Intermediate
Three Little Maids
2:18
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Browse piano sheets by Chauncey Haines on Zen Virtual Piano. Chauncey Haines recalled, “I got fired at the DeLuxe. One afternoon the slide came on the screen for my solo - ‘Chauncey Haines at the Organ’ - and nothing happened.” A solo announced on a slide that nobody came to play is a small, vivid reminder of how live film accompaniment depended on the player being at the console. His grandfather had played first trumpet in the Abraham Lincoln Union band in 1863, and his father did long stints as an arranger and trombonist in both the Arthur Pryor and Sousa bands around the turn of the century. The Haines family lived in Walla Walla, Washington, for a time, and then he discovered a new phenomenon springing up everywhere: movies. A family of brass players meeting the movies makes his later turn to the organ look like a change of instrument rather than a change of world. He had never heard anything like the combination of the organist Crawford and the Style 185 Wurlitzer organ, and he went to the Million Dollar every night he had the price of admission and sat as near to the console as possible, watching Crawford’s every move. The vastly different sound of an organ tailored to film accompaniment needs had a strong appeal to the young man, whose practice was done on church organs. A student who watched Crawford from as near the console as possible, and practised on church organs, took his education from the places where the music was. During the sound era he was usually a member of the studio orchestras that played soundtrack musical scores for Hollywood composers such as Erich Korngold, Max Steiner, Franz Waxman, John Green, Dimitri Tiomkin, David Rose and Alfred Newman. When UCLA came on strong with its movie series, Chauncey Haines was once again at the console of the 73-rank Aeolian-Skinner in Royce Hall. From the Million Dollar to a studio orchestra to a university hall, his path covers several kinds of room.
Browse piano sheets by Chauncey Haines on Zen Virtual Piano.
Chauncey Haines recalled, “I got fired at the DeLuxe. One afternoon the slide came on the screen for my solo - ‘Chauncey Haines at the Organ’ - and nothing happened.” A solo announced on a slide that nobody came to play is a small, vivid reminder of how live film accompaniment depended on the player being at the console.
His grandfather had played first trumpet in the Abraham Lincoln Union band in 1863, and his father did long stints as an arranger and trombonist in both the Arthur Pryor and Sousa bands around the turn of the century. The Haines family lived in Walla Walla, Washington, for a time, and then he discovered a new phenomenon springing up everywhere: movies. A family of brass players meeting the movies makes his later turn to the organ look like a change of instrument rather than a change of world.
He had never heard anything like the combination of the organist Crawford and the Style 185 Wurlitzer organ, and he went to the Million Dollar every night he had the price of admission and sat as near to the console as possible, watching Crawford’s every move. The vastly different sound of an organ tailored to film accompaniment needs had a strong appeal to the young man, whose practice was done on church organs. A student who watched Crawford from as near the console as possible, and practised on church organs, took his education from the places where the music was.
During the sound era he was usually a member of the studio orchestras that played soundtrack musical scores for Hollywood composers such as Erich Korngold, Max Steiner, Franz Waxman, John Green, Dimitri Tiomkin, David Rose and Alfred Newman. When UCLA came on strong with its movie series, Chauncey Haines was once again at the console of the 73-rank Aeolian-Skinner in Royce Hall. From the Million Dollar to a studio orchestra to a university hall, his path covers several kinds of room.
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A theatre organist and studio musician. During the sound era he was usually a member of Hollywood studio orchestras that played soundtrack scores for composers such as Erich Korngold, Max Steiner and Alfred Newman.
He went to the Million Dollar every night he had the price of admission and sat as near to the console as possible, watching the organist Crawford’s every move on a Style 185 Wurlitzer.
When UCLA brought back its movie series, he was once again at the console of the 73-rank Aeolian-Skinner organ in Royce Hall.