summaryrefslogtreecommitdiff
diff options
context:
space:
mode:
authorRoger Frank <rfrank@pglaf.org>2025-10-15 05:19:27 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-15 05:19:27 -0700
commit1e64ce72925fd05c88c9bc80b6dbde7f8de75b36 (patch)
tree2c88650481db18d046735b1c72b93cbbe4143002
initial commit of ebook 2589HEADmain
-rw-r--r--.gitattributes3
-rw-r--r--2589-h.zipbin0 -> 14002 bytes
-rw-r--r--2589-h/2589-h.htm831
-rw-r--r--2589.txt681
-rw-r--r--2589.zipbin0 -> 13051 bytes
-rw-r--r--LICENSE.txt11
-rw-r--r--README.md2
-rw-r--r--old/sousa10.txt590
-rw-r--r--old/sousa10.zipbin0 -> 11432 bytes
9 files changed, 2118 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/2589-h.zip b/2589-h.zip
new file mode 100644
index 0000000..5b40848
--- /dev/null
+++ b/2589-h.zip
Binary files differ
diff --git a/2589-h/2589-h.htm b/2589-h/2589-h.htm
new file mode 100644
index 0000000..8c5705c
--- /dev/null
+++ b/2589-h/2589-h.htm
@@ -0,0 +1,831 @@
+<?xml version="1.0" encoding="us-ascii"?>
+
+<!DOCTYPE html
+ PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+ <head>
+ <title>
+ The Experiences of a Bandmaster, by John Philip Sousa
+ </title>
+ <style type="text/css" xml:space="preserve">
+
+ body { margin:5%; background:#faebd0; text-align:justify}
+ P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+ H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+ hr { width: 50%; text-align: center;}
+ .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
+ blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+ .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+ .toc { margin-left: 10%; margin-bottom: .75em;}
+ .toc2 { margin-left: 20%;}
+ div.fig { display:block; margin:0 auto; text-align:center; }
+ div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+ .figleft {float: left; margin-left: 0%; margin-right: 1%;}
+ .figright {float: right; margin-right: 0%; margin-left: 1%;}
+ .pagenum {display:inline; font-size: 70%; font-style:normal;
+ margin: 0; padding: 0; position: absolute; right: 1%;
+ text-align: right;}
+ pre { font-style: italic; font-size: 90%; margin-left: 10%;}
+
+</style>
+ </head>
+ <body>
+<pre xml:space="preserve">
+
+Project Gutenberg's The Experiences of a Bandmaster, by John Philip Sousa
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Experiences of a Bandmaster
+
+Author: John Philip Sousa
+
+Release Date: January 2, 2009 [EBook #2589]
+Last Updated: February 6, 2013
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER ***
+
+
+
+
+Produced by Faith Matievich, and David Widger
+
+
+
+
+
+
+</pre>
+ <p>
+ <br /><br />
+ </p>
+ <h1>
+ THE EXPERIENCES OF A BANDMASTER
+ </h1>
+ <p>
+ <br />
+ </p>
+ <h2>
+ By John Philip Sousa
+ </h2>
+ <p>
+ <br /> <br />
+ </p>
+ <hr />
+ <p>
+ <br /> <br />
+ </p>
+ <h3>
+ Contents
+ </h3>
+ <table summary="" style="margin-right: auto; margin-left: auto">
+ <tr>
+ <td>
+ <p class="toc">
+ <a href="#link2H_4_0001"> The President's Embarrassing Demand. </a>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0002"> President Cleveland's Veto. </a>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0003"> A Chorus of Ten Thousand. </a>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0004"> A Tuneful Locomotive. </a>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0005"> A Tale of the White House </a>
+ </p>
+ </td>
+ </tr>
+ </table>
+ <p>
+ <br /> <br />
+ </p>
+ <hr />
+ <p>
+ <br /> <br />
+ </p>
+ <p>
+ During eighteen years spent in playing music for the masses, twelve years
+ in the service of the United States and six in that of the general public,
+ many curious and interesting incidents have come under my observation.
+ </p>
+ <p>
+ While conductor of the Marine Band, which plays at all the state functions
+ given by the President at the Executive Mansion, I saw much of the social
+ life of the White House and was brought into more or less direct contact
+ with all the executives under whom I had the honor of successively serving&mdash;Presidents
+ Hayes, Garfield, Arthur, Cleveland and Harrison.
+ </p>
+ <p>
+ They were all very appreciative of music, and in this respect were quite
+ unlike General Grant, of whom it is said that he knew only two tunes, one
+ of which was "Yankee Doodle" and the other wasn't!
+ </p>
+ <p>
+ <a name="link2H_4_0001" id="link2H_4_0001">
+ <!-- H2 anchor --> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ The President's Embarrassing Demand.
+ </h2>
+ <p>
+ I think I may say that more than one President, relieved from the onerous
+ duties of a great reception, has found rest by sitting quietly in the
+ corner of a convenient room and listening to the music.
+ </p>
+ <p>
+ Once, on the occasion of a state dinner, President Arthur came to the door
+ of the main lobby of the White House, where the Marine Band was always
+ stationed, and beckoning me to his side asked me to play the "Cachuca."
+ When I explained that we did not have the music with us but would be glad
+ to include it in the next programme, the President looked surprised and
+ remarked:
+ </p>
+ <p>
+ "Why, Sousa, I thought you could play anything. I'm sure you can; now give
+ us the 'Cachuca.'"
+ </p>
+ <p>
+ This placed me in a predicament, as I did not wish the President to
+ believe that the band was not at all times able to respond to his wishes.
+ Fortunately, one of the bandmen remembered the melody and played it over
+ softly to me on his cornet in a corner. I hastily wrote out several parts
+ for the leading instruments, and told the rest of the band to vamp in the
+ key of E flat. Then we played the "Cachuca" to the entire satisfaction of
+ Mr. Arthur, who came again to the door and said: "There, I knew you could
+ play it."
+ </p>
+ <p>
+ The ladies of the White House were always interested in the music, and
+ frequently suggested selections for the programmes, Mrs. Hayes being
+ particularly fond of American ballads. During the brief Garfield
+ administration there were no state receptions or dinners given by the
+ President, and the band did not play at the White House, except for a few
+ of Mrs. Garfield's receptions immediately after the inauguration. While
+ Mrs. McElroy was mistress of the Executive Mansion for her brother,
+ President Arthur, the lighter music was much in favor, as there were
+ always many young people at the Mansion.
+ </p>
+ <p>
+ Miss Rose Elizabeth Cleveland was much interested in music, and evinced a
+ partiality for Arthur Sullivan's melodies. Mrs. Harrison's favorite music
+ was Nevin's "Good Night, Beloved" and the Sousa marches. The soundness of
+ Mrs. Cleveland's musical taste was shown by her liking for the
+ "Tannhauser" overture and other music of that character.
+ </p>
+ <p>
+ The Marine Band played all the music for President Cleveland's wedding,
+ which took place in the Blue Room of the White House. The distance from
+ the room up-stairs to the exact spot where the ceremony was to take place
+ was carefully measured by Colonel Lamont and myself, in order that the
+ music might be timed to the precise number of steps the wedding party
+ would have to take; and the climax of the Mendelssohn "Wedding March" was
+ played by the band just as the bride and groom reached the clergyman.
+ </p>
+ <p>
+ <a name="link2H_4_0002" id="link2H_4_0002">
+ <!-- H2 anchor --> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ President Cleveland's Veto.
+ </h2>
+ <p>
+ A few days before the ceremony I submitted my musical programme to Colonel
+ Lamont for the President's approval, and among the numbers was a quartet
+ called "The Student of Love," from one of my operas. Even in the
+ anticipation of his happiness Mr. Cleveland was keenly alive to the
+ opportunities for humorous remarks which this title might afford to
+ irreverent newspaper men; and he said to his secretary: "Tell Sousa he can
+ play that quartet, but he had better omit the name of it." Accordingly,
+ "The Student of Love" was conspicuous by its absence.
+ </p>
+ <p>
+ When North Carolina celebrated its centenary, the Marine Band was ordered
+ to Fayetteville to participate in the ceremonies. The little Southern town
+ was much interested in the advent of the "President's Band," and the
+ prevailing opinion was that "Dixie" would be tabooed music with us. Before
+ the exercises a local committee waited upon me and intimated that "Dixie"
+ was a popular melody in that vicinity.
+ </p>
+ <p>
+ "Of course," said the spokesman, "we don't want you to play anything you
+ don't want to, but please remember, sir, that we are very fond of 'Dixie'
+ here."
+ </p>
+ <p>
+ Bowing gravely, I thanked the committee for their interest in my
+ programme, but left them completely in the dark as to whether I intended
+ to play the loved song of the South or not.
+ </p>
+ <p>
+ "Dixie," by the President's Band.
+ </p>
+ <p>
+ The ceremonies opened with a patriotic address by Governor Fowle, lauding
+ the glories of the American flag and naturally the only appropriate music
+ to such a sentiment was "The Star-Spangled Banner," which the crowd
+ patriotically cheered.
+ </p>
+ <p>
+ The tone of the succeeding oration was equally fervid, but the speaker
+ enlarged upon the glories of the Commonwealth whose one hundredth
+ anniversary was being celebrated. The orator sat down, there was a
+ momentary pause, and then as I raised my baton the strains of "Dixie" fell
+ upon the delighted ears of the thousands round the platform.
+ </p>
+ <p>
+ The unexpected had happened, and such a shout as went up from that throng
+ I have never heard equaled. Hats were tossed in the air, gray-bearded men
+ embraced, and for a few minutes a jubilant pandemonium reigned supreme.
+ During the rest of our stay in Fayetteville the repertoire of the Marine
+ Band was on this order: "Yankee Doodle,"&mdash;"Dixie;" "Star-Spangled
+ Banner,"&mdash;"Dixie;" "Red, White and Blue,"&mdash;"Dixie."
+ </p>
+ <p>
+ In all my experience the acme of patriotic fervor was reached during a
+ reunion of the Loyal Legion at Philadelphia some years ago. The exercises
+ were held in the Academy of Music, and the band occupied the orchestra pit
+ in front of the stage, which was crowded with distinguished veterans.
+ </p>
+ <p>
+ I had strung together for the occasion a number of war-songs, bugle-calls
+ and patriotic airs, and when the band played them the martial spirit began
+ to stir the people. As we broke into "Marching Through Georgia," a
+ distinguished-looking old soldier stepped to the foot-lights and began to
+ sing the familiar words of the famous song in a loud, clear voice. The
+ entire audience joined in, and as the swelling volume of melody rolled
+ through the house, the enthusiasm waxed more intense.
+ </p>
+ <p>
+ Verse after verse was sung, interrupted with frantic cheers, until it
+ seemed that the very ecstasy of enthusiasm had been reached. It was only
+ when physically exhausted that the audience calmed down and the exercises
+ proceeded.
+ </p>
+ <p>
+ <a name="link2H_4_0003" id="link2H_4_0003">
+ <!-- H2 anchor --> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ A Chorus of Ten Thousand.
+ </h2>
+ <p>
+ During the World's Fair at Chicago my present band was giving nightly
+ concerts in the Court of Honor surrounding the lagoon. On one beautiful
+ night in June fully ten thousand people were gathered round the bandstand
+ while we were playing a medley of popular songs.
+ </p>
+ <p>
+ Director Tomlins, of the World's Fair Choral Associations, was on the
+ stand, and exclaiming, "Keep that up, Sousa!" he turned to the crowd and
+ motioned the people to join him in singing. With the background of the
+ stately buildings of the White City, this mighty chorus, led by the band,
+ sang the songs of the people-"Home, Sweet Home," "Suwanee River," "Annie
+ Laurie," "My Old Kentucky Home," etc., and never did the familiar melodies
+ sound so grandly beautiful.
+ </p>
+ <p>
+ The influence of music to quiet disorder and to allay fear is quite as
+ potent as its power to excite and to stir enthusiasm. A case in point
+ happened at the St. Louis Exposition, where my band was giving a series of
+ concerts. There was an enormous audience in the music hall when, in the
+ middle of the programme, every electric light suddenly went out, leaving
+ the house in complete darkness.
+ </p>
+ <p>
+ A succession of sharp cries from women, the hasty shuffling of feet, and
+ the nervous tension manifest in every one, gave proof that a panic was
+ probably imminent. I called softly to the band, "Yankee Doodle!" and the
+ men quickly responded by playing the good old tune from memory in the
+ darkness, quickly following it with "Dixie" on my orders. The audience
+ began to quiet down, and some scattering applause gave assurance that the
+ excitement was abating.
+ </p>
+ <p>
+ "The Star-Spangled Banner" still further restored confidence, and when we
+ played "Oh Dear, What Can the Matter Be?" and "Wait Till The Clouds Roll
+ By," every one was laughing and making the best of the gloom. In a short
+ time the gas was turned on, and the concert proceeded with adequate
+ lighting.
+ </p>
+ <p>
+ In the desire to do especial honor to a certain foreign representative
+ during the World's Fair, I had a particular piece of music in which he was
+ interested arranged for my band, and agreed to play it at a specified
+ concert. The music was given to a member of the band with instructions to
+ copy the parts and deliver them at the band-stand.
+ </p>
+ <p>
+ The foreign gentleman was present at the concert with a large party of
+ friends, whom he had invited to hear this particular piece of music. When
+ the librarian asked the musician for the parts, he could not find them,
+ and a search high and low for the missing music was without avail. Much to
+ my chagrin, it was necessary to omit the number and send explanations and
+ regrets to the dignitary whom it was designed to honor.
+ </p>
+ <p>
+ At the end of the concert, when the men were packing to go home, the
+ player found the missing band parts stuck in the bell of his instrument,
+ where he had placed them for safe-keeping.
+ </p>
+ <p>
+ In a little Michigan town my band was booked for an afternoon concert, and
+ on our arrival the local manager assured us that we should have a good
+ house, although there was no advance sale. He explained this by saying
+ that the townspeople did not like to buy their tickets until the last
+ minute.
+ </p>
+ <p>
+ The theatre was on the second floor of the town hall, the ground floor
+ being given over to the fire department, the especial pride of the
+ community. Twenty minutes before the concert a large crowd had gathered
+ round the box-office to buy tickets when the fire-alarm sounded, and the
+ entire population promptly deserted the muse of music and escorted the
+ engine and hose-cart to the scene of action, leaving the band absolutely
+ without an audience.
+ </p>
+ <p>
+ <a name="link2H_4_0004" id="link2H_4_0004">
+ <!-- H2 anchor --> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ A Tuneful Locomotive.
+ </h2>
+ <p>
+ Once when we were playing during warm weather in a theatre situated near a
+ railroad, the windows were left open for ventilation. The band was
+ rendering a Wagner selection, and at the climax was playing with
+ increasing force. The last note to be played was a unison B flat, and as I
+ gave the sign to the musicians to play as strong as possible the volume of
+ sound that followed fairly astonished me. I had never heard fifty men play
+ with such force before and could not account for it, but the explanation
+ soon became manifest. As the band ceased playing, the same note continued
+ in the blast of a passing locomotive that had opportunely chimed in with
+ us in unison.
+ </p>
+ <p>
+ The Marine Band was once doing escort duty on Pennsylvania Avenue in
+ Washington to a body of citizen soldiery returning from camp. It was at
+ night and the parade was preceded by a wagon-load of fireworks which were
+ to be discharged at appropriate intervals along the line of march.
+ </p>
+ <p>
+ By some accident or design the entire load of pyrotechnics was
+ simultaneously ignited, and the street immediately filled with a perfect
+ fusillade of rockets and Roman candles.
+ </p>
+ <p>
+ A stampede followed and the parade faded away. I stood my ground until my
+ eye-glasses were knocked off, and then I groped my way to the sidewalk.
+ When the confusion had subsided, all that could be discovered of my band
+ was the drum-major in front and the bass-drummer in the rear rank. Their
+ comrades had fled, but these men were good soldiers, and having received
+ no orders to disperse had stood their ground manfully.
+ </p>
+ <p>
+ <a name="link2H_4_0005" id="link2H_4_0005">
+ <!-- H2 anchor --> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ A Tale of the White House
+ </h2>
+ <p>
+ One more story of the White House. At the time of the unveiling of the
+ statue of Admiral Farragut in Washington, it was suddenly proposed to have
+ a reception at the Executive Mansion in honor of the many distinguished
+ visitors. The informal invitations were issued while I was participating
+ in the parade that was part of the ceremonies.
+ </p>
+ <p>
+ At seven o-clock in the evening, when I was at home, tired out after the
+ long march, word came to me to report at the Marine Barracks. I went there
+ and was ordered to take the band to the White House at eight o'clock p.m.
+ </p>
+ <p>
+ The bandmen did not live in barracks, and it was practically impossible to
+ get them together at that time of night, as they were scattered all over
+ the city.
+ </p>
+ <p>
+ "Well, those are my instructions and those are your orders," said the
+ commanding officer.
+ </p>
+ <p>
+ So we sent the band-messengers out to the men's lodgings, and they found
+ just one musician at home, and he was the bass-drummer.
+ </p>
+ <p>
+ At eight o'clock, arrayed in all the gorgeousness of my scarlet and gold
+ uniform, I sat in front of the band platform in the White House lobby, and
+ the bass-drummer stationed himself back in the semi-obscurity of his
+ corner. There was a dazzling array of music-stands and empty chairs, but
+ no musicians! The President evidently saw the humorous side of it, and
+ when I explained the situation he said it could not be helped. All the
+ evening we sat there and listened to humorous remarks from the guests. We
+ had "reported for duty," though, and the drummer and I stayed till the
+ reception was over.
+ </p>
+ <p>
+ <br /><br /><br /><br />
+ </p>
+<pre xml:space="preserve">
+
+
+
+
+
+End of the Project Gutenberg EBook of The Experiences of a Bandmaster, by
+John Philip Sousa
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER ***
+
+***** This file should be named 2589-h.htm or 2589-h.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/2/5/8/2589/
+
+Produced by Faith Matievich, and David Widger
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+ </body>
+</html>
diff --git a/2589.txt b/2589.txt
new file mode 100644
index 0000000..21145bb
--- /dev/null
+++ b/2589.txt
@@ -0,0 +1,681 @@
+Project Gutenberg's The Experiences of a Bandmaster, by John Philip Sousa
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Experiences of a Bandmaster
+
+Author: John Philip Sousa
+
+Posting Date: January 2, 2009 [EBook #2589]
+Release Date: April, 2001
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER ***
+
+
+
+
+Produced by Faith Matievich
+
+
+
+
+
+THE EXPERIENCES OF A BANDMASTER
+
+By John Philip Sousa
+
+
+During eighteen years spent in playing music for the masses, twelve
+years in the service of the United States and six in that of the general
+public, many curious and interesting incidents have come under my
+observation.
+
+While conductor of the Marine Band, which plays at all the state
+functions given by the President at the Executive Mansion, I saw much
+of the social life of the White House and was brought into more or less
+direct contact with all the executives under whom I had the honor of
+successively serving--Presidents Hayes, Garfield, Arthur, Cleveland and
+Harrison.
+
+They were all very appreciative of music, and in this respect were quite
+unlike General Grant, of whom it is said that he knew only two tunes,
+one of which was "Yankee Doodle" and the other wasn't!
+
+
+
+
+The President's Embarrassing Demand.
+
+I think I may say that more than one President, relieved from the
+onerous duties of a great reception, has found rest by sitting quietly
+in the corner of a convenient room and listening to the music.
+
+Once, on the occasion of a state dinner, President Arthur came to the
+door of the main lobby of the White House, where the Marine Band was
+always stationed, and beckoning me to his side asked me to play the
+"Cachuca." When I explained that we did not have the music with us but
+would be glad to include it in the next programme, the President looked
+surprised and remarked:
+
+"Why, Sousa, I thought you could play anything. I'm sure you can; now
+give us the 'Cachuca.'"
+
+This placed me in a predicament, as I did not wish the President to
+believe that the band was not at all times able to respond to his
+wishes. Fortunately, one of the bandmen remembered the melody and played
+it over softly to me on his cornet in a corner. I hastily wrote out
+several parts for the leading instruments, and told the rest of the band
+to vamp in the key of E flat. Then we played the "Cachuca" to the entire
+satisfaction of Mr. Arthur, who came again to the door and said: "There,
+I knew you could play it."
+
+The ladies of the White House were always interested in the music, and
+frequently suggested selections for the programmes, Mrs. Hayes being
+particularly fond of American ballads. During the brief Garfield
+administration there were no state receptions or dinners given by the
+President, and the band did not play at the White House, except for a
+few of Mrs. Garfield's receptions immediately after the inauguration.
+While Mrs. McElroy was mistress of the Executive Mansion for her
+brother, President Arthur, the lighter music was much in favor, as there
+were always many young people at the Mansion.
+
+Miss Rose Elizabeth Cleveland was much interested in music, and evinced
+a partiality for Arthur Sullivan's melodies. Mrs. Harrison's favorite
+music was Nevin's "Good Night, Beloved" and the Sousa marches. The
+soundness of Mrs. Cleveland's musical taste was shown by her liking for
+the "Tannhauser" overture and other music of that character.
+
+The Marine Band played all the music for President Cleveland's wedding,
+which took place in the Blue Room of the White House. The distance from
+the room up-stairs to the exact spot where the ceremony was to take
+place was carefully measured by Colonel Lamont and myself, in order
+that the music might be timed to the precise number of steps the wedding
+party would have to take; and the climax of the Mendelssohn "Wedding
+March" was played by the band just as the bride and groom reached the
+clergyman.
+
+
+
+
+President Cleveland's Veto.
+
+A few days before the ceremony I submitted my musical programme to
+Colonel Lamont for the President's approval, and among the numbers was a
+quartet called "The Student of Love," from one of my operas. Even in
+the anticipation of his happiness Mr. Cleveland was keenly alive to
+the opportunities for humorous remarks which this title might afford to
+irreverent newspaper men; and he said to his secretary: "Tell Sousa
+he can play that quartet, but he had better omit the name of it."
+Accordingly, "The Student of Love" was conspicuous by its absence.
+
+When North Carolina celebrated its centenary, the Marine Band was
+ordered to Fayetteville to participate in the ceremonies. The little
+Southern town was much interested in the advent of the "President's
+Band," and the prevailing opinion was that "Dixie" would be tabooed
+music with us. Before the exercises a local committee waited upon me and
+intimated that "Dixie" was a popular melody in that vicinity.
+
+"Of course," said the spokesman, "we don't want you to play anything
+you don't want to, but please remember, sir, that we are very fond of
+'Dixie' here."
+
+Bowing gravely, I thanked the committee for their interest in my
+programme, but left them completely in the dark as to whether I intended
+to play the loved song of the South or not.
+
+"Dixie," by the President's Band.
+
+The ceremonies opened with a patriotic address by Governor Fowle,
+lauding the glories of the American flag and naturally the only
+appropriate music to such a sentiment was "The Star-Spangled Banner,"
+which the crowd patriotically cheered.
+
+The tone of the succeeding oration was equally fervid, but the speaker
+enlarged upon the glories of the Commonwealth whose one hundredth
+anniversary was being celebrated. The orator sat down, there was a
+momentary pause, and then as I raised my baton the strains of "Dixie"
+fell upon the delighted ears of the thousands round the platform.
+
+The unexpected had happened, and such a shout as went up from that
+throng I have never heard equaled. Hats were tossed in the air,
+gray-bearded men embraced, and for a few minutes a jubilant pandemonium
+reigned supreme. During the rest of our stay in Fayetteville
+the repertoire of the Marine Band was on this order: "Yankee
+Doodle,"--"Dixie;" "Star-Spangled Banner,"--"Dixie;" "Red, White and
+Blue,"--"Dixie."
+
+In all my experience the acme of patriotic fervor was reached during
+a reunion of the Loyal Legion at Philadelphia some years ago. The
+exercises were held in the Academy of Music, and the band occupied
+the orchestra pit in front of the stage, which was crowded with
+distinguished veterans.
+
+I had strung together for the occasion a number of war-songs,
+bugle-calls and patriotic airs, and when the band played them the
+martial spirit began to stir the people. As we broke into "Marching
+Through Georgia," a distinguished-looking old soldier stepped to the
+foot-lights and began to sing the familiar words of the famous song in
+a loud, clear voice. The entire audience joined in, and as the swelling
+volume of melody rolled through the house, the enthusiasm waxed more
+intense.
+
+Verse after verse was sung, interrupted with frantic cheers, until it
+seemed that the very ecstasy of enthusiasm had been reached. It was
+only when physically exhausted that the audience calmed down and the
+exercises proceeded.
+
+
+
+
+A Chorus of Ten Thousand.
+
+During the World's Fair at Chicago my present band was giving nightly
+concerts in the Court of Honor surrounding the lagoon. On one beautiful
+night in June fully ten thousand people were gathered round the
+bandstand while we were playing a medley of popular songs.
+
+Director Tomlins, of the World's Fair Choral Associations, was on the
+stand, and exclaiming, "Keep that up, Sousa!" he turned to the crowd and
+motioned the people to join him in singing. With the background of the
+stately buildings of the White City, this mighty chorus, led by the
+band, sang the songs of the people-"Home, Sweet Home," "Suwanee River,"
+"Annie Laurie," "My Old Kentucky Home," etc., and never did the familiar
+melodies sound so grandly beautiful.
+
+The influence of music to quiet disorder and to allay fear is quite as
+potent as its power to excite and to stir enthusiasm. A case in point
+happened at the St. Louis Exposition, where my band was giving a series
+of concerts. There was an enormous audience in the music hall when, in
+the middle of the programme, every electric light suddenly went out,
+leaving the house in complete darkness.
+
+A succession of sharp cries from women, the hasty shuffling of feet, and
+the nervous tension manifest in every one, gave proof that a panic was
+probably imminent. I called softly to the band, "Yankee Doodle!" and the
+men quickly responded by playing the good old tune from memory in the
+darkness, quickly following it with "Dixie" on my orders. The audience
+began to quiet down, and some scattering applause gave assurance that
+the excitement was abating.
+
+"The Star-Spangled Banner" still further restored confidence, and when
+we played "Oh Dear, What Can the Matter Be?" and "Wait Till The Clouds
+Roll By," every one was laughing and making the best of the gloom. In
+a short time the gas was turned on, and the concert proceeded with
+adequate lighting.
+
+
+In the desire to do especial honor to a certain foreign representative
+during the World's Fair, I had a particular piece of music in which
+he was interested arranged for my band, and agreed to play it at a
+specified concert. The music was given to a member of the band with
+instructions to copy the parts and deliver them at the band-stand.
+
+The foreign gentleman was present at the concert with a large party of
+friends, whom he had invited to hear this particular piece of music.
+When the librarian asked the musician for the parts, he could not find
+them, and a search high and low for the missing music was without
+avail. Much to my chagrin, it was necessary to omit the number and send
+explanations and regrets to the dignitary whom it was designed to honor.
+
+At the end of the concert, when the men were packing to go home, the
+player found the missing band parts stuck in the bell of his instrument,
+where he had placed them for safe-keeping.
+
+
+In a little Michigan town my band was booked for an afternoon concert,
+and on our arrival the local manager assured us that we should have a
+good house, although there was no advance sale. He explained this by
+saying that the townspeople did not like to buy their tickets until the
+last minute.
+
+The theatre was on the second floor of the town hall, the ground floor
+being given over to the fire department, the especial pride of the
+community. Twenty minutes before the concert a large crowd had gathered
+round the box-office to buy tickets when the fire-alarm sounded, and the
+entire population promptly deserted the muse of music and escorted the
+engine and hose-cart to the scene of action, leaving the band absolutely
+without an audience.
+
+
+
+
+A Tuneful Locomotive.
+
+Once when we were playing during warm weather in a theatre situated near
+a railroad, the windows were left open for ventilation. The band
+was rendering a Wagner selection, and at the climax was playing with
+increasing force. The last note to be played was a unison B flat, and
+as I gave the sign to the musicians to play as strong as possible the
+volume of sound that followed fairly astonished me. I had never heard
+fifty men play with such force before and could not account for it, but
+the explanation soon became manifest. As the band ceased playing,
+the same note continued in the blast of a passing locomotive that had
+opportunely chimed in with us in unison.
+
+
+The Marine Band was once doing escort duty on Pennsylvania Avenue in
+Washington to a body of citizen soldiery returning from camp. It was
+at night and the parade was preceded by a wagon-load of fireworks which
+were to be discharged at appropriate intervals along the line of march.
+
+By some accident or design the entire load of pyrotechnics was
+simultaneously ignited, and the street immediately filled with a perfect
+fusillade of rockets and Roman candles.
+
+A stampede followed and the parade faded away. I stood my ground
+until my eye-glasses were knocked off, and then I groped my way to the
+sidewalk. When the confusion had subsided, all that could be discovered
+of my band was the drum-major in front and the bass-drummer in the rear
+rank. Their comrades had fled, but these men were good soldiers, and
+having received no orders to disperse had stood their ground manfully.
+
+
+
+
+A Tale of the White House
+
+One more story of the White House. At the time of the unveiling of the
+statue of Admiral Farragut in Washington, it was suddenly proposed
+to have a reception at the Executive Mansion in honor of the many
+distinguished visitors. The informal invitations were issued while I was
+participating in the parade that was part of the ceremonies.
+
+At seven o-clock in the evening, when I was at home, tired out after
+the long march, word came to me to report at the Marine Barracks. I
+went there and was ordered to take the band to the White House at eight
+o'clock p.m.
+
+The bandmen did not live in barracks, and it was practically impossible
+to get them together at that time of night, as they were scattered all
+over the city.
+
+"Well, those are my instructions and those are your orders," said the
+commanding officer.
+
+So we sent the band-messengers out to the men's lodgings, and they found
+just one musician at home, and he was the bass-drummer.
+
+At eight o'clock, arrayed in all the gorgeousness of my scarlet and gold
+uniform, I sat in front of the band platform in the White House lobby,
+and the bass-drummer stationed himself back in the semi-obscurity of his
+corner. There was a dazzling array of music-stands and empty chairs, but
+no musicians! The President evidently saw the humorous side of it, and
+when I explained the situation he said it could not be helped. All the
+evening we sat there and listened to humorous remarks from the guests.
+We had "reported for duty," though, and the drummer and I stayed till
+the reception was over.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Experiences of a Bandmaster, by
+John Philip Sousa
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE EXPERIENCES OF A BANDMASTER ***
+
+***** This file should be named 2589.txt or 2589.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/2/5/8/2589/
+
+Produced by Faith Matievich
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/2589.zip b/2589.zip
new file mode 100644
index 0000000..96e3c98
--- /dev/null
+++ b/2589.zip
Binary files differ
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..37b8d91
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #2589 (https://www.gutenberg.org/ebooks/2589)
diff --git a/old/sousa10.txt b/old/sousa10.txt
new file mode 100644
index 0000000..e7d3238
--- /dev/null
+++ b/old/sousa10.txt
@@ -0,0 +1,590 @@
+Project Gutenberg Etext The Experiences of a Bandmaster, by Sousa
+#1 in our serices by John Philip Sousa
+
+
+Copyright laws are changing all over the world, be sure to check
+the copyright laws for your country before posting these files!!
+
+Please take a look at the important information in this header.
+We encourage you to keep this file on your own disk, keeping an
+electronic path open for the next readers. Do not remove this.
+
+
+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**Etexts Readable By Both Humans and By Computers, Since 1971**
+
+*These Etexts Prepared By Hundreds of Volunteers and Donations*
+
+Information on contacting Project Gutenberg to get Etexts, and
+further information is included below. We need your donations.
+
+
+Title: The Experiences of a Bandmaster
+
+Author: John Philip Sousa
+
+April, 2001 [Etext #2589]
+
+
+Project Gutenberg Etext The Experiences of a Bandmaster, by Sousa
+******This file should be named sousa10.txt or sousa10.zip*******
+
+Corrected EDITIONS of our etexts get a new NUMBER, sousa10.txt
+VERSIONS based on separate sources get new LETTER, sousa10a.txt
+
+
+Etext typed by Faith Matievich <DogPerson@aol.com>
+
+Project Gutenberg Etexts are usually created from multiple editions,
+all of which are in the Public Domain in the United States, unless a
+copyright notice is included. Therefore, we usually do NOT keep any
+of these books in compliance with any particular paper edition.
+
+
+We are now trying to release all our books one month in advance
+of the official release dates, leaving time for better editing.
+
+Please note: neither this list nor its contents are final till
+midnight of the last day of the month of any such announcement.
+The official release date of all Project Gutenberg Etexts is at
+Midnight, Central Time, of the last day of the stated month. A
+preliminary version may often be posted for suggestion, comment
+and editing by those who wish to do so. To be sure you have an
+up to date first edition [xxxxx10x.xxx] please check file sizes
+in the first week of the next month. Since our ftp program has
+a bug in it that scrambles the date [tried to fix and failed] a
+look at the file size will have to do, but we will try to see a
+new copy has at least one byte more or less.
+
+
+Information about Project Gutenberg (one page)
+
+We produce about two million dollars for each hour we work. The
+time it takes us, a rather conservative estimate, is fifty hours
+to get any etext selected, entered, proofread, edited, copyright
+searched and analyzed, the copyright letters written, etc. This
+projected audience is one hundred million readers. If our value
+per text is nominally estimated at one dollar then we produce $2
+million dollars per hour this year as we release thirty-six text
+files per month, or 432 more Etexts in 1999 for a total of 2000+
+If these reach just 10% of the computerized population, then the
+total should reach over 200 billion Etexts given away this year.
+
+The Goal of Project Gutenberg is to Give Away One Trillion Etext
+Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion]
+This is ten thousand titles each to one hundred million readers,
+which is only ~5% of the present number of computer users.
+
+At our revised rates of production, we will reach only one-third
+of that goal by the end of 2001, or about 3,333 Etexts unless we
+manage to get some real funding; currently our funding is mostly
+from Michael Hart's salary at Carnegie-Mellon University, and an
+assortment of sporadic gifts; this salary is only good for a few
+more years, so we are looking for something to replace it, as we
+don't want Project Gutenberg to be so dependent on one person.
+
+We need your donations more than ever!
+
+
+All donations should be made to "Project Gutenberg/CMU": and are
+tax deductible to the extent allowable by law. (CMU = Carnegie-
+Mellon University).
+
+For these and other matters, please mail to:
+
+Project Gutenberg
+P. O. Box 2782
+Champaign, IL 61825
+
+When all other email fails. . .try our Executive Director:
+Michael S. Hart <hart@pobox.com>
+hart@pobox.com forwards to hart@prairienet.org and archive.org
+if your mail bounces from archive.org, I will still see it, if
+it bounces from prairienet.org, better resend later on. . . .
+
+We would prefer to send you this information by email.
+
+******
+
+To access Project Gutenberg etexts, use any Web browser
+to view http://promo.net/pg. This site lists Etexts by
+author and by title, and includes information about how
+to get involved with Project Gutenberg. You could also
+download our past Newsletters, or subscribe here. This
+is one of our major sites, please email hart@pobox.com,
+for a more complete list of our various sites.
+
+To go directly to the etext collections, use FTP or any
+Web browser to visit a Project Gutenberg mirror (mirror
+sites are available on 7 continents; mirrors are listed
+at http://promo.net/pg).
+
+Mac users, do NOT point and click, typing works better.
+
+Example FTP session:
+
+ftp sunsite.unc.edu
+login: anonymous
+password: your@login
+cd pub/docs/books/gutenberg
+cd etext90 through etext99
+dir [to see files]
+get or mget [to get files. . .set bin for zip files]
+GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99]
+GET GUTINDEX.ALL [to get a listing of ALL books]
+
+***
+
+**Information prepared by the Project Gutenberg legal advisor**
+
+(Three Pages)
+
+
+***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START***
+Why is this "Small Print!" statement here? You know: lawyers.
+They tell us you might sue us if there is something wrong with
+your copy of this etext, even if you got it for free from
+someone other than us, and even if what's wrong is not our
+fault. So, among other things, this "Small Print!" statement
+disclaims most of our liability to you. It also tells you how
+you can distribute copies of this etext if you want to.
+
+*BEFORE!* YOU USE OR READ THIS ETEXT
+By using or reading any part of this PROJECT GUTENBERG-tm
+etext, you indicate that you understand, agree to and accept
+this "Small Print!" statement. If you do not, you can receive
+a refund of the money (if any) you paid for this etext by
+sending a request within 30 days of receiving it to the person
+you got it from. If you received this etext on a physical
+medium (such as a disk), you must return it with your request.
+
+ABOUT PROJECT GUTENBERG-TM ETEXTS
+This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG-
+tm etexts, is a "public domain" work distributed by Professor
+Michael S. Hart through the Project Gutenberg Association at
+Carnegie-Mellon University (the "Project"). Among other
+things, this means that no one owns a United States copyright
+on or for this work, so the Project (and you!) can copy and
+distribute it in the United States without permission and
+without paying copyright royalties. Special rules, set forth
+below, apply if you wish to copy and distribute this etext
+under the Project's "PROJECT GUTENBERG" trademark.
+
+To create these etexts, the Project expends considerable
+efforts to identify, transcribe and proofread public domain
+works. Despite these efforts, the Project's etexts and any
+medium they may be on may contain "Defects". Among other
+things, Defects may take the form of incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged
+disk or other etext medium, a computer virus, or computer
+codes that damage or cannot be read by your equipment.
+
+LIMITED WARRANTY; DISCLAIMER OF DAMAGES
+But for the "Right of Replacement or Refund" described below,
+[1] the Project (and any other party you may receive this
+etext from as a PROJECT GUTENBERG-tm etext) disclaims all
+liability to you for damages, costs and expenses, including
+legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
+UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
+INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
+OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
+POSSIBILITY OF SUCH DAMAGES.
+
+If you discover a Defect in this etext within 90 days of
+receiving it, you can receive a refund of the money (if any)
+you paid for it by sending an explanatory note within that
+time to the person you received it from. If you received it
+on a physical medium, you must return it with your note, and
+such person may choose to alternatively give you a replacement
+copy. If you received it electronically, such person may
+choose to alternatively give you a second opportunity to
+receive it electronically.
+
+THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
+TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
+PARTICULAR PURPOSE.
+
+Some states do not allow disclaimers of implied warranties or
+the exclusion or limitation of consequential damages, so the
+above disclaimers and exclusions may not apply to you, and you
+may have other legal rights.
+
+INDEMNITY
+You will indemnify and hold the Project, its directors,
+officers, members and agents harmless from all liability, cost
+and expense, including legal fees, that arise directly or
+indirectly from any of the following that you do or cause:
+[1] distribution of this etext, [2] alteration, modification,
+or addition to the etext, or [3] any Defect.
+
+DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
+You may distribute copies of this etext electronically, or by
+disk, book or any other medium if you either delete this
+"Small Print!" and all other references to Project Gutenberg,
+or:
+
+[1] Only give exact copies of it. Among other things, this
+ requires that you do not remove, alter or modify the
+ etext or this "small print!" statement. You may however,
+ if you wish, distribute this etext in machine readable
+ binary, compressed, mark-up, or proprietary form,
+ including any form resulting from conversion by word pro-
+ cessing or hypertext software, but only so long as
+ *EITHER*:
+
+ [*] The etext, when displayed, is clearly readable, and
+ does *not* contain characters other than those
+ intended by the author of the work, although tilde
+ (~), asterisk (*) and underline (_) characters may
+ be used to convey punctuation intended by the
+ author, and additional characters may be used to
+ indicate hypertext links; OR
+
+ [*] The etext may be readily converted by the reader at
+ no expense into plain ASCII, EBCDIC or equivalent
+ form by the program that displays the etext (as is
+ the case, for instance, with most word processors);
+ OR
+
+ [*] You provide, or agree to also provide on request at
+ no additional cost, fee or expense, a copy of the
+ etext in its original plain ASCII form (or in EBCDIC
+ or other equivalent proprietary form).
+
+[2] Honor the etext refund and replacement provisions of this
+ "Small Print!" statement.
+
+[3] Pay a trademark license fee to the Project of 20% of the
+ net profits you derive calculated using the method you
+ already use to calculate your applicable taxes. If you
+ don't derive profits, no royalty is due. Royalties are
+ payable to "Project Gutenberg Association/Carnegie-Mellon
+ University" within the 60 days following each
+ date you prepare (or were legally required to prepare)
+ your annual (or equivalent periodic) tax return.
+
+WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
+The Project gratefully accepts contributions in money, time,
+scanning machines, OCR software, public domain etexts, royalty
+free copyright licenses, and every other sort of contribution
+you can think of. Money should be paid to "Project Gutenberg
+Association / Carnegie-Mellon University".
+
+*END*THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END*
+
+
+
+
+
+Etext typed by Faith Matievich <DogPerson@aol.com>
+
+
+
+
+
+THE EXPERIENCES OF A BANDMASTER
+
+By John Philip Sousa
+
+
+During eighteen years spent in playing music for the masses, twelve
+years in the service of the United States and six in that of the
+general public, many curious and interesting incidents have come
+under my observation.
+
+While conductor of the Marine Band, which plays at all the state
+functions given by the President at the Executive Mansion, I saw
+much of the social life of the White House and was brought into
+more or less direct contact with all the executives under whom I
+had the honor of successively serving--Presidents Hayes, Garfield,
+Arthur, Cleveland and Harrison.
+
+They were all very appreciative of music, and in this respect were
+quite unlike General Grant, of whom it is said that he knew only
+two tunes, one of which was "Yankee Doodle" and the other wasn't!
+
+
+
+The President's Embarrassing Demand.
+
+I think I may say that more than one President, relieved from the
+onerous duties of a great reception, has found rest by sitting
+quietly in the corner of a convenient room and listening to the
+music.
+
+Once, on the occasion of a state dinner, President Arthur came to
+the door of the main lobby of the White House, where the Marine
+Band was always stationed, and beckoning me to his side asked me to
+play the "Cachuca." When I explained that we did not have the
+music with us but would be glad to include it in the next
+programme, the President looked surprised and remarked:
+
+"Why, Sousa, I thought you could play anything. I'm sure you can;
+now give us the 'Cachuca.'"
+
+This placed me in a predicament, as I did not wish the President to
+believe that the band was not at all times able to respond to his
+wishes. Fortunately, one of the bandmen remembered the melody and
+played it over softly to me on his cornet in a corner. I hastily
+wrote out several parts for the leading instruments, and told the
+rest of the band to vamp in the key of E flat. Then we played the
+"Cachuca" to the entire satisfaction of Mr. Arthur, who came again
+to the door and said: "There, I knew you could play it."
+
+The ladies of the White House were always interested in the music,
+and frequently suggested selections for the programmes, Mrs. Hayes
+being particularly fond of American ballads. During the brief
+Garfield administration there were no state receptions or dinners
+given by the President, and the band did not play at the White
+House, except for a few of Mrs. Garfield's receptions immediately
+after the inauguration. While Mrs. McElroy was mistress of the
+Executive Mansion for her brother, President Arthur, the lighter
+music was much in favor, as there were always many young people at
+the Mansion.
+
+Miss Rose Elizabeth Cleveland was much interested in music, and
+evinced a partiality for Arthur Sullivan's melodies. Mrs.
+Harrison's favorite music was Nevin's "Good Night, Beloved" and the
+Sousa marches. The soundness of Mrs. Cleveland's musical taste was
+shown by her liking for the "Tannhauser" overture and other music
+of that character.
+
+The Marine Band played all the music for President Cleveland's
+wedding, which took place in the Blue Room of the White House. The
+distance from the room up-stairs to the exact spot where the
+ceremony was to take place was carefully measured by Colonel Lamont
+and myself, in order that the music might be timed to the precise
+number of steps the wedding party would have to take; and the climax
+of the Mendelssohn "Wedding March" was played by the band just as
+the bride and groom reached the clergyman.
+
+
+
+President Cleveland's Veto.
+
+A few days before the ceremony I submitted my musical programme to
+Colonel Lamont for the President's approval, and among the numbers
+was a quartet called "The Student of Love," from one of my operas.
+Even in the anticipation of his happiness Mr. Cleveland was keenly
+alive to the opportunities for humorous remarks which this title
+might afford to irreverent newspaper men; and he said to his
+secretary: "Tell Sousa he can play that quartet, but he had better
+omit the name of it." Accordingly, "The Student of Love" was
+conspicuous by its absence.
+
+When North Carolina celebrated its centenary, the Marine Band was
+ordered to Fayetteville to participate in the ceremonies. The
+little Southern town was much interested in the advent of the
+"President's Band," and the prevailing opinion was that "Dixie"
+would be tabooed music with us. Before the exercises a local
+committee waited upon me and intimated that "Dixie" was a popular
+melody in that vicinity.
+
+"Of course," said the spokesman, "we don't want you to play anything
+you don't want to, but please remember, sir, that we are very fond
+of 'Dixie' here."
+
+Bowing gravely, I thanked the committee for their interest in my
+programme, but left them completely in the dark as to whether I
+intended to play the loved song of the South or not.
+
+
+"Dixie," by the President's Band.
+
+The ceremonies opened with a patriotic address by Governor Fowle,
+lauding the glories of the American flag and naturally the only
+appropriate music to such a sentiment was "The Star-Spangled
+Banner," which the crowd patriotically cheered.
+
+The tone of the succeeding oration was equally fervid, but the
+speaker enlarged upon the glories of the Commonwealth whose one
+hundredth anniversary was being celebrated. The orator sat down,
+there was a momentary pause, and then as I raised my baton the
+strains of "Dixie" fell upon the delighted ears of the thousands
+round the platform.
+
+The unexpected had happened, and such a shout as went up from that
+throng I have never heard equaled. Hats were tossed in the air,
+gray-bearded men embraced, and for a few minutes a jubilant
+pandemonium reigned supreme. During the rest of our stay in
+Fayetteville the repertoire of the Marine Band was on this order:
+"Yankee Doodle,"--"Dixie;" "Star-Spangled Banner,"--"Dixie;"
+"Red, White and Blue,"--"Dixie."
+
+In all my experience the acme of patriotic fervor was reached during
+a reunion of the Loyal Legion at Philadelphia some years ago. The
+exercises were held in the Academy of Music, and the band occupied
+the orchestra pit in front of the stage, which was crowded with
+distinguished veterans.
+
+I had strung together for the occasion a number of war-songs,
+bugle-calls and patriotic airs, and when the band played them the
+martial spirit began to stir the people. As we broke into
+"Marching Through Georgia," a distinguished-looking old soldier
+stepped to the foot-lights and began to sing the familiar words of
+the famous song in a loud, clear voice. The entire audience joined
+in, and as the swelling volume of melody rolled through the house,
+the enthusiasm waxed more intense.
+
+Verse after verse was sung, interrupted with frantic cheers, until
+it seemed that the very ecstasy of enthusiasm had been reached. It
+was only when physically exhausted that the audience calmed down
+and the exercises proceeded.
+
+
+
+A Chorus of Ten Thousand.
+
+During the World's Fair at Chicago my present band was giving
+nightly concerts in the Court of Honor surrounding the lagoon.
+Onone beautiful night in June fully ten thousand people were
+gathered round the bandstand while we were playing a medley of
+popular songs.
+
+Director Tomlins, of the World's Fair Choral Associations, was on
+the stand, and exclaiming, "Keep that up, Sousa!" he turned to the
+crowd and motioned the people to join him in singing. With the
+background of the stately buildings of the White City, this mighty
+chorus, led by the band, sang the songs of the people-"Home, Sweet
+Home," "Suwanee River," "Annie Laurie," "My Old Kentucky Home,"
+etc., and never did the familiar melodies sound so grandly
+beautiful.
+
+The influence of music to quiet disorder and to allay fear is quite
+as potent as its power to excite and to stir enthusiasm. A case in
+point happened at the St. Louis Exposition, where my band was
+giving a series of concerts. There was an enormous audience in the
+music hall when, in the middle of the programme, every electric
+light suddenly went out, leaving the house in complete darkness.
+
+A succession of sharp cries from women, the hasty shuffling of feet,
+and the nervous tension manifest in every one, gave proof that a
+panic was probably imminent. I called softly to the band, "Yankee
+Doodle!" and the men quickly responded by playing the good old tune
+from memory in the darkness, quickly following it with "Dixie" on
+my orders. The audience began to quiet down, and some scattering
+applause gave assurance that the excitement was abating.
+
+"The Star-Spangled Banner" still further restored confidence, and
+when we played "Oh Dear, What Can the Matter Be?" and "Wait Till
+The Clouds Roll By," every one was laughing and making the best of
+the gloom. In a short time the gas was turned on, and the concert
+proceeded with adequate lighting.
+
+
+In the desire to do especial honor to a certain foreign
+representative during the World's Fair, I had a particular piece of
+music in which he was interested arranged for my band, and agreed
+to play it at a specified concert. The music was given to a member
+of the band with instructions to copy the parts and deliver them at
+the band-stand.
+
+The foreign gentleman was present at the concert with a large party
+of friends, whom he had invited to hear this particular piece of
+music. When the librarian asked the musician for the parts, he
+could not find them, and a search high and low for the missing
+music was without avail. Much to my chagrin, it was necessary to
+omit the number and send explanations and regrets to the dignitary
+whom it was designed to honor.
+
+At the end of the concert, when the men were packing to go home, the
+player found the missing band parts stuck in the bell of his
+instrument, where he had placed them for safe-keeping.
+
+
+In a little Michigan town my band was booked for an afternoon
+concert, and on our arrival the local manager assured us that we
+should have a good house, although there was no advance sale. He
+explained this by saying that the townspeople did not like to buy
+their tickets until the last minute.
+
+The theatre was on the second floor of the town hall, the ground
+floor being given over to the fire department, the especial pride
+of the community. Twenty minutes before the concert a large crowd
+had gathered round the box-office to buy tickets when the
+fire-alarm sounded, and the entire population promptly deserted the
+muse of music and escorted the engine and hose-cart to the scene of
+action, leaving the band absolutely without an audience.
+
+
+
+A Tuneful Locomotive.
+
+Once when we were playing during warm weather in a theatre situated
+near a railroad, the windows were left open for ventilation. The
+band was rendering a Wagner selection, and at the climax was
+playing with increasing force. The last note to be played was a
+unison B flat, and as I gave the sign to the musicians to play as
+strong as possible the volume of sound that followed fairly
+astonished me. I had never heard fifty men play with such force
+before and could not account for it, but the explanation soon
+became manifest. As the band ceased playing, the same note
+continued in the blast of a passing locomotive that had opportunely
+chimed in with us in unison.
+
+
+The Marine Band was once doing escort duty on Pennsylvania Avenue in
+Washington to a body of citizen soldiery returning from camp. It
+was at night and the parade was preceded by a wagon-load of
+fireworks which were to be discharged at appropriate intervals
+along the line of march.
+
+By some accident or design the entire load of pyrotechnics was
+simultaneously ignited, and the street immediately filled with a
+perfect fusillade of rockets and Roman candles.
+
+A stampede followed and the parade faded away. I stood my ground
+until my eye-glasses were knocked off, and then I groped my way to
+the sidewalk. When the confusion had subsided, all that could be
+discovered of my band was the drum-major in front and the
+bass-drummer in the rear rank. Their comrades had fled, but these
+men were good soldiers, and having received no orders to disperse
+had stood their ground manfully.
+
+
+
+A Tale of the White House
+
+One more story of the White House. At the time of the unveiling of
+the statue of Admiral Farragut in Washington, it was suddenly
+proposed to have a reception at the Executive Mansion in honor of
+the many distinguished visitors. The informal invitations were
+issued while I was participating in the parade that was part of the
+ceremonies.
+
+At seven o-clock in the evening, when I was at home, tired out after
+the long march, word came to me to report at the Marine Barracks. I
+went there and was ordered to take the band to the White House at
+eight o'clock p.m.
+
+The bandmen did not live in barracks, and it was practically
+impossible to get them together at that time of night, as they were
+scattered all over the city.
+
+"Well, those are my instructions and those are your orders," said
+the commanding officer.
+
+So we sent the band-messengers out to the men's lodgings, and they
+found just one musician at home, and he was the bass-drummer.
+
+At eight o'clock, arrayed in all the gorgeousness of my scarlet and
+gold uniform, I sat in front of the band platform in the White
+House lobby, and the bass-drummer stationed himself back in the
+semi-obscurity of his corner. There was a dazzling array of
+music-stands and empty chairs, but no musicians! The President
+evidently saw the humorous side of it, and when I explained the
+situation he said it could not be helped. All the evening we sat
+there and listened to humorous remarks from the guests. We had
+"reported for duty," though, and the drummer and I stayed till the
+reception was over.
+
+
+
+
+
+End of Project Gutenberg Etext The Experiences of a Bandmaster, by Sousa
+
diff --git a/old/sousa10.zip b/old/sousa10.zip
new file mode 100644
index 0000000..9b20f0b
--- /dev/null
+++ b/old/sousa10.zip
Binary files differ