Chords for Larry Adler

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_ I always flatter myself, I think I'm going to be able to play it that fast and I actually can't.
So take it from your introduction again after the three chords, a little slower. _
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_ _ _ _ _ Do you [F] know those rubato's where you would often do?
No, not at all.
Because I'll take it right within the bar, but [Ab] I want to get the gypsy schmalz feeling,
Schmalz is good as well, yes.
All right, take it from that D flat.
By [E] the way, that crescendo there will not disturb at all.
I don't mind it.
I don't mind it.
Right, from where?
From_
_ [Db] Take it from here, yes.
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_ _ [Eb] _ _ [E] _ Yes, but I missed out on turning over.
But take it that high D flat [Eb] again.
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_ _ [Ab] _ that's a good tempo for me.
A couple of the phrases are _ _ very [Em]
tricky on the harmonica.
I've got more problems than you have on that one.
_ We sent Carolyn Benson along to sit in on the rehearsal [Ab] and the first deep breath Larry
Adler took, she had a word with him.
Mr.
Adler, why did you choose the harmonica?
Why not one of the conventional instruments?
Well, I didn't choose it, it was _ an [Abm] accident.
It was one of those [Ab] precarious _ _ circumstances.
[N] There was a mouth organ contest and here I was a kid and I'd never won anything.
I was one of those skinny boys, myopic, not good at sports and I'd never had distinguished
myself in anything and at that early age I was a status seeker without knowing the word status.
_ And then this mouth organ contest came up and it just occurred to me that anybody ought
to be able to win a mouth organ contest.
And I seemed to have been right because I won it.
_ And having won it, well there I was, I had achieved something and so I saw no reason
to let go, I just continued.
But why did you carry on to the concert stage with the harmonica?
This was the most unusual thing in making you brown, wasn't it?
Well, I didn't know I was going to.
I had no _ _ _ preconceived idea of going on the concert stage.
_ Mind you, when I was five years old I'd gone to hear Rachmaninoff and that probably was
the single _ greatest musical impression I'd ever had.
Do people take you seriously with this instrument? _ _
Oh, what a nasty question.
I do.
Oh, I take myself so seriously.
I do take you so seriously, but who others?
Well, _ Yvonne Williams writes for the mouth organ.
He's not doing this for a joke.
He [Ab] does it because he feels that this will interpret what he has to say musically.
The same with Darius Milhaud or Malcolm Arnold or Arthur Benjamin.
I didn't commission any of these works.
These were all ideas on the part of the composers themselves.
They felt like writing for the mouth organ.
_ And if they do, I mean, what better answer is there?
Well, now that you feel it is a serious instrument, do you find your former popular records are
an embarrassment [N] to you?
There are some records I made in the 30s which would have been an embarrassment to me no
matter what I did.
They were so bad.
In fact, bad is cleaning it up.
I would say they were lousy.
I just went through that period where I was playing very badly and didn't exercise much _
discrimination in what I recorded or how I played it when I did record it.
And it's not so much that the records are popular.
I have nothing against popular music when it's composed by a Gershwin or a Cole Porter
or Harold Arlen.
But I have much against bad records, and I made bad records.
Did they make money at any rate?
That I don't remember, I suppose, is one of those merciful things I've shot out of my mind.
I don't remember if they did or not.
And we left Larry Adler rehearsing one of his best-known compositions, the music that
he wrote for the film Genevieve.
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_ _ _ _ _ [C] _ Now here, you'd have to make the same ending that [G] you would make on the D flat chorus,
but make it a half tone down.
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