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| Container | Contents | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Personal and Business Papers (continued) | |||||||||||||
| BOX 19 |
Western Union telegrams see also Telegrams |
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| BOX 19 | What a day! | ||||||||||||
| BOX 19 | What makes Sammy run?-company | ||||||||||||
| BOX 19 | What makes Sammy run?-royalty statements | ||||||||||||
| BOX 19 | The wicked, wicked city | ||||||||||||
| BOX 19 | Windy city | ||||||||||||
| BOX 19 | Winter garden | ||||||||||||
| BOX 19 | Wish you were here | ||||||||||||
| BOX 20 | Wonderful town | ||||||||||||
| BOX 20 | Wright and Forrest | ||||||||||||
| BOX 20 | Your hit parade | ||||||||||||
| BOX 20 | Ziegfeld follies | ||||||||||||
| BOX 20 | Zorba I | ||||||||||||
| BOX 20 | Zorba II (road company) | ||||||||||||
| BOX 20 | Zorba III | ||||||||||||
| BOX 20 | Zorba programs | ||||||||||||
| BOX 21-25 | Writings | ||||||||||||
| Bucket of Blood, circa 1958 | |||||||||||||
| Novel | |||||||||||||
| BOX-FOLDER 21/1-4 | Typescripts | ||||||||||||
| Men of Notes, circa 1984 | |||||||||||||
| Memoir in the form of reminiscences of composers and musicians that Walker worked with; there was to be another volume, but, according to his daughter, he didn’t have enough time to complete it | |||||||||||||
| BOX-FOLDER 21/5 | Dedication, Forward, 1. Fletcher (Henderson), 2. Fred (Waring) | ||||||||||||
| BOX-FOLDER 21/6 | 1. Fletcher (Henderson), 2. Fred (Waring) | ||||||||||||
| BOX-FOLDER 21/7 | 3. Al (Albert Goodman), 4. George M.. (Cohan), 5. Rommy (Sigmund Romberg) | ||||||||||||
| BOX-FOLDER 21/8 | 3. Al (Albert Goodman), 4. George M.. (Cohan) | ||||||||||||
| BOX-FOLDER 21/9 | 5. Rommy (Sigmund Romberg), 6. Frank Black | ||||||||||||
| BOX-FOLDER 21/10 | 6. Frank Black, 7. Cole (Cole Albert Porter) | ||||||||||||
| BOX-FOLDER 21/11 | 7. Cole (Cole Albert Porter) | ||||||||||||
| BOX-FOLDER 22/1 | Patching pages, discards, etc. | ||||||||||||
| BOX-FOLDER 22/2 | Early attempts at preface, forward, and introduction/1st draft of “Fletcher” | ||||||||||||
| BOX-FOLDER 22/3 | Late discards and Rodgers and Hammerstein’s shows | ||||||||||||
| BOX-FOLDER 22/4 | Extras | ||||||||||||
| BOX-FOLDER 22/5 | Research | ||||||||||||
| "Music Heard, Music Written" | |||||||||||||
| A course Walker taught at Hunter College which he intended on turning into a book on orchestration. Includes material for a 1961 version of the book titled Technique of Orchestration | |||||||||||||
| BOX-FOLDER 22/6-7 | Final draft | ||||||||||||
| BOX-FOLDER 22/8 | Final draft-extra material | ||||||||||||
| BOX-FOLDER 22/9 | Foreward; Introduction: The plan of this work; Preface; Preface and dedication; The purpose | ||||||||||||
| BOX-FOLDER 22/10 | Chapter I: The musical thought | ||||||||||||
| BOX-FOLDER 22/11 | Chapter I: The musical facts of life | ||||||||||||
| BOX-FOLDER 22/12 | Chapter II: The dimensions of music | ||||||||||||
| BOX-FOLDER 22/13 | Chapter II: The memory of musical sounds; (miscellaneous) | ||||||||||||
| BOX-FOLDER 22/14 | Chapter III: The instruments and the score | ||||||||||||
| BOX-FOLDER 22/15 | Chapter III: Resultants of musical dimensions | ||||||||||||
| BOX-FOLDER 22/16 | Chapter IV: The woodwinds | ||||||||||||
| BOX-FOLDER 22/17 | Chapter IV: The process of musical thinking | ||||||||||||
| BOX-FOLDER 23/1 | Chapter V: The flute family; Chapter VI: The flute family | ||||||||||||
| BOX-FOLDER 23/2 | Chapter V: The linear instruments; Chapter V: The instruments and the score; (miscellaneous) | ||||||||||||
| BOX-FOLDER 23/3 | Chapter VI: The oboe family | ||||||||||||
| BOX-FOLDER 23/4 | Chapter VI: The score | ||||||||||||
| BOX-FOLDER 23/5 | Chapter VII: The clarinet family | ||||||||||||
| BOX-FOLDER 23/6 | Chapter VIII: The bassoon family | ||||||||||||
| BOX-FOLDER 23/7 | Miscellaneous: research, correspondence, glossary, etc. | ||||||||||||
| BOX-FOLDER 23/8 | Orchestration workbook, Kent Wheeler Keenan, Prentice-Hall, Inc., N.J., 1952 | ||||||||||||
| Course materials, 1957-1958 | |||||||||||||
| BOX-FOLDER 23/9 | Organizational notes; Lecture outline; Semester I–Lecture I: The general plan; Lecture II: The musical thought; Lecture III: Factors governing musical thinking | ||||||||||||
| BOX-FOLDER 23/10 | Semester I–Lecture IV-VII: The dimensions of musical thinking, parts I-IV; Lecture VIII-IX: Procedures of musical thinking, parts I-II | ||||||||||||
| BOX-FOLDER 23/11 | Semester I–Lecture X-XI: Music writing procedures, parts I-II; Lecture XII: The arbitrary condition | ||||||||||||
| BOX-FOLDER 23/12 | Outline of lectures; Semester II–Lecture I. Woodwinds I—flutes and piccolos; Lecture II: The double reeds; Lecture III: The single reeds; Lecture IV: The horn; Lecture V: The trumpet | ||||||||||||
| BOX-FOLDER 23/13 | Semester II–Lecture VI: The trombone and tuba; Lecture VII: Strings in general; Lecture VIII: The violin and the viola; Lecture IX: The cello and the double-bass; Lecture X: The fretted strings | ||||||||||||
| BOX-FOLDER 23/14 | Semester II–Lecture XI: Percussion; Lecture XII: Keyboard instruments; Lecture XIII: The harp; Lecture XIV: The human voice; Lecture XV: Accordion, concertina, harmonica; Final examination | ||||||||||||
| BOX-FOLDER 23/15 | Semester III; Lecture I; Lecture II: The birth of orchestration; Lecture III: The childhood of orchestration; Lecture IV: Orchestration in adolescence; Lecture IV: Orchestration discovers life; Lecture VI: Orchestration comes of age | ||||||||||||
| BOX-FOLDER 24/1 | Semester III–Lecture VII: Orchestration in Valhalla; Lecture VIII: Orchestration acquires principles; Lecture IX: Further “principles” of orchestration; Lecture X: The foolproof orchestration–I; Lecture XI: The foolproof orchestration–II; Lecture XII: “What idiots call Impressionism”; Lecture XIII: The Olympian virtuosos; Lecture XIV: “Orchestration without music” | ||||||||||||
| BOX-FOLDER 24/2 | Semester IV–Lecture I-II: The electronic revolution–I-II; Lecture III-VII: Theatre orchestration I-concluded | ||||||||||||
| BOX-FOLDER 24/3 | Semester IV–Lecture VIII: Audio orchestration; Lecture IX: Video orchestration; Lecture X: Specialized orchestration; Lecture XI: The business of orchestration; Final examination | ||||||||||||
| BOX-FOLDER 24/4 | Miscellaneous | ||||||||||||
| 6-Piece Quintet, circa 1982-1983 | |||||||||||||
| Novel | |||||||||||||
| BOX-FOLDER 24/5-8 | Originals | ||||||||||||
| BOX-FOLDER 24/9-12 | Masters, 1983 draft | ||||||||||||
| BOX-FOLDER 25/1-4 | 1982 draft | ||||||||||||
| BOX-FOLDER 25/5 | Pages in work | ||||||||||||
| BOX-FOLDER 25/6 | Superceded and scratch pages (for reference) | ||||||||||||
| BOX-FOLDER 25/7 | Chapter titles | ||||||||||||
| BOX-FOLDER 25/8 | Original “Toots” material (pre-revision) and original of re-typed copy | ||||||||||||
| BOX-FOLDER 25/9 | College songs and stomps, marches and blues of the middle twenties | ||||||||||||
| BOX-FOLDER 25/10 | Early notes, Asbury Park guide, etc. | ||||||||||||
| BOX-FOLDER 25/11 | Miscellaneous lyric sheets | ||||||||||||
| Titles include: Alone too much; At the old sewing circle; Beat, old heart; The birth of the beat; Brooklyn’s outa dis world; Come back my love; Design for loving; The good humor man; If you didn’t belong to me; I’m takin’ the beat to Bali; The longer I love you; Love or reason; My love was young; No love/Still no love/Now love; Oh Friday; Rapunzel, Rapunzel (let down your hair); Salute to the Admiral; Sharp as a dart; You threw me a curve | |||||||||||||
| BOX 26, 130 | Photographs | ||||||||||||
| BOX-FOLDER 26/1 | Portraits of Walker | ||||||||||||
| BOX-FOLDER 26/2 | Walker family | ||||||||||||
| BOX-FOLDER 26/3 | Walker with others | ||||||||||||
| Includes the Interfraternity Orchestra, University of Pennsylvania, and Milton Rosenstock | |||||||||||||
| BOX-FOLDER 26/4 | Miscellaneous photographs | ||||||||||||
| BOX-FOLDER 26/5 | Production photos from Mistress of the Inn | ||||||||||||
| BOX-FOLDER 130/12 | Fred Waring and the largest Synco-Symphonic Orchestra in the World, Roxy Theatre, New York | ||||||||||||
| Photograph rolled | |||||||||||||
| BOX 20, 27-133 | Music | ||||||||||||
| BOX 27-91, 107-126, 131-133 | Show Music | ||||||||||||
| 70, girls, 70, 1971 | |||||||||||||
| Music by John Kander, lyrics by Fred Ebb | |||||||||||||
| Piano-vocal scores | |||||||||||||
| BOX-FOLDER 91/18 | Old Folks | ||||||||||||
| BOX-FOLDER 91/19 | The Caper | ||||||||||||
| BOX-FOLDER 91/20 | See the Light | ||||||||||||
| Admiral Broadway revue, 1949 | |||||||||||||
| TV show on NBC and Dumont networks | |||||||||||||
| BOX-FOLDER 28/1 | Main title | ||||||||||||
| Short score | |||||||||||||
| Laid in: Credits and announcer text | |||||||||||||
| Allah be praised, 1944 | |||||||||||||
| Music by Baldwin Bergerson and Don Walker, lyrics by George Marion Jr. | |||||||||||||
| Full scores | |||||||||||||
| BOX-FOLDER 107/1 | Allah be praised | ||||||||||||
| BOX-FOLDER 107/2 | Allah be praised-continuation | ||||||||||||
| BOX-FOLDER 107/3 | Allah be praised-Kraft sisters | ||||||||||||
| BOX-FOLDER 107/4 | Allah be praised-Kraft Allah (new) | ||||||||||||
| BOX-FOLDER 107/5 | Allah be praised-Tag | ||||||||||||
| BOX-FOLDER 107/6 | Ballet finale | ||||||||||||
| BOX-FOLDER 107/7 | Ballet finale (new) | ||||||||||||
| BOX-FOLDER 107/8 | Emir's entrance | ||||||||||||
| BOX-FOLDER 107/9 | Finale ultimo | ||||||||||||
| BOX-FOLDER 107/10 | Intro to Finale ultimo | ||||||||||||
| BOX-FOLDER 107/11 | Finaletto-Act I | ||||||||||||
| BOX-FOLDER 107/12 | Hollywood ballet | ||||||||||||
| BOX-FOLDER 107/13 | I was a happier man in Dannemora | ||||||||||||
| BOX-FOLDER 107/14 | I was a happier man in Dannemora-encore | ||||||||||||
| BOX-FOLDER 107/15 | I was a happier man in Dannemora-Intro to encore | ||||||||||||
| BOX-FOLDER 107/16 | I'm getting oriental over you | ||||||||||||
| BOX-FOLDER 107/17 | I'm getting oriental over you-dance | ||||||||||||
| BOX-FOLDER 107/18 | I'm getting oriental over you-insert (Kraft entrance) | ||||||||||||
| BOX-FOLDER 107/19 | I'm getting oriental over you-Kraft sisters | ||||||||||||
| BOX-FOLDER 107/20 | I'm getting oriental over you-M'ladava | ||||||||||||
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