translations are presumably the most

accurate and up-to-date, correcting a

number of apparent errors found in
earlier compilations.
In terms of format, the book
begins with a chapter devoted to
Rachmaninoff s early years, setting the
stage for the many relationships, living
situations, and career successes and
failures that would influence the writ
ing of not only his songs, but his other
works as well. This broader narrative
continues throughout the book, taking
the form of extended introductions
to each of the published sets. These
introductions are rich with informa
tion and structurally useful as they fill
in the often multi-year gaps between
opuses.
Between these narratives are over
views of each individual song in a set.
These overviews are succinct usually
not more than two or three pages
in length and typically discuss the
poem and poet, settings by other com
posers, Rachmaninoff s connection

to the poem and dedicatee, notable

recordings and the music itself. Each
concludes with the text and translation
(as described above), and the following
summaries, by category: Meter, Music,
Recordings and Transcriptions.
This book is an excellent resource
for students and scholars as well as
those simply interested in learning
more about Rachmaninoff. It does not
read as an academic textbook but rath
er unfolds quite naturally in the style
58

of a biography. The book contains no

photos or musical examples, so read
ers would benefit from having a score
nearby and access to recordings of each
song.
Readers might be interested to
learn that the author, who is profes
sor of Russian emeritus at Colgate
University, is also the author of a
similar book, Tchaikovskys Complete
Songs: A Companion with Texts and
Translations. Reviewed by Adam
Clark, Middle Tennessee State University

THE COMPLETE

SCALE COMPENDIUM
/ Eu p h o n i u m
BY LARRY CLARK

for tr o m b o n e

B ra s s
CARL FISCHER -

The Complete Scale Compendium

fo r TromboneI Euphonium, by Larry
Clark. Carl Fischer, 2014.
www.presser.com; 64 pp., $14.99.
The Complete Scale Compendium for
Trombone/Euphonium by Larry Clark
is a thorough and well-organized new
scale method. The stated goal of the
book is, to teach the student the con
struction of the common scales and
then provide some patterns for learn
ing these scales in a variety of ways.
The major and melodic minor scales
are printed as whole notes, eighth and
sixteenth notes, tetrachords, modes
and in thirds. In addition, the book
includes chromatic scales, major and
minor blues scales, major and minor
pentatonic scales, and the whole-tone
scale. These are organized both by
scale type and key. Additional pages
on scale theory, articulation patterns
and the circle of fifths complete the
method. No tempi are listed; however,
the use of eighth notes and sixteenth
notes will hopefully prod the young,
low-brass student to work toward tech
nical proficiency. The scale theory sec
tion is clear and concise, and the use
of multiple octave options is another
fine aspect.
I am hard pressed to find negatives,
but there are two small descriptive
elements with which I disagree. First,
the harmonic minor interval from
scale degree 6 to 7 is labeled as a
minor third when, to be precise, it
is an augmented second. O f course,
these sound the same but for notation
purposes I still believe the augmented
second should be stated. The second is
labeling the circle of keys as the circle
of fourths. While technically true, the
, y ~'

title circle of fifths is more logically

correct as it is the dominant to tonic
relationship the circle is based upon.
These are two very small elements to
quibble with and certainly should not
discourage the teacher or aspiring per
former from purchasing this method.
Reviewed by Thomas W. Zugger,
Capital University

O rg a n
African-American Organ Music
Anthology, Volume 7, edited by
Mickey Thomas Terry. Morning Star
Music Publishers, 2014.
www.morningstarmusic.com;
32 pp., $17.00.
This new anthology includes
five works for solo organ by four
African-American composers: Charles
Coleman (19261991), Mark Fax
(1911-1974), Ulysses Kay (1917
1995) and Adolphus Hailstork (born
1941). Faxs pieces are both chorale
preludes on the hymn tunes St.
Anne, and Wer nur den lieben Gott
lasst walten (Who only lets dear God
rule). Hailstorks Fantasy on Brother
James Air is also based on a wellknown hymn tune and could be used
in a liturgical setting or as recital rep
ertoire. The Passacaglia by Coleman
and Kays Pastorale are excerpted
movements from larger works but are
substantial enough to stand on their
own.
The chronology of the music spans
from the mid-20th century to the
early-21st century, with the Fantasy
DECEMBER/JANUARY 2014/2015

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