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2 T D '
NATHANIEL CLARK SMITH (1877-1934)
AFRICAN-AMERICAN MUSICIAN,
MUSIC EDUCATOR AND
COMPOSER
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF PHILOSOPHY
By
Eva Diane Lyle-Smith, B.S., M.M.
Denton, Texas
December, 1993
2 T D '
NATHANIEL CLARK SMITH (1877-1934)
AFRICAN-AMERICAN MUSICIAN,
MUSIC EDUCATOR AND
COMPOSER
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF PHILOSOPHY
By
Eva Diane Lyle-Smith, B.S., M.M.
Denton, Texas
December, 1993
Lyle-Smith, Eva Diane, Nathaniel Clark Smith
(1877-1934): African-American Musician, Music Educator
and Composer. Doctor of Philosophy (Music Education),
December, 1993, 265 pp., 57 illustrations, bibliography,
61 titles.
This study is a biography of the life experiences of
Nathaniel Clark Smith (1877-1934), an African-American musi-
cian, music educator and composer who lived during the early
part of America's music education's history. Smith became
one of the first international bandmasters to organize
bands, orchestras, and glee clubs in schools and industries
in the United States.
Smith was raised and attended school on a military
post. He later received a B.S.M.A. from the Chicago Musical
College and a Masters in Composition from the Sherwood
School of Music. He taught music at five educational insti-
tutions: Tuskegee Institute, Western University, Lincoln,
Wendell Phillips and Sumner High Schools. Some of his
students became prominent musicians. They were Lionel
Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and
Charlie Parker.
Smith also worked with industries. He conducted the
newsboys band for the Chicago Defender Newspaper and he
became the music supervisor for the porters of the Pullman
Railroad Company.
Smith was stated to have introduced the saxophone to
African-Americans and he was considered as one of the first
composers to notate spirituals.
Smith published over fifty works in America. One of
his compositions received a copyright from England. His
Negro Folk Suite, published by the Lyon and Healy
Publishing Company, was performed by the St. Louis Symphony
Orchestra. It received a John Wanamaker Award. His Negro
Choral Symphony received a copyright in 1934. Smith became
co-owner of the first Music Publishing Company owned by
African-Americans, the Smith Jubilee Music Company.
The Nathaniel Clark Smith biography is divided into
five chapters: Chapter I "The Early Years" (1877-1901);
Chapter II "The Chicago and Tuskegee Years" (1901-1915);
Chapter III "The Kansas Years" (1915-1922); Chapter IV "The
Chicago Years" (1922-30); and Chapter V "The St. Louis
Years" (1930-1934).
Copyright by-
Eva Diane Lyle-Smith
1993
111
ACKNOWLEDGMENTS
I would like to acknowledge the people who were instrumental in providing information for this dissertation. They are the late Dr. Reginald T. Buckner of the University of Minnesota, Dr. John A. Taylor of Lincoln University of Missouri, Dr. Dennis Owsley of the University of Missouri in St. Louis, Mr. Curt Munsted of the University of Missouri in Kansas City, Dr. Daniel Williams of Tuskegee University in Alabama, and Dr. Wayne Temple, Chief Deputy Director of the Illinois State Archives.
A special acknowledgment goes to Mrs. Gertrude Groves, a senior citizen applied piano teacher whose students found Smith's music lying in an alley as the remains from a fire at his old home in Kansas City. Mrs. Groves submitted the music, which became the foundation for the Nathaniel Clark Smith Archives, to the University of Missouri in Kansas City, Missouri.
IV
TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS iv
LIST OF ILLUSTRATIONS vi-xi
INTRODUCTION 1
Chapter
I. THE EARLY YEARS: 1877-1901 4
II. THE CHICAGO AND TUSKEGEE YEARS: 1901-1915. . . 26
III. THE KANSAS YEARS: 1915-1922 72
IV. THE CHICAGO YEARS: 1922-1930 87
V. THE ST. LOUIS YEARS: 1930-1934 132
CONCLUSION 173
APPENDIX A INTERVIEW QUESTIONS 178
APPENDIX B A LIST OF SMITH'S MUSIC 180
APPENDIX C MUSIC SCORES 186
BIBLIOGRAPHY 261
v
LIST OF ILLUSTRATIONS
Page
Figure 1:
"FREDERICK DOUGLASS FUNERAL MARCH" op.l 14
Figure 2:
"FREDERICK DOUGLASS FUNERAL MARCH" Trio 15
Figure 3:
"FREDERICK DOUGLASS FUNERAL MARCH" Clarinet part . . . . 16
Figure 4:
THE SEVENTH ANNUAL MEETING OF THE INTER-STATE LITERARY ASSOCIATION OF KANSAS AND THE WEST-COVER . . . 18
Figure 5:
THE SEVENTH ANNUAL MEETING OF THE INTER-STATE LITERARY ASSOCIATION OF KANSAS AND THE WEST-PROGRAMME . . . 19 and 20
Figure 6:
THE CONN INSTRUMENT COMPANY-PROGRAMME . . . . . . 22 and 23
Figure 7:
"WHEN THE ROCKS AN' THE MOUNTAINS" 40
Figure 8:
"THE GOSPEL TRAIN" 42
Figure 9:
"THE GOSPEL TRAIN" (SECONDARY DOMINANTS AND
SEVENTH CHORDS IN THE HARMONY) 43
Figure 10:
"BATTLE OF JERICO" Page one 45
vi
Figure 11:
"BATTLE OF JERICO" Page two 46
Figure 12:
"THE TUSKEGEE INSTITUTE MARCH" 59
Figure 13:
BETTER DAYS WILL COME AGAIN WITH A LIST OF
PUBLISHED SONGS FOR THE PULLMAN PORTERS BY SMITH . . . . 106
Figure 14:
BETTER DAYS WILL COME AGAIN Page two 107
Figure 15:
BETTER DAYS WILL COME AGAIN Page three 108
Figure 16:
BETTER DAYS WILL COME AGAIN Page four 109
Figure 17: THE FOURTH AND FIFTH PIANO PARTS TO THE FIRST MOVEMENT OF THE "ORANGE DANCE" FROM THE NEGRO FOLK SUITE 114
Figure 18:
THE FIRST, SECOND AND THIRD PIANO PARTS TO THE "ORANGE DANCE" FROM THE NEGRO FOLK SUITE 115
Figure 19:
THE MELODY FROM THE BRITISH GUINEA ISLAND OF THE "ORANGE DANCE" FROM THE NEGRO FOLK SUITE 116
Figure 20:
EXAMPLE OF A BOAT WHISTLE AND STEAM HISSING IN THE "ORANGE DANCE" OF THE NEGRO FOLK SUITE 117
Figure 21:
EXAMPLE OF THE RHYTHMIC ALTERNATIONS BETWEEN INSTRU-MENTS AND THE HAND, FOOT, AND VOCAL SOUNDS IN THE "ORANGE DANCE" OF THE NEGRO FOLK SUITE 118
VI1
Figure 22:
EXAMPLE OF THE MELODY REFLECTING THE ISLAND OF MARTINIQUE, SECOND MOVEMENT IN THE "PINE APPLE LAMENT" OF THE NEGRO FOLK SUITE 119
Figure 23:
ST. HELENA ISLAND, THIRD MOVEMENT IN THE "BANANA WALK"
OF THE NEGRO FOLK SUITE 120
Figure 24:
THE "SANDPAPER* JIG'" FROM THE "BANANA WALK" OF THE
NEGRO FOLK SUITE 121
Figure 25:
EXAMPLE OF FRAGMENTS FROM THE SPIRITUAL DOWN BY THE RIVERSIDE IN THE "BANANA WALK" OF THE NEGRO FOLK SUITE 122 Figure 26:
DIAGRAM FORMATION AND INSTRUMENTATION FOR CONCERT OF THE NEGRO FOLK SUITE FOR FIVE GRAND PIANOS 123
Figure 27:
FRONT COVER TO THE ELEMENTS OF MUSIC 125
Figure 28:
FIRST PAGE OF THE ELEMENTS OF MUSIC WITH NOTES INSCRIBED BY SMITH 126
Figure 29:
CONTINUATION OF THE FIRST PAGE OF THE ELEMENTS OF MUSIC 127
Figure 30:
PRACTICAL EXERCISES 1 THROUGH 8 FROM THE ELEMENTS OF MUSIC 128
Figure 31:
CONTINUATION OF EXERCISES 1 THROUGH 8 FROM THE ELEMENTS OF MUSIC . . . *129
VI 11
Figure 32:
PROGRAM OF THE NEGRO FOLK SUITE AS PERFORMED BY THE ST. LOUIS SYMPHONY ORCHESTRA 137
Figure 33:
CONTINUATION FROM THE PROGRAM OF THE NEGRO FOLK SUITE AS PERFORMED BY THE ST. LOUIS SYMPHONY ORCHESTRA 138
Figure 34:
COMPOSITE LISTING OF HIGH SCHOOL CONCERTS BY THE ST. LOUIS SYMPHONY ORCHESTRA SEASON FOR 1932-33 139
Figure 35:
BANTU WAR DRUM AND MELODY, AND A MELODIC FRAGMENT FROM THE SPIRITUAL "STEAL AWAY" FROM THE CHORAL SYMPHONY . . 142
Figure 36:
EXCERPTS OF LIGHTNING AND THUNDER AS DEPICTED BY SMITH IN THE "PRELUDE" OF THE CHORAL SYMPHONY 161
Figure 37:
EXCERPT OF THE SWINGING BODY MOVEMENT AS DEPICTED BY SMITH IN THE "PRELUDE" OF THE CHORAL SYMPHONY 144
Figure 38:
THE MELODY, "NOBODY KNOWS" FROM SMITH'S "PRELUDE" OF THE CHORAL SYMPHONY 145
Figure 39:
THE MELODIC FRAGMENT, "NOBODY PRAY" FROM SMITH'S "PRELUDE" OF THE CHORAL SYMPHONY 146
Figure 40:
THE MELODIC FRAGMENT, "THE CRUCIFIXION" FROM THE CHORAL SYMPHONY 147
Figure 41:
CONTINUATION OF THE FIFTH MELODIC FRAGMENT, "THE CRUCIFI-TION" FROM THE CHORAL SYMPHONY 148
I X
Figure 42:
"PRAYER: FROM EMANCIPATION" (ONE ACT FOLK-SONG OPERA),
MUSIC BY SMITH 149
Figure 43:
MELODIC FRAGMENT TO "MOTHERLESS-CHILD SONG" SUNSET CHORUS, FROM "THE HEART OF EMANCIPATION" IN THE NEGRO CHORAL SYMPHONY 151 Figure 44:
SUNSET OR ECHO MELODY TO "MOTHERLESS-CHILD SONG" FROM "THE HEART OF EMANCIPATION" IN THE NEGRO CHORAL SYMPHONY 152
Figure 45:
CONTINUATION OF THE SUNSET OR ECHO MELODY FROM THE NEGRO CHORAL SYMPHONY 153
Figure 46:
MELODY INTRODUCED BY THE MEZZO CONTRALTO IN "SEE WHAT THE END WILL BE" FROM THE NEGRO CHORAL SYMPHONY'S ORIGINAL SCORE 154
Figure 47:
CONTINUATION OF THE MELODY BY THE MEZZO CONTRALTO IN "SEE WHAT THE END WILL BE" FROM THE NEGRO CHORAL SYMPHONY 155
Figure 48:
THE 1933 ORCHESTRAL SCORE OF THE "RESOLUTION" FROM THE NEGRO CHORAL SYMPHONY 156
Figure 49:
CONTINUATION OF "RESOLUTION: FROM THE NEGRO CHORAL SYMPHONY 157
Figure 50:
THE SIXTEENTH NOTE FIGURES THAT SMITH USED AS THE ILLUSTRATION FOR THE EXPRESSIVE QUALITY IN THE NEGRO CHORAL SYMPHONY ^ ^ 1 5 Q
x
Figure 51:
CONTINUATION OF THE SIXTEENTH NOTE FIGURES THAT SMITH USED AS THE ILLUSTRATION FOR THE EXPRESSIVE QUALITY IN THE NEGRO CHORAL SYMPHONY 159
Figure 52:
THE STATIC SYNCOPATED RHYTHM IN THE FRENCH HORN SECTION TO THE "RESOLUTION" IN THE NEGRO CHORAL SYMPHONY 160
Figure 53:
"RESOLUTION" FROM THE NEGRO CHORAL SYMPHONY
CLARINET PART 161
Figure 54:
THE COLORED PRIMA DONNA WALTZES EXCERPT 163
Figure 55:
THE COLORED PRIMA DONNA WALTZES EXCERPT CONTINUATION . . 164
Figure 56: "THE PRIMA DONNA SONG" 1933 EXCERPT WHICH IS INCLUDED IN THE NEGRO CHORAL SYMPHONY 165
Figure 57:
CONTINUATION OF "THE PRIMA DONNA SONG" 166
xi
INTRODUCTION
This study is a biography of the life experiences and
times of Nathaniel Clark Smith (1877-1934), an African-
American musician, music educator, and composer who was born
in Ft. Leavenworth, Kansas and who rose to become one of
the first international bandmasters to organize bands,
orchestras, and glee clubs in schools and industries in the
United States. It will include information on the condi-
tions, the people, and the events that directly influenced
Smith in music. In addition, the study will present some of
his music.
Smith was a versatile musician who became proficient
in many related areas. During his career as an educator, he
taught music in public schools and universities. His teach-
ings in music extended outside of the classroom to the
church and into industry. He taught railroad porters during
the summer and on weekends. He also taught newspaper boys
after school and on weekends.
His versatility as a musician displayed his talent in
other areas of music. He was a performer who composed and
toured in the Americas, Australia, Asia, Africa, and Europe.
Most of his compositions were published in the United
States; one received a copyright in England. One of his
compositions the, Negro Folk Suite, was performed by the
St. Louis Symphony Orchestra and Smith was awarded the John
Wanamaker Award for Composers in 1930.
Additionally, Smith established a career as a
publisher. Initially, he worked as an apprentice with Lyon
and Healy Company in Chicago. Eventually, along with a
business investor, he established his own publishing
company, the Smith Jubilee Music Publishing Company, based
in Chicago. It was the first music publishing company in
America to be owned by African-Americans.
His repertoire of achievements included that of a
broadcaster. His radio show was broadcast throughout the
mid-west by the Columbia Broadcasting Network.
The Nathaniel Clark Smith biography is the story
of an outstanding, well-rounded musician who became a role
model for musicians. It is the story which discusses the
events which were present, as well as, the people who were
an influence in his life. A few of the people who were
influenced by him are still living today. Their testaments
to him are addressed. Smith was considered to be one of the
first composers to notate the spirituals. Spirituals were
normally sung without music notation; however, Smith notated
his on manuscript. After he established a concept of
composing, he included some of the melodies from his travels
in his works.
At the time of Smith's death in 1934, his Negro
Choral Symphony had just received a copyright. It was
advertised by the St. Louis Globe Democrat and the St.
Louis Argus Newspapers. The biography of Nathaniel Clark
Smith is divided into five chapters: Chapter I "The Early
Years" (1877-1901); Chapter II "The Chicago and Tuskegee
Years" (1901-1915); Chapter III "The Kansas Years" (1915-
1922); Chapter IV "The Chicago Years" (1922-30); and Chapter
V "The St. Louis Years" (1930-1934).
CHAPTER I
THE EARLY YEARS: 1877-1901
Nathaniel Clark Smith was born on the 31st of July in
Ft. Leavenworth, Kansas, the largest army base in the West
in 1877. At the time of his birth, his father, an African
and the chief trumpeter for the 24th Infantry Band, Dan
Smith, held the rank of quartermaster sergeant in the United
States Army under the leadership of Colonel Theodore
Roosevelt.
The Smith's lived in humble conditions at the fort.
The life of a soldier was harsh.
Little is known about the early years of his life in
Kansas. Although some information has been cited by a few
sources about Smith's father, very little information has
surfaced about Mrs. Smith. Available documentation about
her states that she was part Cherokee Indian and African and
that she lived in Ft. Leavenworth after being captured with
"N. Clark Smith—Soldier, Composer, Incomparable Master, Developer of Hidden Genius Music: Gained Wealth of Experience and Training in Army Bands and European Schools: Father of Many Pioneer Movements, Trained Many Now World Famous," Chicago Whip, 14 June 1922.
George Walton, Sentinel of the Plains: Fort Leavenworth and the American West (Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1973), 51.
several other Cherokee Indians who were confined to live on
the base for a year. Her father was a run-away slave and
her mother was Cherokee. During her captivity, she met and
married Mr. Smith and within a year Nathaniel was born.3
Mrs. Smith sang songs to Nathaniel and he later incorporated
some of the sounds into his compositions.
The Smiths were well aware of the problems that were
present at and around the fort which affected living
conditions. Some sources state that the 1870's were the
most tranquil years that the mid-west had known. But life
at the fort in 1877 was somewhat problematic; it was
crowded. It housed several different military groups: the
24th and 25th Infantries, the 9th and 10th Calvary along
with their families and several captured Indians.4 All of
these groups utilized the limited resources that were made
available at the fort.5
Ft. Leavenworth is located near the Kansas and
Missouri borders. The soldiers who were in the band were
often called upon to provide musical entertainment and other
related musical activities for the fort. Thus, the
soldiers, in particular those who were from the 24th
3
"N. Clark Smith: Soldier, Composer," 14 June, 1922
4Walton, Sentinel of the Plains, 59. 5Ibid., 62.
Infantry band, developed a strong sense of pride in their
performances.6
While the 24th Infantry band was housed at Ft.
Leavenworth, tension developed from other units. Available
resources were strained, which in turn caused concerns since
the fort was situated in the midst of Indian camps whose
inhabitants resented their confinement. 7 Consequently, the
rising tension between the Indians and the fort dwellers
sparked and fueled invasions of territories and fights.
Nevertheless, peaceful communications between the two
o
assemblages were possible.
Ft. Leavenworth became the focus of national
attention in 1877 when the remains of five officers includ-
ing Captain George Custer, who were victims of the stand at
Little Big Horn the previous year, were brought to the post
for reinterment in the post's cemetery.9
In addition to the captured Indians, there were many
other people incarcerated at Ft. Leavenworth, the home of
the first military prison, established in 1877 and remain-
ing intact until 1897.10 For years the prison, headquarters
6Walton, Sentinel of the Plains, 74.
7 Ibid., 76.
®Ibid., 81.
9Ibid., 86.
10Ibid.
of the Department of Missouri, housed prisoners for the
military.
The soldiers' concern for their families' close
proximity to the prison population also placed an
additional burden on the fort. Because the prison was
located in the fort, and the shortage of living quarters,
the soldiers and their families were frequently housed in
uncomfortable surroundings.11 Consequently, some of the
officers began to show their anger with the existing
problems. Morale was poor amongst the population, in
general, and the soldiers in particular. A case in point:
two officers had a disagreement about limited space in the
living quarters. To alleviate the problem, General John
Pope, commanding officer, divided the residence with a line
passing longitudinally through (its) center from the cellar
to the roof. The result was a hallway which was to be used
as a passageway.12 Although the incident-an attempt to
remedy the status, had an impact on the living arrangements
at the fort, it was not successful at correcting or even
13
alleviating it. Then there was a concern for the morale
of the officers and enlisted soldiers. Morale was said to have been at its lowest ebb in
1;LWalton, Sentinel of the Plains, 88.
12Ibid., 102-05.
13Ibid., 106.
8
1879 as evidenced by soldiers who were not getting along
with one another. The problem was so apparent that 1st
Lieutenant Charles Bunzhaf of the 10th Calvary is reported
to have said in the Continental Hotel in the city of Leaven-
worth,
God damn the American Army to hell! It is the God damnedest army that ever was. It is the worst demoralized army today in the world. The American army is nothing but a mob, and the worst one ever organized. It is composed of nothing but a God damned set of thieves and cut throats from beginning to end. An officer cannot go anywhere without being insulted by a Buck soldier.
Insults by enlisted men as witnessed by officers were
due to several factors. The enlisted felt that a number of
the officers were uneducated and incompetent, indifferent
to their needs, and, at times, were callous in their treat-
ment of and behavior towards them as soldiers, and often
they could be found highly inebriated. It was believed, by
some, that the declasse morale and aloofness of some
officers were directly related to their poor training. 15
To comprehend this behavior, it is essential to
project oneself back into the last quarter of the 19th
century. The officers' dispositions were a reflection of
the age in which they lived. For example, a number of
14 Elvid Hunt, History of Fort Leavenworth, 1827-
1927 (Fort Leavenworth, Kansas: Kansas Press, 1936), 46 15Ibid., 55.
them, due to inferior training, would order their soldiers
to proceed into obviously losing battles in and outside of
the fort. At other times, some of the soldiers were
selected randomly by their peers and became officers. They
then mistreated their former peers.16
The 1870's was not a gentle era in which to live
on a military base. It was a period of reconstruction and
a period when many people were looking for employment and
shelter. During the 1870's, the economy was depressed in
America. Many laboring men and their families died from
starvation after the landlords leased "firetrap" flats for
17
exorbitant rental fees in rotting tenements. It was a
time when the elderly and poor were sent to the "poor-
houses" or county farms because they were no longer able to
work. In addition, it was a time when allegedly
respectable businessmen "made" their fortunes by paying
wages far below living standards. 1 8 They kept their
employees eternally in debt to the company store. 1 9
Many of the problems surrounded the fort and thus
helped to weaken Fort Leavenworth. For example, there
was chaos in the city of Leavenworth. The railway was the
16
Hunt, History of Fort Leavenworth, 63
17Ibid., 67-69.
18Ibid., 70.
^9Ibid.
10
fastest method of travel throughout America, but all major
railroad lines bypassed Fort Leavenworth. Consequently,
while Fort Leavenworth was the largest military base in the
West, it was isolated from the railroad connection. After
1800, more recently established forts were further west and
ordinance were no longer routed through Fort Leavenworth,
thus, bringing an epoch at Fort Leavenworth to an end.20 By
1887, however, as the old epoch ended, a new era began that
would make Leavenworth world renowned. It was revitalized
with the assignment of the "Buffalo Soldiers."21
Nathaniel Clark Smith spent the first decade of his
existence in this environment. In spite of the adversities,
Clark was able to extrapolate from the limited resources of
his environment information that became the basis for his
career as a professional musician. He explored as many
avenues as he could as musical and cultural entertainment
and educational activities were becoming more readily
available with the introduction of a small railway system
into the city of Leavenworth in 1887.
In 1888, when Nathaniel was 11 years old, a pro-
fessional theatrical troop performed in Leavenworth and in
other nearby towns. Occasionally, singers and actors of
international fame would entertain the people of Ft. Lea-
20 H u n t ' History of Fort Leavenworth, 138.
2 1 Ibid., 142.
11
venworth. Along with the appearance of the entertainers,
two hundred saloons were established in Ft. Leavenworth.22
The performances and the saloons were considered
luxuries. In addition to these, formal education was made
available to the soldiers and their families with the
arrival of teachers from abroad who came to teach at the
? *3
fort school. From the evidence, it seemed that the
Smith's took every advantage of the meager opportunities.
The elder Smith taught his son as much as he knew about
music. He then enrolled Nathaniel in the fort school
insisting that Nathaniel receive instruction in theater, 24
music theory and band.
During Nathaniel's matriculation at the fort school,
he met H. E. Gungle, a professor from Leipzig, Germany.
Gungle came to Ft. Leavenworth to direct the band.25
Observing Smith's alertness, interest, and enthusiasm
to learn about music, and his ability to quickly notate
information he received, Gungle took young Smith under his
wing and taught him the fundamentals of music. He absorbed
the lessons with surprising ease.26 Smith's musical ability 22Walton, Sentinel of the Plains, 131-33.
2 3 Ibid., 135.
24 "N. Clark Smith: Soldier, Composer", June, 1922.
2 5 ibid.
2 6 "N. Clark Smith: Soldier, Composer", June, 1922.
12
prompted Gungle to tell him that he would someday make a
significant contribution to music, and that he was a credit
to his r a c e . 2 7 smith studied with Gungle until he left the
army fort school in 1893.
Between Gungle and his father, Smith had been
transformed into a soldier and a musician before he was
sixteen years old. But because the long hours of study had
affected his eyes, he was forced to give up the idea of
becoming a soldier. He then turned to his life long
2 8
journey as a musician.
Another event which occurred during Smith's forma-
tive years was his association with Frederick Douglass, the
well known abolitionist who was also a fine musician.
Douglass was a friend of Smith's father and whenever he
would come to town to lecture at meetings, he would stop OQ
by the Smith home and visit. Frequently, when Douglass
visited Kansas, the elder Smith would meet him at the rail-
road station and take him to his home on Dakota Street.
On one occasion in 1887, Douglass visited the
Smith home while visiting Leavenworth to lecture at Lange's
Hall. 3 0 Nathaniel remembered one day Douglass was seated 27
"N. Clark Smith: Soldier, Composer", June, 1922.
28Ibid.
29Ibid.
30Ibid.
13
at their old family organ playing a song he had never heard
before. When Nathaniel inquired about the song, he told
31 him it was the old spiritual, "Steal Away To Jesus". At
the time, he was holding his violin that he had received
32
from his father for his birthday. Douglass tuned the
violin to the organ and they rehearsed until they were able
to performed together that evening while his father and
mother joined in singing. This event marked Smith's first 33
concert performance.
Smith remembered the event well; and the encourage-
ment he received from Douglass helped him to further develop
a positive attitude towards music. In 1895, at eighteen
years of age and the year of Douglass' death, young Smith
composed a funeral march. He attended the funeral and
performed his composition at the service. The song, called
the Frederick Douglass Funeral March, is his earliest
published composition which is located in the Smith Archives
at the University of Missouri in Kansas City, Missouri.
It was his first internationally copyright composition:
it received copyrights in Chicago and London. 3 4
31Ibid.
32Ibid.
33Ibid.
34Nathaniel Clark Smith, "Memorie" from the Frederick Douglass Funeral March" (Chicago, Illinois: S. Brainard's Sons Company, 1895), 2.
FREDERICK DOUGLASS
FUNERAL KARCH
14
} -A;
Composed Feb., 21,
-t—J,—Largo
l /' j -
at Wi 1895
f
chita
\ -— T ~
, Kans.,
~I—I—H—PT"
N. Clark
T T = H
Smith, op. 1
T * I J
#• 4
mp
*'& /"• J-. s
"J i
"1 *
T-4-*
4 — S —
J J . J J N
4 - ^ — h J —
m = *
- 4 ~ ' * i F ."T"
4'J. £ _ / #
V I 1 : W'
i ped
,J . > 1 J 4 k
* 7
T
if1' Ul ilfi PS &
2 —' ? *
m
V V
f-~~* A A
m If I *»• *
mp
I SS
Fine
I S
C D S Brand No. 52 10 Stave
Figure 1: "Frederick Douglass Funeral March", op. 1. Smith's first internationally published composi-tion. It was published in London, England and re-published in the United States in 1895. (Courtesy of the N. Clark Smith Archives at the University of Missouri in Kan-sas City, Missouri.) The music was re-notated by the author.
15
Trio
r hi,i on express
rtJtrif prjrrir rrrCT
ivIJi iiji \ Hrf! II1 Ijfl jjl jiii
mm # = j 1 h h —i —i N .TjTTlii
— \ u
* - — •
4 —rf-i •
— < i: * c « iH \ s J 4
fl—t—* ••• — i ^ 0 #——0-
'I'cILi dJj LLLI LLUaiJ1 LUJ-1Lk — T -
A-S- ~ N *
t
• 0
D^CL^al ]
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7i JJ i i
. _ . T h e S. Brainard & Sons, Co., Chicago, 111 Copyright secured in England All Rights Reserved Chas. Sheard and Conmany 19 2 High Melborn, London
C D S Brana No. 52 10 Stave
Figure 2; "Frederick Douglass Funeral March" Trio section, page 2.
16
THE FREDERICK DOUGLASS
Funeral March Comp. by N. Clark Smith
iot'-Bb Clarinet
T> (Largo) z A t ' ? HM * f f m T~¥
5 P #* r
f * f p f
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1 v-
2)
* 1?—1 i. p f rrfl L £ — L = L j -1 I1 L-l | 1
r r-" • 1* i m ii
3* 11 j mm Trio
Upl to »» » W- t Q *
D.C,
Figure 3: "Frederick Douglass Funeral March" Bb Clarinet part.
17
The training that Smith received from home and the
army fort school at Ft. Leavenworth provided him with a
strong foundation in music. After attending the post school
at Leavenworth, Professor Gungle and Smith's father raised
money by asking for contributions for young Smith to study
o c: music at Guild Hall in England for one y e a r . H e studied
3 6
composition and arranging there from 1893 until 1894.
In 1894 Smith returned to the United States and
enrolled at Western University in Quindaro, Kansas from 1894
to 1895 as a student of music, and there he received addi-
tional training. Although he attended college without
financial assistance or employment, he consequently left
Western University and moved to Wichita, Kansas. While
there he was able to participate in and exhibit his musical
abilities in professional programs. He established himself
as a composer and performer with the performance of his
composition "The Kansas City Two-Step" for the Literary
Society of Kansas and the West, and with a performance on
his violin for another program during the conference in 37 1897
It was at that conference where Smith met his future
3 5"N. Clark Smith: Soldier, Composer", June, 1922.
36Ibid.
37 "Seventh Annual Meeting of the Inter-State Literary
Association of Kansas and the West, at Topeka, Kansas." December 29th and 30th, 1897.
18
wife, Miss Laura Lawson of Wichita, Kansas. She was a
writer and an appreciator of music. On July 31, 1898,
Smith's birthday, they were married in Wichita, Kansas.
In 1899 his wife gave birth to a daughter whom they
named Anna.
Seventh Annual Meeting
OF THE
Inter-State Literary Association
OF
Kansas and the West,
AT TOPEKA, KANSAS,
December 29th and 30th, 1897.
EXECUTIVE COMMITTEE
Nathaniel Sawyer, Chairman, Topeka, Kansas G. N. Grisman, Kansas City, Mo.
Carrie M. Langston, Lawrence, Kansas J. R. A. Crossland, St. Joe, Mo. Augustus Bell, Wathrens, Kansas
Figure 4: The "Seventh Annual Meeting of the Inter-State Literary Associa-tion of Kansas and the West, at Topeka, Kansas"-front cover of the program in 1897, retyped by the author. (Courtesy of the N. Clark Smith Archives at the University of Missouri in Kansas City.)
19
Programme
Wednesday, Dec. 29, 9:30 A. M.
1. Opening Music. ST. John's Choir, Topeka, Kansas. 2. Invocation. Rev. F. Jesse Peck, Kansas City, Mo. 3. Appointment of Committees. 4. Paper, "The Girl of the Present,"-Anna Castrell, Topeka 5. Music, Vocal Duet, Merritt Sisters, Topeka. 6. Paper, "The Perseverance of the Colored People." D. J.
Green, Oak Mills. 7. Report of Committee on Credentials. 8. Reception of Delegates.
2 P. M.
1. Music, Dillard's Orchestra, Topeka. 2. Welcome address. J. H. Guy, Topeka. 3. Response, W. E. Gray, Atchitos. 4. Piano Solo, Miss Mamie Blue, K.C., K. 5. Paper, "Literature and life." W. E. Griffins, K.C., Mo
Intermission
6. Vocal Solo, Clarence Bradshaw, Topeka.
7. Paper, "Africa." Robert Mc Williams, Lawrence, Ks.
8. MUSIC, VIOLIN SOLO. N. CLARK SMITH, K.C., MO.
9. Oration, "Poetry of Mathematics." Conner Brinford, Wathena, Ks.
7:30 P. M.
1. Music, Jackson's Orchestra, Topeka. 2. Paper, J. Dallas Bowser, K.C., Mo. 3. Recitation. A Medley, Mrs. Kate Wilson, Omaha, Neb. 4. Vocal Solo. Mrs. H. M. Griffin, K.C., Mo. 5. Paper, Mrs. J. H. Guy, Topeka, Ks. 6. Ovation, "Triumph of Art." J. L. Harrison, Topeka. 7. Vocal Duet, Merrit Sisters. Topeka, Ks. 8. Paper, "The Almighty Dollar." S. A. Harvey, Lawrence 9. Music, Miss Nora Douglas, K. C., Mo.
20
Thursday, Dec. 30, 9:30 A. M.
1. OPENING MUSIC, "INTER-STATE TWO STEP." N. CLARK SMITH, KANSAS CITY, MISSOURI.
2. Paper, "The Necessity of Race Unity." Mrs. Susie Hender-son, Omaha, Neb.
3. Vocal Duet. Generals Sisters, Atchison, Kansas. 4. Paper, "Where are we, and what time is it."
Miss Celeste Johnson, Topeka. 5. Report of Finance Committee. 6. Election of Officers.
2 P. M.
1. Piano Solo, Mrs. John Ferguson, Topeka. 2. Paper, Miss Mamie Dillard, Lawrence. 3. Music, Piano Solo. Mrs. Lulu Cunningham, Leavenworth 4. Paper, "The Evolution and Involution of the Earth."
Dr. W. H. Hudson, Atchison, Kansas. 5. Essay, Miss Mary Page, Topeka.
Intermission
6. Paper, "The Shallows Murmur while the Deep is Dumb." J. Frank Bufkin, Argentine, Kansas.
7. Orations, "Paul Dunbar as a Poet." Alonzo J. Bowling Emporia, Kansas.
8. Music, Piano Solo. James A. Page, Topeka. 9. Oration, "Ships that Pass in the Night." Sylvester
Banks. Kansas City, Kansas. 10. Music, Piano Solo. Miss Cora Bennet, Topeka. 11. Paper, "Miss Bertha Tanner, Kansas City, Kas. 12. Music, Prof. Geo. Jackson, Topeka.
Figure 5: The "Seventh Annual Meeting of the Kansas and the West"-programme in 1897, retyped by the author. (Courtesy of the University of Missouri in Kansas City).
21
Smith found time to work for the Whitman Concert
Company under the leadership of Reverend Alberry Whitman.
His job was to provide musical instruction to the citizens
of Wichita.38
Reverend Whitman and his company were instrumental
in spreading music through the community. To accomplish
this, the people from the community used the instruments
made available by the company, and took lessons from members
of the Whitman Concert Company.39 The most requested
instruments were the piano and organ and they were, conse-
quently, the primary instruments provided.40
While employed in Wichita, the Conn Instrument
Company became interested in Smith's work. In 1898, he
participated with the company in composing excerpts for
demonstrating the origin of some of their instruments.
For example, the sarrusophone, once a popular instrument
used in bands during the turn of the twentieth century,
was presented along with an example of Smith's music
41
which depicted its place of origin.
Smith was involved in many other areas related to
music. He was working with choral and instrumental compo-
3 8
"N. Clark Smith: Soldier, Composer", June, 1922.
3 9 Ibid.
4 0 Ibid.
41 Ibid.
22
sitions and he was teaching people how to play music. He
remained in Wichita until 1899 forming and training bands,
orchestras, and directing choral groups.
C. G. CONN, Ltd., INSTRUMENTS USED EXCLUSIVELY
Programme
STRINGS
I. MANDOLINS: "Hearts and Flowers" Romans
II. GUITAR: "The Spanish King" Holland
III. BANJO: "The March King" Smith (Afro-American Origin)
IV. VIOLIN: "Dreaming" Schumann
V. VIOLIN: "The Last Hope" Gottschalk
VI. CELLO: "The Largo" Handel
VII. BASS: "Asleep In The Deep Barnes
23
PERCUSSION
XIX. DRUMS: Used during selection
XX. TRAPS: Also used during selection
XXI. BELLS: "Hear Nobody Pray" Smith
XXII. XYLOPHONE: Originally an African Instrument
XXIII. TYMPANY: Also of African origin used in sending distant messages by native warriors.
XXIV. PIANO: 2nd Movement from Negro Choral Symphony.Smith
XXV. CHIMES: "Going Home" Southern Melody
Figure 6: The Conn Instrument Company programme which includes the music of Smith, 1896, retyped by the author. (Courtesy of the N. Clark Smith Archives at the University of Missouri in Kansas City).
24
In 1899 Smith had the opportunity to join a minstrel
troupe which toured professionally in the United States and
abroad. He toured with the Curtis All Stars Minstrel Troupe
as a bandmaster. This allowed his music to be heard abroad.
The Curtis All-Stars in 1899 became the Ernest Hogan
Minstrel Troupe, and was the highest paid minstrel troupe
in America in the 1890's. Their popularity became so wide-
spread that they, including Smith, toured around the world
for eighteen months.42
The world tour took Smith to the Fiji Islands, New
Zealand, Australia, Africa, Madagascar and other points in
Asia and Europe. During the course of the tour, Smith
composed melodies which depicted the countries he visited.
Some of those melodies were later used in his compositions.
While on tour, Smith was able to purchase a saxo-
phone.43 He was considered as the first person to introduce
the saxophone to African-Americas. The saxophone eventually
became one of the most popular instruments used in the jazz
tradition. Smith included the saxophone in some of his
music. 4 4
Smith gained recognition during this tour. When he
returned to America, he had established a reputation as an
4 2 "N. Clark Smith: Soldier, Composer", June, 1922
4 3 Ibid.
4 4 Ibid.
25
45
international bandmaster.
Prior to returning to America, both of his parents
died. He did not attend their funerals. Instead, he
agonized over their deaths for the duration of the journey.
In 1901, Smith returned to America, moved his family
to Chicago and continued his career in music. Chicago
proved to be fruitful for him because he was able to
establish himself in a city that opened new doors for him.
He took advantage of the opportunities and embarked upon a
career that would link him with publishing and teaching
music to students in educational institutions and in
industries.
45 "N. Clark Smith: Soldier, Composer", June,
1922.
CHAPTER II
THE CHICAGO AND TUSKEGEE YEARS: 1901-1915
The Chicago Years-1901-1906
Smith returned to America during the turn of the
twentieth century eager to continue his career in music.
However, he was well aware of the concerns which were
occurring in general in America. Some of the concerns
dealt with issues and court laws which pertained to the
country. Laws were enforced but not to the benefit of all
Americans. This was the case for most African-Americans.
Most African-Americans throughout America witnessed
the turn of the twentieth century with bleakness and
despair. They found out that the achievement of the aboli-
tion of slavery in America had not guaranteed the recogni-
tion of the ideal concept of equality. There was a steady
negation of the philosophy that all people are created
equal.
Theories stemming from social movements such as the
Rayford W. Logan, The Betrayal of the Negro Publishers Books Company, Inc., New York: 1961, 231-35.
Ibid., 237-40.
Ibid.
26
27
Darwinist reversed the principle entirely and proclaimed
that African-Americans were inferior and incapable of
contributing to the civilization and the culture of man-
4
kind. Operating on theories similar to this, Americans
passed laws, rendered court decisions and instituted
social and economic practices to relegate African-
Americans to the lowest possible point on the social 5
scale. The period of the turn of the twentieth century
was called the "Nadir" of the African-American in
American life and thought. African-Americans were
subjected to the current ideas that they were inferior
and incapable of managing their own affairs.7
The turn of the twentieth century was a period
when legalized segregation, discrimination and political
disfranchisement became the order of the day. The effects
of the U.S. Supreme Court in 1883 and 1896 conclusively g
stamped legality on racial separation. Laws were made 9
and others were not practiced. The Ku Klux Klan's
violence such as lynching continued to augment the legal 4Logan, The Betrayal, 257-59.
5 Ibid., 260.
6 Ibid., 263.
7 Ibid., 266.
8 Ibid., 271.
9 Ibid.
28
oppression. 1 0 From these conditions two men emerged to
provide leadership to the African-American community
11
concerning ways to answer social concerns. These two
influential men were Booker T. Washington and William E. B.
Du Bois.
The opposition of Washington and Du Bois pertained
to the effects of a speech that Washington presented to
the Cotton States International Exposition in Atlanta in 12
1895. The speech was later to be known as the "Atlanta 13
Compromise."
In this speech, Washington admonished African-
Americans against agitating for political power and social
equality, and called Caucasians to assist African-Americans
in education, principally agricultural-industrial training, 14
and economic advancement. Washington advised the people
that African-Americans should work out their salvation in
the South, by practical, patient self-help, which he felt
would lead to the slow improvement of the conditions of the
masses and the gradual wearing down of differences and pre-10Logan, The Betrayal, 260.
11Ibid., 275.
*^L.ouis Harlan, Booker T. Washington: A Biography (Chicago: University of Illinois Press, 1978), 311-15.
13Ibid.
14Ibid.
29
judices. 1 5 Washington had an accommodationist attitude
about the solution for African-Americans in America. 1 6
Washington's solution for racial peace and progress
met with wide approval from Caucasians. The Atlanta
Constitution called it the greatest speech ever delivered
17
in the South. President Cleveland sent Washington a
congratulatory telegram. 1 8
Infuriated by the accommodationist attitude and
speech of Washington was Du Bois, a Ph. D. Harvard Uni-
versity graduate, who proposed a strategy of "ceaseless 19
agitation and insistent demand for equality." He favored
immediate social and political integration and higher
20
education. He believed in higher opportunities. Du
Bois's main interest was the education of the group leader,
the person who sets the ideas of the community where he
lives, directs its thought and head's its social movements.
Therefore, he opposed Washington's exclusive stress on edu-
cation of the "hand and heart" because, he was convinced
that without a "knowledge of modern culture" African-
15 Harlan, Booker T. Washington, 320-22.
16Ibid.
17 Ibid.
18Ibid.
19 Logan, The Betrayal, 291-94.
20Ibid.
30
Americans would have "to accept Caucasian leadership, and
such leadership could not always be trusted to guide
African-Americans into self-realization and to its highest
21
cultural possibilities." Du Bois demanded immediate
integration as the best course for African-Americans.22
Despite the oppositions of Washington and Du Bois, it
was Washington who won the heavy financial subsidies from
wealthy Caucasian Americans and the political endorsement of
the White House, many congressmen, and state and local 23
authorities. Du Bois, however, attracted and influenced a
large following of African-Americans to his ideology.24
Smith was a follower of both Washington and Du Bois.
He was for the good of the country and the good of his
people. Although Smith was not as verbal about his politi-
cal views as Washington and Du Bois, he used music to
capture the feelings and sounds of people in general. He
was a leader, and he met and influenced people through 25
music.
After Smith arrived in Chicago in 1901, it was the
beginning of a new century and he eagerly became involved
21 Logan, The Betrayal, 295.
22Ibid., 297-98.
23
Harlan, Booker T. Washington, 333.
24Ibid., 333.
2 5Ibid.
31
with many musically related activities. The activities
involved experiences with the Chicago Exposition Fair,
employment with the Lyon and Healy Company as a music
publisher, establishing co-ownership with his own music
publishing company, establishing bands and orchestras, being
a church music director, earning a Bachelor of Science in
Musical Arts (B.S.M.A.) degree, being a member of the Eighth
Infantry of the Illinois National Guards Band, and working
with Booker T. Washington as a faculty member at Tuskegee
Institute.
While in Chicago during this time, Smith presented
his arrangement of Arthur Sullivan's "The Lost Chord" for
9 F*
men's voices in the Chicago Exposition Fair. Thomas
Seidner, a representative from the Lyon and Healy Company,
one of the country's largest music houses at the time,
heard this arrangement. He was so impressed that he 27
offered Smith an apprenticeship position. While there,
Smith acquainted himself with the music that the company was
publishing, and it was not long before his works were 2 8
published by the company. There were other important events, in addition to
26|IN. Clark Smith: Soldier, Composer", June, 1922.
27 Ibid.
28Ibid.
32
meeting the Lyon and Healy Company representative, that took
place while Smith was participating at the Chicago Exposi-
tion Fair. It was there that he met Paul Laurence Dunbar
and Booker T. Washington, who were also making presenta-
29
tions. After hearing Smith's arrangement, it was said
that Dunbar and Washington talked to and encouraged him to
continue to compose music which used characteristics 30
indicative of African-Americans. Little did Smith know
that they were going to cross paths later in life.
In 1903 when Smith met Dunbar again, he discussed 31
his deepest ambition; to become a prolific musician.
Through their conversations and his music, Dunbar saw that
this man had, by instinct, captured the wonderful musical
lore of melodies as they were sung by African-Americans,
and again he encouraged Smith and suggested that he should 32
publish his own music.
Eager to continue composing music and remembering the
encouragement he'd received from Dunbar, Smith later
composed a song when he found that Dunbar had died.
The composition was entitled "The Dunbar Funeral Dirge". 29"N. Clark Smith: Soldier, Composer", June, 1922.
3oIbid.
31 Ibid.
32Ibid.
33
After "The Dunbar Funeral Dirge", Smith composed
"The Tuskegee March" and sent it to Booker T. Washington
in Tuskegee, Alabama.33 It was so well liked by Washington
that he declared it to be the class song of Tuskegee in
1903; and later in the decade, Washington hired Smith as a
OA
member of the faculty at Tuskegee Institute in Alabama.
Although he felt he needed more training in music,
Smith continued to compose. Meanwhile, he took special
instruction in voice culture from John F. Miller who was a
tenor soloist with the Theodore Thomas Orchestra in 35
Chicago. Smith developed a good student/teacher
relationship with Miller, and he often shared many of his
problems in music with Miller who recognized his remarkable
musical ability just as had many others, including Dunbar,
and Washington.^
The idea of composing and publishing his own music « 7
led Smith to form a music publishing company. In 1903
with the help of J. Berni Barbour, they formed the Smith
Jubilee Music Publishing Company in Chicago which became
the first music publishing company owned by African-33
"N. Clark Smith: Soldier, Composer", June, 1922.
3 4ib i d.
3 5 i M d .
36Ibid. 37
Ibid.
34
3 8
Americans. Once established, Smith left the Lyon and
Healy Company to commit himself to his own publishing
business. However, he continued to have some of his music
published with that and other companies such as the Oliver 39
Ditson Company.
The desire to become more independent added to his
need to learn more about music. Smith apparently decided to
study music more seriously and to obtain a professional
degree. Consequently, in 1904, he enrolled full time as a 40
student at the Chicago Musical College. The intense music
program at CMC provided him with many of the tools he would
need to strengthen his skills: information he received
from his classes in music theory, composition, education,
applied lessons, orchestration, and from the vocal and 4 1
instrumental areas. Although Smith had attended college
earlier, this time he was more disciplined and he completed
his studies for a Bachelor of Science in Musical Arts Degree
(B.S.M.A.) in 1906.42
Smith was able to complete studies toward his degree
with financial assistance from employment as music director 3 8 "N. Clark Smith; Soldier, Composer", June, 1922.
39 Ibid.
40 Ibid.
41 Ibid.
42 Ibid.
35
43 for the Bethel Church and Quinn Chapel in Chicago. He
directed the choirs on Sunday mornings and evenings, and for
44 special services during the week. He also found other
avenues for employment. He formed the Smith Jubilee Choir,
4 S
Band and Orchestra. This group consisted of musicians who
were from the communities of Chicago. His Little Symphony
Orchestra, as he sometimes referred to it, became nationally 47
known in its performances of "In Old Kentucky". They
performed throughout the African-American communities in the
United States. 4 8
Smith achieved additional recognition in Chicago
after he assembled twelve of the cities1 prominent ladies
and trained them while he was a student. This organization 49
became well-known as The Ladies Mandolin Club in 1904. Smith again distinguished himself as a musician in
50 Chicago by organizing The Young Ladies Orchestra in 1905.
1922
41 "N. Clark Smith: Soldier, Composer", June,
44Ibid.
45 J Ibid.
46 « . , Ibid.
47 Ibid.
48 Ibid.
49 The Negro In Chicago: 1779-1929 (Chicago:
The University of Chicago Press, 1979), 47. 50
Ibid., 47.
36
One member of The Young Ladies Orchestra was Gertrude
Irene Howard (Harrison), a Chicago Musical College graduate
who later became a leader in the cornet section of a twenty-
four piece community orchestra which was sponsored by the
Metropolitan Church. She gave a considerable amount of
credit to band/orchestral leader N. Clark Smith for the
orchestral knowledge she gained while in his ladies'
51
orchestra in the first decade of the century.
Smith found additional employment as a conductor for
the Knights of Pythias Band. The band had developed a
reputation for being one of the best bands in Chicago during 52
1901 to 1904. The band performed in parades, festivals,
band battles, and concert settings; it was so popular that
53 it was sought by the national guards.
In 1904 the Knights of Pythias Band was inducted into
54
the Eighth Infantry of the Illinois National Guards.
Although the office was located in Springfield, the band was
stationed in Chicago. In that same year, Smith enlisted as 5 5
a volunteer and served as one of its conductors. Believed
51Chicaqo Defender, (July 9, 1932), 7.
52 Interview with Robert Craton, Head Archivist at the
Army War College in Carlisle, Pennsylvania, July 1989. 53
Ibid.
54
"N. Clark Smith: Soldier, Composer", June, 1922.
55Ibid.
37
to have been President Roosevelt's prized possession, the
band was special in that its members played well, and they
were Indian and African-American. President Theodore Roose-
velt requested its appearance for numerous ceremonies.56
Owning his own publishing company provided Smith with
the opportunity and freedom to publish and sell his works
throughout the country. It was the major vehicle for docu-
menting most of his works, in which many are recorded in the
office of Certification at the Library of Congress in Wash-
ington, D. C. A list of Smith's works is included in the
appendix.
Smith utilized the Smith Jubilee Music Publishing
Company to promote his work to the public. During this
period in his life, he published sacred and secular arrange-
ments and compositions, and sometimes, comments on per-
formance practices were found with them. The comments are
usually located after the word "note" in his music.
He was very careful in presenting information that
reflected the manner in which his music should be inter-
preted. Smith writes:
It will be observed that the first part of these songs is used as a chorus or refrain, which also is to be sung after each verse. This is
56 Interview with Army College, July 1989.
57 Nathaniel C. Smith, New Jubilee Songs for Quartette,
Choir, or Chorus (Chicago: Music Studio, 1929), 2.
38
characteristic of most of our revival songs, and in arranging them I have tried to keep in close touch with the manner in which my mother used to sing them to me in my childhood.
It will also be remembered that no two congregations sung them exactly alike. On these Folk songs, I am building a "Symphonic Poem" for chorus and full orchestra.58
Smith was already aware of the unique features of
his music; it reflected the style his mother used when she
sang songs to him as a child. He captured them and notated
them in manuscript to sustain their overall interpretation.
He was well aware of the different ways these works would be
presented by congregations. He allowed this freedom to be
used in his work, but the original overall interpretation of
the songs are similar. This is what holds the compositions
together. 5 9
Smith wrote many songs for a variety of voices.
There were songs written for four to seven voices of the
same gender with piano accompaniment. Sometimes an instru-
ment, such as the soprano saxophone, was added to these
voices for special interpretations along with the text.
Although many songs were religiously oriented, and
thus carried religious titles, other titles were included
at the beginning of each song. For example, in addition to
the main title, subtitles such as camp meeting song,
58Smith, New Jubilee Songs, 2.
59Ibid.
39
plantation song, and plantation melody were included.
One of the compositions written for male voices was
"When The Rocks An' The Mountains", composed for four male
voices: first and second tenor, baritone and bass. It
contained twenty four measures and was written with two
scores. It uses syncopated rhythms ( m ), which augments
the ragtime rhythm #1 ) that was popular during that
time. The song also repeats the words, "Sinner, Sinner,
Doubter, Doubter, and Mourner, Mourner," as a call and
response pattern.
n
It has an ABA song form, and a (Moderato)
meter with a "march" like feel. The lyrics are close in
dialect to that of many African-Americans during that time.
Other compositional techniques that Smith uses in
this song are the use of dynamics and other symbols such as
fermatas, rests, and a Da Capo. Smith was very attentive
to musical symbols and notations as he was taught during
his studies of music. His music symbols and notations are
presented in a professional manner. The song has a copy-
right inscribed on the page, as well as, the place of its
publication. "When The Rocks An' The Mountains" is one of
Smith's early religious songs that he arranged for voices.
It was performed regularly with church congregations.
60 Smith, New Jubilee Songs, 2.
40
Campmeeting Song WHEN THE ROCKS AN* THE MOUNTAINS
(Plantation Melody for Male Voices J Moderate
% V. CLARK SMITH
When ti» iwfa as' ke •wmHiw.iwll a&frde t»wr, -An jou Aall taw a new hidis* ptacetal day, r>
Situier , Dm*tar, dw*f Jghw y»Wt » SoMrf ywdaUtaw * »«w hSdiaf ptact thai <ay.
h JiJO. > I * K >.w I
Cpj>yrifht,1906,W N.C.Smith,ChiMj"0
Figure 7: "When The Rocks An* The Mountains" camp meeting song and plantation melody for male voices, 1906. (Courtesy of the Tuskegee Institute Library).
41
Smith's publishing company republished some of his
earlier music which had been given copyrights previously.
For example, his arrangement of "The Gospel Train" was used
after he received permission from the Oliver Ditson Company,
a co-owner of the original copyright.
The composition begins with a four measure intro-
duction using a combination of dynamics, and tempi indica-
tions. It is written for a choir with five voices:
soprano, alto, tenor, baritone, and bass. Interestingly
enough, the alto has the melody while the soprano and bass
sustain the tone by humming a designated pitch, thus pro-
ducing a drone-like effect. The tenor has the counter-
melody and the baritone sings the cued tenor line or ad
libs.
The form is ABA. The polyphonic section contains
three distinct lines that move simultaneously. The B
section contains the refrain. It is only during the refrain
that all of the voices sing the same words. The rhythms are
basically quarter notes with a few eighth notes used for
emphasizing certain words. The harmony is fundamentally
triadic with passing tones. Interestingly, Smith does
include seventh and ninth chords in this composition. This
new version of "The Gospel Train" was dedicated to the
Reverend Gunsaulus of Chicago. See figures 8 and 9.
42 T* Rrr.Frae* W. Raaaaala*. L.! . U . S . CUc«(t
THE POSPEL TRAIN ( X E W V E E S . D N ) N . C L A M SMITH
I SOP. k ALTO | VP Jjjgsgjwg
P T T TW j a f p a ! trmia l i ewa-laV ! *aar ft jast at fcaatf; I
I >w * • kdii aa* wfcicU**. I k t l cM'ti* Vaaa' tit nm; Sk»i
• The far* is rkua u ' ail c u | t > N« l l f f r w N la U i fare; O. uTFXOR
BARITOKE(*£JihJ
HaoTmnr
-r—r—r—r— itt — *" — fcrar the car afcttls awr-ia', Aa' raa - blla' Ifcro* tkc laatf.
play - la* aU k«r ataaa pmrV, Aa' strata >ia' «r - "rjr atnrt.
fit re' t«k - *«• rtad - J 'Ciiiif I will m*m yc' U«r«.
Aa' raa-biia' t i n ' tki laad.
Aa' •traJa-ia' t» - Yy a«rr«,
Caaic I will a N l » '
Arrangment Copyright 1906 by Smith Jubilee Music Co., Chicago 0. Ditson Co., owner of original copyright
Figure 8: "The Gospel Train" for five voices-soprano, alto, tenor, baritone and bass, 1906. (Courtesy of the Tuskegee Institute Library).
43
MP&AIN
atoapo
5t f i
9 w *
Git aa board _ _ child rtn, (It- oa »• *• __ board — _ child rtu, (ft ••
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board child roa, (ft oa
F F E H T T L i
boards,
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'' J i' |l j f-f— u »*•» i. 1 J J f =£= «r
| M 1 1 ^ , * 4 4
V J j. 1 J = = £ = J r- i r 1 J f , F= j i =y=
rtt . n — n r s — »
child ron, Tfcoro* roots for MO-ay a aoro. aoro.
t—rim ckild rca, Tboroi room for aa - aj % sort. aoro.
GM: IV VI 6\
V V
6 I V7 ii6 V7
ii
Figure 9: "The Gospel Train". In the last three measures, Smith extends the harmony of this song by using secondary dominant seventh chords (Courtesy of the Tuskegee Institute Library).
44
Smith arranged and published the "Battle of Jerico"
for the first time in 1906 and dedicated it to Slayton's
Original Jabiee. He begins the composition with syncopated
or accented rhythms that were also popular in marches. The
introduction ends with a measure instructing the performer
1
to repeat "til ready". This is quite indicative of the
music of minstrels and vaudevilles. It is written for four
voices and utilizes dynamic markings.
After the introduction, the composition starts with
all voices singing together. Beneath the voices, the piano
accompaniment's rhythm becomes more even and less syncopated
than before. The rhythm goes from
On page 18 the soprano, alto, and bass sustain tones
while the tenor sings the solo. The piano accompaniment
now becomes more rhythmically active, j h j f f l d • The
left hand of the piano continues to use the eighth note
rhythm, p , that was indigenous to marches. At the second
ending of the second strain, the soprano and alto enter as
an anicrusis, to return to the beginning.
Smith compiled and published a series of his works
into a song book. He was now publishing his own music in
addition to having it published by major publishing
companies. The complete version of the "Battle of Jerico"
can be seen in the appendix.
6 1 Smith, New Jubilee Songs, 17.
45
To Slay-ton's Original Jabiee
BATTLE OF JERICO (New) Arr. by N. Clark Smith
Moderato
( - 7 P — f r= r 1 - - m m
(Til r *
eady)
•(j 4-
f
3 ^ E —
it J—»« * # * *
• »
3 ' : t i ' U s .
* *
f
> *
1 • ^
/ -
— —
. , T / —4..
J -4- L _ J - # 0 #=" *3* Sop. & Alto
% 7 31 M i £5 4 4
& # 4}
Joshua fought de battle of Tenor
III . 1 . . , . ^ — . 1 . 1 1 ' A — •! I W I ' v
Jer-i-co,
is
Jer-i-co, Jer-i-co,
Z — ^ > • f f
|y r—a — ^
, B a s s . . ^ 1 , « — - f — f
<=v-|
f F * f
r V \ \ V " ^ 6L.
mhi
V \ & 1
r - H — H -
— i—*-4-
(| J J • mf a tempo
t ) \ f f \
* * -V
£ ( »
i >
jf t
' * J 1 ^ r - J J
— ^ j_
L_i:—*—^ _a_ — ^ >->-
€ £
—fcd-1 9
L - '
u G1
Copyright 1906 by Smith Jubilee Music Co., Chicago.
Figure 10: The "Battle of Jerico" page one, arranged by Smith in 1906.
46
h. Is Ist h h \> 1 i *
^ N t V I •+ w—w~ 5 U "# T W T
+m* ~ "Joshua fought de battle of Jer-i-co, An' de Wall come tumb-lin* down,
%' k tt E
#•
m U ^ n * 1 \ V
1 1 P Last Time poco
*
Copyright 1906 by Smith Jubilee Music Co., Chicago.
Figure lis The "Battle of Jerico" page two, arranged by Smith.
47
The Tuskegee Years-1906-1915
In 1906, after years of trying to hire him, Booker
T. Washington finally recruited Smith as the Commandant of
the Cadets at Tuskegee Institute in A l a b a m a . 6 2 accepted
the position and Washington granted him the faculty rank of
Captain and later on Major during his tenure there.
It was at Tuskegee Institute where he first became
a music educator and was allowed to experiment with voices
and instruments in a classroom situation. This new
opportunity in the classroom gave Smith the energy and
drive to continue to write and publish music for concert
and solo settings. His music could now be performed and
promoted to a wider audience which included both the
64
academic and community settings.
This was definitely the case at Tuskegee where he
was given the liberty to explore music with the students.
Smith's music was heard on concert tours again in the
United States. J These tours did not bring overnight
success, but, fame finally came after he had worked with
62I,N. Clark Smith: Soldier, Composer, June, 1922.
63 Interview with Dr. Daniel T. Williams, University
Archivist, Tuskegee University, Tuskegee, Alabama, October, 1990.
^4Ibid.
65Ibid.
48
the students for only a short period of time.66
Conditions at Tuskegee influenced Smith and his
music. During Smith's tenure at Tuskegee, the atmosphere
was normally set by Washington and consisted of discussions
of the institute's history and the rules of conduct on his
campus. 67
The college was a well-organized and disciplined
institution that taught a variety of subjects and values in
its 100 large, well-equipped buildings; it was scientifi-
cally and practically operated by a race of people
considered by some to represent the lowest ethnic type.6®
This phenomenon upset the theories of people who believed
the African-Americans were incapable of governing their
affairs.
Tuskegee was said to have been one of the greatest
achievements of African-Americans during the early years of
6 9
their freedom. It was successful at helping to elevate the
wisdom and morals of the children of the freedmen and was
the most convincing evidence of the African-American's
ability to work together with mutual regard and mutual help-
fulness. When Tuskegee was established there was a serious
66
"N. Clark Smith: Soldier, Composer", June, 1922.
67Harlan, Booker T. Washington, 167-70.
68Ibid., 175-77.
69Ibid., 180.
49
question about whether or not African-Americans could, in
any large measure, come together in business and/or educa-
tional ventures. The only cooperative institutions that had
been successful among them were the church, and perhaps, the
secret societies.70 This was the attitude of the community
of Tuskegee. However, Washington was able to help to change
the attitude of the community of Tuskegee positively.
Tuskegee received its foundation from Hampton Insti-
tute, the pioneer in industrial education, which was also
equally well-equipped, equally well-conducted, and was doing
great work in educating the minds of its students and it
held just as important a place in the scheme of modern edu-
71 cation.
The personnel of the two institutions was different.
72
Hampton was founded by Caucasians. Its teachers came from
the best families in the North. Tuskegee was founded by an
African-American and its teachers and officers came from the
best schools that were available in the country.
The image of Tuskegee Institute was certainly a
salient one. It was known for its organizer, Booker T.
Washington, for illustrious faculty members such as George
70
Harlan, Booker T. Washington, 198-203.
71Ibid.f 207.
72Ibid.
50
Washington Carver and William Dawson, and for the training
of technical, scientific, and professional personnel.
Tuskegee Institute was a vocational school and it
73
opposed the liberal arts education. It was founded by a
charismatic leader who was said to have been the most
powerful African-American to emerge in America since 74
Douglass.
Washington was autonomous and he was given the
advantage of building the Institute from the top down;
"appointing lieutenants and picking up recruits who liked 75
his banner and the sound of his drums." There was a
legend to Tuskegee and it revolved around and was developed
by Washington who had come into prominence because he
advocated a possible solution to the troublesome race 76
concern.
During Smith's reign at Tuskegee, the campus was
surrounded by the tone of Booker T. Washington who had
established the school as a teacher-training institu-77
tion. Its mission was to train teachers, but they were 73 Addie Butler and Louise Joyner, The Distinctive
Black College: Talladega, Tuskegee, and Morehouse (New Jersey: The Scarecrow Press, Inc., 1977). 55-57.
74 , . , Ibid.
7^Ibid.
7 6 ^ . , Ibid.
77 ''ibid.
51
teachers of a specialized sort—Christian teachers who had
been trained in a quasi-industrial institution. 7 8
The aim of Booker T. Washington was to build an
institution based on industrial education, and make the
school second to none in the country. This was his goal and
he worked toward its fulfillment from the beginning. 7 9
Tuskegee continued to be unique because of its pre-
dominantly African-American faculty. It was Washington's
goal to have an exclusively African-American faculty but at
times Tuskegee did have a few Caucasian faculty members.
Washington's reason for retaining an exclusively African-
American faculty was twofold: the social context would
infrequently permit Caucasians and African-Americans to mix
on the faculty of an institution which had a Principal who
was African-American and, secondly, he wanted to develop
O n
leadership within African-Americans to the maximum extent.
Its faculty was said to be bound together by team
spirit and was capable of training callow young men and
women to be skilled citizens of integrity in many fields
of work. Consequently, the task of amassing such a faculty
78 Butler and Joyner, The Distinctive Black
College, 65-69.
79Harlan, Booker T. Washington, 246-48.
80Ibid.
52
differed from that of the dominant American university or
college in that the source of supply was drastically
restricted.® 1
Tuskegee's progress was not due to chance alone.
Booker T. Washington controlled his students and staff from
within and from without. The principal control from within
developed through the transmission of the Sunday evening
talks delivered by the principal in the chapel to the insti-
tute community, and to many in the wider Tuskegee community,
p o who attended. These talks were used for indoctrination as
83
well as for didactic purposes. Externally there were the
institution's regulations. They compelled these groups to
work and attend to academic matters, as well as maintain-
ing a puritanical self-discipline in terms of personal
decorum and right living. Those who did not follow his
rules and regulations left Tuskegee.84
The principal ran a tight ship and the students were
not the only institutional constituency he controlled. He
maintained a tight rein on his faculty and staff members.85
8 1 Harlan, Booker T. Washington, 264-65.
8 2 Ibid., 266.
83
Ibid., 271.
8 4 Ibid.
8 5 Ibid.
53
He had been called the "Master of the Tuskegee Plantation,"
and from his big house, The Oaks, he ran this school with-
out delegation of authority and with infinite attention to
8 6
detail. He was the institute's founder and he ran a
rather strict, disciplined enterprise and he dominated, if 8 7
not controlled, all of the institute's constituent groups.
The faculty was complimented by an unusual and homo-
8 8
geneous student body. They were unusual because they
chose to enter an industrial institute at a time when
"proper" college training was characterized by the study of
Latin, Greek and other esoteric subjects. They were homo-
geneous in their thinking and view of life because of their o q
conversion to the "faith" as espoused by Washington.
Those whose temperament and philosophy were not amenable to
the doctrines and practices of the institute soon left for QA
other more comfortable surroundings. The rules and regulations at the time were aimed at
91 promoting the welfare and happiness of all. Drinking of
86 Harlan, Booker T. Washington, 275.
8 7 Ibid., 277.
8 8 Butler and Joyner, The Distinctive Black
College, 74-77.
89 Ibid., 78.
9 0 Ibid., 79.
91 Ibid.
54
intoxicating beverages, smoking tobacco, and dice and card
playing were forbidden. Students were prohibited from
participating in political mass meetings or conventions. No
expensive clothing was allowed to be at the institute;
plain clothing was to be worn to all school activities.92
Young men were required to wear a uniform cap. Girls were
to be chaperoned by a lady teacher whenever they left the
campus grounds. Students were not to retain firearms in
their possessions, letter writing was subject to regulation,
and each student was required to possess a Bible. Students'
wardrobes and rooms were subject to regular inspection by
Q O
the appropriate officials.
All student activities were sponsored by a faculty
member. The women were supervised by the Lady Principal and
her staff, while the men were under the direction of
Nathaniel C. Smith, Commandant of Cadets.94 Smith fit into
Washington's plan, because he possessed the kind of
character Washington was looking for in the person to 95
oversee his domain. Booker T. Washington abhorred immo-
9 2 Butler and Joyner, The Distinctive Black
College, 79.
93Booker T. Washington, Tuskegee and Its People: Their Ideals and Achievements (New York: D. Appleton and Company, 1907). 87.
94Ibid., 91.
Q R ^Harlan, Booker T. Washington, 293.
55
rality and had no respect for those who shunned clean and
decent living: his school incorporated these ideals. Stern
rules and regulations and their implementation helped to
develop a homogeneous community at the institute. 9 6
Washington had recruited Smith to establish a band
for Tuskegee's Annual Produce Parade. By working with the
cadets Smith was able to form the Tuskegee Cadet Marching
Band. It was the first marching band at Tuskegee and from
97
it, an orchestra and a glee club were established.
The marching band performed in the annual produce
parades under Smith and in 1914, one faculty member
reported that President Roosevelt, the President of the
United States, had visited the campus. 9 8
During Mr. Roosevelt's recent visit to the Tuskegee Institute, he saw from a reviewing stand the grandest educational exhibit on agriculture ever made by a school. Seventy-four exhibits on beautifully arranged floats with our cadets marching and playing their instruments. They all passed for an inspection by the President.99
The success of Smith and his groups around the city
of Tuskegee prompted Washington to suggest that the groups
go on tour. However, before Washington pursued the idea,
96 Harlan, Booker Washington, 293.
9 7 Ibid., 294.
98 Ibid., 301.
9 9 Washington, Tuskegee and Its People, 91.
56
he wanted the groups included as a part of the school's
music department. "*"00
Prior to making arrangements for a tour with these
groups, the marching band, orchestra and glee club, and
Smith were added to the music department at Tuskegee
Institute. The department was open to all students, male
and female, who could now become a member of any one or more
of these groups.101
Special arrangements were made by Washington to
correspond with individuals in the South whom he thought
could make financial contributions to Tuskegee. Smith's
responsibility was to prepare his groups for the road.
Washington was always interested in promoting
Tuskegee. He traveled frequently throughout the world and
he gave speeches about Tuskegee. Often when he returned to
Tuskegee, a reception and parade were presented.
In a letter dated October 29, 1910, a faculty
member at Tuskegee made an account of the return and
greeting of Principal Washington from a successful European
102
trip. The community and the campus celebrated his
return and the Tuskegee band lead a procession in a parade.
100|,N. Clark Smith: Soldier, Composer", June, 1922.
10lIbid.
102Louis R. Harlan and Raymond W. Smock, eds., The Booker T. Washington Papers (Chicago: Illinois: University of Illinois Press, 1981), 10:427-28.
57
She stated the following:
Arriving on the institute grounds, the entire student body of nearly 1,500 students, 180 teachers, and the people of the Tuskegee Institute community were gathered along the line. The institute band headed the pro-cession and with lighted pine torches the whole body proceeded to the home of the principal.
Arriving at his home, Mr. Washington spoke in appreciation of the welcome which had been extended him and said that though he had visited many places during his European trip he had found no place that he loved more than Tuskegee nor any people, white or black, that he loved more than those of Macon County. The demonstrations of welcome were kept up until 11:00 p.m., the institute band playing, "Hail to the Chief," "Home, Sweet Home" and "Auld Lang Syne." The rich, mellow voices of the whole body singing "The Tuskegee Class Song" were well worth hearing.
On Monday October 24, 1910, a reception was given in honor of Washington's return from Europe by the faculty of the Tuskegee Normal and Industrial Institute in Tompkins Hall.103
A musical program of surpassing excellence was rendered as follows:
Repertoire sheet:
Sextette (from) "Lucia di Lammermoor" - Donizette
Orchestra
Vocal Solo "Carissima" - Capt. N.
(Old Spanish) Clark Smith
103Harlan and Smock, Washington Papers, 10: 429.
58
Religioso "Angels' Serenade" - Braga
Orchestra
Recitation Selected- Mr. Charles Winter
Anvil Chorus (from) "II Trovatore" - Verdi
Orchestra
Vocal Solo Selected- Miss M.P. Winter
Intermezzo (from) "Cavalleria Rusticana" - Mascagni
Orchestra
Saxophone Solo-Orchestra Accompaniment-Schubert "Serenade" Arr. by N. C. Smith 1 0 4
104 Harlan and Smock, Washington Papers, 10: 429.
59
To Ur.Buokcr T.WaibiiiftoB. The Tuskegee Institute March.
(CLAiJS SONG .) . _ . Bi N,CLAJUC~bMITH'»«ti«MWi i. fJSTOHlAli-
y jr«a.n«4 Otrj*'1
\i i iJM'i m a y t h y « d - u •
(I* i 1 S 3
L i — t • J1 1 c t . t i o o , S h i n e o u t o n t k i i ( r * * t
J J 1 1 1 I fi ' V N
U • l « M | A
1 i . i S t
| t i i i i
(a , > f 1 - 1
i- t J j.—J— i:
(*—**+ *«•««< BCBUt + r.Om.t §muk.a*~—. (Mi f*fUt
Figure 12: "The Tuskegee Institute March" was the class song for Tuskegee. It was originally written in 1903 in Chicago. (Courtesy of N. Clark Smith Archives at the Uni-versity of Missouri in Kansas City).
60
While Washington was making his contacts and soli-
citing for Tuskegee, he and another colleague also attended
Smith's concerts lending comments of praise and
105
constructive criticism. Many times, instead of a tete-a-
tete, he would document his observations, thus giving Smith
a tangible resource as well for future reference. Several
letters were found which contained sentiments of praise and
criticism by Washington in reference to the music that Smith
had selected for the students' presentation at performances.
Unfortunately, Smith did not take all of these comments
well. He accepted the praises of his work, and he responded
strongly to the unconstructive criticisms. 1 0 6
During Smith's tenure, Washington began to comment
more and more on the music that was presented in concerts.
Unfortunately, these comments eventually led to criticisms
that were unacceptable to Smith. Conversations between
Washington and Smith revealed that there was friction
developing between these two sensitive and ambitious
gentlemen. Smith decided to respond directly to Wash-
ington, and in turn, Washington decided that Smith, who
had taken the band, orchestra and glee club on a tour
through August, was tired and that he should rest for the
remainder of the summer. So Smith and his family returned
105
Harlan and Smock, Washington Papers, 10: 428.
1 0 6lbid.
61
to Wichita, Kansas to rest for the remainder of the summer
and help with his ailing mother-in-law's estate. However,
before school started for the 1913-1914 academic year, he
had decided to take a leave of absence on the premise that
his eyes were very irritated and that he needed rests; but
one of the actual reasons for his leave were letters that he
received from Washington during the summer months. One
reads as follows:
To N. Clark Smith
(Tuskegee, Ala.) May 26, 1913
Captain Smith: All of us appreciate the great improvement in the band from year to year. There is one suggestion which I want to make to you. In my opinion you are losing a great opportunity by not making more of the plantation melodies in connection with the band music. In every part of the country, especially in New York, and even in foreign countries the planta-tion songs are being used by bands. You have an opportunity to set a pace in that matter for all the other people in the country. I do not hear very many of these melodies played from time to time when you have your concerts or when the band is playing on other occasions. It is always a safe policy to do the thing which one can do better than anybody else. You can get hold of the plantation songs, set them to music and play them better than anybody else because you have advantages over any other band leaders in the country. In this way you might make a distinct and unique reputation for yourself. On the other hand, if you attempt to play the high classical music to imitate Sousa and other great band leaders, you will find that people will compare your music with theirs to your disadvantage. The whole country is seeking to see and appreciate the plantation melodies, and I urge you to take hold of them
62
with new interest and zeal and emphasize them constantly in your concerts and playing generally. If you try to play one of the difficult pieces played by famous bands and familiar to Northern audiences, as I have said, people will compare your playing with others to your disadvantage, but if you empha-size the kind of music which the other people know little or nothing about, and you can do it better than anybody else, there will be no chance for any such comparison, and as I have said, the band will make a unique and distinct reputation which will be of the greatest advantage to it.
If one goes to hear a Mexican band he expects to hear music suited to the atmosphere of Mexico, that is peculiar to Mexico, and consequently when one goes to hear a colored band or Southern band he expects to hear something different from a band in the North.
(Booker T. Washington) 1 0 7
Booker T. Washington also commented positively on the
progress of the band. He was so impressed with its deve-
lopment that he suggested a tour should be set up for them
1 n ft
to help to raise money for the institute. He wrote a
detailed letter to his sister in Maiden, South Carolina,
regarding specifics about a tour in that area. Initially,
the band was scheduled to perform in Charleston, South
Carolina, and Maiden would be an extension to the tour. The
letter reads as follows: To Amanda Ferguson Johnston
(Tuskegee, Ala.) May 28, 1913
107 Harlan and Smock, Washington Papers, 10: 428.
1 0 8 Ibid.
63
Dear Sister: On July 31st or near that date our band is planning to give a concert in Charleston, and if the people of Maiden would like for the band to do so, I shall arrange for the band to give a concert in the public square in Maiden either the day before it gives the concert in Charleston, the same day or the day after. This I should like to do as a compliment to the citizens of Maiden without any charge being made. I should like for a temporary band stand to be erected in the public square that would hold 45 or 50 people. It of course could be built of rough boards. There should be chairs placed on the band stand.
Please talk to the white and colored people there, and let me know if they would like the band to come to Maiden and I think I can perfect plans by which it will be there on either one of the dates I have mentioned.
I should not like for the concert to be advertised or spoken of to any extent outside of Maiden, for the reason that the people of Charleston will be charged admission and the persons in charge of the concert there would naturally object to a free concert being given so near Charleston if it was advertised to any large extent outside of Maiden.
Mr. John D. Stevenson will be with the band, and Captain Smith is the bandmaster. I will give them full instructions about getting to and from Maiden. I suppose it will be necessary to provide them with at least one meal while in Maiden. I sent you a basket of peaches a day or two ago which I hope reached you safely.
I hope all of you are well. Your brother.
(Booker T. Washington)109
Washington then returns his attention to Smith and
his musical presentations at the concerts. He makes him
109 Harlan and Smock, Washington Papers, 10: 189-93.
64
privy to the criticisms he has received about one of the
selections on the program. The letter is presented to
Smith:
To N. Clark Smith
(Tuskegee, Ala.) May 30, 1913
Captain Smith: Criticism has come to the school from several centers with regard to the piece, "I Am Afraid To Go Home In The Dark". The Executive Council feels that the impersonation of the man staggering home drunk should be eliminated from the program, although it has no objection to the music.
(Booker T. Washington)110
Smith apparently ignored Washington's orders since
further criticism of the drunken act, from a niece of R.C.
Ogden, came to Washington's attention in August, 1913.
Washington again ordered Smith to drop the act.
Further correspondence to Smith from Washington is
presented below:
Dear Capt. Smith: Let me make one or two suggestions regarding the band, and I do so for very definite reasons.
First, I advise and urge that you leave out the singing on the part of the students. The singing is disappointing and not good; it is very rare that anybody can sing and play an instrument. The singing of the students does not represent the best that we can do. It places us at a disadvantage. Please leave that out. Please leave out the greater part of the singing on the part of the students.
1 1 0Harlan and Smock, Washington Papers, 12: 189-93
65
Second, you will note by the enclosed article from the Advertiser that the critic who heard the band in Montgomery brought out just what I tell you, and that is, the band is at its best when playing Negro airs. I hope you will stick to that very largely.
I do not think it does you or the institute any good to be advertised as the greatest colored band master. I think you are, and others think so, but it is a great deal better to let your work prove that you are the greatest than for you to say so in your advertisements. I think it best in the future to leave that off. It is better for the people not to be disappointed by getting more than they expected. The more modest we make the advertisements the better.
I have not heard from you or any one since I wrote you regarding Maiden, South Carolina. Please let me know whether you can go there on the 30th or 31st. It is only five miles from Charleston and Mr. Stevenson will know how to get there and back. I do not want to disappoint the Maiden people.
I might add, that going to extremes in the matter of advertisement is not in keeping with the policy and character of the school. Modesty and conservatism win in the long run.
One other thing: the artificial song that is attempted to be created in connection with the playing of "Swing Low, Sweet Chariot" did not appear to me to add a thing to the playing but rather detracted. It did not come in naturally but rather grated upon the ear. Yours very truly,
(Booker T. Washington) 1 1 1
That letter evoked a very direct response from Smith,
who defended his position with this musical groups. He
says:
111 Harlan and Smock, Washington Papers, 12: 194.
66
From N. Clark Smith
Clarendon, Ark., June 13, 1913
My dear Mr. Washington: The last letter received from you disturbed my mind very much. I am sure you have not the slightest idea of how much worry, strength, energy, and vitality is going out in handling 47 boys and looking after every detail. I remember the last conversation we had in the office, and Mr. Stevenson was to look after the business affairs of the organization, and I was to look after the music; but when we get out on the road and strike unusual problems I am forced to go to the rescue and take on the same worry that you told me to dispense with.
Rains have interfered with our success in four places, but the public is loud in its praise of our entertainment, especially the singing and the glee club. I note with much regret that you constantly nag me about the singing of the students in the band. You must remember that this is not my first trip with the band, nor my first experience before the public; and entertainment of this kind are best given when the master is permitted to use his own judgment as to whether the audience approves or not. I have never attempted to interfere with the singing of Tuskegee Insti-tute, as you know, except to help out wherever it was required. The singing of the band on this tour, as in former years, is only to relieve the monotony of so much band music, but this year it has taken on a feature rather than a grating noise-you will notice by the press clippings I am sending you under separate cover that this letter is no exaggeration. I hope, however, that you will not embarrass me any more with letters of this kind, for I am on the field of battle, and the public and not individuals are pleased beyond any question.
My fifteen years experience in preparing pro-grams for this sort of entertainment serves me as a stimulant, though I am discouraged by the way the Tuskegee authorities write me. The band at present is entertaining the public with Negro music, which as you know I have worked on
67
for so many years. It is rather embarrassing to have authorities dictate to me about their own structure, as to its merits good or bad, when they know absolutely nothing about it. I repeat: I hope you will give me more encouragement rather than discouragement, as I do not expect it of you.
The white people invariably call for classic selections, which we give them to the best of our ability. The press speaks for itself.
Now, in regard to the advertising which refers to me as the greatest "Negro Bandmaster in America", it was not designed by myself, but they are the plates made by Dr. Proctor for the Atlanta engagement, and were turned over to me for use on this trip. Please your honor, I have always tried to be honest in regard to advertising myself, and have no control over the press-agent's wording of the same.
Negro music as played by the Tuskegee band on this trip is a revelation to all the musicians who attend our concerts, and it gives me much hope and encouragement for long years of study on the subject and a final opportunity to present it properly to the public.
Hoping that my strength will improve from what it is at present, I am, yours very respectfully,
N. Clark Smith, Bandmaster
For special mention of the Glee-Club; see Tuskaloose Times-Gazette, June 5 Jackson Daily News " 6 Vicksburg Evening Post " 9 Greenville News " 11 Memphis Appeal " 13 1 1 2
112 Harlan and Smock, Washington Papers, 12: 198.
68
In addition to the preceding letter from Smith,
Mr. John D. Stevenson, business manager of Tuskegee who
accompanied the band on its tours, wrote Washington:
I would like to ask that you not bother Captain Smith any more in regard to suggestions about the kind of programme to be rendered. It is only a source of irritation to him and it does very little good in regard to having him change. (June 13, 1913) H 3
Obviously, Washington did not bother Smith again;
however, his writings had already elicited change in Smith's
attitude and feelings towards his treatment of Washington.
After the band toured in the summer of 1913, Wash-
ington wrote to Smith:
Captain N. Clark Smith: I shall not be here when the band returns, but I want to let you and the band know how very greatly all of us are pleased with the fine record which the band has made during the summer. I know it has been a long, hard, trying trip. I have not heard any criticism so far as the moral conduct of any one connected with the band is concerned. This pleases us a great deal.
One other thing. I advise that you arrange with Major Ramsey to take a vacation of several weeks away from the school as you need the rest.
Yours very truly,
(Booker T. Washington)114
Smith took the well-needed rest after the tour as
Washington suggested; however, he decided to take a longer
113
Harlan and Smock, Washington Papers, 12: 198.
1 1 4Ibid.
69
rest than Washington had in mind. He went to Wichita,
Kansas, and instead of returning for the beginning of the
academic year at Tuskegee, he wrote to Washington explaining
his reason for taking a longer leave of absence.
From N. Clark Smith
Wichita Kas 9-5 (1913)
Conditions of my eyes and nerves will not permit me to work regularly for some time. We asked the Major for three months absence. Mrs. Smith and Mother advised me into giving up the work this year. I cannot take doctors treatment and operation until the cold weather is over. The band tour has disabled me. I beg your release. No salary arrived for band tour yet.
(N. Clark Smith) 1 1 5
After about a week, Smith wrote to Washington again
but with more details about his decision not to return to
Tuskegee for the 1913-14 academic year.
From N. Clark Smith
Wichita, Kans. Sept., 15/13
"The Lord Hath Heard My Petition: The Lord Heareth My Prayer."
Monday morning 8:30.
My Dear Dr. Washington: Just a line (or) so to keep in touch with Tuskegee and its people; and to let you know of my condition.
I am feeling much improved these last few days of cool weather; yet some times my nerves goes completely down, and reading music seems to strain my eyes. So I shall not try any work of this sort for some time; but we hope Major
115Harlan and Smock, Washington Papers, 12: 272.
70
Ramsey will remember that I am ready at any time to come to Tuskegee Band's rescue if necessary.
Your next Bandmaster will have everything ready at hand, all systematized, with the very latest instruments and music, the pride of my ripest and best life; in fact, the Tuskegee Band is my child, raised from 14 to 47 pieces and shall always remain very dear to me.
We have decided to remain here all winter with mother, who is now very feeble and begs us to help look after the property.
The people are asking me on every hand to help the colored Y.M.C.A. Boys to their feet, they are completely down, and my white friends have offered me financial aid if I will take hold while in the city. I shall serve "God" the rest of my days, for he has prospered me in every undertaking. The colored boys in this section are in need of our help and council, though I cannot do much actual work now; but can direct and suggest ways and means to better their condition.
When my eyes will permit, I shall continue at work with my melodies and compositions on Negro Music, especially my "Uncle Tom's Cabin" set to music, with themes of old plantation melodies, with solo voices, chorus and orchestra. We have been asked to arrange the "Negro Folk-Melody Suite" for our local white orchestra's use this fall, at the Wichita College of Music. I shall keep you informed with regard to this matter. These melodies made a profound impression when the band played here last June.
We have quite a number of Tuskegee Song book's on hand if Mrs. Lee or your friends should ask for them. Price 25 cents. People out this way are growing very fond of my arrangements. The pastors and their choirs all use them at regular services.
Love and best wishes to the entire "Student body" at regular prayer's especially, and say to the Band and Orchestra Boys, that I expect them to "hold up the standard" for I may visit
71
Tuskegee in early spring.
Remember me to Mrs. Washington and Booker, who I have learned to love so well, say to them I shall expect an early letter from them soon.
Mrs. Smith has entirely recovered from the fever and seems rather cheerful since I came. My daughter still teaches in the city school with other Tuskegee Graduates and I shall help them stand up for Tuskegee too.
Hope Mr. Scott has recovered from his recent attack. My best wishes and thanks to you. I am yours
(N. Clark Smith) 1 1 6
Smith did not return to Tuskegee Institute until the
1914-15 academic year. Upon his return Washington granted
him the faculty rank of Major, and he continued to work
with the band, orchestra, glee club, and cadets. Then the
unexpected happened, Booker T. Washington died. Just as
Smith had left Washington last year, Washington had left
117
Smith but this time he left for good.
By the end of 1915, Smith decided not to return to
Tuskegee; instead, he went back to Kansas and began another
episode in his life.
116 Harlan and Smock, Washington Papers, 12: 280.
117 "N. Clark Smith: Soldier, Composer", June, 1922.
CHAPTER III
THE KANSAS YEARS: 1915-1922
In 1915, after leaving Tuskegee Institute, Smith
returned to the Mid-West to become the head of the Military
Science Department at Western University in Quindaro,
Kansas. Western University, originally named Freedman's
University, was established as a private school for Negro
youths and was previously affiliated with the African
Methodist Episcopal Church.
Western University was not endowed as well as
Tuskegee Institute and lacked resources. However, in spite
of that detriment, Smith was still able to achieve success
with his students, and he continued to compose music.
In 1915 he began to use more personal illustrations
in his work. He designed the front cover to many of his
compositions. For example, Smith designed the fpont cover
of his composition entitled The Crucifixion which is an
Easter plantation song based on a melody that is indicative
of a spiritual. Smith used fragments of The Crucifixion
later in his symphony.
Orrin Murray The Rise and Fall of Western University (Kansas: Western University Press, 1960), 57.
72
73
While employed at Western University, Smith formed
a band with the cadets and other students. The group
eventually performed on campus and in community activities.
He believed in using them to promote the college, an
arrangement that was in agreement with the philosophy of
Dr. Vernon, the president of Western University. Dr.
Vernon's philosophy was for his faculty to use campus
resources to help with the financial aspect of the uni-
versity. By presenting musical activities through his cadet
band, Smith was able to help supplement Western's finances.
However, his efforts were not enough. The financial
problems were not unusual for that time period; the country
was in an economic recession and approaching World War I.
Thus, opportunities for raising monies for any institution
were difficult.
In 1916 the cadet band was included as a part of the
music department and under the direction of Smith, it
functioned in the music and military science departments.
It was the first marching band that was established at
Western University.
During Smith's tenure at Western University the
total enrollment at the school increased, but due to a
couple of factors enrollment in the music department
decreased. Initially there was the problem with the school
finances, and some of the students were not accustomed to
74
the discipline and dedication required to become a musician.
Additionally, Smith did not tolerate undisciplined behavior
from his students, so those who were not in accord with his
directions were asked to leave the band.
The cadet band at Western University was exclusively
male and was said by some to have been so polished that one
day upon being observed by United States Army officials on a
visit to the campus, they were so impressed that they
delivered a propitious account to Washington, D.C. and to
the governor of Kansas. Eventually, these accounts had a
positive impact on the cadets' future at Western; they
o
became part of the Kansas State Militia.
Many of the students who participated in the cadet
band became proficient on their instruments in a rather
short period of time. Dr. Orrin Murray, a student of Smith
at Western University during that time, discussed some of
the musical activities of the cadet band. The cadet band was a feature for the school. Western University had a uniformed band of 20 to 50 pieces. This band played at inter-school games, civic parades, and campus band concerts.3
Although Smith was in charge of the cadet band and
the military science department at Western, he was not in
charge of the music department. That department was under
2f,N. Clark Smith," Chicago Whip, 14 June 1922, 5
3Murray, The Rise and Fall of Western, 113.
75
the leadership of R. G. Jackson. Once the cadet band had
been included in the music department, Smith designed a
course of study for military band and for orchestra to be
included in the music curriculum. 4
The following course of study for 1916-17 is stated
below.
n Course of StudyJ
Military Band and Orchestra Major N. Clark Smith, Instructor
There are some worthy young men who are adapted to band and orchestral music and who wish to be further developed along that line. With this view, the school offers to admit such students who are fully 18 years of age and teach them the course as outlined, providing they meet the requirements of admittance herein.
1. Students admitted as specials to take this course must, in the first place, be far enough advanced in their literary studies to have completed the studies of our second year preparatory. You will find an outline for the studies of the Second year Preparatory in this catalog.
2. They will be required to play regularly in the school's band and orchestra, and perform extra related duties when it is necessary. Under our commandant, Major N. C. Smith, the students drill on the parade grounds, and the band plays there as well as on other occasions. Special attention will be given to such
4 „ N. Clark Smith," Chicago Whip, 14 June 1922, 5.
5Annual Catalog of Western University (Kansas: Western University Press, 1916-17), 37-39.
76
students by the bandmaster who will advance them as fast as it is practicable to do so, both in band and orchestra music.
Band 6
The institution maintains a military band composed of 35 pieces and an orchestra.
1st Quarter: Band information, tuning and voicing instruments; elements of music; scales; exercises, grades 1 & 2, care of instruments; how to select appropriate music for beginners; combinations, large and small, for various ceremonies.
2nd Quarters: The origin of music and the history of all instruments and their rela-tionship to the voice. How to tune instruments to the piano. Lange, Carl Weber and other studies. Vocal solfeggio, ear training, with band music, grade 3. In this quarter also the students will be taught how to prepare programs for rhetorical, literary societies, etc.
3rd Quarter: Elementary harmony, simple 4-part writing, quarter arranging, saxophones and bass from plantation melodies and church music. Advanced exercises, grade 4, classic and popular band selections.
Orchestra 7
Members of the orchestra are selected from the personnel of the band and are required to have previous knowledge of the violin before they enter. In this selection of the band, the students continue scales and exercises the same as 1st, 2nd, and 3rd quarters of band music, with still better advantages for learning correct bowing, ensemble playing, transposition, accompanying congregational
6Annual Catalog of Western, 40-42.
7Ibid., 43.
77
singing, chorus and solo works. Here, they are also taught how to arrange chorus and orchestra music for church purposes.
Orrin Murray provides additional insight into Smith
and the music department at Western University. He states
that:
N. Clark Smith, who had an outstanding academic preparation along with his experience in the militia and his extensive traveling, contributed to the organization and stability of instrumental music at Western University.
The one big and distinguished duty of Smith was to lead the graduating class and the commencement procession from Grant Hall to the place of ceremony. The orchestra was also a fixed and well-balanced organization. The orchestra had a Knife and Fork Banquet which was held at the First AME Church of Kansas City, Kansas. It played the devotional exercises at chapel every day and for all special occasions. This orchestra had such a reputation that it was invited to furnish some of the music for the AME General Confe-rence, which convened in St. Louis, Missouri. Yes, Western's orchestra at that General Conference was superior to the one from Wilberforce, Ohio. 8
One of the highlights at Western was the Allen Chapel
Choir and the Western University Chorus combined to perform
"The Seven Last Words of Christ" by W.E.B. Dubois on April
2nd, with a twenty-one piece orchestra under the direction
of N. Clark Smith. The success of this concert gave Smith
more visibility in the community. As a result of his
success at Western, he was sought by the public school
8 Murray, The Rise and Fall of Western, 113.
78
system of Kansas City, Kansas.9
Smith was offered a part-time job to work with the
Sumner High School band students in the Kansas City, Kansas
public schools. On Tuesday afternoons, Smith assisted in
the development of the band at Sumner High School while he
continued his responsibilities at Western University. Smith
replaced Mr. John A. Hodge who was the brother-in-law of
R. G. Jackson from Western. He only worked part-time at
Sumner High School for one semester. However, during that
semester at Sumner, he was able to organize the students to
perform concerts in the school as well as out of the state.10
In February of 1917, the first class in instrumental
music was introduced at Sumner High School.11 Murray, who
was a student/teacher at Sumner High School at the time,
described the events leading up to that decision and to
Smith's resignation at the end of the semester:
Mr. John A. Hodge, a science teacher at Sumner High School in 1916, talked to Professor J. J. Marquis, the principal about getting a brass band started at Sumner. Mr. Hodge was a cornetist in his high school days and a performer throughout his college career.
9 Murray, The Rise and Fall of Western, 114.
1 0 Ibid.
1 1 Orrin Murray, "Sumner High's First Band" an unpublished paper, Sumner High School, 16 May 1917, N.C. Smith Archives, University of Missouri, Kansas City, Missouri, 4.
79
On a Wednesday morning in the first week of February, 1917, Mr. Marquis announced to the student body at an assembly that, A brass band was to be formed with Mr. Hodge (the triple tonguing cornetist from Indiana) being in charge of all arrangements.' Mr. Hodge talked with his brother-in-law Professor R. G. Jackson, the head of the music department at Western University. Arrange-ments were made so that Major N. C. Smith, a Western University teacher, a retired militia bandmaster and a former band director of Tuskegee Institute, could begin forming the band. Major Smith met with the boys and it was decided that the band should rehearse in the science room every Tuesday and Thursday after school from 2:15 til 4:00 p. m. Arrange-ments were made for the procurement of instru-ments most of which came from Jenkins (Music Company), especially if they were to be purchased new. (The instruments were secured and we began our rehearsals in earnest. There was perhaps one thing that contributed to the rapidity of our progress: there were some of them who had been playing instruments in the Argentine Silver City Band. These boys who were musicians were an inspiration to beginners.) We had Jenkins Beginner's Band Books. There was a 29 piece band, but ten of the musicians had enough experience in other bands.
Major Smith praised the progress of the band. He told how a band a little over two months old was able to play. (The principal of Lincoln High, in Kansas City, Missouri invited the eight week-old band of Sumner High to come to Lincoln for a concert. Thus, Sumner's first band was invited to play its first concert outside of this city. Well, the second week in May, 1917, all of the boys wore white pants and a white shirt and that afternoon we went over and played a concert. Major Smith was a very excellent band teacher....) At the close of school he complimented the band, but when school started in September, 1917, he had left Western University and gone to Lincoln High School. There was no one to take charge of Smith's band. Mr. Hodge had just undertaken
80
the responsibility of the principalship at Sumner High School and did not have the time to work with us. The school had no band for the 1917-18 school year. At the opening of school September, 1917, Mr. Hodge said that "anyone knowing his or her instrument well enough could enroll in the orchestra, which would meet one hour each day and would receive one hour of credit providing he could show progress." Mr. Reynolds, who knew the piano and organ but nothing about any other instru-ment, taught one class in instrumental music.iZ
The students at Sumner High School were surprised to
hear that Smith would not return to teach them music.
Leaving Sumner and Western University in such a short
period of time seemed to indicate that he was unhappy with
his surroundings. It was possible he was dissatisfied and
wanted a more stable situation. Even though he was
producing, it seemed that he was still searching within
himself. His energy and determination made it possible
for him to proceed to this next position as bandmaster at
Lincoln High School.
From the available evidence it seems that Smith went
to Lincoln High School because its music department was more
established than the other two schools. Smith became the
bandmaster at Lincoln High School in 1917 which was located
in Kansas City, Missouri.
In 1917 Lincoln High School was considered as one
of the highest-ranked schools with a predominantly African-
12 Murray, "Sumner High School's First Band", 4.
81
American student body in Kansas City, Missouri. Although
Missouri had segregated laws, in 1917 Lincoln High School
was integrated with a Caucasian student body of less than
one percent. There were only 31,000 students enrolled in
all of Missouri's 205 high schools and only forty-eight were
approved for accreditation: Lincoln was one of the forty-
eight .
Even with accreditation, Lincoln was not without its
problems. It is interesting to note that there were only
ten seniors in attendance at Lincoln High School in 1917.
It was not unusual for the dropout rate to be high at this
time because the country was in World War I, and conse-
quently, students dropped out to join the military. It
should be noted that in that period of time it was normal to
leave school after the 8th or 9th grade to join the work
force.
When Smith worked at Lincoln High School, his
teachings in music were considered by some to be the works
of a pioneer master teacher. He had established high
standards as a teacher and some say that his influence
lasted through generations of students. His reputation was
so well known that reviews of his work were presented in
local newspapers, with one reporting that more than 5,000
persons crowded Convention Hall for a concert and that every
number in the program was heavily applauded.
82
The article further stated that Smith was the best
music teacher ever at Lincoln High School and reported that
he taught students how to perform with confidence and pride
and to respect themselves as persons and musicians. He was
said to have been so magnetic as a teacher that students
would come to him constantly for help in learning to play
and read music. 13
In 1917 Smith directed the Lincoln High School band
at the National Music Supervisors Conference.14
Another accomplishment for Smith was his arrange-
ment of the alma mater song for Lincoln High School. The
words and music were developed by Brown and Tyler, two
15
Lincoln High School graduates.
As a result of Smith's participation in numerous
musical events and his success with the Lincoln High School
band, his popularity was gaining notoriety. It should be
noted that during his employment at Lincoln High School, a
new type of music called jazz was proliferating throughout
the country. Smith was aware of many of the musical
elements that existed including this new music that was
mainly linked to improvisation. Although he preferred to
13 "Lincoln High's Best," Kansas City Call,
13 January 1920, 1.
1 4 Ibid.
15 Ibid.
83
notate his music, he did include elements of improvisation
in some of his works that are listed in the appendix.
Smith divided the Lincoln High School band into
several smaller instrumental groups. It was not unusual for
him to divide the band into sections by instruments. He was
said to have been one of the contributors to the instru-
mentation of the big band format.16 For example, Smith was
said to have contributed a trumpet section, trombone
section, and saxophone section to help form Bennie Moten's
i 7
Big Band in Kansas City. Bennie Moten was in the Lincoln
High School Band under the direction of Smith.18 The Bennie
Moten Big Band became the nucleus of the Count Basie Band.19
One comment about Kansas City bands in general during
Smith's employment at Lincoln High School is as follows.
The impression left by the bands has given rise to a formidable idea of larger developments in instrumental music throughout the country, not definitely known. For years and years, instru-mentation by colored musicians has been an achievement that has gained wide reputation and appreciation. Even in the days ~before the war', the colored unlettered musicians, with their fiddles and banjos, furnished the musical inspiration for unlimited numbers of dances. The evolution of this type of music is found
1 6 Ross Russell Jazz Styles In Kansas City and the Southwest (Berkeley: University of California Press, 1971), 221-23.
1 7 Ibid., 224.
1 8 Ibid., 227.
1 9 Ibid., 229.
84
today in "jazz" which still has a remarkable swing among the people despite the protests of the classic minds.20
Some of the Lincoln High School students who studied
under Smith and became successful professionals in the jazz
arena were Bennie Moten, Eddie Randle, Harlan Leonard,
Walter Page, Lamar Wright, and Jasper Allen.
Bennie Moten had one of the most successful big bands
in Kansas City during jazz's embryonic time. He used many
of the musicians from Smith's band to start his big band.21
Harlan Leonard shared his comments about Smith and
his influence on him as a musician. He stated that his
interest in music was cultivated in classes taught by
N. Clark Smith.
When I knew Major Smith, he was a man past middle age. He was an American Negro. I believe he was in show business for a while and had toured Australia with a musical group. Major Smith was short, chubby, gruff, in military bearing, wore glasses, and was never seen without his full uniform and decorations. His language was rather rough and occasionally shocking to the few young ladies who were taking classes, though never offensive. Major Smith simply ran a tight ship. He was the music tradition at Lincoln High School. He discouraged dilettantes and time wasters and encouraged talent. Major Smith was not an outstanding player himself but he knew all of the instruments and he could teach. He drilled the Lincoln marching band until it became the best band in the area, some said the best of their kind in the middle
20
"N. C. Smith," Kansas City Call, 5 May 1922, 1.
21 Ross Russell Jazz Styles In Kansas City, 232.
85
west. He made music seem exciting and important, and over the years, Lincoln High School won a reputation for turning out a steady stream of well-prepared musicians who succeeded in the profession. Walter Page, Eli Logan, DePriest Wheeler, Leroy Maxey and James Alter were several years ahead of me.
After Major Smith retired, another very fine instructor took over and carried on the tradition that Major Smith had started and Lincoln High continued to turn out professional successes. In fact, some of them were to serve in the Rockets Big Band. They were Jimmy Keith, Jimmy Ross and Charles Price.22
The success of the Lincoln High School band brought
them success beyond the boundaries of the state. In 1922
Smith took the Lincoln High School Band to Chicago to parti-
cipate in the Elks P a r a d e . 2 3 As a consequence of the
success of this event, the idea of forming a National Band
Contest was discussed by Smith and other band directors who
had participated in the parade.24 The National Band
Contest was to include bands from across the nation that
25
would compete annually in Chicago.
A report about the Elks Parade and a discussion of
the formation of the National Band Contest was printed in a
local Kansas newspaper after Smith and the Lincoln High
22 Letter from Harlan Leonard, N. C. Smith Archives.
23 "Elks' Bands Charm Chicago," Kansas City Call 1922, 8.
2 4 Ibid.
2 5 Ibid.
86
School Band returned to Kansas City, Missouri.
An idea was broached after a successful Elks Parade in Chicago of 75-100 bands from all across the nation, to have a National Band Contest, both concert and jazz. The subject has been broached to J. L. Grinnell, Director of the famous band of the John Wanamaker stores, as well as Major N. Clark Smith and others, all of whom think well of the idea. Recently, Mr. Grinnell and his band gave a concert of Negro music as a memorial to the late James Reese Europe.... Mr. Grinnell has achieved such fine distinction as a band director that Musical Truth, published by C. G. Conn Company, large manufactures of musical instruments, lauds his success in "superlative term.'
The performance of the Lincoln High School band in
the Elks Parade in Chicago was an accomplishment for Smith.
It was the first time that the band had ever performed in
Chicago and the trip proved to be more than just a visit
for Smith and his cohorts. Chicago was much larger than
Kansas City and more opportunities were readily available
for him, and he missed being in Chicago where he had
previously lived.
After the Lincoln High School Band returned to Kansas
City, Smith made a determination to return to Chicago.
^"Elks 1 Bands" Kansas City Call 1922, 8.
27 "N. Clark Smith: Soldier, Composer", June, 1922.
CHAPTER IV
THE CHICAGO YEARS: 1922-1930
Smith returned to Chicago in 1922 and he worked for
three employers. Initially, he worked for the Chicago Board
of Education from 1922 to 1930 as bandmaster at the Wendell
Phillips High School. In 1923 he was also employed by the
Chicago Defender newspaper as the bandmaster for the news-
boys band. In 1924 he gained another source of income from
the Pullman Railroad Company when he organized singing
groups among the porters. It was also in 1924 that he
received a Masters Degree in Orchestration from the Sherwood
Music School in Chicago.
While teaching at Wendell Phillips High School, Smith
continued successfully with his band. He used students from
his band to organize a glee club, and both groups brought
him considerable acclaim within the city.
Several of his students from Wendell Phillips later
became professionals in the teaching and performing areas.
Among them were Natalie Matilda-Richie Woodard, a supervisor
of music for the Chicago Board of Education and Milton
Hinton, a prominent jazz artist.
"N. Clark Smith," Chicago Whip, 14 June 1922, 5
87
88
Chicago's locally and nationally circulated Defender,
the leading newspaper for African-Americans in the country,
reported Smith's success with his work and with his students
2
at the high school. It was not long after that report that
Smith was noticed by Robert S. Abbott, the owner and founder
of the Defender. He recognized Smith's organizing abilities
and hired him to direct the newsboys band. The boys
practiced on Saturday mornings on the South side of Chicago.
The purpose of the band was to keep the young newspaper boys
occupied and to keep them out of trouble between their morn-3
ing and evening newspaper routes. Abbott went to Smith for
assistance and then hired him as the band director for the
4
group.
The use of music in industry was unusual in the
United States at this time, but the idea was an old tradi-5
tion in English factories. It was in England that
industries formulated and produced better working rela-
tionships with their employees through music. Industrial 2 Roland E. Wolseley, "Robert S. Abbott", The Black
Press, U.S.A.: A Detailed and Understanding Report of What A Black Press is and How It Came To Be (Iowa: The Iowa State University Press, 1971), 222-24.
3 Ibid.
4 Ibid.
5 A1 G. Wright and Stanley Newcomb, Bands of The
New World (Illinois: The Instrumentalist Company, 1970), 41.
89
bands in Britain played an important part in the achieve-
ments of the working-class and the idea of forming them
quickly spread to various other workplaces.6
Employers wanted employees who could also play a
band instrument. Such was the popularity of bands that
often the job appealed to the worker only because he
kneiw he would be able to play publicly.
A few additional industries began to support bands
for they found these organizations wonderful allies in
spreading good will amongst their employees, communities and
customers. Some companies gave concert parties for their
laborers and their families.7
In the United States, two industrial bands, The
American Rolling Mill Company from Ohio and The Cater-
pillar Tractor Company from Illinois, received considerable
financial support from the sponsoring companies whose name
they bore. Usually they met in the evenings or weekends,
but sometimes they rehearsed during company hours and were
paid by the company for that rehearsal time.8
Most sponsoring companies considered the time and
money spent for supporting the recreational and cultural
Wright and Newcomb, Bands of The World, 43.
7 Ibid., 44.
8 Frank Graham, Great Bands of America (New York: Schirmer Press, 1974), 130.
90
activities of the bands a worthwhile effort. It resulted
in good public relations with the community and perhaps,
what was even more important, it helped improve employee
morale and employer/employee relations.
Abbott disclosed that Nathaniel C. Smith was the
bandmaster for the newsboys band, and printed an ad which
presented an account of Smith's collection of primitive
musical instruments from Africa. In 1925, after Smith had
worked with the newsboys band for two years, Abbott decided
to organize a "Bud Billiken Day" which was to be observed
annually on the first Saturday in August.9 The purpose of
the day was to give underprivileged children a chance to be
in the limelight for one day. They dressed in uniforms,
marched in a parade, and played instruments. He used the
name "Bud Billiken" erroneously. He believed that the name
came from a Chinese legend.10
Abbott led the march in his Rolls Royce limousine,
followed by N. Clark Smith leading the newsboys, boy and
girl scouts, and a host of Defender readers.11 They
raised two thousand dollars to be used for scholarships on
that day and the parade attracted the support and partici-
Roi Ottley, The Lonely Warrior: The Life and Times of Robert S. Abbott (Chicago: Henry and Regnery Company, 1955), 2-7.
1 0 Ibid., 8.
11 Ibid.
91
pation of a wide variety of people.
The reviewing stand usually contained dignitaries
from the city and state, including the mayor of the city and
the governor of the state. The people numbering as many
as 30,000, marched through the neighborhood. Floats of
every description were included, as well as, bands and units
from military organizations.
The Billiken parade, along with Abbott and Smith,
provided an atmosphere which allowed the newsboys band to
perform music to the public. Therefore, the newsboys band
could be viewed as a training ground for developing musi-
cians and for presenting music to the public with Smith
serving as the director.
Some of the members of the newsboys band became
successful musicians in the jazz idiom. Nat "King" Cole,
Lionel Hampton, and Milton Hinton were among those members.
In addition to being a jazz artist, Nat "King" Cole became
the first African-American entertainer to host his own
television show. Hampton and Hinton are both in their
eighties and reminisce about their experiences with the
newsboys band and N. Clark Smith. In an exclusive
interview, they shared with me many of the moments they had
shared with Smith as a band member.
In 1988, in a descriptive telephone interview about
his association with N. C. Smith, Milt Hinton reflected and
92
responded to my inquiries as follows:
Lyle-Smith: Was N. C. Smith a disciplinarian?
Hinton: Major Smith, as we used to call him, was a very strict teacher. He was a discipli-narian. He would throw a stick at you in a minute. He would call you a Nigger.
He would throw a drum stick at students if they played the wrong note-no trills.
Lyle-Smith: Pictures frequently show him dressed in a military uniform, did he wear a uniform everyday?
Hinton: He wore a uniform everyday. He grew up in the military tradition. In 1929 there were twenty-three high schools in Chicago. There was a band contest at Northwestern Uni-versity at Dike's Stadium during the football season. Eddie Cole, Gene Kruppa, Benny Goodman and I were all in different bands. All of the twenty-three bands played the "Star-Spangled Banner" and John Phillip Sousa directed.
N. C. Smith always wore a uniform with medals. He was not a jazz man himself, but, he wanted rehearsals in symphonic music.
Lyle-Smith: Did Smith teach music alone?
Hinton: Smith taught band practice while Dr. Mildred Bryant Jones, Principal, taught Theory at Wendell Phillips High School.
Lyle-Smith: Did Smith motivate his students?
i p Hinton: Smith motivated others also: Nat King
12 Interview Conversation with Milton Hinton, New
York, New York, December 1987.
93
Cole and Lionel Hampton when they were in the Chicago Defender Newsboys' Band.
Lyle-Smith: How was it growing up in Chicago?
Hinton: During this period in America's history, Chicago was the migrating center, not New York, in jazz, Hot jazz. All conventions were in Chicago. Railroads came through as the mid-point.
There were people who were looking for decent unskilled labor. They went to the South and got blacks to work. Joe Williams was there as the singer.
The South side of Chicago was what was happening. Descendants of slaves lived in this country, not Africa. Blacks stuck together.
I played with Freddie Keppard. They went and sent for musicians in New Orleans. Earl Hines, Louis Armstrong, and Jack Johnson; all were in Chicago. Teddy Wilson and Bunk Johnson were in Chicago on the South side.
Lyle-Smith: Why do you think Smith came to Chicago to teach music?
Hinton: Smith taught in Kansas but the money was better at Wendell Phillips.
Lyle-Smith: Did Smith have any students who were successful in other fields?
Hinton: Alonzo Phiam, the first candidate at West Point who was African-American got his discipline from N. C. Smith.
The former Superintendent of Music in the Chicago Public Schools, Mrs. Natalie Matildal3
13 Interview with Milton Hinton, December 1987.
94
Richie-Woodard, played violin in Smith's band at Wendell Phillips High School.
Lyle-Smith: Was Smith publishing his music during the time that he taught you?
Hinton: Smith was also publishing his music with the Lyon and Healy Company in Chicago. It was the biggest music store in Chicago. He had his own music publishing company also We played a lot of his music and the music of other composers.
Lyle-Smith: Where and when did you have band rehearsals?
Hinton: With the newsboys band, we had our band rehearsals in a huge mansion where white people used to stay on Grand Blvd. which is now Martin Luther King Drive and Main Street. Abbott was co-owner of this mansion.
When blacks moved in the neighborhood and whites moved out, the street name changed from Grand Blvd. to S. Parkway which is now Martin Luther King Drive.
Madame Walker and Mrs. Malone were hairdressers who became rich while living in Chicago.
They, along with Abbott, donated the big mansions which had big drawing rooms on 44th and S. Parkway. This was another place where the Chicago Defender Newsboys' Band had their practices.
Their practices were held on Saturday afternoons for two hours.
At the time, there were twenty-five or thirty kids in the band.
There were trombones, trumpets, bass horns, and clarinets, and drums.14
14 Interview with Milton Hinton, December 1987.
95
There were the peck horns. It was like a french horn but it was pitched in E-flat. I played that horn and the tuba which helped me to learn how to count. The peck horn normally gave the off beat rhythms (
We, the band, read music, especially, Sousa's "Black Jack" Marches.
Smith was associated with every black band in Chicago at the time.
He wore glasses. He was a short and heavy man, and he was a black, dignified and handsome man.
They, the students, came to rehearsals early to jam, then he would come in and stop them.
Wendell Phillips High School had a mixed faculty, black and white. Everyone took care of themselves. If a student brought his mother to school, he was really in trouble. Everyone towed the line.
At Wendell Phillips High School, portables were in back of the school; the band room was located there.
We had band rehearsals at Wendell Phillips High School two to three times per week during school time in the afternoon. We had to have nineteen credits in music to graduate.
Lyle-Smith: Do you have any information that you would like to share pertaining to Mr. Abbott and the Chicago Defender Newspaper?
Hinton: Mr. Abbott, black publisher for the Chicago Defender wanted to help black youth. He wanted a "Youth Band" to send them around the country so people could hear this band.
Abbott was rich and he knew a lot of people. He loved kids, but he did not have any of his own. He wanted to present the newsboys to the
15 Interview with Milt Hinton, December 1987.
96
public in celebration and he wanted them to play music. He loved music himself.
Abbott hired Smith because he knew he could get the band in shape to perform. He knew that Smith was a professional in music and that he would be able to organize the band with the newsboys. He assisted Smith in anyway that he could.
Smith was a tremendous musician and great teacher, played every instrument. He made students count; they had sectional rehearsals.
Lyle-Smith: Did any other famous musicians play in Smith's bands in Chicago?
Hinton: Lionel Hampton was in the band. He went to St. Elizabeth Catholic High School in Chicago. His high school did not have a band, so he became a newsboy for the Chicago Defender Newspaper and he joined their band.
Lionel was playing the drums at that time. He played the snare drum in the marching band. He then switched to the xylophone under the direction of Smith. Now he could play the melody and work with chords in addition to his rhythms.
Yes, Lionel Hampton, just like myself, received his formative training in music under the direction of Smith.16
Another former student, Lionel Hampton, expressed his
association with Smith as a response to my inquiries in the
following interview.
Lyle-Smith: What do you remember about N. Clark Smith?
1 6 Interview with Milt Hinton, December, 1987.
97
Hampton: Major N. Clark Smith was one of the most fantastic musicians you ever wanted to meet. He was well groomed. His hair was combed. He wore a vest. He was a specialist in ear training and solfeggio, German harmony (numbers by flats and sharps; raised and flat five); and everything I learned as a kid. (He told me what to do with the raised five and flat thirteenth chords with numbers.)
Lyle-Smith: Was Smith the only teacher of music with the Chicago Defender?
Hampton: He was the bandmaster with the Chicago Defender Newspaper Club. I played the snare drum in the marching band; tympany and xylophone in the concert band. The other people who assisted him were Mr. Abbott of the Chicago Defender Newspaper and Madame Schumaker-Heick who was a great opera star. Mr. Abbott provided the music supplies and the uniforms for the newsboys band. Madame Schumaker-Heick provided the building for band rehearsals. There were others who provided assistance to Smith with the band but Madame Schumaker stands out more.
Lyle-Smith: Where and when did you have band rehearsals?
Hampton: Madame Schumaker-Heick had a big mansion on 37th and Michigan Blvd. She turned the mansion over to Abbott for band rehearsals. Smith taught singing and instruments. He taught harmony to me after school time: Mondays and Thursdays from 3:30 until 6:00 p.m. Other classes under Smith were band rehearsals and symphony rehearsals which were held on Saturday afternoons. I studied two years under Smith. Smith divided the band into big-band, marching band, symphony orchestra, and if time permitted, private lessons. Major Smith was a very hard working person. He talked about music all of the time. I7
1 7 A ' Interview Conversation with Lionel Hampton, Dallas,
Texas, April, 1988.
98
Lyle-Smith: Did he like different styles of music?
Hampton: As long as you played good, he liked all types of music.
Lyle-Smith: Do you have any other information that you would like to share pertaining to Mr. Abbott and the Chicago Defender Newspaper?
Hampton: On Fridays, you had to peddle newspapers to pay for lessons.
Mr. Abbott was the finest donation to kids. That is, to take a lesson and to be taught in the 1920's.
Some lessons were given after school also, starting at 3:30 p.m.
I was in the band before Smith came. Mr. Abbott got him to be our teacher.
Under Smith's direction, we as an eight piece band performed for the Republican National Convention in 1924.
Lyle-Smith: Was N. C. Smith a disciplinarian?
Hampton: N. Clark Smith was a genius. He was strict and he wanted you to learn. He wanted you to be and to get the best out of your studies. You had to get your studies done, you had to get your lesson completed. You had to keep up. He was popular with the students and the teachers. Yes, he was the boss. He had eight or nine teachers under his supervision.
Lyle-Smith: Did any other famous musicians play in Smith's bands in Chicago? 18
18 Interview with Lionel Hampton, April 1988.
99
Hampton: I knew Milt Hinton from our Chicago days in the Chicago Defender Newsboys' band.
Lyle-Smith: Did Smith wear a uniform everyday?
Hampton: Women were crazy about Smith. He was formal, and a sharp dresser. He didn't wear a uniform everyday with the Defender band. He wore a Prince Albert suit and vest, and a flock-tail coat. Yes, his musical ability stood out in front.
Lyle-Smith: Did Smith motivate his students?
Hampton: He liked me and gave me special attention because I liked to practice all of the time. He was the man; he was the major director.
Yes, he was a strong man. He presented concerts with John P. Sousa. 19
The information presented by Lionel Hampton and Milt
Hinton has given support to Smith's influence with students
His interaction with the students in the Chicago Defender
Newsboys' Band, in addition to his employment with the
Wendell Phillips High School, again put him into a popular
position in the south side of Chicago.
Reports about Smith and his work with the newsboys
band were normally distributed by the newspaper boys and
another group which were called the Pullman porters. The
Pullman porters were employed by the Pullman Railroad
Company and were chiefly responsible for the paper's
19 Interview with Lionel Hampton, April, 1988.
100
national circulation: it began initially by word of mouth.
Chicago was a principle railroad terminal and hundreds of
porters would come and go daily. They felt it a "race duty"
20
to help in its distribution. There was a close associa-
tion between the Chicago Defender newspaper and the Pullman
porters; the newspaper had become the unorganized railroad
workers' most articulate spokesman.21
Abbott, who was a graduate of Hampton Institute, had
a passion for industrial education. He was cooperative in
publicizing information related to his programs as well as
the programs of other industries. The Chicago Defender was
constantly alert to any threat to the welfare of the 9 9
porters, so anything affecting this group was news. A
Some of the porters were aware of Smith's work with
the newsboys band. They had read about his work in the
Defender, and felt that Smith was the person who could
organize them to sing for the passengers. News traveled
quickly about the possibility that Smith would be working 23
with the Pullman porters.
Two Pullman porters, John Ross and Ralph Turner,
presented to their supervisor, Michael Starks, the idea 2o0ttley, The Lonely Warrior, 105-7.
21Ibid., 109.
22Ibid., 110.
23Ibid., 112.
101
of hiring Smith to organize the porters into singing groups
to entertain the passengers.24 Starks and the Pullman Rail-
road Company realized that if the porters sang for its
passengers it might promote better relations between the
company and its customers. Consequently, in 1924 the
Pullman Railroad Company hired Smith to organize the porters
to sing for its passengers.
This was particularly important for the Pullman
porters because they were also going through the struggle
of trying to form a union. Although the Pullman Railroad
Company disagreed with the porters' idea of forming a union,
it agreed to hire Smith to form singing groups with the
25
porters. In 1924 Smith was hired on a part-time basis to
work with the Pullman Company to organize the porters into
singing groups to provide musical entertainment, this, in
addition to working part-time with the newsboys band, and
working full time at Wendell Phillips High School.26 This
was a unique venture during that time because Smith was
providing music for the schools and industries and at the
same time found the time to compose his music.
24Miles of Smiles: The Story of The Pullman Porter (Chicago: Henry Regnery Company, 1968), 57-59.
2 5 R o b e r t Turner, Memoirs of a Retired Pullman Porter (Chicago: Henry Regnery Company, 1971), 24-27.
26Joseph Husband, The Story of the Pullman Car (Chicago: A.C. Mc Clurg and Company, 1930), 55-57.
102
The Pullman Railroad Company presented themselves as
the single greatest employer of black labor in the world. 2 7
Trained as an ethnic group by years of personal service in
various capacities, and, adapted to faithfully perform their
duties under circumstances which necessitated unfailing good
nature, solicitude, and faithfulness, the Pullman porters
occupied a unique place in the great fields of employment.
The company further proclaimed that there were porters who,
for over forty years, had been employed by the company, and
of all those employed (an army of nearly eight thousand),
twenty-five percent had been in continuous service for over
ten years. (The reputation of any company depends in a
large measure on the character of its employees, and parti-
cularly on those concerns which render a personal service to
the general public. Therefore, it is necessary that the
standards of the employees be exceptionally high.)28
Smith's ability to organize the Pullman porters into
singing groups uplifted their morale. The Pullman Railroad
Company instilled in its employees the ambition to satisfy
and please passengers and incentives of extra pay were given
to those with unblemished records of consistent kindness and
courtesy; pensions were provided for the years that followed
their retirement from active service. At regular intervals,
27 Miles of Smiles: The Pullman Porter, 71.
oo Husband, The Story of the Pullman Car 132-40.
103
increases in pay were awarded with respect to the number of
29
years of continuous and satisfactory employment.
Although the Pullman Company offered these benefits
to its employees, there were still concerns which surrounded
the company. Wages were very low in general. Sometimes the
porters had to work for extremely long hours. Also, the
porters sometimes were let off at stations far away from
home and they had to provide their own transportation for
returning to where they live. This happened on many occa-
sions .
These were some of the concerns which faced the
porters. They struggled to unionize; however, the company
was against their unionization. If the company caught any
of its porters trying to form a union, they were immediately
fired. However, when the porters approached the company
about hiring Smith to entertain the passengers on train
rides, the company listened.
Chicago was the home base for the porters; it had
the largest membership of porters of any station. Smith
trained many of them to be singers, and from this group,
instrumentalists were also used.
When Smith accepted the job to work with the Pullman
porters, he decided to try to accomplish what seemed to be
an almost impossible task, that of training eight-thousand
9 Q Husband, The Story of the Pullman Car 132-40.
104
men who were constantly in transit. He was said to have
been about the only man in the country who could have under-
taken that feat at the time. His reputation for being a
disciplinarian and his knowledge of music was a formula for
his success.3° True to expectations, Smith went about his
task in a manner that made the officials at the Pullman
31
Railroad Company gasp in awe. What was initially expected
was a few quartettes organized for the purpose of entertain-
ing at special parties or for passengers who desired music
to cheer them on their journeys. Instead, before they knew
it, Smith had initiated a program that called for the educa-
tion of the entire group of porters. Choral groups,
quartettes, bands, and orchestras were organized in the
zones where large numbers of porters were located. Thus,
within a very short time, eight bands had been created and
nearly two thousand men were receiving training in vocal and
instrumental music instead of a few being taught to sing
jubilee songs, as apparently had been expected. 3 2
Smith's insistence that the men be taught a variety
of music rather than just jubilee or antebellum slave songs
caused a break between him and his superiors, which resulted
in his attempt to resign in 1926.
30f,N. Clark Smith," Chicago Whip, 14 June 1922, 5.
31Ibid.
32Ibid.
105
The conflict between Smith and the Pullman Company-
was similar to the conflict between Smith and Washington.
Similar to Washington, the Pullman Company expected Smith
to teach the porters how to sing songs that were indigenous
to African-Americans.33 However, Smith wanted to explore;
he wanted to pass the expectations of the company. He
wanted to teach all types of songs to the porters using
various performing groups. The Pullman Company refused to
accept Smith's resignation, but instead aided him with his
proposed plans.34 As a result of his connection with this
work, bands in different sections of the country had given
concerts, glee clubs had appeared in programs and men who
had never before had an instrument in their hands were now
playing with a facility that was remarkable considering the
time element. In 1926 because of his success with the
porters in music, Smith was granted the position of Super-
visor of Music for the Pullman porters by the Pullman Rail-
road Company.
Figure 13 portrays the Pullman porter's edition to
the song, Better Days Will Come Again arranged by Smith
and published in Chicago. Figure 13 also presents a listing
of many of Smith's arrangements that were published when he
worked for the Pullman Railroad Company. Further listings
"3 *3
"N. Clark Smith," Chicago Whip, 14 June 1922, 5.
34Ibid.
106
of Smith's compositions can be found in the appendix
"BETTER DAYS, WILL COME AGAIN"
PLANTATION FOLK SONGS FOR MALE VOICES
By N. Clark Smith
I Done, Dooe . . lack, Mt. Siaai You'll Git Thert B»t u>' Bj t Ttai Mifhiy D«r Cknmaa MiMr DOB'I L*« Nobody Tuf t Yo" Rous' Nofeodv KJIOWI Like jenu Mr Lord's Wnoa 'Ai i t iw Tim* _
Good Good News, Clunot'i Comia' W«de <• the Wttrr The Built of Jeneho Better D»yt, will C O I M Arua The Pv!im*n Mwi True 's Doer Gooe My Old Kentucky Heme < Art ) Old Bl&ck Jo* (Sp'l Art (or But) tan' OB the Rock oi /.ion Get mi totfd Tins Noble Vmei Srnf All il» Wiy I'm A ftotlia' T V C n m f i s N (Ejuter Melody) SuBdty Morrnaf Bind
L*m, frvrvt Cltanw CauUa'i H n r Nafcody h*y
Figure 13: Better Days Will Come Aqain-The Pullman porter's edition with a list of published songs for the Pullman porters-arranged by Smith.
107
Better Days Will Come Again was arranged for
male voices. Below the vocal measures is a piano score in
which "For practice" is inscribed. More attention is paid
to the seventh chords in the harmony as seen in measures
three, seven, and nine. He even included a ninth chord in
measure eleven. Figures 14, 15 and 16 presents Better Days
Will Come Again as examples of the harmony that Smith
used with the Pullman porters.
* Better Days Will Come Again Arr. by Maj. N.CLARK SMITH
MALE VOICES Words u d Music by RICKMAN A LEMON IER
let Tenor
2ad Tenor
Baritone Bast
Porpraeti
Sweet dreams of childhood deat to me, have fad • «d one by % Each flow. er could not be • rose, nor e v . 'ry fem * Xf
r _ *
Ham re . al • i • ty I know my dreamt are done, VP my way pro-pose, to con-quer this great world,
A • lone 1 lace re - al - i - ty I know my dreamt are done, 1 Nor can I In my way pro-poee.to cop-oaer tbiagreat world, Tho*
H a . re - al - i • <y I knOw niy dreams art done, JR> toy way provost, to con-goer Unarrest world,
Figure 14: Better Days Will Come Again, page 2. A Pullman porter song arranged by Smith.
108
VP bac>.k ,n M'-ols Say, till heav-en seems so near PP b.d each ach - .ng heart he stni, and hear my hfes re - frain
an-swer back In car- o!s p"av t.n i.. >..^5.2 ST.
an-swer haclc m car. ols gay, till heav - en seems io near LTb'd each ach • ,ng heart be stA»> and hear my I.fes re - fram.
P
CHORUS
Life is al. ways what you make as you climb its rug-ged
is al-ways what you make it, as you climb its rug-ged
Life is al - ways what you make it, as you climb its rug-ged
all goes wrong
rug-ged stairs wrong
smg a cheer-fulsongwhen all goes wrong,
Better Days, etc 3 Male
Figure 15: Page 3 of the Pullman Porter's song, Better Days Will Come Again.
109
if you sigh no-bod - y cares Gold - en yes- ter-daysyove
if you sigh no- bod - y cares,
p - u . * N Gold - en yes - ter-days yove
if you sigh no-bod - y cares,no-bod-y cares Gold - en yes - te r -daysyove
wast - ed. to - mor - row should not be in
wast - ed, to - mor - row should not be in vain
wast - ed, to - mor - row should not be in vam
v r ' t uL dry your tears, bet- terdayswil lcome a - gain
dry your tears, bet-ter days will come a - gain
> rk r h
Though it may beyearsjust dry your t ea r s , bet- ter dayswill com? a - gain
Better Days, etc 3 Male
Figure 16: Page 4 of the Pullman Porter's s o n9' Better Days Will Come Again.
110
3 5
Smith was an extremely well-organized individual.
His scheme was so well co-ordinated and worked out so
perfectly that, from any point in the country, he was able
to gather together the men whom he had trained and could O C
present a program at a moment's notice. He frequently
placed men in charge of different cities to practice with
37 other porters. The assistants worked at a rate that was
geared to ensure that all of the men received the same
3 8
training. To have visited him in his studio (which he
called his workshop) at the Wabash Avenue Y.M.C.A. in
Chicago, and to have watched him as the porters came and
went, some for a lesson, and others for practice, while
others wanted advice, and to see his simple method (which
actually made almost anyone want to sing or play), was to
understand how such marvels were accomplished in such a q q
short time. Smith counseled and taught the Pullman 40
porters at the Wabash Y.M.C.A. in Chicago.
Smith was conscientious and a hard worker. In addi-
3 5 "N. Clark Smith," Chicago Whip, 14 June 1922, 5.
3 6 Ibid.
3 7 Ibid.
3 8 Ibid.
3 9 Ibid.
4 0 Ibid.
Ill
tion to being sought by the Pullman Railroad Company, there
were other significant events and people that graced him
while he was employed with the company. He was privy to the
atmosphere and the working conditions the porters were
subjected to because he worked with them and they shared
their feelings and views with him. He was aware of the
porters quest to form a union and he was equally aware that
the Pullman Railroad Company was opposed to the idea and
their efforts. Singing also gave the porter's a relief from
the struggles of trying to form a union. Smith helped to
select songs which gave the porters positive words to think
about in their daily struggle with the Pullman Railroad
Company.
While Smith was keenly aware of the porter's desire
to unionize, he chose not to become involved in the conflict
but to continue the music education of the porters. Smith
left the organizing of the porters to Asa Phillip Randolph.
A. Phillip Randolph's emergence presented interest-
ing episodes that led to the porter's unionization. He
became the porter's political leader in 1925. He gave
influential speeches about unionization and leadership in
New York, and was the editor of the Messenger, a newspaper
with nationwide circulation. Randolph was sought by Ashley
Totten, a porter from the New York branch of the Pullman
Railroad Company. He had heard Randolph speak and had read
112
his newspaper and was duly impressed with the man and his
convictions. Randolph accepted the challenge of trying to
unionize the Pullman porters. He met with many porters as
he repeated over and over again the main point of his talks:
A worker was helpless by himself, but when he came together
with his fellow workers they could make things happen. The
important thing was not to let anyone or anything split them
up,. By December of 1926 the Pullman porters formed to call
themselves the Brotherhood of Sleeping Car Porters and they
wejre organized in cities all over the country from New York
to Los Angeles.41
Although Randolph and Smith were sought by the same
group of people, they never mingled with each other.
Randolph was the leader in the Pullman porters' quest to
form a union. Smith was the leader for the Pullman porters'
quest to entertain the passengers. The Pullman porters'
efforts to organize a union under the guidance of Randolph
did not totally interfere with Smith. He was providing the
types of songs that the porters needed to sing to uplift
themselves from the long journeys on the train and from
their pressures of trying to form a union.
They went to Smith for lessons in music and to obtain
advice. They went to Randolph for advice on organizing a
41 Sarah Wright, A^ Phillip Randolph: Integration In
The Workplace (New York: International Press, 1990), 46.
113
union. Smith's and Randolph's understanding of the porters'
need to entertain and to unionize became more and more
acute.
Smith, as the person who was hired by the Pullman
Company, formed as many performing groups with the porters
as he could. To be able to do this in so many branches of
the company, he must have had great stamina, strength, and
determination to succeed in organizing his singing groups.
Regardless of the concerns that the porters brought
to Smith's attention, he did not lose his focus. He
continued to work for the Pullman Railroad Company, as well
as the Chicago Defender Newsboys Band, and at Wendell
Phillips High School.
Although Smith was occupied with three jobs, he still
published music. In fact, during this period of his life he
composed and published some of his most ambitious works.
In 1924 Smith composed his Negro Folk Suite,
a three-movement composition which was stated, at the time,
to be the nearest approach to program music that was
written ever by a Negro composer.42 It was originally
written for a five piano ensemble with drums, xylophones,
bells, and tympany, and was later arranged for violin
and piano, flute, violin, cello and piano, and with full
42 Ruth Louise Allen, "Preface" Negro Folk Suite
(Chicago: The Lyon and Healy, Incorporation, 1924), 2
114
orchestra. It was published in 1924 by Lyon and Healy, in
Chicago.
The Negro Folk Suite depicts three of the islands
to which Smith had traveled earlier on his tours. The first
movement, the "Orange Dance," has its theme based on the
British Guinea Island. It is percussive in nature and uses
rhythms which are similar to those of a Negro dance and a
Latin dance. The repetitive rhythms that are used with the
finger snap and patting feet are examples of some of the
natural human characteristics that are used to depict the
rhythm to the British Guinea melody. Figures 17, 18 and 19
presents the melody of the British Guinea from the "Orange
Dance" scored for five grand pianos and percussion.
(Finger §nap)
p I (feet)
(Finger Snap)
ri 7J fT (Feet)
§
Figure 17: The fourth and fifth piano parts to the "Orange Dance" from the Negro Folk Suite.
115
Alio. Hodo.
Alio• Modo. (Solo)
i ii fmm ZHI m p (Trotting motion)
*
Jrh' 'i' P 5£
i £ Alio. Modo.
m i
m £ (Trotting motion
gi^i J i J~
f pi
Figure 18: The first, second and third piano parts to the "Orange Dance" from t h e Ne<3ro Folk Suite.
116
(Finger ^nap)
(fee4;)
(Finger Snap)
(Feet)
Alio. M o d o .
Alio. Modo. fSolo)
P (Trotting motion) 7 7
alio. Modo.
P (Trotting motion
Figure 19: The melody from the British Guinea Island in Movement I of the "Orange Dance". Also, notice the personification: finger snap, feet patting, and trotting motion that Smith used in the Negro Folk Suite.
117
He used the shell of a drum to depict the sound of
a boat whistle. He used the xylophone to imitate the sound
of steam hissing from a river boat. See figure 20 below.
(Boat WhistleJ. Alio Modo.
J U1 XX
(On S h e l l _ ^ > l 2 . W o l k
SflS (Steam hissing! mf
~zJ~ m
(To W°rK) *P -!>+t7j
I IS W w
m m
mf
i (To Work) O n »
S: yd/fa
mf
$ s Alio. Modo.
\ M k - q m
(To Work) / A fLy
r
0 -
-7 ^ —
|. *
I ml
"PTTT t
\ = k . ^ 4 *i|4 Figure 20: The example of a boat whistle and
steam hissing as depicted by the drum and xylophone in the "Orange Dance."
118
Notice how Smith used other characteristics of
rhythmic intensity by alternating rhythms with instru-
ments, hand clapping, foot stomping, and with the voice
See figure 21 below.
> > ;>>? ' > > >
trr— y y ha,ha,ha, Wa (Clap
'Hands) {Cym.)
(Laugh)
I
<T\
> >
Figure 21: An example of the rhythmic alternations between instruments and the hand, foot, and vocal rhythmic sounds.
119
Smith used a music theme derived from the Martinique
Island in the second movement which is titled "Pine Apple
Lament". Its theme is said to reflect the mood of the
Martinique people. The composition uses only two grand
pianos and a bell to introduce the movement in two
measures. The tempo is Lento. See figure 22 of the intro-
duction and melody which reflects the Island of Martinique
in the "Pine Apple Lament" below.
PINE APPLE LAMENT By N'. Clark Smith
(Martinique Melody)
Part II, Grand Piano Ensemble
Lento (Bell Solo
=5=3: S m % j t£TT [•
3
•s V '>
f W
§ 3 =
(Bell)
f f 4
(Bell)
* ' *
¥
Figure 22: Example of melody reflecting the Island of Martinique in the second movement called the "Pine Apple Lament" an excerpt for two grand pianos and a bell by Smith.
120
The third movement, originally named the "Banana
Walk", is very rhythmic and uses the banjo in its presenta-
tion. Its theme is based on the characteristics of St.
Helena Island. It begins the movement with the inclusion
of the feet and hands in the percussion section. The third
grand piano plays a "Tempo di Charlston" while the banjo
plays the down beats of one and two. Smith also used the
term "cake walk" as an indication of the articulation of the
rhythms. See figure 23 below.
"BANANA WALK" By N. Clark SMITH
(ST. HELENA ISLAND MELODIES)
Grand Piano Ensemble
— .. ^—aria
n » v " * #
III.
Ijrf*
(CakeiWalfcs
yjrl
j» Y p "j nana
Foot w PP
il
'Jl - •
p
Tempo di Charlston Cake Walk)
P P Banjo
Copyright 1924, by N. C. Smith, Chicago
Figure 23: The "Banana Walk" from the third movement of the Negro Folk Suite. Notice the feet and hand indication which is added to the rhythms. The example shows the first melody for the 3rd grand piano. It depicts the cake walk dance.
121
Another melody that Smith used in the third movement
is called a "Sandpaper "Jig111. The attention is on the
drums and tympany along with emphasis from the foot. The
melody is in the tympany part. See figure 24 below.
Sandpaper "Jig"
i Foot
n
Figure 24: The "Sandpaper "Jig"' rhythmic melody in the tympany, drum, and with a foot from the "Banana Walk", third movement of the Negro Folk Suite.
122
A third melody that he used in the "Banana Walk" is
a fragment from the spiritual Down By The Riverside.
This is the first time that Smith actually used the voice
to sing a melody in the suite. He calls this vocal section
the "Trio Voice". The suite is predominantly instrumental.
See figure 25 below.
Down by the
\
riverside
§ 1
Figure 25: Example of fragments from the spiritual Down By the Riverside in the third movement, the "Banana Walk" from the Negro Folk Suite.
123
Smith was involved with diagraming information in
regard to the performance aspect of his suite. To this end
he illustrates, with a diagram on the last page, the forma-
tion and instrumentation which was originally designed with
the conductor's podium included for concert presentation.
See figure 26 below.
i- hi
Figure 26: Smith's diagram of the formation and instrumentation for concert of the Negro Folk Suite for five grand pianos and percussion.
124
The Negro Folk Suite is considered a classic
by Allen.43 It is predominantly Negroid and peculiarly
lovely.44 Its music themes, although coming from the
Islands, were predominantly African-American with its
4 R
tonal structure and its syncopated rhythms. The work was
of such excellence that Smith received a John Wanamaker
prize for composing it in 1930.46 (John Wanamaker was a
millionaire who lived in Philadelphia, Pennsylvania. He
opened a large store in that city which had and still has 47
to this day, a grandiose pipe organ.) Wanamaker
established a fund for the arts which included monies for
composers and a category in the Wanamaker Award for
minorities whose works were of merit. 4 8
This accomplishment was another highlight in Smith's
career. A few years after he composed his major work, the
Negro Folk Suite, he had compiled and arranged two manuals
called the Elements of Music and New Jubilee Songs for
Quartette, Choir, or Chorus. 43Allen, "Preface" Negro Folk Suite, 2.
44Ibid.
45Ibid.
Luther Benson, The John Wanamaker Award
(New York: Alfred A. Knopf, Incorporation, 1960), 3-6.
4>7Ibid.
48Allen, "Preface" Negro Folk Suite, 2.
125
The Elements; of Music was a short method of
instruction in the rudiments of music and the art of
singing by note. It was published by Music Studio in
Chicago. See figure 27 which shows the illustration to
the front cover of the Elements of Music (For Private
Use) by Smith.
THE
ELEMENTS OF MUSIC
A Short Method of Instruction in the Rudiments of Music and the Art of Singing by Note
COMPILED AND ARRANGED BY
N. CLARK SMITH
(FOR PRIVATE USE)
MUSIC STUDIO
3608 State Street Chicago
PRICE 25 CENTS
Figure 27: The front cover to the Elements of Music, retyped by the author (For Private Use) by Smith
126
One of the unique features of this manual is that
Smith added his personal notes to the sixteen lessons and
to the first page of the twenty-seven page book. The
first lesson begins on page 161. There is no indication
as to where or what was contained on the pages prior to
page 161. See figures 28 and 29.
ELEMENTS OF MUSIC
LESSON I.
TONE, PROPERTIES, AND DEPARTMENTS.
1. A musical sound is called a Tone.
2. In every tone there is length, pitch, power and quality.
3. The duration of a tone is called length.
4. The highness or lowness of a tone is called its pitch.
5. The loudness or softness of a tone is called its power.
6. The character of a tone is called its quality.
Note: The difference between a flute tone and a violin tone is a difference of quality. The same voice can make a joyful tone and a sad tone, a clear tone and a somber tone; and those are differences, not of length, pitch, or power, but of quality.
Figure 28: First page of the Elements of Music with notes inscribed by Smith, retyped by the author.
127
7. Length, pitch, power and quality are called the pro-perties of tones.
8. Rhythmic, Melodies, Dynamics are the names of the Departments into which the science of music naturally divides itself.
9. Rhythmic treats of the length of sounds.
10. Melodies treats of the pitch of sounds.
11. Dynamics treats of the power and quality of sounds.
12. When people speak intelligently of the rhythmic cha-racters of a piece of music, they mean something about the tone lengths used, or their accents, or the measure or movement in which they go.
13. When people speak of the melodic character of music, they mean something about the pitches used, their placement or peculiar succession, their highness or their lowness.
14. When people speak of the dynamic character of music, they mean something about the loudness or sweetness, or sadness or joyfulness of the tones, or both combined as loud and joyful, soft and sad, etc.
Questions: What is a musical sound called? What is there in every tone? What is the duration of a tone called? The highness or lowness? The loudness or softness? Explain the term quality. What are length, pitch, power and quality called?
(161)
Figure 29: Continuation of the First page of the Elements of Music with notes inscribed by Smith, retyped by the author.
128
After lesson sixteen a "Dictionary of Musical Terms"
was listed. In addition, Smith added a section called
"Practical Exercises". There, he states, are forty-eight
exercises designed to accompany the preceding theory
Lessons; and when used in connection with them, will be
found to form a complete course for elementary instruction
in the art of reading and singing by note. See figures 30
and 31 below which presents practical exercises one through
eight.
PRACTICAL EXERCISES
* * *
These exercises are designed to accompany the proceeding Theory Lessons and when used in connection with them will be found to form a complete course of elementary instruction in the art of reading and singing by note.
1. Lesson in tone lengths. Halves and quarts. Double measure
2 4 r r r f r r
Syl. La la la la la la Beats. Down, up d u, etc.
2. Another form of the above. Beat time.
i r r | p r r f l r r r r l r r l Mer-ry May, mer-ry May, » With her pret-ty1 flowers,
r rlr r r r|r (\f\r\r If Comes a-gain to bright-en'All our'hap-py I hours. H
Figure 30: Practical Exercises 1 through 8 from the Elements of Music by Smith, retyped by the author.
129
3. Triple measure, What motions of the hand?
rrrirrr irrrirlr r i r n r r r l r Quadruple measure. What motions? What kind of a rest?
r r r r r r i r r r r i r ^ | | Sextuple measure. What motions?
r r r r r r i r r r r r r ' r r i r r l Mer-ri-ly, mer-ri-ly, cherri-ly, cheeri-ly on we go.
6. Treble staff and clef. Pitches and lengths indicated.
j U " ^ ra jdo do re ac re ao re do
S3
7. Three tones.
ill P S P r m
8. Four Tones.
d r m m r d d r m f m r d (179)
Figure 31: Continuation of Practical Exercises 1 through 8 from the Elements of Music by Smith, retyped by the author.
N. Clark Smith, the Elements of Music (Chicaqo: Music Studio, 1928), 179.
130
In 1929 Smith compiled, arranged and designed the
front cover to a song book called New Jubilee Songs for
Quartette, Choir or Chorus, which was his first collection
of spirituals that could be performed in concert, church,
and home. It was published by the Smith Jubilee Music
Company in Chicago.
It was remarkable how Smith was able to accomplish
his goals. He was able to teach school, work for two
industries, and publish music simultaneously. Nevertheless,
Smith was not complacent with what he had done because he
desired to compose a symphony.
In 1930 the country was in a crises, depression;
many companies folded and jobs were scarce. But the public
school systems maintained a stable income for its employees;
such was the case for the public schools in St. Louis,
Missouri.
In 1930 the St. Louis Board of Education was paying
its teachers an adequate income. One of the high schools
in the district, Sumner High School, wanted to form a band
in its school. Smith was sought by Dr. Gerling, the
Superintendent of the St. Louis Board of Education, to be
the bandmaster and the music supervisor at Sumner High
School, the oldest African-American high school in St.
Louis. Dr. Gerling knew of Smith's success in Chicago
and at Wendell Phillips High School and felt that he could
131
also establish a band at Sumner.^0 He informed Smith that
there was a strong chance that provisions would be made
between the St. Louis Board of Education and the St. Louis
Symphony Orchestra for a series of concerts to be presented
for their students This fascinated Smith; he felt the
urge to compose a symphony, and considered this another
opportunity for him to excel in his career.
In June 1930, Smith resigned from the Chicago Public
Schools and he went to St. Louis, Missouri. Although he
went to St. Louis, he continued his work in the summers
with the Pullman Railroad Company.
50 "N. Clark Smith," St. Louis Argus, 12 September
1930, 10.
5 1 Ibid.
CHAPTER V
THE ST. LOUIS YEARS: 1930-1934
Smith relocated in St. Louis in 1930 and worked full-
time for the St. Louis Board of Education. During the week-
ends and summers, he worked for the Pullman Company now as
the music supervisor for the Pullman porters. If a group
of porters was requested to perform, Smith would make
arrangements to gather them at specific stations.
St. Louis proved to be an interesting move for Smith,
He began to compose a symphony. He was able to complete
his symphony with the financial assistance he received from
his positions with the St. Louis Board of Education and the
Pullman Company. After his first year with the St. Louis
Board of Education, his salary decreased by 10% which was
probably due to the depression of 1930. However, during
the next four years with the Board of Education, his salary
remained stable.
In 1930 the salaries for teachers of the St. Louis
Board of Education were better than those for teachers of
the Chicago and Kansas City Boards of Education. Smith
John Cotter, "A History of Music In The Negro Community of St. Louis from 1930-1965" (M.M. thesis, Washington University, 1967), 75.
132
133
received a modest teaching salary at the time? his starting
salary was $2,400 which decreased the next year to $2,295
and remained the same for the duration of his tenure.
Another opportunity available for Smith in St. Louis
was to host a radio show which was broadcast by the KMOX
radio network.2 The show featured performances of his
music by a radio choir, orchestra, and a band that
consisted of students from the St. Louis school system.
In spite of these additional responsibilities, Smith
continued composing. He produced a secular composition
which was different from the ones he had done before; he
composed a dance tune, an intermezzo called The Kansas
City Eagle-Rock, a new dance in 1931. The composition
was later published in Chicago.
The Kansas City Eagle-Rock has an Ethiopian sound
with its melody and rhythms. Smith not only signed his
name, but he included his affiliation with the American
Federation of Musicians Union in Chicago (AFM), the pro-
fessional union for American musicians.
What is interesting about this song is its directions
for the dance, which he included steps for couples. The
term "rock" is used throughout the composition.
"Farewell Testimonial To Major N. Clark Smith, At Odeon, Monday, June 24th: Famous Composer And Arranger of ~Afro-American Music,' To Be Honored By St. Louis Musical Friends, Pupils And Associates." St. Louis Argus, 7 June 1935, 1.
134
The Kansas City Eagle-Rock was one of the earliest
of Smith's songs to include a graphic design for a dance
with directions. It was also structured for stage pro-
duction with an orchestra. The orchestra was normally-
placed below the stage in an area commonly known as the
orchestra pit.
Smith taught many of his compositions to his Sumner
High School students in St. Louis. Some were taught how to
sing his songs and others were taught how to play them on
instruments .3
Instruments and other musical supplies were not
available to Smith when he began working at Sumner High
School. The school did not have instruments, so he brought
his private collection of instruments to school to use in
teaching the Sumner High School students; and in a very
short time he had established Sumner's first band program.4
By using the students from his band, he formed a glee club.
As he had done previously, he used a graphic design of the
school for some of his music covers.
Within a short period of time, Smith presented his
students in concerts not only at Sumner High School, but
throughout the city of St. Louis. The students had not had
this type of exposure before, that is performing all types
3 Cotter, "A History of Music In St. Louis," 83-85.
4 Ibid., 86.
135
of songs: spirituals, secular, and classical. As hoped and
expected, Smith's work with the students did not go
unnoticed in the community.
Dr. Gerling was particularly happy about the success
and exposure that the students were receiving. To see and
hear them sing a variety of music well, especially of the
classical nature, just marveled him.5 He was one of Smith's
major supporters. So impressed was he with Smith's work
with the students that he sometimes found venues for them to
present performances. Occasionally, when Dr. Gerling
reported to meetings or conferences in the St. Louis commu-
nity, he asked that Smith's group also perform. He felt a
sense of pride in Smith and his students.
When Dr. Gerling, Smith and others implemented the
concert series between the St. Louis Symphony Orchestra and
the St. Louis Board of Education, the agreement was that the
students would travel to Powell Symphony Hall in the
afternoons to hear the St. Louis Symphony Orchestra perform.
September 1931, was the first in a series of concerts for
7 the students from St. Louis.
5Cotter, "A History of Music In St. Louis," 90.
6 Ibid., 91.
7 Vladimir Golschmann, Conductor, Negro Folk Suite,
by N. Clark Smith, St. Louis Symphony Orchestra concert, St. Louis, 11 January, and 12 May to 15 June 1933, 1.
136
After the concert series had been in force for two
years, the St. Louis Symphony Orchestra programmed his
suite.8 It had been listed to be performed twice by the
St. Louis Symphony Orchestra during the Century of Progress
9
Edition in 1933. The Negro Folk Suite was rearranged for
that series to be played on piano and with an orchestra.10
A statement on the front cover of the suite indicates that
the St. Louis Symphony Orchestra, with Vladimir Golschmann,
Conductor, presented a concert which was sponsored by the
Board of Education, St. Louis, Missouri, January 11, 1933 11
at the Odeon Theater, to a capacity audience.
At the top of the front cover of the program is the
agenda for the second concert performance of the Negro 1 2
Folk Suite. Other selections featured on the program
were the music of Strauss and Beethoven 3 The second was
given on several occasions from May 12 thru June 15, 1933,
with the St. Louis Symphony Orchestra.14 The program was 8 Vladimir Golschmann, conductor, Negro Folk Suite,
St. Louis, 11 January, and 12 May to 15 June 1933, 1.
9 Ibid.
1 0 Ibid.
11 Ibid.
1 2 Ibid.
1 3 Ibid.
1 4 Ibid.
137
dedicated to Mr. Nathan Sacks, the concert pianist, who
played before 24,000 St. Louis high school students. This
was possible because there were at least ten high schools in
St. Louis with an average student body of 2,000. Each of
the high schools in St. Louis sent their students to listen
to the St. Louis Symphony Orchestra.15 See figures 32 and
33.
Century Of Progress Edition
Dedicated to Mr. Nathan Sacks, concert pianist who played before 24,000 St. Louis High School Students, May 12 to June 15, 1933, the following request program:
1. Beautiful Blue Danube Waltzes. . . Johann Strauss
2. Moonlight Sonata Beethoven
3. A Night In Spain Chas. Haubiel
4. Negro Folk Suite N. Clark Smith
***Wanamaker Prize 1930***
NEGRO FOLK SUITE
I. THE ORANGE DANCE, (British Guinea)
II. THE PINEAPPLE LAMENT, (Martinique)
III. THE BANANA WALK, (St. Helena Island)
Figure 32: Program of the Negro Folk Suite as performed by the St. Louis Symphony Orchestra, retyped by the author.
15 Vladimir Golschmann, conductor, Negro Folk Suite,
St. Louis, 11.
138
$1.00
For Piano
by
N. CLARK SMITH, (Bac. Mus. )
(Chicago Musical College)
***As played by***
The ST. LOUIS SYMPHONY ORCHESTRA, Vladimir Golschmann, Conductor; at the regular public school concert sponsored by the Board of Education, St. Louis, Mo., January 11, 1933, at the Odeon Theatre, to a capacity audience.
Arrangements for
Violin & Piano, Violin Cello & Piano, Full Orchestra
$1.25 $1.50 $2.00
2313 Tracy Ave. Kansas City, Mo.
Sold by
LYON & HEALY, INC
Chicago
Figure 33: Continuation from the Program of the Negro Folk Suite as performed by the St. Louis Symphony Orchestra, retyped by the author.
139
Figure 34 is an illustration of the composite
program of the St. Louis Symphony Orchestra for the
remainder of the 1932-33 season. There were thirteen
popular, student, and miscellaneous concerts remaining.
January 11, 1933, marked the 2nd high school concert which
was conducted by Vladimir Golschmann in the Odeon
Auditorium.
ST. LOUIS SYMPHONY ORCHESTRA
VLADIMIR GOLSCHMANN, Conductor
Scipione Guidi, Assistant Conductor
RESUME OF SEASON 1932- 1933
Nineteen Friday Afternoon Symphony Concerts Nineteen Saturday Evening Symphony Concerts
THIRTEEN POPULAR, STUDENT AND MISCELLANEOUS CONCERTS
1st Student Concert Concert for United Relief Campaign Mass Meeting 2nd Student Concert 1st High School, Roosevelt 1st Popular Concert 2nd High School, Odeon 3rd Student Concert 2nd Popular Concert Berman Ferguson, Baritone Soloist 3rd Popular Concert. Helen Traubel, Soprano Soloist 4th Student Concert 3rd High School, Beaumont 5th Student Concert 4th High School, Soldan
Figure 34: Composite listing of high school concerts by the St. Louis Symphony Orchestra.
Nov. 17 Dec. 4
Dec. 5 Dec. 14 Dec. 26 Jan. 11-Jan. 19 Jan. 21
Jan. 28
Feb. 16 Mar. 1 Mar. 16 Mar. 22
140
Vladimir Golschmann, a composer himself, was
interested in composers whose works were exemplary of their
commonwealth. He liked this country's jazz and spirituals
and perceived them to be comprised of the most distinct
characteristic musical elements of melody, rhythm and
color.
In January, a year after the St. Louis Symphony
Orchestra performed his Negro Folk Suite, Smith completed
his Negro Choral Symphony and it was published by the
Lyon and Healy Company. Little is known why Smith
changed the name of the symphony twice. Based on his
original manuscripts, it was initially named the African
Symphony: its title was changed to the Emancipation
Symphony, and finally, Smith changed the title to
the Negro Choral Symphony.
The Negro Choral Symphony, a conglomeration of
notations of melodies he had heard from a multitude of
different people and places throughout his life, has five
movements. They are titled, "The Prelude", "Prayer",
"Echo", "Resolution" and "Prima Donna Song". These are not
strictly structured as the conventional symphony, however;
what makes the movements unique is that they were songs
with orchestral accompaniment and each movement is
1 fl Robert Ford, "Vladimir Golschmann, Conductor of
the St. Louis Symphony Orchestra," St. Louis Symphony Orchestra Concert Season, 1932-33, 123-25.
141
independent of the other. 1 7
The first movement, the "Prelude", has five melodies
represented by five African peoples. They are categorized
asi "Steal Away" (Bantu), "Swing Low" (Ashantes), "Knows
Like Jesus" (Congo), "Nobody Pray" (Abyssinian), and
"Crucifixion" (Zulu). In order to achieve desired effects
for the implementation of these melodies, Smith used
traditional instruments from the African culture. He used
war drums, call horns, gongs, bells, and anvils. There is
music for vocal soloists dressed in African attire and
chorus.
In the beginning of the "Prelude" Smith notated at
the top of his score, "^Chorus': (Scene) Zulu Chiefs in
costume". He began with a fragment of a melody repre-
sentative of the Bantu tribe. To illustrate the sound he
used the Bantu war drum in the opening of the symphony.
After a sixteen-measure introduction by the Bantu war
drum, voices begin singing the spiritual "Steal Away",
which was introduced to him as a child by Frederick
Douglass. See figure 35 which presents the Bantu Tribe's
melodic fragments.
1 7 Cotter, "A History of Music In The Negro Community of St. Louis," 96.
142
g
Origin or the Spiritual by Chorus; (Scene) "Zulu Chiefs" in Costume: Major N. Clark Smith
;BANTU TRIBE)
(Voices)
S€:&
(War Drum: Slowly
• y l i T ~ ' 1" • |i»—^ j ^ II ...I..IIIIj j .j• J.. Ill ^ ^
^ j i j i m ijJJI • I J J J I ' i p I'f
Steal avay, Steal away-
SM fP
g: p F a ;
Steal away to Jesus,
— . — Fn f—i
' P Is 1
Figure 35: Bantu War drum and melody, and a melodic fragment from the spiritual "Steal Away" from the Choral Symphony, re-notated by the author.
143
The first movement of his choral symphony has a
dramatic scene. Not only are costumes included with the
vocalists, but other effects such as lightning and thunder
are illustrated in the score. See figure 36 below which
included the effects of lightning and thunder in the text
with the voices.
(T.i rrhjoni nrj anri Thnnjiari }
mWhJi.nt ^Calls me by the
thunder, The J
Steal away steal away
Jhom^
y Lord; Calls me I ain't gol time to )
(Lightening)
trumpet sound is souls
LJIT f
Figure 36: Effects of lightning and thunder included in the score of the "Prelude" by Smith, re-notated by the author.
144
Smith also included body movement, such as swinging,
as another effect in the prelude. See figure 37 below.
(ASHANTI TRIBE)
lH J ti X 11 /J J (Swinging) f Voices)
1 z n r f r pi Ain't got long to stay here
J f y ; , c P ^ L -
Ashanti Bells
*1 /7\ K . r
Swing low Sweet
i2z as i home,
t\ f f i Coming to Carry me
!Bi frr ffif weet Chariot Chariot
i 1=3=2 4—0
4—* f f r home,
Figure 37: The swinging body movement that Smith included in the "Prelude", re-notated by the author.
145
The swinging body movement is the beginning of the
second melodic fragment from the spiritual Swing Low,
Sweet Chariot.
After this section, Smith presented the Congo Tribe,
and used "Congo" (Gongs) "suspended on wire" with a tom-tom
drum as the accompaniment to the four-measure introduction
to the third melodic fragment, "Nobody Knows". "Nobody
Knows" is sung by the second tenor and baritone and it is
presented in a call and response pattern which was
characteristic of African music. See figure 38 below.
(CONGO TRIBE)
Congo (Gongs) Suspended on wire
- f v
Voi«S
Slowly Nobody Rn
p (2d Tenor)
Hue 1-rouble T see. Tom Tom IJPU
I = j
Baritone
1 m 1 m
*
J , J
* ^ —
J-%1 r
Nobody. knows the trouble I si
Figure 38: The third melody, "Nobody Knows" from Smith's "Prelude", re-notated by the author.
146
The fourth melodic fragment is derived from the
Abyssianian Tribe. It features the Abyssianian call horn
and war drums in the introduction to the spiritual Nobody
Pray. See the figure 39 below.
(ABYSSIANIAN TRIBE)
Coda
i bo
U»<e C. Tom-Tom or Congs
O d * t. f f 0 0L
ilec a UP v ' ¥ ? - c=z
help me to take my troubles away
Abyssianian Call Horn
ums)
Figure 39: The fourth melodic fragment of the "Prelude" which is taken from the spiritual Nobody Pray, re-notated by the author.
147
The fifth and final melodic fragment of the
"Prelude" is called "The Crucifixion", which was borrowed
from a spiritual derived from an old Zulu funeral tune.
"The Crucifixion" fragment presents the first opportunity
for the entire symphony orchestra to play in the composi-
tion. Its first section is called "Ceremonial March" and
includes oboes, bassoons, tympany, bass drum, hand drum,
harp, doev horn and voices. On page two of the solo, a
baritone voice enters as the sopranos and altos respond.
See figures 40 and 41.
"THE CRUCIFIXION" Spiritual from an old Zulu Funeral tune
by Mai. N. Clark Smith.
(Ceremonial March
1
j J] q ff]\ J J i J t
f i f" * ... , W0M
LI lHTI di J [1 iJtDT
Figure 40: The fifth melodic fragment, "The Crucifixion" for solo baritone with the sopranos and altos responding, and the entire symphony orchestra is performing for the first time, re-notated by the author.
148
m ? y y I # y J n a n L _ 3
~7 Jt
? 1 (7y U S ' r ^ r K
[Hane Drum J* (Hand
Drum)
Doev Horn) (Horn) (Harp)
1 Hand Drui
2d Drum (2d Drum) 1st Drum 1st, nriim)
Hand # ^
Drums \ J S
(Voices)
13
Kissa
v y
1st Drum
• * 3 '
K issa Kissa
0 / V
Figure 41: Continuation of the fifth melodic fragment, "The Crucifi-tion" for solo baritone with the sopranos and altos responding, and the entire symphony Orchestra is performing for the first time, re-notated by the author.
149
The "Prayer: from the Heart of Emancipation" was
composed for solo, chorus, and orchestra and includes a
soprano saxophone solo. Another feature is its inclusion
of the one-act Folk-Song Opera which featured a poem by
Kelley Miller. Smith received its original copyright in
1917 in Kansas City, Missouri. See figure 42 below.
Prayer from Emancipation 1
_ < 0 * A«e M W e e r O y e n k ) A m* m t l Y MILLS* t i l l u i f ^ T i i U m m ** * C L A I U
Coa f a o a e
To i b n «
•ou ADd&Dte
Ca»ynCto.Nn • ) M C M . K C M.
Figure 42: "Prayer: from Emancipation" (One Act Folk-Song Opera), poem by Kelley Miller and the music is by Smith.
150
Originally, the "Prayer" was composed for band
performances. Smith lists the original band parts for the
"Prayer" from the s y m p h o n y . I n c l u d e d on the list was an
interesting assortment of instruments:
Flute Solo Bb Cornet Eb Clarinet 1st and 2nd Cornets 1st Bb Clarinet 2nd Bb Clarinet 3rd and 4th Bb Clarinets Bass Clarinet Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone 1st and 2nd Horns 3rd and fourth Horns 1st and 2nd Trombones Baritone (Treble) 1st Tuba Tuba
The third movement, the "Echo" melody, was
originally named "Motherless-Child Song" Sunset Chorus,
From the "Heart of Emancipation". This song was originally
composed in 1918. It begins with an introduction of five
measures and an entrance by the chorus. See the fragment
below which is an excerpt from the spiritual "Sometimes I
feel like a Motherless Child."
The melodic fragment begins with the voices singing
together, followed by sequences through the voices. The
18 Nathaniel Clark Smith, "Prayer For Emancipation,"
Negro Choral Symphony, poem by Kelley Miller (Missouri: N. C. Smith, 1917), 1-18.
151
sopranos and altos are together, then the altos sing the
solo. In the coda, the melodic fragment moves to the
tenor and bass voices. The coda section is repeated
without the voice for the sunset or echo scene. See
figures 43, 44 and 45.
Of w e s s - on
Frow' thft oa.irfc fife £ wt nP\Vafcvon
Mtluat* i
? mAttW 1 m! \v\t ». OtAi; On, E *
^ 1 *~-
f c*A4,, 1, Vu> \\Hanitwk(ktii; 6k,
&0<M, 4. X — Swcfom I fee.
4-i-f- ff
Figure 43: Melodic fragment to "Motherless-Child Song" Sunset Chorus, from "The Heart of Emancipation" in the Negro Choral Symphony composed by Smith.
152
J ^ w r w *
W\v<.vt*"» T- -v<ue. W W«r «a*\ ro'm
m m & 4 ' • • 4 •• 1 + - O -
. . \ *" T ^ L w i %\m \je\\eveY<4 - fa-*e, WWytrs,- W* uu Vame.
gj"
H i r - r t r n t ^ - f h 5
W unr\,— Vw«. W \\«vin?- i«a tame,
W « rrj
$ rUysBTp •
Someiwt I t\ \ikft a tnofoirW cKAi , £ew&V*tS X J»t\ \te » <ivs«s
k$tvW< sUuJ
Figure 44: Sunset or Echo melody which is repeated in the coda without the voices.
153
(«l
3=^:
_o| _ . 4^ •n N 1
^
li — - — J 4 1 -J L p — 1 ^ '
*
- # •
.jd
?? *
OV, #w i\, oy5 s,
1J- *£ ^
M)tO,r -
i fr £ Vvon\«.
x \ 9p> OV, ?» iV, *» uJe.*r~
fiWtr-
i B I
n - u r n - j
\&*\« *6. r»m V»*m
IT v Xo r vacua V»m
7 i '—"- n, ^ ^ J "\pY\ TlWV VftV*9.'
g
*' ". f T^Tifc . ^ Ov*Ar Vjvtt,
fiy^s. JT? y JT^N^ £_t_ J *~
Figure 45: Continuation of the Sunset or Echo melody which is repeated in the coda without the voices.
154
The fourth movement of the symphony was originally
called "See What The End Will Be: A Resolution". It was
written in 1928 in Chicago for a sextet with theatrical
characters, and for a duet, a chorus and an orchestra. The
characters and vocal qualities are Lady Matari-lyric
soprano, Mupumani-solo tenor, Mother Lukele-soprano mezzo,
Shimenenga-mezzo-contralto, Bolobo-tenor, and Bulu Matari-
Bass. Figures 46 and 47 below illustrates the original
score of the melody that Smith composed for this song. It
is introduced by the mezzo-contralto.
FROM=NEGRO CHORAL SYMPHONY.
— " D E E WHAT THE END WILL DE" BY N. Clark Smith
(A Resolution)
Sung By Mrs. Ernestine Lyles, K.Y.W., Aug. 15,
Mezzo=Contralto
r> i * . TTNs
rh-ir-agn Mngir r'niiaja"
i w rv
* J lie i" I've Paid iay vow Lord' An
to the Moao
i § slowly
Figure 46: Melody introduced by the mezzo contralto in "See What The End Will Be: A Resolution" From the Negro Choral Symphony's original score, re-notated by the author.
155
never will tarn back I will go. shall see what the
? V ' lr ^ (/ y
pav'd my vow the Lord! An1 never turn bacj will go
resolut
Copyright 1928, by N. C. Smith, Chicago
Mwmrrinf NA S3
Figure 47: Continuation of the Melody which is introduced by the mezzo contralto in "See What The End Will Be: A Resolution" From the Negro Choral Symphony's original score, re-notated by the author.
156
In 1933 Smith shortened the title of the fourth
movement from the Negro Choral Symphony to "Resolu-
tion" . The first page of his score to "Resolution"
lists three categories of instruments and voices. The
top section of the first page of the score lists an
instrumentation for a band. The middle section lists the
voices which includes the traditional sections, soprano,
alto, tenor, and bass. A piano accompaniment immediately
follows the voices. The third section contains the
instrumentation for a string quartet.
In the "Resolution" Smith orchestrates with three
instrumentations. He uses the instrumentation of a band,
a vocal quartet with two soloists and a piano accompaniment,
and with the instrumentation of a string quartet. See
figures 48 and 49.
RESOLUTION
r = i a : by N. C. Smith
Figure 48: "Resolution" from the Negro Choral Symphony. It contains the orchestration for a band, a choir, and a string quartet.
157
tMWlumg
C a r l T l t d * ' \ o r k
Figure 49: Continuation of "Resolution" from t h e Negro Choral Symphony. It contains the orchestration for a band, a choir, and a string quartet.
158
On the second page of "Resolution", Smith used
sixteenth-note rhythms in an expressively even and smoothly
flowing manner. See figures 50 and 51 with the strings and
woodwinds from one measure before rehearsal "l" until
beat one of measure two. The expressive quality of these
measures is animato.
kytfYVidt
Figure 50: The sixteenth note figures that Smith used in the symphony for its expressive quality for strings and woodwinds.
159
««C htoftt&C htl 5®-Win &*'
fi smH lfc> su *ft
***MU (LJ > ^ see-uhftfociiUuMM a«
w* M\ J;
tsSg^i^A-g
(V>vv*
k VVkvAfcf'
^ 77/ arl *"'scher* CW Y°r No 2 2 - 2 4 line#
Figure 51: Continuation of the sixteenth note figures that Smith used in the symphony for its expressive quality for strings and woodwinds.
160
Smith composed with syncopated rhythms which was
indicative of some of his spirituals. See figure 52
below in the French horn line.
Ekftu-tk
Ok. QL uo
ir* ntovfagfttt w't» ^ 1 ^ f. n be.
Figure 52: The static syncopated rhythm which is used in the French horn section of Smith's "Resolution".
161
RESOLUTION
1st Bb Clarinet by N. C. Smith
Modo From The Negro Choral Symphony
animato rit.
rit.
Figure 53: "Resolution" from the Negro Choral Symphony orchestral part: clarinet.
162
After the ending of the "Resolution", an interlude to
the fifth selection of the work, called "Meditation", sets
the scene for the final movement. He described it as being
a scene on the Nile River with Nubian girls bathing in the
moonlight.
"The Prima Donna Song" was Smith's fifth and final
movement from the Negro Choral Symphony. It was
composed for a septet: soprano with three parts to include
female voices, and four parts for male voices with
orchestral accompaniment.
In this final movement to the symphony, Smith
notated more reference information for the continuity of
the work. He stated that the dramatic element of the intro-
duction, which is on a tonic minor theme, returns to the
Congo melody of the "Prelude". In the finale, there is a
recapitulation or summary of the four parts. They are
woven into a complete story that was written by Smith.
The story goes that the great mansion of a kind old Southern planter is thrown open for feast and rejoicing. The curtain rises on a banquet scene showing the guests seated around tables, as the Prima Donna hostess sings of a spiritual force, expressed in music which had its origin on the banks of the blue Nile and Congo rivers.19
Smith continues to state that:
19 Nathaniel Clark Smith, "The Prima Donna Song,"
Negro Choral Symphony, lyrics by N. Clark Smith (Chicago: Lyon and Healy, Corporation, 1933), 1.
163
For countless centuries we have been in quest of these lost spirits, and at last we hear their echoes in the chants, melody, rhythm and spirit of the Mississippi ringing all the way from Africa to New Orleans. All hail! The musical day that will bring the whole human family into a dream of the brotherhood of man-and its final triumphs in which the Maid of the South (coming out of sorrow and distress) sings a new song to her people:-"Thrift, Courage, and Loyalty." 20
This final movement of the symphony was taken from a
song that Smith originally composed while he was working at
Tuskegee in 1909. The original publication illustrates that
the song was titled as The Colored Prima Donna Waltzes
(with vocal ad. lib.) "Maid of the South". It was scored
for full orchestra, ten parts and piano, and for full
military band.
The Colored Prima Donna. WALTZES.
<U'/7W VOCAL AD UB.)
BT N . C L A R K - S M I T H . O p . 1 2
Co«po»tr Dcufi»« Wutb T UU I ( M leit .- .a:* M u c k
Moderate Andante.
fTrambbit ami Cornet.
Figure 54: The Colored Prima Donna Waltzes originally composed by Smith while teaching at Tuskegee Institute in 1909.
2° N. C. Smith, "The Prima Donna Song," Negro Choral Symphony, lyrics by N. C. Smith, 1933, 1.
164
r ~ r
9w9wmmmm0m»m
C.-prr | f . MCliXZ. If H.C Se.til. O i O f i
Figure 55: Continuation of The Colored Prima Donna Waltzes originally composed by Smith while teaching at Tuskegee Institute in 1909.
165
The 1933 version of "The Prima Donna Song" is a valse
caprice in 3/4 measure. See figures 56 and 57 with the
announcement for women's voices with male voices to ad lib.
The music is the same as in the original 1909 version, but
the lyrics were changed. See the example of some of the
lyrics to "The Prima Donna Song" by Smith. "The Prima Donna
Song" in its entirety is located in the appendix.
r.umur .'lit ..f sorrow ami digress, "Mai.l Of The South" snips a n»w "=onK to her people: "Thrift, Courage, l.o\alty."
5. The Prima Donna Song From "Nr«To Choral Symphony" ^ I l' VI ,,w,Symphony
KOI! WOMEN'S VOICES i Mi' fr Voices atl Itb) By N.CLARK SMITH
Amiantf modrrato
i uzmzm:
Figure 56: "The Prima Donna Song" 1933 version by Smith.
166
rrf
Valse caprice US US us us
3, JL JL *JL
1st Sop J A Solo voice
l i k e cool red w i n e , how de - l ight 2d Sop W i t h Cas t i ne t s
Aito d e - l i g h t - f u l , W i t h C y m b a l s
de-l ight - fu l , cool red wine , cool red
de- l ight - fu l , i Waltz tempo
de - l ight - fill. cool red w i n e , cool red
r r f p trr TT f - f f_ w f *
35415- 11 Copyright 1933 by N. C. Smith, Chicago
Figure 57: Continuation of "The Prima Donna Song: 1933 version by Smith.
167
Announcements about the copyright of the Negro
Choral Symphony were printed in the St. Louis newspapers.
Having composed his symphony, his next venture was to host
a radio show in St. Louis.
Smith presented his music in a weekly broadcast
called "The St. Louis Blues Show" with the KMOX radio
station in St. L o u i s . 2 1 The show often featured Smith's
music performed by a radio choir, band, orchestra and a glee
club that included the students of Sumner and Vashon High
Schools.22
The non-stop strenuous activity that Smith was
involved with most of his life was beginning to take its
toll on his health. He was in his mid-fifties and his body
was not as strong as it had been; however, he did not stop
his activities. Sadly, these strenuous activities finally
took their toll and in June, 1934, without telling anyone of
his health problems, Smith suddenly and unexpectantly
retired from the St. Louis Board of Education. This
surprised everyone including Dr. Gerling. Although
surprised and saddened about Smith's resignation, he
accepted the resignation.23
21 Cotter, "A History of Music In The Negro Commu-
nity of St. Louis," 103-5.
22 ibid., 107.
9 "3 "Farewell Testimonial To Major N. Clark Smith,"
St. Louis Argus, 7 June 1935, 5.
168
His resignation from the St. Louis Board of Education
allowed him more time to contribute to the Pullman porters
music groups and to compose and publish more music. Smith
was planning to complete a publication of some of his
musical compositions which were familiar to school children
and nationwide radio audiences alike. He also began to
compose music for an African Ballet.24
Unfortunately, it was his fate not to complete the
music to the African ballet nor publish any other songs,
because within a matter of weeks after his retirement, he
became very ill. 2 5
On August 7, 1934, Smith went to Chicago during the
summer to direct the Pullman porters in a concert. Later
that night, it was reported that after he had attended the
Joe Louis and King Levinsky prize fight, he became ill. A
few days later he left Chicago to visit relatives and
friends in Kansas City, Missouri and again became ill
at the headquarters of the Musicians Union Hall Local 627.26
(This is the hall were Smith taught Charlie Parker as a
student during the summers in between his schedule with
27 the Pullman Company.) He was taken to his old residence
24"Farewell Testimonial To Major N. Clark Smith," 5.
25Ibid.
26Ibid.
27Ibid.
169
in Kansas City and then to St. Louis where he was
mortally stricken shortly afterwards.
On August 12, 1934, he suffered an apoplectic
28
stroke which confined him for eight weeks. He was
constantly visited by his wife and minister, a friend for
over 21 years, Bishop William F. Taylor from Kansas. 29 The
stroke had such an impact on Smith that he could not recu-
perate from it, and a short time before he uttered,
"Bishop, I am ready", speaking to Bishop Taylor, Smith gave
the bishop several of his own musical compositions for the
choir of the Metropolitan Spiritual Church of Christ of
which Bishop Taylor was pastor.30
On October 8, 1934, at 8:05 a.m., Nathaniel Clark
Smith died at the Children's Hospital in St. Louis, . "31
Missouri.
Word quickly spread of his passing: newspapers from
the St. Louis community printed his obituary and picture,
and newspapers in Kansas City and Chicago also announced his
death.32
2 8 "Major Smith, Noted Band Master, Dies: Musician
Failed to Rally From Apoplectic Stroke Suffered in August," Kansas City Call, 9 October 1934, 1.
29Ibid.
3oIbid.
31Ibid.
32Ibid.
170
In Smith's honor, a testimonial program was given all
night on the radio by his radio choir, glee club, band and
orchestra, and included many of his former students and
friends from St. L o u i s . 3 3
A year later, another testimonial program was
presented in his honor.34 The program was presented at
11:30 p.m. at the Odeon Theater in St. Louis, Missouri
-a e;
on June 24, 1935. It was given by his St. Louis friends,
pupils, and associates headed by A1 Roth and his KMOX
orchestra and the Smith Radio Choir, C. Spencer Tocus
Celestial Choir, J. Roy Terry and Central Baptist Choir,
N. C. Smith's St. James Choir, Edith Yandall and Jamison
Temple Choir, W.H.A. Beckett and St. Paul Choir, Lane
Tabernacle Choir, Len Bowden's Band, Eddie Randall's Band,
and other school boys from Sumner's band, orchestra and glee
clubs paid tribute.36
Another event happened during the testimonial
celebrations for Smith, the Pullman porters officially
organized their union with the Pullman Railroad Company. In
33 "Major N. Clark Smith Testimonial Program At
Odeon Monday Night: St. Louis Massed Choirs, Bands, and Orchestras, In Midnight Program Starting at 11:30 p.m.," St. Louis Argus, 21 June 1935.
34
Ibid.
35Turner, Memoirs of a Retired Pullman Porter, 157.
36Ibid.
171
celebration of their success, the Pullman porters sang the
music of Smith in concert.
Nathaniel Clark Smith's contributions to music
consisted of his compositions, his publications, and his
ability to establish successful bands, orchestras, and glee
clubs in schools and industries in the United States.
Smith did make a difference in the lives of people.
He was a strong musician and an effective agent of change.
He unselfishly contributed his life and time to composing
and to helping people to better their lives through music.
Today, musicians and especially music educators,
can be associated with Smith in that many of them are
musicians who are making significant changes with their
students. Similar to Smith, they are workaholics, and
some are married and have a successful career in music.
However, their has been no one, to my knowledge, who has
been more successful in teaching music in educational and
industrial institutions, and who continued to achieve
success in other areas of music, for example publishing,
composing, and broadcasting music other than Smith. He
taught children and adults, and people of different races
about music. Smith achieved a full life with music. An
achievement which could happen again if anyone is willing to
work hard, set goals, be consistent, stay focus, stay
healthy, stay educated, continue her drive, nurture her
172
spirit, and share her time. In addition, a successful
marriage and children could occur along with the success of
a career as it did with Smith. Smith was a trail blazer; a
role model and a person who achieved his career goal: To
become a prolific musician.
Nathaniel Clark Smith is no longer in this world;
however, his music remains to be performed and his students
are still actively participating in the music profession.
His music is available to the public.
CONCLUSION
The primary purpose of this study was to tell the
story of Nathaniel Clark Smith, an African-American
Musician, Music Educator, and Composer who lived during the
early part of America's music education's history and who
became one of the first international bandmasters to orga-
nize bands, orchestras, and glee clubs in schools and
industries in the United States.
Nathaniel Clark Smith taught music in five schools:
Tuskegee Institute, Western University, Lincoln, Wendell
Phillips, and Sumner High Schools. He taught music in two
industries: the Chicago Defender Newspaper and the
Pullman Railroad Companies. He worked at Wendell Phillips
High School, and with the Chicago Defender Newspaper
and the Pullman Railroad Companies simultaneously.
Smith established the band at Tuskegee Institute and
Sumner High School. His Western University Cadet Band and
the Knights of Pythias Band were inducted into the Kansas
and Illinois Militias.
Smith had charisma. He had this remarkable ability
to produce bands with students who had very little or no
experience in music. Within a short period of time, Smith
had his students performing concerts. He was considered as
173
174
a master teacher.
Several of his students became prominent musicians.
They were Lionel Hampton, Milton Hinton, Nat King Cole,
Bennie Moten, Harlan Leonard, and Charlie Parker. One of
his students, Natalie Matilda Richie-Woodard, became a music
supervisor for the Chicago Public Schools.
His Wendell Phillips band performed in a combined
outdoor concert which featured John Phillip Sousa directing.
This concert allowed Lionel Hampton and Milton Hinton to
perform along with Gene Kruppa and Benny Goodman who were
members of other bands.
Smith was said to have been a contributor to the
Big Band sectional format. His students from his Lincoln
High School band became the trombone, trumpet, and
saxophone sections of the Bennie Moten Big Band. Bennie
Motenfs band became the nucleus of the Count Basie Band.
Smith was said to have been the person who introduced
the saxophone to the African-American community in this
country.
Smith was influenced by his parents and Professor
Gungle. He received his drive from his father. Smith's
concept of recapturing melodies came from his mother
who sang songs to him as a little child. His organi-
zation and knowledge of music were reinforced with his
Bachelors and Masters degrees in music. He received
175
further training in music in England; in addition, he
studied music privately with professional concert artists.
Smith gained additional musical expertise as an apprentice
for the Lyon and Healy Publishing Company and as a composer
for the Conn Instrument Company.
Smith was also influenced by some of the leading
African-Americans of his time: Frederick Douglass, Paul
Laurence Dunbar, Booker T. Washington, and William E. B.
Du Bois. Frederick Douglass introduced Smith to his first
spiritual and he accompanied Smith in his first family
concert. Smith became one of the first composers to notate
the spirituals.
Smith composed over fifty songs. Most of his songs
were published by his own company, the Smith Jubilee Music
Publishing Company. This became the first music publishing
company owned by an African-American. Other companies which
published Smith's music were Lyon and Healy and the Oliver
Ditson Company. Smith composed marches, plantation songs,
spirituals, folk songs, syncopated songs, popular songs, a
suite and a symphony. His Negro Folk Suite won a John
Wanamaker Award in 1930, and it was performed by the St.
Louis Symphony Orchestra. His "Frederick Douglass Funeral
March" received a copyright in England. His compositions
were concertized by Roland Hayes and Paul Robeson who were
two of the most popular African-American concert artists of
176
the time.
Smith published two manuals, the Elements of Music
and Jubilee Songs for Quartette for Home, School or Church.
Smith's music was performed at many conventions. His
music was performed at a Music Supervisor's Conference, a
Republican Convention, a literary Society Conference, and at
a Chicago Worlds Exposition Fair.
Smith performed and directed his music abroad. He
toured professionally with the Curtis All Star Minstrel
Troupe to six continents.
Smith was a member of several professional
committees. He helped to establish the National Band
Contest. He served on the General Education Board and the
Phelp-Stokes Fund. He helped to establish the symphony
orchestra concert series between the St. Louis Symphony
Orchestra and the St. Louis Board of Education.
Smith was a host of his own radio show. His "The
St. Louis Blues" show was aired by the Columbia Broadcast
Network throughout the Mid-West.
Although segregated laws were enforced in America
during Smith's life, he was able, however, to have a
successful career in music. He had the charisma to attract
wealthy Caucasians who assisted him financially to help
other African-Americans. These wealthy Caucasians came
from the Pullman Railroad Company, Wichita College, the
177
John Wanamaker Store in Philadelphia, and from local, state,
and federal government agencies.
Smith directed church choirs throughout his pro-
fessional career. A number of his spirituals were
dedicated to ministers of churches.
Smith was an adventurer. He was curious for music
knowledge and he searched and moved continuously.
He was not rich, however, he was able to maintain
steady employment through music.
By his middle fifties, his strenuous non-stop career
finally began to take its toll on his health. Even knowing
this, Smith continued to work until he was stricken with a
stroke which caused his death.
Announcements of his death were published in the
St. Louis Argus and the Kansas City Call newspapers. In
honor of his life and music, testimonial programs were given
by his friends and students in St. Louis.
Nathaniel Clark Smith was popular during his career.
Even after his death, his friends and students continued to
pay tribute to him. Nathaniel Clark Smith was a person who
lived a life of organizing, directing, teaching, performing,
composing, publishing, broadcasting, and helping people to
better their lives through music.
APPENDIX A
INTERVIEW QUESTIONS
178
179
INTERVIEW QUESTIONS ABOUT N. C. SMITH
Was N. C. Smith a disciplinarian?
Pictures frequently show him dressed in a military uniform, did he wear a uniform everyday?
Was Smith the only teacher of music with the Chicago Defender or Wendell Phillip Bands?
Did Smith motivate his students?
Where and when did you have band rehearsals?
Do you have any information that you would like to share pertaining to Mr. Abbott and the Chicago Defender Newsboys Band?
Did any other famous musician play in Smith's bands in Chicago?
How was growing up in Chicago?
Why do you think Smith came to Chicago to teach music?
Did Smith have any students who were successful in other fields?
Was Smith publishing his music during the time that he taught you?
Did he like different styles of music?
What do you remember about N. Clark Smith?
APPENDIX B
A LIST OF SMITH'S MUSIC
180
181
A LIST OF SMITH'S MUSIC
Original Compositions
"Frederick Douglass Funeral March." Chicago: S. Brainard's Sons, 1895. 3 pp. Solo Piano.
"The Heim Two-Step." Kansas City, Mo. March. Kansas City: Carl Hoffman, 1897. 4 pp. Photocopy. Solo Piano.
"My Regards Ter You." A Negro Drinking Song 1905. MS, ink. 13 pp. Song for baritone or bass and orchestra, full score.
"In the Heart." 1906. MS, ink. 4 pp. Song accompaniment Song for flute, violin, cello and piano.
"The Colored Prima Donna Waltzes." (With Vocal Ad. Lib.). Maid of the South. Op. 12. Chicago: N. C. Smith, 1909. 7 pp. Piano solo with text for optional vocal.
"Rocks and Mountains." Zion's Jubilee. Plantation Folk Songs for Male Voices by N. Clark Smith. High School Edition. Kansas City: N. Clark Smith, 1909. 1 p. Songs for TTBB.
"My Lord's Writing All the Time." (Melody for Male Voices) 2 pp. Song for TTBB and piano.
"Origin of the Spiritual." ink and pencil. 10 pp. Spirituals for chorus and percussion, full score.
"The Tuskegee Institute March." Class Song. Chicago: Tuskegee Institute, Alabama, 1910. 5 pp. Song for treble voice and piano.
182
"You'll Git Dar Bye An' Bye." MS, ink. 1 p. Song for TTBB.
"Resolution." (From-Negro Choral Symphony). 1912. MS, ink. 9 pp. Song for vocal duet, chorus and orchestra, full score.
"My Brown Rose." For Male Voices. (Plantation Love Song). 1913. Photocopy of a MS. 2 pp. Song for TTBB
"You'll Git there Bye An' Bye." (Alabama Plantation Melody). Plantation Folk Songs for Male Voices by N. Clark Smith. The Pullman Porter's Edition. Kansas City: N. C. Smith, 1916. 3 pp. Song for TTBB and rehearsal piano.
"0' Lincoln High." (1917). (publisher information not available). Photocopy. 2 pp. Song for treble voice and piano.
"Uncle Dan in de Mornin'." (Plantation Cradle Song). From Pictures of Negro Lifes. 1916. MS, ink and pencil. 3 pp. Song for treble voice and piano.
"Prayer." From The Heart of Emancipation. (One Act Folk-Song Opera). Solo, Chorus and Orchestra. Chicago: Lyon and Healy, 1917. 8 pp. Song for solo treble voice, SATB and piano.
"The Crucifixion." (Negro Melody). Anthem for Mixed Voices. Chicago: Lyon and Healy, 1922. 4 pp. Anthem for SATB and piano.
"Make Good." (For Male Voices). Plantation Folk Songs for Male Voices by N. Clark Smith. The High School Edition. Kansas City: N.C. Smith, 1922. 4 pp. Song for TTBB and piano.
"Nobody Knows Like Jesus." In C Minor, for Male Voices. Plantation Folk Songs for Male Voices by N. Clark Smith. The High School Edition. Kansas City: N. C. Smith, 1922 3 pp. Song or TTBB and piano.
183
"Good Night." Two Songs for Piano and Cello Oblig. Kansas City: N. Clark Smith, 1923. 5 pp. Song for treble voice, cello and piano.
"Feel the Fire A-Burnin'." (Bahama Folk-Song). 1924. Ms, ink. 2 pp. Song for SATB and piano.
Negro Folk Suite. (Wanamaker Prize Award, 1930). 1924 Photocopy of a MS, 31 pp. Five pianos and percussion, full score.
Negro Folk Suite. Wanamaker Prize 1930. Chicago: Lyon and Healy, 1924. 11 pp. Solo piano.
"Turn Back, An1 Pray." (Bahama Folk-Song). 1924. MS, ink. 2 pp. Song for SATB and piano.
"The Song of Soap." 1927. MS, ink. 4 pp. Song for treble voice, SATB and piano.
"Poor Little Me." (Petite Song). 1928. MS, ink and pencil. 2 pp. Song for treble voice and piano.
"See What the End Will Be." From: Negro Choral Symphony. A Resolution). 1928. MS, ink. 4 pp. Song for messo-contralto and piano.
"The Song of Momolu." (A Prophecy). 1928. MS, ink. 3 pp. Song for SATB and piano.
"The Kansas City Eagle-Rock.11 (Ethiopian). New Dance Intermezzo. 1931. MS, negative photocopy. 4 pp. Dance for solo piano.
"The Prima Donna Song." From Negro Choral Symphony. Chicago: Lyon and Healy, 1933, 11 pp. Song for Soprano, SSA, TTBB and orchestra, vocal and piano score Photocopy.
184
Arrangements
Sullivan, Arthur. "The Lost Chord." from The Choral Service. Mens Voices. Boston: White-Smith, 1900. 7 pp. Anthem for TTBB and Ad lib. (piano) Accompaniment
"Steal Away, to Jesus." (Anthem). (1916). MS, ink and pencil. 7 pp. Anthem for mixed chorus and orchestra, full score.
"Steal Away to Jesus." Folk-Song Anthems by Maj. N. Clark Smith (As played by the Famous Tuskegee Band). Chicago: Lyon and Healy, 1916. 7 pp. Anthem for SATB and piano. SATB and piano.
"Motherless-Child Song." (Sunset Chorus) From "The Heart of Emancipation." 1918. 8 pp. Song for SATB and piano.
"The Miracle of Love." arr. by N. Clark Smith, MS ink 5 pp. Song for SATB.
"Swanee River." Vocal Arr. N. C. Smith. Solo B-Flat Cornet part. MS, ink. 1 p. Solo cornet part.
"Couldn't Hear, Nobody Pray." For Tenor (or) Contralto Solo, Piano and Orchestra. Folk-Song Anthems by Maj. N. Clark Smith (As played by the Famous Tuskegee Band). Kansas City: N. C. Smith, 1921. 5 pp. Anthem for treble voice; and piano.
"Swing Low, Sweet Chariot." (Folk-Song Anthem). (Chicago Lyon and Healy), 1921. 8 pp. Anthem for treble voice; and piano.
"Swing Low, Sweet Chariot." (Folk-Song Anthem). (Chicago: Lyon and Healy), 1921. 8 pp. Anthem for SATB and piano.
185
"Old Black Joe." (For Male Voices with Banjo Imitation) Plantation Folk Songs for Male Voices by N. Clark Smith, 1922. 4 pp. Song for TTBB and rehearsal piano.
"Old Folks At Home." (Male Voices). Plantation Folk Songs for Male Voices by N. Clark Smith. The High School Edition. Kansas City: N. C. Smith, 1922. 4 pp. Song for TTBB and (rehearsal) piano.
"Better Days, Will Come Again." Male Voices. Plantation Folk Songs for Male Voices by N. Clark Smith. The Pullman Porter's Edition. Kansas City: Smith, Rickman and Lemonier, 1923. 4 pp. Song for TTBB and piano.
"I Will Arise." From an Old Spiritual (Double Counter-point). Chicago: Lyon and Healy, 1924, 5 pp. Song for Low (treble) voice and piano.
"Deep River." (Spiritual). Plantation Songs (for male Voices). 1926. Photo-copy of a MS, 3 pp. Song for TTBB and piano.
"Cheer the Weary Traveler." (Anthem for Mixed Voices). 1927. MS, ink. 11 pp. Anthem for four-part chorus, piano and organ, full score.
John Prindle Scott's "The Winds in the South." (Soprano) by N. Clark Smith. 1931. MS, ink. 14 pp. Song for soprano and orchestra, full score.
Jerome Kern's "01' Man River." Arranged for Male Chorus and Orchestra by N. Clark Smith. 1932. Ms, ink and pencil. 9 pp. Song for male chorus and orchestra, full score.
"Vodery's Dearest Memories." (For Male Voices). Arr. by N. Clark Smith. Photocopy of a MS. 2 pp. Song for four-part male chorus.
APPENDIX C
MUSIC SCORES
186
187
? r * 3 &
S*efcet«eeo*f fiaai*i wko play** Mtn 24,000 EL Levis Hiffc Srim} Its".'* ilr IfBjHM'Mnriir nfM( yrafruii*
t. B«aa(iftsl Blut Dasnb* Waltz**. . . -Mmmt J /mmi **"2. Meenhf ht Soast* !«/(•«•«
3. A Nifht la Spain . . . . . . . . CM*. fmmiul 4. N*fT0 Folk Suit* M. CUrk SmtU
" Wanamaier Frit* i9$0 •
NEGRO FOLK SUITE
I. THE ORANGE DANCE, (British Guinea)
II . THE PINEAPPLE LAMENT, (Martinique)
IIL THE BANANA WALK, (St Hel.oa I.land)
%\®9
For Piano
t by
N. CLARK SMITH, <Bac.Mus.) (Chicago Musical Colleg*)
( 2 ) - 4 * p u ^ b > - V O k w' r-u ar. mrrrom omcmxstma, nwm/r A>4aun> omm/w; «/ m# w
r*g*imr fmiite tckvat eonetri ipanterti tp tA* tamrd qf Bt.IxmU, Mo.,
Jintusry i t , i f I t , *t tA* 04*o% TA—trt, tt m 4*f*tUf mtUitnet.
Arrangements for
V i o i i j i * Piano, Vioux Csuo * P i j l h o j F t u » Oaensraa » t . J S *1.50*" * 2 . 0 0
23 f 3 Traey Arm., JTa%saa GUy,Mo.
S O L D » Y
LYON & HEALY, Inc., CHICAGO
188
NEGRO FOLK SUITE ~ ; By N. CLARK SMITH, B. M. A. M.
CO Ortmge Dance, (British Guinea)
(B) Pine apple Lament, (Martinique)
(C) Banana Walk, (St. Helena Island)
This Suite is highly descriptive and is undoubtedly the nearest approach to program music
sver made by a Negro composer. In fact, it is program music and 01 a most unique sort. This group
illustrates but slightly the illimitable possibilities of Negro folk music as subjectively classic.
(J) The 'Orange Dance' is a jocund little theme in the usual syncopated mode of the Negro dance
form. It tells a lively little story in true scherzo stylejnciw light, now serious. In it "one realizes more
than ever the rhythmic similarity between Negro dance forms and Latin dance forms. The Steve-
dore's Dinner Bong' might easily be a Habanera or any one of the secular Latin dances.
(£) Perhaps the most lingering melody of all Afro-Negroid themes is that used in the 'Pineap-
ple Lament*. The quest for sheer beauty in native Negro themes might well end here, for the Pine •
apple Lament is very beautiful indeed. The peculiar tonality of this theme is enhanced by the care-
ful harmoniiation of the composer tad it reflects the mood of the Martinique Negros very accurately.
(C) If the purpose of the 'Banana Dance* is to establish the paternity of modern jass, It does
that very convincingly. Nowhere-else is the spirit of 'mere rhythm' so much indulged in. The melo-
dy of the Banana Walk,if such there be, is not easily recalledj but the clanging of the banjo is a
vigorous : j ig not easily forgotten. The characteristic 'devil-may-care' attitude of certain groups
could hardly be more accurately depicted than in this dance.
No collection of native themes, either by Negro or Caucasian composers, express so-accurate-
ly the intense feeling and reaction of the original Negro.
These themes have had none of the influences of the American Negro tad Caucasian except
in harmoniiation and that has been reduced as much as possible. Burely then, no group is .more ac-
curate in expressing the emotions of peoples, so generally misunderstood and misinterpreted.
Inridently this Suite is a classic, but predominantly it is Negroid and is peculiarly lovely.
Buth Louise Allen, (Bac. Mus.)
American Conservatory Of Music, Chicago.
189
B k i f e U a ^ o f - t U • • l o d i f » r » t h o a e a p l a y d o r u i ( b y K e f r o « ^ d o [ " T j ® i - ! j h . £ i T "
\ oad fruit ahips in aonthen. watora. (W.at lodioa.) Wb.n the Jaatload of oranjos a« placed into tho hatch tel., \b* bosa clap a his hands and atampa hia foet as the signal to **« pnia-wmner.
N K t j R U P O L K S U I T E I. ORANGE DANCE ByN.CLABK SMITH (Bae.MaaO
(British Guinea) Chicago Musical College.im
Andantino
(Sloioljr) >>
9 Mod to
J X
Copyright I N I by K.C. Smith, Chicago
190
"Stevedores Dinner Song"
m P i p tranfuuio
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191
am' u,r 4 « . >
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KOTB- After the terrible volcanic eruption of MuPeleein ltO», which destroyed the city of St.Pieree, Martinique^ natives from. neighboring islands often visited the reins and chanted six bars of this quaint melody, In memory of the
PINE APPLE LAMENT TT (Martinique Melody)
By N.CLARK SMITH
Lento
Negrfe- Polk Suite 10 Ccpyrifkt, ***•, *7 It. Clark Sal*k,ChiMfo
192
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m 10TB> Daring the lammer of 19IS, when returning from the northern trip with Booker T.Waahingtoifi Turing** Bud, the writer etopped orer Saturday and Snnday at Beanfort, Booth Carolina, to pay aviiit to Coloaal Robt.Smalla, of-tfoe Civil War fame. After dinner the Colonel arranged a trip for b> aeroaa the bay to 8t.Helena laland to hear aocne old time melodiea. One old man, after looking oa orer, began ooanting op to fifty, the exact roater of onr Band. "That Sunday Morning Band? and"Down By The Rfteraide',' are th^two melodiea aaed in thia aketch. Bey* from the banana farms danced the Charleston for ot.
in. BANANA WALK l (St. Helena Island Melodies)
Tempo d f C h a r l e s i o n By N.CLARK SMITH
Wegro Folk Suite 10 m-.* C*ir>l|kt,lMI,kr >.C.fal*k,CkiMf«
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213
Prayer from Emancipation 1
(One Act Folk-Song Opera.) „ .nw S M I T H Pccm by KELLEY MILLER S o l o 4 n d C h o n s Mus.c by N. CLARK SMITH
Con fuoso Eliza r-rm
nij ni ipiiju 1 1
Oh, tfcou whoheard the wsil-fiil plea Of our fore-bears on bend - ed 3 3 .*
To thee we knee, And broke the boDds that set them free;
a s a
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SOLO Andante k
S0PR_pray,we pray, 7b thee we pray,we pray. In bro-kenword an wai!-ing tone _ In deepon-at- ter- able
**AtTO ' ' 1 P p pray p r a y _ _ ^ ^
TENOR Jr £ a. it
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Copyright,1927, by N.C.Smith, K.C.Mo.
214
• rs
proan, Hear us we pray, bear us we pray. (2: _____
1 *3s lb, - = - = = = = = = = = = = = - • • • • [
f f " 4 I! j
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(A'1 Mod to.
Dark day of sore dis - tress
la deep-est gioan of wil-der this dark day of ton dis
Modto.
poco nr .
„•/. Help us thi» Deep gloom of wilder - ness,
When threat'-iiff ills aohard-ly pressed; __ Help aa this
wil • der • ness,
poco nt U-n-.i
Prayer from Emancipation 6
215
day, help thi- day
scorn and race dis • dain would seek Irs day," nelp this day
i A j
a tempo
.^s, a tempo
vial of wrath to *enge and wreck,Up - on this low-ly folk and roeek Spare ns we pray, spare
i bJ> J i J i ? •
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as we pray.
rC t y
prayer from Emancipation 8
216
« Andante
No peo-pie yet havefalten pray Who love tlyUwwalk in thy way .When
all the world could look and say; Be • hold they pray, be-hold they pray.
And when we stray from tly oonHoand,And feel thy sore of-flict-iqgband,We
a tempo
bumb - lybow, ws nn-der-stand,We must o •bey,we must o - bey.
[ fk frV * • fc bp r P » * Homb - ly bow, we un-der-stand,Weiwwt o-bey,we must o • bey.
\atmpof
Prayer from Emascipatisii 8
217
Allegro Con furioso
If some _ thy sav-ing- help ce
r\
£ £
i —M—
With wild in • »*ne die- tract - ed cry Like
#F=*= C\
I IMIM
For-pv# me prmy.we pr*y,Fbr-pvewe Jobs wild wife would curse and die;
1 / 2*>»»--*
Prayer from EmancipalioD 8
218
t p r a y , p r a y . In tune taught wis-dom nos-tnim f n d , Show the blind lead-erof the blind; ^Tisvan- i .
Mod to.
Thy rigbr-oas tow is all our
a tempo p
Thy law is all oar trust On else bat faailds on
WbobuUds on else bot bailds on
baud on dust
P
Pri> <r from Emancipation &
219
a tempo _
Re- lya i -way, r e - I y a l • way;
y a l - r e - l y a ! . way;
• e
The might-y should the low-ly mtiki Re
poeo tit.
since by stores thaanið seed,As choice a s ao-y boasted breed jVouch safe to t u a larg-ertnead W e L L k
S a f e t o t u a l a r t - e r m e a d W e
c= t =
numb - ly pray, we humb - ly pray A • ' men, A
bomb - ly pray, w e bomb - ly pray A » men , A
Prayer f r o m Emancipat ion 8
220
men
1 Oh, thou who heard the wailful plea Of our fore bean on bended knee,
And broke the bonds that set them free; To thee w* pray, to thee we pray. In broken word an wailing tone In deep unutterable groan, Hear us we pray, hear us we pray.
2 In this dark day of aore distress In deepest gloom of wilderness,
When threading ills so hardly pressed; Help os this day, help ss this day.
If scorn and race disdain would aeek Itf> vial of wrath to venge and wreck, Upon this lowly folk and meek Spare us we pray, spare us we pray.
3 No people yet have fallen pray Who love thy law, walk in thy way, When all the world could look and say; Behold they pray, behold they pray. And when we stray from thy command And feel tby aore afflicting hand, We humbly bow we understand We must obey,we must obey.
4 If some thy uving help deny With wild insane distracted cry, Like Job's wild wife would-curse a die; Forgive we pray, forgive we pray. In time-taught wisdom nostrum find, Show the blind leaders of the blind; 'Tis vanity, 'tis vanity.
Thy rigfct'ou* tew is all our trust Who builds on else, but builds on dust, The mighty should the lowly must, Rely alway, rely alway,-And since by atones thou raiseth seed As choice as any boasted breed,
Vouch aafe tow a larger mead We humbly pray, we humbly prsy. A men, A men.
Prayer from Emancipation $
221
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THE 3
I PRIMA DONNA 1 I S0NG s I ] f r o m Q
6 NEGRO CHORAL ® S
n SYMPHONY a
6 ss s S SOPRANO. THREE PARTS FEMALE VOICES, 4
FOUR PARTS MALE VOICES and ORCHESTRA U
t — I SN. CLARK SMITH Q
2315 TRACY AVE. j j
D KANSAS CITY. MO. D
g IBB | jFer &£ Q
n LVON & HEALY 3 E CHICAGO 0
PRICE - - 25 CENTS
243
NEGRO CHORAL SYMPHONY
Part V - Finale
*By 9{. Clark Smith
9i C O N T I N U I T Y *
The dramatic element of the introduction, on a tonic minor
theme, returns to the Ccago melody of the "PRELUDE" So in this
finale, a recapitulation (or) summary of the four parts, are woven
into a complete story.
The great mansion of a kind old Southern planter is thrown
open for feast and rejoicing. The curtain vises cm a banquet scene
showing the guests seated around tables, as the Prima Donna hostess
sings of a spiritual force, expressed in music which had its origin on
the banks of the blue Nile and Congo rivers.
For countless centuries have we been in quest of these lost
spirits, and at last we hear its echo in the chants, melody, rhythm
and spirit of the Mississippi, ringing all the way from Africa to New
Orleans. All hail! The musical day that will bring the whole human
family into a dream of the brotherhood of man — and its final
triumphs in which the Maid of the South (coining out of sorrow and
distress) sings a new song to her people;— "THRIFT, COURAGE
and LOYALTY."
This valse caprice is written for Solo soprano, three part female
voices and four part male voices; technically known as Septet (seven
parts) in 3—4 mesure.
"THE PRIMA DONNA SONG."-
244
2 r •wiinr •••it -nrrow ami Of The South" <injp« * ti-w ««n£ to her peiipl*: "Thr i l l , Cour.i};!', I.oj.iltv."
5. The Prima Donna Song Funn " N i - ' - r o Choral S y m p h o n y ' ' Symphony
KOI! VKiMESS \UUE.S f .V,i f i Voices ad lib)
A n d a n t e u iodcra to 3
By N.CLARK SMITH
t p 1 J -j&'t ~^=i-i s
Valse caprice IM Sop
Solo *nfr*
>1/
24 Sop With C»>ti»M*
haw to-light - fu l , l ike cool red wine , .
Alio de - l i gh t - fu l , Wuh Cj tubal*
4c -light - fu l , cool red v i n e , eool red
. . . u de -hgh t - f a l , W a l U tempo
de -light - f u l , eool red v i a e , eool red
Capyrijtfct 1833 fcy S. C. fank,Cliu|t
245
from the fonnt When *f drsnk
from the fount' hope when we drink
from the fount' hope when ve drink wi or
come a - t h i r s t - ing, • i n e , _ _ _ Man-j souls
Man • j souls thirat - ing,
Man • j souls thirat
f 6
___ hearts a - burst ing , Bow ing in aor row,When
•ff "w" ~ ~—3
-• j . . = p q
_ hearts a - burst - >ng, Bow-ing low, tears may flow, When
= - | 1 _
Bow. ing low, tear* may flow, When hearts a - burst
246
I j r i r r i f ^ T r i i i (III )H-t I Willi*
i j < u _ . L J - j w - . - I J i ^ - 1 - - - - - ^ f iin-ju-i i.i*> •*•• «*"»•• —
4 N J I I . J .« •<•» -*• *•-. -
a tempo
Cour * age, Conr • age,
Cour • are, Cour - age,
Cour• age, 2- »
COOT - a g e ,
' i r N / ? \ " a i . g . / f r '
• ^ f ; | | The TIC-try of to-nor-row, it nhall be thine. thine.
The *ie - t'ry mor - row, it aha.ll be thine. thine. C\ C\ & C-
The TIC - tVy
£ or-row, it aha.1) Be thine. thine.
* i i rs*> I
i>c.r\ Cstrs
247
No. 2
now
JT a tempo
With a
With •
With •
t i m i f u t k , S>;
I D our dea
"« turn* fa i th ,
t <ir f> njr.
fed#
248
* I
Ki n-nrf* hi'r«*. iherr, char ' ty ev
I , . * i m
where,
frmg,
Sing, »ad r ing, the joy ftej
Free-dona joy to ehare.
io •harts bring, ife* joy
249
No. 3 , A ill! Sop. T* C\ v .
2d Sop Then let us by t h r i f t and Hon . est
r\. O «.
Then let oa thrift and hon . cat
Ift Ttnof
la, la, la, la, la, la, mm Ttnor
r r i ' r r i s=3=g: la, la, I*, la, la, la,
la, la, la, la, la, la,
niMATO
f , re - claim our her - it - age,
J, r» - e la in onr her - it • ace .
la, la, la, la, la, la la, la, Pip*, it run :
la, la, la, la, la, la, la, la, Pipe drum;
In, la, la, I t ,
?-ll j K u , u ,
U. la, la, la, I t , la, Pipe, drum;
I rum.
250
W:-riy\\ ^ i- ff Men * voir. • en call
. a r \ m
Gold * «*« fen . glen ery, MettV vuic-*« c*li rvm
i ' j - i - -
IfHfei Gold . e n bu - flee try, Men'* voic - • • cell. inf
K i n «oU*m ffl
Mll . l a r Oold • en
m ' i j* i j 1 1 1 i i »
clear. f T . r p I r s g ?
Wo- w i «u>g bright cheer, & t iM j o a r
I P 1 F =
ciear,, Wo - men sing bright ebeer Raise j o o r
eheer
Mll.mff, eleitr, Oh, wo.men iiof br<fht-e*» brirht.ent ebeer,
R11 u e your
Raise your
call-inff, clear, Oh, wo.men *ing brig+iv-eel bri£fct.«it cheer, Rtiae your
el«*r, wo - m b uttf brifkt - m i eheer,
251
r.o kigh, Dc«.ti .ny'a wroaga we will d<* • fy .
hr*da so high, -»yJ» wrong* well 4e - fy .
high, Dea-ii-ny* wwmga we will d* . f y
b*»4* eo htffa, DM.ti .ayV wrong-* W l l da . fy
hnfh, Da* - tt .nyV wrong* we'll tie • fy
M
ooda
» » >• 3»
p mil.
252
W a l t 7 , t r t n p n r • tempo
O i l , h n » d e - l i g l l t f u t , l ike cool red wine. Wh«-n we
i' J--Mil cool red wine, eool red w i w , d r - l i g h t . f u l d e l i g h t - f u l
- ful ilr li^ht - fu l
imm-t ri=i. cool red win*, cool red wine,
rt.'-lifHn ful, de-light • ful ,
4« light f u l it«-liuht •nil ,
bow d» • l i n t
bow da - light - f u l , lika tool w i n s , , .WfeM W.
d r ink , from the fount ' of hope di
When we d r ink , from the fount', hope di - Tine,
from the fount , hope di when we d r i n k ,
front the fount HOSE di . V I M , Wh«*n wa drink,
from the fount drink
from th« fount drink
253
Chrinx Snprann*
nearta a - bur»t comet a - thirst - ing
Not * tool thirst ing, hearts a . hurst
Not a sonl thirst . ing, hearts a - burnt
Not m toul, thirn . in^ h©art* *» - hurst
•mbm ft * Ihmi h«trt« » - burnt
thirst
I ' l " i r I r r r i i P f r J N ' i j
* AIa* mm a - J i It _ 1 _ Jt jng, Glor j and hon - or, A11 peo - pie a • dore
W r i r u j tog, Glor . y, hon - or, All peo - pi* a . dore.
pit it . dore
Oior r. All peo pi** a . dor*
254
i r i r * * ,.i.. a d»rr.
r i f 7 ' - r r " - ^ 3 - ~ • • — 1 h *
| f - i j
j } • f f jjji " | *} ? H
. - i ^ r - = ~ . . i . L = 4 ~ ~ = ~ ^ = ™
a tempo
)JtTz*o tempo r\ i I r\
Free-dom and hap. pi-sett, Goodwill and cbtr - i - ty, ct . er \JIT* a tmpo „ „ > ^ ^ ^ ^ 2
Free-dom and lup-pi-nett , Goodwill u d e b » r - i - ty, e* - er,
Free-dom u d bap-pi-new, Goodwill and char-i . *j, ev . or, ffji tempo - -
Frer-dom u d bap - pi • m m , Good will and c h a r . i - ty, «v . cr, fl tempo > > > ^ "
• e r - ao r t .
•V * T » mor#.
c h a r . i * ty, «v -Irmpo
Fr«.doiti and fcap-pi Good will and rhnx*i - ty, *v . «r, • v • mr - a o i * .
mm.
IWTttY * r w f ».8B
255
Full Orchestra 10Pots and Piano---F ulI Military band---i
M M E . P A T T I B R O W N C H I C A G O
T l S K E G E E INSTITUTE ALABAMA
256
The Colored Prima Donna. WALTZES.
(WITS VOCAL AD US.)
By N. CLARK-SMITH. Op. 12 p»»«o..rl'r ,*d,r iek DOU(1m» Muth Compo»«r|T(i>k#(#i Usxcii.
Moderate Andante.
fTrom&o** Cenut
i l i i i t t c t i l i I F M r > r r r r h r r 1 r r r r r r r r r r r r
J j J i|"n j «j 3 3 3 3
' f f ' f ' j ' tlllLStUlLS
Ca^nfkt, MTCIfrT. *y K- C. laitfc, Ch»*>fi.
257
i t • TIM Is tfe«
jey with - out tbM,
rrrsr
258
Ail U • t i t f i t g r r - m y J f l M for* « ! ,
Clarinet
AMU i l l a * t u t s a u l t t ,
D « h p r a a u f h t I
259
ft* it t 1 ft £
i < , J - «
_. 1 Tb»n Ut [
r ? I J ^ ^ 1
a* b« * * •
" r i»y to -
# * si(ht, »hU«
* *
1 p "* * h i W ^ M ' i f 1 * ^
Aad »»T1
Wbb f«ad kaart* ttarafc vilely h r
* CODA. Allegretto
* H . T T l g L - n r + 4 1 > I f fmtetmpe
r=±
n i l ' i » r #
J=£^=
& f i M L
i i i
r v i
n > c . r i «
260
Tempo di Waltz. Ob, how d* - ltffai - ful Oh, hew 4* • vine, Is the •«!
Sweet - heart
bout «•, so icy,with • out tBM, m
m Tn, J1 wiU !»*» tfc««.Abi y»», I will Ion thM (er - rr - «r aert..
ll ' r • *«•?»{ • ff k • i • 1 j =>• * *
i « - - H*7 ^ ' r
„ j \ i
J S R * t
i i t -
* # # » • < * ' # » 1 t 1 • \* 1 i
" " i f f F
BIBLIOGRAPHY
"African Symphony." Kansas City Times. 5 December 1933.
Allen, Ruth Louise. "Preface" Negro Folk Suite. Chicago: The Lyon and Healy, Incorporation, 1924.
Annual Catalogue of Western University, 1916-17. Kansas: Western University Press, 1916.
Benson, Luther. The John Wanamaker Award. New York: Alfred A. Knopf, Incorporation, 1960.
Buckner, Reginald T. "A History of Music Education in the Black Community of Kansas City, Kansas, 1905-1954". Ph. D. diss., University of Minnesota, 1974.
. "Educational Roots of Kansas City." No. 4 Jazz Educators Journal 13, no. 4 (April/May 1981): 29-33.
. "Rediscovering Major N. Clark Smith." Music Educators Journal 5, no. 7 (February 1985): 54-60.
Butler, Addie and Louise Joyner. The Distinctive Black College: Talladega, Tuskegee, and Morehouse. New Jersey: The Scarecrow Press, Inc., 1977.
"Copies Of A New Symphony: Work of Maj. N. Clark Smith, Kansas City Negro, Here in Print." Kansas City Times. 31 October 1933.
Cotter, John. "A History of Music In The Negro Community of St. Louis from 1930-1965," M.M. Thesis. Washington University, 1967.
"Crucifixion By N. C. Smith." One-Time Wichitan. 14 May 1933.
"Elk's Bands Charm Chicago." Kansas City Call, 1933.
261
262
"Farewell Testimonial To Major N. Clark Smith, At Odeon, Monday, June 24th: Famous Composer And Arranger of "Afro-American Music,' To Be Honored By St. Louis Musical Friends, Pupils And Associates." St. Louis Argus, 7 June 1935.
Fly, Fenton G. "A History of Instrumental Music In the Public Schools of Kansas City, Missouri." Ph.D. diss., University of Missouri at Kansas City, 1967.
Ford, Robert. "Vladimir Golschmann, Conductor of the St. Louis Symphony Orchestra." St. Louis Symphony Orchestra Concert Season. 1932-33.
Franklin, John Hope. From Slavery to Freedom: A History of Negro Americans 5 edition. New York: Alfred A. Knopf, 1980.
Golschmann, Vladimir. Conductor. Negro Folk Suite. St. Louis Symphony Orchestra Concert. St. Louis: 11 January, and 12 May to 15 June 1933.
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Haley, Alex. "Black History, Oral History, and Genealogy." The Oral History Review. New York: The Oral History Association, Incorporation. 1973.
Handy, D. Antoinette. Black Women In American Bands and Orchestras. New Jersey: Scarecrow Press, Incorporation. 1981.
Harlan, Louis R. and Raymond W. Smock, eds. The Booker T. Washington Papers. Chicago, Illinois: University of Illinois Press, 1981.
Harlan, Louis. Booker T. Washington. 2 vols. (Chicago: University of Illinois Press, 1983-87.
Hunt, Elvid. History of Fort Leavenworth, 1827-1927. Fort Leavenworth, Kansas: Kansas Press, 1926.
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Interview with Robert Craton, Head Archivist at the Army War College in Carlisle, Pennsylvania, July 1989.
263
Interview with Gertrude Groves, Kansas City, Missouri, November 1987.
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Interview with Dr. Daniel T. Williams, University
Archivist, Tuskegee University, Tuskegee, Alabama, October 1990.
"Lincoln High's Best." Kansas City Call. 13 January 1920.
Logan, Rayford. The Betrayal of the Negro. New York: Publishers Books, Incorporation, 1961.
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"Major Smith, Noted Band Master, Dies: Musician Failed to Rally From Apoplectic Stroke Suffered in August." Kansas City Call. 9 October 1934.
"Major N. Clark Smith Is Buried In Kansas City." St. Louis Argus. 11 October 1934.
"Major N. Clark Smith Testimonial Program At Odeon Mon. Night: St. Louis Massed Choirs, Bands, and Orchestras, In Midnight Program Starting at 11:30." St. Louis Argus. 20 June 1935.
Miles of Smiles: The Story of The Pullman Porter. Chicago: Henry Regnery Company, 1968.
Murray, Orrin M. The Rise and Fall of Western University. Kansas: Western University Pres, 1960.
. "Sumner High's First Band." an unpublished paper. Sumner High School. 16 May 1917.
"Nathaniel Clark Smith: A Model for Music Educators." Jazz Educators Journal 4 May 1980.
"N. Clark Smith, Soldier, Composer, Incomparable Master, Developer of Hidden Genius Music: Gained Wealth of Experience and Training in Army Bands, and European Schools; Father of Many Pioneer Movements; Trained Many Musicians Now World Famous." Chicago Whip. 14 June 1922.
264
"N. Clark Smith Comes To St. Louis." St. Louis Argus. 12 September 1930.
Ottley, Roi. The Lonely Warrior: The Life and Times of Robert S_ Abbott. Chicago: Henry Regnery Company, 1955.
Rainbow, Edward L. and Hildegard C. Froehlich. Research in Music Education: An Introduction To Systematic Inquiry. New York: Schirmer Books, 1987.
Russell, Ross. Jazz Style In Kansas City and the South-west. Berkeley: University of California Press, 1971.
"Scottish Rite Club Hears Major Smith Group." St. Louis Argus 8 April 1934.
"Seventh Annual Meeting of the Inter-State Literary Association of Kansas and the West, at Topeka, Kansas." December 29th and 30th, 1897.
Smith, Nathaniel C. New Jubilee Songs for Quartette, Choir, or Chorus. Chicago: The S. Brainard's Sons Co., 1895.
The Elements of Music: A Short Method of Instruction In the Rudiments of Music and the Art of Singing by Note. Chicago: Music Studio, 1928.
"Prayer For Emancipation." Negro Choral Symphony. Lyrics by N. Clark Smith. Chicago: Lyon and Healy, Corporation, 1933.
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265
Turner, Robert. Chicago:
Memoirs of a Retired Pullman Porter. Henry Regnery Company, 1971.
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