by Warren M. Sherk
Second of two parts (read part one)
Okinawa, the USO, and World War II
Seventeen years had passed since his remarkable trip to Paris with the Tiomkins. By now ensconced in Spokane, Zepp’s next international adventure was at hand. It was the summer of 1945 and the battles of World War II raged on in the Pacific. Zepp made his way to Los Angeles, checked into the Hotel Elmar on Bunker Hill, and set out to audition for the USO. (Film buffs may recall seeing the Hotel Elmar in the 1947 film The Unfaithful, wherein actors Zachary Scott and Steven Geray cruise down Hope Street, stop in front of the hotel, exit the car, pass through the lobby, and proceed up the stairs.)
The United Service Organizations (USO) was formed in 1941, “to aid in the war and defense program of the United States and its Allies by serving the religious, spiritual, welfare, and educational needs of the men and women in the armed forces.” Groups were sent out from Hollywood with a headlining celebrity by the private nonprofit organization to bring American-style humor and music, often in a variety show format, to servicemen to boost their morale. Following V-E (Victory in Europe) Day, the War Department stepped up requests for performers anticipating the need to entertain hundreds of thousands of inactive war-weary men waiting to return home, as well as those still serving in the Pacific combat areas. The Hollywood Victory Committee spearheaded a drive for volunteers and film comedian Charlie Ruggles was among those who answered the call.
The USO-sponsored Camp Shows brought entertainment to U.S. and Allied service men overseas, at home, in hospitals, and in occupied territories, featuring stars of the screen, stage, radio, and concert hall. The Personality Shows revolved around a noted performer, such as the inimitable Bob Hope, or entertainment groups, such as the ever-popular Andrews Sisters. In mid-July 1945, Charles Ruggles and actress Mary Brian—already a veteran of three USO tours—headlined a troupe that included four girls and pianist Arthur Zepp. The septet set out for the Pacific Theater of Operations as USO tour number 694 on July 17th. The girls were actress Virginia Carroll, comedian Dell Chain of musical extravaganza Franchon and Marco fame, and vocalists Emma Lou Welch and Lillias Vivian Gilbert. Chain served as emcee, Carroll danced and performed acrobats, blues singer Welch strummed guitar, both Welch and Gilbert sang, and Zepp accompanied them all at the keyboard and played at least one solo each show.
For some performances, military band musicians joined in. Behind-the-scenes, Lieutenant Guy Wicks ably handled the travel logistics along the route that included Guam, Saipan, the island of Tinian in the Mariana Islands, and the Japanese islands of Iwo Jima and Okinawa. (Guy Wicks Field at the University of Idaho is named after the Idaho Hall of Fame athlete and coach who acted as head basketball coach both before and after the war and also spent some time coaching in Spokane at North Central High.)
The Ruggles group flew from Los Angeles to San Francisco to Guam, which would serve as their home base, with a stopover in Hawaii. At that first stop in Oahu an unexpected controversy erupted. Frank Sinatra had criticized the USO in the press saying that the entertainment sent out underestimates the GI’s intelligence. A defensive Ruggles shot back, “If these shows are good, they’ll enhance the future of show business.”
The thirty-minute Ruggles-Brian show, “Startown Parade,” brought fun, melody, and songs, such as a Welch rendition of “The Man I Love” and Zepp’s three-minute piano solo of Irving Berlin’s “Blue Skies.” Considering the amount of rainfall seen in the region and the dreariness of combat, this was an apropos choice.
On August 3 the entertainers left Iwo Jima on a U.S. Army Air Force Curtiss R5C-1 Commando troop-cargo transport built for medium range hauls for the flight to Saipan’s Kobler Field in the Northern Mariana Islands. (Four months later on December 11, 1945, the same plane bearing USAAF serial number 50704, hit a parked aircraft and jeeps upon landing at Agana Field, Guam.)
The troops that witnessed the Ruggles show were a diverse group that included the 1887 EAB, an African-American aviation engineer unit; the U.S. Marine Corps 3rd division that was involved in some of the fiercest battles that took place in Iwo Jima; and the 6th Marine division that stormed the beaches of Okinawa in what has been described as one of the great spectacles of the war.
A seven-hour flight on a C-54 to Okinawa’s Harmon Field from Guam took the group to land recently wrested from the Japanese empire.
A Steinway piano greeted Zepp and held up under the tough vaudeville-like schedule of six-day per week performances. Steinway produced compact army green-colored uprights for the USO and the tropical model included a light bulb inside the piano case to mitigate the high humidity. If the Okinawa schedule was typical, twice daily performances at 14:30 and 19:30 kept the group busy.
On September 26 they played the Naval Supply Depot at Tengan then entertained the 806th Engineers Aviation Battalion on Route 5 south, the latter location being on the front line of fighting just five months before. Mary Brian, recalling a USO tour in Germany, observed that the closer they performed to the front the more responsive the audience.
On September 27 they moved on to Buckner Bay Naval Base to perform for three thousand soldiers followed by Naha where the 5290 Air Service Area Command was stationed. Less than two weeks later typhoon Louise decimated the area around Buckner Bay.
The nine memorable shows on Okinawa ended with a grand finale at the Shuri Castle in front of an audience of 12,000 men. Joining the show was the highly-trained and versatile 2nd Marine Air Wing Band, under the direction of Corporal Yank Lawson. (More research is needed to determine if this is John Rhea “Yank” Lawson, a big band trumpeter who played with Bob Crosby, Tommy Dorsey, and Benny Goodman and was noted for playing second trumpet to Louis Armstrong on disc recordings.) At the end of the encore, after the stage was darkened, the troops lit up: cigarette lighters, matches, and flashlights made for a dramatic show of appreciation. (The moment was captured in a snapshot taken by Arthur Zepp, below.)
In a poignant moment, a native orphaned Okinawan boy named Butch sang “God Bless America.”
Early on the U.S. dropped two atomic bombs on Japan and the war ended before tour 694 returned to the States on October 5 and 9, 1945. (Ruggles and Brian returned four days before the others.)
Zepp left Okinawa on a B-29 a day before typhoon Louise hit the area and flew to Guam to proceed back to the homeland on a Douglass Skymaster that touched down in Kwajalein in the Marshall Islands, the Johnson Islands, and Honolulu. After a layover of a couple days in Hawaii he flew to San Francisco.
On the lengthy journey home Zepp wrote about the final five days of the near-three month long excursion.
12 Pacific Islands—20,000 miles—an estimated 350,000 GI’s. Zepp had not only seen it all, he had contributed to boosting morale, for as he wrote, “part of the program called for sending entertainers to the far corners of the world, wherever the GI was stationed, supplying him, not with bullets and guns, but with the heartwarming effect of a melody and the tonic effect of a laugh.”
By war’s end tens of thousands of USO performances had taken place entertaining untold numbers of troops. Providing entertainment took on other forms. A unique program to supply compact paperbacks printed by the Council on Books in Wartime brought thousands of book titles to servicemen. Already a best-seller, Whistle Stop, Maritta Wolff’s debut 1941 novel about small-town MidWestern life in post-Depression America, was printed as an Armed Services Edition and snapped up by soldiers around the world.
Screenwriter Philip Yordan picked up the film rights hoping to use the project as a springboard into film production. There was only one problem. The central theme of the novel is rife with incestuous implications. In order to circumvent the Hays Code and potential censorship Yordan re-fashioned the story into one of romantic obsession, which unfortunately did not sit well with many film critics. (“Bled of all social significance” wrote one.) Ava Gardner was cast in her first starring role and Dimitri Tiomkin provided the music score. Tiomkin had recently finished scoring Dillinger, based on a Yordan script.
With a whirlwind production schedule—from script to completion took around six months—the film version of Whistle Stop managed a January 1946 release date, probably hoping to cash in on the popularity of the book and to capture the potentially large male audience returning from war. During the recording sessions for the film, Tiomkin was surprised to see Arthur Zepp, who dropped in after arriving in Los Angeles at the completion of his USO tour.
To his former butler, Tiomkin said, “Artur, I write cowboy muzeek.” Tiomkin was referring to Duel in the Sun, a film then in production that would help catapult Tiomkin into the upper ranks of composers in Hollywood. Tiomkin had just completed three years of service to the Office of War Information as music director and composer for a number of documentaries directed by Frank Capra, John Huston, and others.
With memories of New York, Paris, and Okinawa that would last a lifetime, Zepp settled in back home in Spokane. There he would develop into one of the leading music teachers in the Pacific Northwest and in doing so would attain some social status as a local celebrity.
A teacher’s life in Spokane
With the war over, Zepp returned to his job as musical director at KFPY radio in Spokane. The Zepps had migrated to Washington state–where he and Olive would raise two sons–around 1935. One of Olive’s brothers–Don King–worked for Armour & Company, a meatpacking firm founded in Chicago. During the Great Depression, Don was sent from Chicago to Armour’s Spokane plant, in operation year-round with a payroll that included 300 men and women in 1932. The money was flowing into the local economy and reports came back that the Depression was not quite as depressing in the West. When another brother, Hilton King, relocated to Spokane he encouraged Arthur and Olive Zepp to join the family migration that eventually included Zepp’s sisters, Esther M. Bartleson and Evelyn Mitchell, as well as his parents.
Zepp’s first job was at the Davenport Hotel, where he entertained guests at the grand piano on the mezzanine level. The ritzy hotel—one of the city’s finest and presently the only AAA four diamond hotel in the city—provided room and board for Zepp and his wife in exchange for his musical services. Family lore has it that the couple tired of the hotel restaurant food prompting their exit; however, it may have been a worker’s strike supported by the musician’s union that brought an end to Zepp’s gig.
Early on Zepp found work in local radio and by April 1936 the Spokane airwaves carried his half-hour program on KFIO. Radio work provided reliable support and health care for the next ten years. Local radio was the only game in town and a big deal before television was widely adopted in the 1950s. From at least 1943 to 1945 he served as music director for station KFPY. When KFPY became KXLY in 1946, Zepp moved over to rival KHQ, where he was music director until at least November 1947 and he would remain a consultant into the 1950s. Always adaptable out of necessity, Zepp learned to play the station’s theater pipe organ and picked up a baton to lead the KHQ studio orchestra in January 1947. On radio he memorably accompanied singer Phil Crosby on the baritone’s gospel hymn program.
During this same roughly ten-year time span, from the mid-1930s, Zepp was a ubiquitous site on the Spokane live music scene. As soloist and/or accompanist, he performed at private functions such as balls and weddings. This ran the gamut from appearances at the Spokane Club, Kiwanis, Masonic temple, and other social organizations to accompanying Italian operatic tenor Mario Cimino in concert. An Italian diplomat attended and each time he stood everyone in attendance followed suit.
One of these concerts may have steered Zepp to his USO gig. Cellist Kathleen Ghering Holmes played alongside Zepp in a piano trio at a Civic auditorium benefit concert for local hospitals in May 1945. Her husband, Lt. Carl F. Holmes, was on duty with the Navy in the south Pacific at the time. Less than two months later Zepp would find himself in the same area entertaining the troops.
Around 1947, perhaps inspired by his USO experience or possibly an outgrowth of his radio work, he founded the Arthur Zepp Orchestra. A 1948 performance found the 16-piece group at the Spokane Club Christmas ball. Attendees of the Ritzville Harvest ball sixty miles southwest of Spokane off state highway 395 enjoyed the band the following summer. A keen-eyed observer may have noticed that directly next to the orchestra announcement in the newspaper sat a blurb announcing that Portrait of Jennie—coincidently scored by Tiomkin—would be one of seven American films competing at the Venice film festival in Italy. Through newspapers, Zepp did follow Tiomkin’s career in Hollywood.
Zepp sold his interest in his dance band to Russ Andre in early 1950 in order to keep up with his rapidly expanding piano school and kindergarten music program.
The Arthur Zepp School of Piano
In the late 1940s, Zepp embarked on two ventures that would define the rest of his musical life. He opened the Arthur Zepp School of Piano and co-founded what would become known as the Zepp-Montague Musical Kindergarten. For the latter, Zepp teamed with Frances Montague, a onetime school teacher, to develop a music teaching system for early learners that stressed “practical musicianship.” Of the program, Zepp said, “[the children] develop a real love of music through musical games and get a good start on their piano study.” By stressing versatility and participatory musicianship in an informal setting, Zepp hoped to increase the odds of the students participation in music as adults. The Arthur Zepp musical kindergarten for four- and five-year-olds got off the ground around 1948, in conjunction with Montague’s program of introductory music for preschoolers.
To accommodate the popular and expanding program, the Arthur Zepp School of Piano—Janice Peters Boyson was now among the teachers—moved to larger quarters in 1949, in a doubling of space that now included three private instruction rooms and one large room devoted to the Musical Kindergarten. By 1953 the school had an enrollment of forty-four students.
Life magazine called national attention to the unique program in a three-page spread in a Spring 1953 issue. Surrounding the headline, “Life Goes to a Musical Kindergarten: Spokane Tots Learn from Games and Props,” were photos depicting children beating time and conducting.
A following page depicts a classroom setting with an eight-foot-long mock keyboard in the foreground on the floor. The students were immersed in music “through ingeniously informative songs, stomping out rhythmic melodies and dressing up in capes to beat time like real orchestra conductors.” The method books in use for the program would be published in the Fall of 1953.
Method books, piano workshops, and more
The Complete Guide to the Zepp-Montague Musical Kindergarten Course was published in two parts. Part A included general information, helpful suggestions, and lesson plans. Part B included preschool piano, rhythmic activities, musical games, and supplementary material. The course was adopted by other teachers and popular as late as the 1980s.
The Zepp-Montague course helped Zepp establish a long-standing relationship with Pro Art Publications, a publisher specializing in pedagogical music located in Westbury, New York. Numerous method books and series such as the “Arthur Zepp Social Music Piano Course” and “Arthur Zepp Piano Course: Musicianship Through Keyboard Enjoyment” followed and Zepp became a major contributor of arrangements for the “Piano song-solo series” and writer of original boogie woogies. Tom Zepp remembers that his father was highly motivated and organized and the music he sent to Pro Art was cleanly written and ready for publication. Among his father’s most memorable works he cites “Shenandoah” (arrangement,1970) and “Swivel Chair Rag” (piano solo, 1975).
Throughout the 1960s and 1970s, Zepp taught a popular Piano Teachers Workshop at the Sampson-Ayers House of Music. Ruth Sampson, a lifelong resident of Spokane, married Stephen Ayers and later formed the Sampson-Ayers House of Music, where pianos and organs were sold, students could take private music lessons in the practice rooms, and a recital hall beckoned to showcase the talent.
A philosophy is born
“The number of adults who continue to play the piano and develop their music as an enjoyable hobby is unusually small,” Zepp once said, “a fact that should make every piano teacher increase his efforts to make music a continuing experience for his pupils.”
Zepp’s music philosophy developed around several tenets: Children should be exposed to and immersed in music beginning in pre-school. Musicianship should have practical applications in everyday life. Piano students should have ample opportunity to participate in music in both informal and formal outlets. Students should be encouraged to be themselves and to improvise freely. If taught successfully, students will embrace music as adults.
As the primary social instrument of the 20th century, the piano was often the center of family gatherings, for playing and singing popular songs, hymns, and seasonal favorites. Those who could play current popular music could garner attention from adults and their peers. Since his father forbade him to study popular music, Zepp came to it on his own, he was self-taught in popular harmonization and transposition. (And yet his upbringing did not alienate him from church music, quite the contrary as he always enjoyed sacred music.)
Zepp’s embrace of popular music appears to be consistent with the ideals of the chautauqua movement. A formative experience, just prior to meeting Tiomkin in New York, was with the previously mentioned Wright Entertainers. The Wright Entertainers were part of the Circuit Chautauqua whose objectives included bringing high culture to rural Americans. As Paige Clark Lush points out in her dissertation on the subject, “The heydey of the circuit chautauqua movement (1904-1932) occurred during a time of considerable interaction between, and discussion of, entertainment and education in the United States.” Lush argues that the popular and novelty music performed often espoused patriotism, loyalty, piety, and other sentiments that helped deem such music as edifying and educational.
The influence of Zepp’s own teacher, Dr. Westlake, may also be felt. Westlake introduced fortnightly recitals where artist-pupils of any qualified school or teacher was afforded the opportunity to become audience-conscious. To provide an outlet for his student’s talent, Zepp scheduled informal home recitals, and at least on one occasion a radio recital for his youngest students.
Duets gave students the chance to perform together. Zepp maintained two pianos in his living room—perhaps influenced by Tiomkin’s personal history as part of a piano duo and his preference for side-by-side pianos as evidenced by his apartments in New York and Paris.
One student, Nancy Stromberger Wecker, came by car from a country farm near Palouse forty-five miles outside of Spokane for lessons, sharing a ride with four other girls from the area over the six years she studied with Zepp. She recalls fondly the time her teacher traveled to the area where she lived for her senior recital at a community church.
The story I wanted to share was about my senior recital. We had always played a lot of 2-piano arrangements, as he had 2 pianos in his living room where he gave the lessons. Some were his arrangement, some were published by others. Anyway, we had the recital in a church near where I lived and used 2 pianos. Mr. Zepp was the emcee and we did a variety of numbers. Several were just me alone, but we also had a couple of 2-piano numbers and even had a short community sing. He had just returned from his trip to Russia and so he threw in some Russian humor! There was a large turnout from the two small communities nearby and they had never been to a senior recital quite like that one! I felt honored that he would make the effort to make a practice trip and a trip for the recital to the area where I lived.
Wecker kept in touch with Zepp to the end.
Patricia Highsmith joined some 50 other Zepp pupils for a series of two informal programs in the Spring of 1957. True to Zepp’s philosophy, a variety of musical styles including classical, popular, novelties, and improvisations were heard. Zepp’s own wide-ranging musical interests included Debussy, Mozart, Grieg, MacDowell, Tchaikovsky, Gershwin, Berlin, Kern, and Romberg.
Beginning in 1956, Zepp spread his gospel, taking his social music piano clinic across the U.S. The sixth annual tour in 1961 took him to twenty-three cities, where he often shared the program with teachers such as the formidable Ada Richter.
In 1967 Zepp initiated a new series of workshops for piano teachers at Sampson-Ayers that he likewise road tripped across the U.S. and to Vancouver, B.C. His publisher, Pro Art Publications, sponsored the tours that incorporated Zepp’s Pro Art piano course and supplementary material.
A pianist to the end
Zepp was never far from a piano at the Rockwood Manor nursing home where he played for church services or at the Hawthorne Manor Retirement Community for open house. Even at age 91, music remained his vocation and a hobby. (Zepp died in 2001.)
Memories of Tiomkin must have resurfaced during Zepp’s participation in “A Russian Evening” in Spokane in 1971. In fact, an article by Zepp on his association with Tiomkin had just been published in Clavier, one of the great piano magazines of the 20th century. The article was prompted by a visit to Tiomkin’s home in London a year-and-a-half earlier. At that time, Tiomkin had just returned from Moscow for the filming of Tchaikovsky.
Zepp wrote of the reunion that Tiomkin’s ability as a pianist, his great film scores, and his kindness would always be remembered.
© 2013 Volta Music
Author’s note: I studied piano in Tempe, Arizona in the 1970s with a local piano teacher who coincidentally shared many of the same beliefs as Arthur Zepp. My teacher, Betty Schmuck, offered formal and informal recitals, participatory group songs with parents and students on diverse instruments, and, most importantly, an open mind to the music repertoire that included both classical and popular music. Bach, Beethoven, Grieg were played alongside popular music from Tin Pan Alley, the stage, film, and television. Betty believed that a teacher should be open to teaching the student whatever the student wanted to learn to play. In my case, it was a desire to learn “Boogie Rock” at age 13.
Telephone interviews with Tom Zepp, December 3, 2011, July 7, 2012, and August 27, 2012. Thanks to Tom Zepp for providing the visual documentation for this article. And thanks to Bob McGregor for his help in scanning the material.
“I Was There: A View from the Servant’s Quarters,” by Arthur Zepp, Clavier (February 1971)
Please Don’t Hate Me by Dimitri Tiomkin and Prosper Buranelli (Doubleday, 1959)
Sources on Zepp and the USO
“Camp Show on Top Deck of a Carrier,” Box Office, October 13, 1945
“Hollywood Entertains,” by Fred Stanley, New York Times, May 13, 1945
“Ruggles Calls Sinatra Blast At USO Shows Publicity Gag,” by T/S Geo. S. Talmage, Stars and Stripes, July 23, 1945, in Stars and Stripes Newspaper, Pacific Editions, 1945-1963, accessed at ancestry.com database on-line
Images from military newspaper, “New Okinawan,” September 26, 1945, accessed at http://www.rememberingokinawa.com/page/1945_USO_SHOW
“Butch and Friends,” Spokane Daily Chronicle, April 9, 1946
“A Stage Is Where You Find It,” by Arthur Zepp, unpublished typescript, undated [postmark 1946], 25 pages, in the Mary Brian papers, Margaret Herrick Library
Sources on Zepp in Spokane
[KFIO radio listing], Douglas County Farmer, May 1, 1936
“Cimino-Reinburg Concert Monday,” Spokane Daily Chronicle, May 12, 1938
“Praise Given to Ensemble,” The Spokesman-Review, May 3, 1945
“Spokane Club Party Planned,” Spokane Daily Chronicle, November 27, 1947 [on Zepp orchestra]
“Spokane Club Luncheon Set,” The Spokesman-Review, December 16, 1948
“Hour-Long Recital Will Go on Radio,” Spokane Daily Chronicle, December 31, 1948
“School of Piano Gets More Room,” Spokane Daily Chronicle, June 27, 1949
“Art Zepp to Play for ART’s Party,” Spokane Daily Chronicle, July 29, 1949
“Music Kindergarten Spring Term Starts,” Spokane Daily Chronicle, January 30, 1950
“Music—As Written,” Billboard, February 4, 1950, page 18 [on the sale of Zepp’s orchestra]
[ad], Journal-Times, Ritzville, Washington, March 2, 1950
“Piano Pupils Play in Four Recitals,” Spokane Daily Chronicle, April 22, 1952
“Music Kindergarten Pupils Will Perform,” Spokane Daily Chronicle, January 19, 1953
“Tots of City Are Subject of Article,” Spokesman-Review, April 3, 1953
“Life Goes to a Musical Kindergarten,” Life, April 6, 1953: 144-46
“Zepp Pupils List Recitals,” The Spokesman-Review, May 26, 1957
“Three Music Workshops Slated by Music Firm,” The Spokesman-Review, August 12, 1961
“Piano Recitals Planned Sunday,” Spokane Daily Chronicle, May 11, 1964
“Pianist Conducts Teacher Training,” Spokane Daily Chronicle, August 9, 1967
“Presentation on Russian Living Slated,” The Spokesman-Review, January 9, 1971
“Ruth Ayers, 92; Founded Music Firm,” Seattle Times, July 17, 1991
“Musician Arthur Zepp dies of cancer at 93,” by Carla K. Johnson, The Spokesman-Review, August 21, 2001
Nancy Wecker, personal communication, October 5, 2012
Taylor University, Ilium / Gem Yearbook, Upland, Indiana, Class of 1920, accessed at http://www.e-yearbook.com/sp/eybb?school=839&year=1920 [on Dr. A. Verne Westlake and the Music Department]
The Osborne, 205 West 57th Street At Northwest Corner of 7th Avenue, accessed at http://www.cityrealty.com/nyc/midtown-west/the-osborne-205-west-57th-street/1850
Musical Digest, Vol. 21, No. 2, 1936. (on Dr. A. Verne Westlake)
The Davenport Hotel Collection, Spokane, WA, www.davenporthotel.com/history, accessed June 26, 2012
“Arthur Zepp,” by Royce Ferguson, January 26, 2009, http://royceferguson.blogspot.com/2009/01/arthur-zepp.html, accessed June 1, 2012
Lush, Paige Clark. “Music and Identity in Circuit Chautauqua: 1904-1932″ (2009), Doctoral Dissertations, Paper 714. Accessed at http://uknowledge.uky.edu/gradschool_diss/714
The Kennedy Center, Dance Symphony [Aaron Copland], accessed at http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=2087
www.ancestry.com [Arthur Zepp]
Selected List of Published Works by Arthur Thomas Zepp
All works authored, composed, or arranged by Arthur Zepp and published by Pro Art Publications, Westbury, New York, unless noted.
“Fun with an Old Tune: Reuben & Rachel,” Chicago: Clayton F. Summy
“Jeannie with the Light Brown Hair: A Contemporary Arrangement for Piano Solo,” Chicago: Clayton F. Summy
Zepp-Montague Musical Kindergarten Course, Book 1, with Frances Montague
Zepp-Montague Musical Kindergarten Course, Book 2, with Frances Montague
“A Complete Guide to Zepp-Montague Musical Kindergarten Course: Teacher’s Book,” with Frances Montague, in two books, Part A and B (Pro Bk 122 A & B)
“Musical Alphabet Book: ABC’s with Words & Music: A Play-Study Book for Young Pianists: Easy Solos with Duet Arrangements,” with Frances Montague, Cincinnati: Willis
“Musical Story Book: Six Short Stories for Children to Be Told at the Piano,” Book 1, with Frances Montague (Pro Vol 208)
“Z-M Musical Card Game,” with Frances Montague [deck of cards]
“Six Swingy Solos: Old Favorites in New Rhythms for the Young Pianist”
“Shine Boogie” (Pro pn 57)
“Let’s Improvise 1: 22 Songs in Musical Shorthand for Keyboard Arranging,” Social Music Piano Course (Pro Vol 353)
“Let’s Improvise Book 2: 22 Songs in Musical Shorthand for Keyboard Arranging,” Social Music Piano Course (Pro Vol 354)
“Let’s Learn Chords: Book 1,” chord instruction for third year pianist
“Fun with Three Chords,” Book 2
“Skyscrapers and Harps: A Very First Chord Book”
“Dixie Boogie,” piano solo (Pro pn 108)
“On My Color TV: Songs with Three Chords to Play – Sing – Color” (Pro Vol 384)
“Let’s Learn Chords Book 2,” (Social Music Piano Course, Pro Vol 423)
“Fun with Four Chords: A Piano Book for Study” (Pro Vol 424)
“Six More Swingy Solos”
“Let’s Arrange Christmas Songs”
“Let’s Play Hymns with Three Chords,” [songbook]
“Space Boogie,” piano solo
“Tidings of Christmas”
“Where Are Those Pirates Bold?,” piano solo
Arthur Zepp Social Music Piano Course: Reference Guide, 55-page miniature score.
“Let’s Transpose,” Social Music Piano Course (Pro vol 534)
“Let’s Compose a Song – A Creative Piano Book: Words without Music for Student Composition,” co-author with Esther Ragsdale, Arthur Zepp social music piano course (Pro vol 535)
“Over the River and Through the Woods,” arranged for piano solo (Pro pn, 191)
“The Arkansas Traveler,” piano solo (Pro pn, 192)
“You Tell Me Your Dream,” arranged for piano solo (Pro pn, 193)
“The Blue Danube Waltz,” arranged for piano solo (Pro pn, 194)
“Kentucky Babe,” arranged for piano solo (Pro pn, 195)
“Emperor Waltz,” arranged for piano solo (Pro pn, 196)
“Dixie,” arranged for piano solo (Pro pn, 197)
“Greensleeves (What Child Is This?),” arranged for solo piano (Pro pn, 198)
“The Glow Worm,” rhythmic arrangement (Pro pn, 199)
“Joshua Fit de Battle of Jericho,” arranged for piano solo (Pro pn, 200)
“On the Banks of the Wabash,” arrangement
“Fun with 5 Favorite Songs”
“Let’s Play Christmas Duets”
“Let’s Play Favorites”
“Let’s Play More Favorites”
“Let’s Play Christmas Carols: With Chords for Young Pianists”
“Let’s Play Christmas Favorites: For the Intermediate Pianist”
“Christmas Songs and Solos: For the Advanced Pianist”
All part of the series: Arthur Zepp Social Music Piano Course
“Arthur Zepp Piano Course: Musicianship Through Keyboard Enjoyment” (Pro vol, 1058), in six volumes: Book 1, 1965; Book 2, 1966; Book 3, 1967; Book 4, 1968
“Let’s Learn Minor Scales and Chords”
“Little Songs and Solos”
“Hava Nagila” arranged for piano
“It Really Can Happen,” with Esther Bartelson
“Just Write: Theory in Action”
“Ten Technic Tunes: Recreational Etudes based on Familiar Melodies for Technical Fluency and Contrasting Styles,” for piano (Pro Vol 1000)
“Lotus Land,” piano solo, complete at-a-glance reduced score edited by Arthur Zepp (Pro pn, 459)
“Deck the Halls with Sounds of Christmas” (Pro Vol 1411)
“Duets with More Chords; Piano Teamwork for Teacher and Young Pupil”
“December Book for Young Pianists ; Songs About Christmas ; Solos and Duets Carol” (Pro Vol 1454)
“Swivel Chair Rag,” piano solo
“Calculator Rag: A Ragtime Pastel”
“More Hymns with More Chords”
“Harmony Happenings at the Keyboard,” Book 3, “Developing Coordination” (Pro Vol 1504)