1509:
1506:
1503:
1500:
1497:
1494:
1486:
1478:
1475:
1472:
1469:
1466:
1458:
1455:
1452:
1449:
1446:
1443:
1435:
1432:
1429:
1426:
1423:
1420:
1417:
1413:
1410:
1407:
1404:
1400:
1392:
1389:
1386:
1383:
1375:
1372:
1369:
1366:
1363:
1360:
1352:
1349:
1341:
1338:
1335:
1332:
1329:
1325:
1322:
1319:
1310:
1301:
1293:
1291:
1286:
1284:
1280:
1275:
1273:
1268:
1266:
1261:
1259:
1254:
1252:
1247:
1245:
1240:
1238:
1233:
1231:
1221:
1219:
1215:
1210:
1208:
1204:
1200:
1196:
1192:
1188:
1184:
1179:
1175:
1173:
1168:
1163:
1156:
1151:
1147:
1145:
1141:
1137:
1136:
1132:
1128:
1125:studies from
1124:
1120:
1116:
1112:
1106:
1104:
1100:
1095:
1091:
1089:
1085:
1082:
1077:
1076:
1069:
1068:
1058:
1053:
1051:
1050:
1044:
1040:
1036:
1027:
1023:
1021:
1019:
1014:
1013:
1009:
1005:
1004:
1000:
996:
995:
991:
986:
982:
980:
976:
972:
968:
963:
959:
950:
943:
938:
937:
935:
929:
924:
919:
915:
913:
908:
907:
896:
888:
884:
881:
875:
873:
870:
866:
864:
859:
856:
853:
848:
843:
840:
838:
834:
830:
829:
828:Violin School
825:
821:
819:
814:
812:
808:
803:
799:
795:
788:
778:
769:
767:
762:
758:
754:
753:chamber music
744:
741:
737:
735:
732:, De Beriot,
731:
727:
721:
717:
713:
712:Henry Lazarus
709:
705:
701:
691:
687:
685:
674:
673:
672:
667:
662:
657:
655:
651:
647:
643:
639:
635:
631:
630:Music Journal
627:
622:
618:
617:Music Journal
611:
606:
598:
596:
592:
588:
584:
580:
576:
570:
568:
564:
560:
556:
550:
547:
543:
539:
535:
529:
527:
523:
518:
516:
512:
508:
504:
500:
496:
493:
489:
485:
481:
477:
473:
463:
461:
457:
453:
449:
445:
441:
437:
433:
427:
425:
420:
415:
413:
409:
405:
401:
396:
394:
389:
385:
381:
377:
373:
368:
366:
362:
358:
354:
344:
342:
338:
332:
330:
326:
322:
318:
314:
310:
306:
301:
299:
295:
291:
286:
284:
279:
275:
269:
267:
257:
255:
250:
245:
242:
238:
234:
230:
225:
223:
222:Karl Ondricek
219:
215:
211:
207:
203:
198:
196:
194:
189:
185:
182:
181:
175:
172:
168:
164:
160:
156:
152:
148:
144:
140:
125:
123:
119:
115:
109:
107:
103:
99:
90:
88:Occupation(s)
86:
83:
78:
73:
69:
65:
62:
59:
55:
51:
45:
41:
37:
31:
27:
20:
2742:
2737:
2729:
2724:
2716:
2711:
2703:
2697:
2687:
2678:
2670:
2665:
2657:
2653:
2649:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2616:
2608:
2603:
2594:
2590:
2584:
2575:
2571:
2565:
2557:
2552:
2542:
2533:
2524:
2516:
2512:
2504:
2499:
2489:
2480:
2471:
2465:
2456:
2428:
2421:
2412:
2406:
2398:
2379:
2373:
2365:
2361:
2357:
2352:
2342:
2333:
2313:
2308:
2299:
2290:
2267:
2233:
2205:
2185:
2168:
2045:
2043:
2038:
2036:
2031:
2029:
2024:
2022:
2017:
2015:
2010:
2008:
2003:
2001:
1996:
1994:
1989:
1987:
1982:
1980:
1975:
1973:
1970:
1967:
1962:
1960:
1955:
1953:
1948:
1946:
1941:
1939:
1934:
1930:
1928:
1923:
1921:
1911:
1909:
1904:
1902:
1897:
1895:
1885:
1883:
1878:
1876:
1871:
1869:
1867:(2), 53â56.
1864:
1862:
1860:(1), 74â77.
1857:
1855:
1847:
1844:
1841:
1838:
1830:
1820:
1818:
1808:
1806:
1797:
1795:
1786:
1784:
1775:
1773:
1742:BB flat Bass
1660:
1658:
1648:
1646:
1641:
1639:
1634:
1632:
1622:
1620:
1615:
1613:
1608:
1606:
1598:
1593:
1591:
1586:
1584:
1579:
1577:
1572:
1570:
1565:
1563:
1558:
1556:
1551:
1549:
1544:
1542:
1523:
1521:
1518:
1510:
1507:
1504:
1501:
1498:
1495:
1492:
1484:
1476:
1473:
1470:
1467:
1464:
1456:
1453:
1450:
1447:
1444:
1441:
1433:
1430:
1427:
1424:
1421:
1418:
1414:
1411:
1408:
1405:
1401:
1398:
1390:
1387:
1384:
1381:
1373:
1370:
1367:
1364:
1361:
1358:
1350:
1347:
1339:
1336:
1333:
1330:
1326:
1323:
1320:
1316:
1307:
1299:
1289:
1287:
1282:
1278:
1276:
1271:
1269:
1264:
1262:
1257:
1255:
1250:
1248:
1243:
1241:
1236:
1234:
1229:
1227:
1217:
1213:
1211:
1207:double stops
1177:
1176:
1171:
1166:
1161:
1160:
1154:
1148:
1133:
1107:
1093:
1092:
1074:
1064:
1062:
1056:
1048:
1042:
1038:
1034:
1032:
1017:
1010:
1001:
992:
984:
983:
978:
961:
955:
941:
933:
922:
920:
916:
911:
906:acciaccatura
904:
901:
876:
871:
862:
854:
846:
844:
835:
826:
817:
810:
801:
793:
792:
786:
775:
765:
760:
750:
739:
723:
719:
697:
688:
680:
669:
665:
664:
659:
629:
626:Paul Rolland
620:
616:
613:
608:
604:
594:
590:
582:
574:
572:
552:
538:Paul Rolland
530:
519:
514:
510:
506:
502:
498:
494:
491:
487:
483:
479:
478:, 1949; and
475:
471:
469:
459:
458:(1947), and
455:
451:
447:
443:
439:
435:
431:
428:
422:
417:
400:World War II
397:
392:
387:
386:, author of
384:Ezra Schabas
369:
364:
360:
357:Rubank, Inc.
350:
333:
316:
308:
304:
302:
297:
287:
274:Carl Fischer
270:
263:
248:
246:
226:
217:
199:
191:
183:
179:
173:
169:sections of
166:
162:
158:
136:
110:
97:
96:
32:Sept 7, 1907
2768:1976 deaths
2763:1907 births
2013:, 116â117.
1990:Hobbies, 73
1726:E-flat Bass
1710:E-flat Alto
1694:French Horn
1378:Trio albums
1344:Scale books
1129:Op. 52 and
1103:double-stop
1073:Kreutzer's
999:De Beriot's
958:double-stop
928:treble clef
869:Wohlfahrt's
815:, Scholz's
807:De BĂ©riot's
654:Amon Carter
650:Salem, Ohio
476:String Time
438:(1943) and
424:Joseph Roda
363:(1940) and
233:Los Angeles
206:clarinetist
102:Rubank, Inc
57:Nationality
2757:Categories
2448:1124636744
2052:References
1776:Beginning
1714:Mellophone
1355:Duo albums
1203:chromatics
1183:Campagnoli
1113:, slurred
1111:chromatics
1075:42 Studies
912:eventually
174:Le Streghe
151:Santa Cruz
2597:(6): 4â8.
2312:âMusic.â
2242:cite book
1789:bell lyra
1778:bell lyra
1758:Xylophone
1721:Saxophone
1115:bariolage
1008:Leonard's
936:, Book 2.
833:Hohmann's
813:, Op. 102
802:Positions
700:Wohlfahrt
507:First Duo
325:Wohlfahrt
167:andantino
163:larghetto
67:Education
2578:: 16â17.
1985:(5), 4.
1831:Source:
1827:Writings
1705:Baritone
1701:Trombone
1673:Clarinet
1485:Source:
1465:Source:
1442:Source:
1399:Source:
1300:Source:
1127:Dancla's
1119:staccato
1084:(Op. 37)
1067:Kreutzer
1020:, Op. 33
971:Fiorillo
967:Kreutzer
726:Kreutzer
474:, 1949;
462:(1947).
434:(1941),
195:, Op. 20
188:Sarasate
159:maestoso
61:American
1800:timpani
1754:Marimba
1737:Piccolo
1689:Trumpet
1678:Bassoon
1199:Hofmann
1131:Meert's
1123:cadenza
921:Today,
880:slurred
865:, Op.34
852:Alard's
820:, Op. 3
546:Oakland
419:forces.
372:Chicago
321:Hohmann
80:Ph.D.,
2746:Ferir.
2446:
2436:
1685:Cornet
1281:3rd ed
1191:Kayser
1157:(1947)
1144:Op. 36
1099:trills
1059:(1952)
990:Sitt's
944:(1947)
867:, and
831:, and
824:Ries's
734:Dancla
704:Dancla
646:stroke
495:Series
329:Dancla
165:, and
147:violin
118:etudes
2692:here.
1951:(1).
1762:Vibes
1760:, or
1733:Flute
1195:Mazas
1187:Spohr
1140:Mazas
858:Mazas
511:Trio,
492:First
353:Ph.D.
210:viola
143:piano
2444:OCLC
2434:ISBN
2347:VB).
2248:link
1749:Oboe
1101:and
1086:and
1081:Dont
975:Rode
973:and
738:and
730:Dont
710:and
513:and
276:and
128:Life
43:Died
29:Born
1735:or
1712:or
1703:or
1687:or
1167:all
190:'s
2759::
2658:XX
2656:,
2650:XX
2648:,
2642:XX
2640:,
2634:XX
2632:,
2626:XX
2624:,
2593:.
2576:31
2574:.
2442:.
2388:^
2321:^
2276:^
2256:^
2244:}}
2240:{{
2214:^
2194:^
2176:^
2160:^
2146:^
2060:^
1933:,
1756:,
1220:.
1205:,
1197:,
1193:,
1189:,
1185:,
1146:.
1142:â
1006:;
997:;
969:,
860:â
822:,
636:,
561:;
509:,
505:,
501:,
395:.
343:.
327:,
323:,
161:,
108:.
2595:1
2450:.
2250:)
1935:8
1283:.
979:,
839:,
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