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Cubs On Parade:

The Forgotten Anthem Of The Last Cubs Dynasty

May 13, 2015, Revised February, 2017

In the first decade of the twentieth century, there was one unmatched power in all of baseball: The Chicago Cubs. The juggernaut Cubs appeared in four of the first seven World Series ever played, including three straight from 1906 through 1908. The 1906 National League Pennant-winning Cubs, despite losing the best-of-seven World Series, set a regular season record with the most wins in a single season, finishing with 116 wins and 36 losses.[1] Baseball fever gripped Chicago, and the nation, with the first-ever “Subway Series”[2] of 1906, the first where two ball clubs from the same city faced off, though it was won by the cross-town Chicago White Sox of the American League. The Cubs sustained their success through the remainder of the decade, winning the 1907 and 1908 World Series consecutively, and appearing again in the Fall Classic after winning the National League Pennant in 1910.



Many Chicagoans sought to capitalize on the rising popularity of these captivating Cubs teams, selling all manner of pennants, attire, and keepsakes, and a few enterprising local musicians joined the fray. One composition in particular, a march two-step entitled Cubs on Parade, became an anthem for the Cubs teams in the early years of the twentieth century. Since then, however, the march has been largely forgotten by modern audiences, baseball, musical, or otherwise,[3] with the exception of the title, which is occasionally referenced by local sportswriters.[4] Perhaps for reasons mystical,[5] musical,[6] or baseball-related,[7] after those early Cubs teams went on to win the 1907 and 1908 World Series, the team fell prey to its famous 108-year championship draught, waiting until 2016 to finally reward their famously-loyal fans with a third World Series Championship.

1. This single-season record has only been matched by the 2001 Seattle Mariners, who needed ten more regular season games to reach 116 wins. Major League Baseball expanded to a 162-game regular season in 1961.   Back

2. "L Series"?   Back

3. A 2008 novelty CD, sold by the Cubs in celebration of the one hundredth anniversary of their (at the time) last World Series victory, did not feature Cubs on Parade.   Back

4. If asked for their team’s theme song, most modern Cubs fans would point to 1969’s “Hey Hey Holy Mackerel,” by Johnny Frigo, or 1981’s “Go Cubs Go,” by Steve Goodman, which featured prominently in the Cubs 2016 World Series Championship run.   Back

5.  The famous “Billy Goat Curse" supposedly kept the Cubs out of the World Series  for seventy-one years, from 1945 to 2016.   Back

6. The Cubs last championship occurred in the same year the orchestra arrangement of Cubs on Parade was published. The current Cubs resurgence began with a run to the National League Championship Series in 2015, the same year that a new, updated version of Cubs On Parade was performed at the University of Illinois at Urbana-Champaign (see Part IV). One would typically surmise that this is mere correlation, rather than causation, but this is the Cubs, after all.   Back

7. More reasonable analysis of the Cubs drought leads to a variety of culprits, including, but not limited to poor farm system management, lack of pitching, and lineups constructed around the “friendly confines” of their home stadium, Wrigley Field. Theo Epstein, "Curse Breaker Extraordinaire," would finally build a team to reach the promised land, as also he did with the 2004 Boston Red Sox.   Back


Image courtesy of the Johns Hopkins University Sheridan Libraries Special Collections:

The Lester S. Levy Sheet Music Collection

As part of my Masters Thesis dissertation project at the University of Illinois, I undertook a historical investigation, and eventual re-scoring, of H. R. Hempel's Cubs on Parade March and Two-Step, a long-forgotten march celebrating the 1907 World Series Champion Chicago Cubs. This project culminated in the first performance of the march in many years, as I conducted the University of Illinois Wind Orchestra for a performance of  the re-scored version of the march on May 6, 2015. A recording is available below.

The following is a revised and abbreviated version of that thesis, which includes an description of the story surrounding the march, its composer, and the Chicago Cubs dynasty of the early twentieth century. The post then moves to discuss the music itself, and the strange indications in the original parts, seemingly referring to the action of a baseball game. Finally, an imagined "game story" is interpolated from the musical and extra-musical cues, linking the march to the 1907 World Series, Frank Chance's Chicago Cubs versus Ty Cobb's Detroit Tigers, complete with a play-by-play and box score.

Additional portions of my thesis can be read in the other posts on this site, "Fanatics, Drums, and Hired Horns," "John Philip Sousa, Ace," and "Bands and Baseball at the University of Illinois, Circa 1900." The concert program notes from the May 6, 2015 performance at the Krannert Center for the Performing Arts in Urbana, Illinois are available here.

Cubs on Parade March and Two-Step - University of Illinois Wind Orchestra
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The Chicago Cubs follow a marching band on to the field at Weeghman Park, later Wrigley Field, on Opening Day, 1916.

Image courtesy of ABC News.

Cubs on Parade was written in 1907 by Hans Hempel,[8] a German immigrant residing in northwestern Chicago, and published shortly thereafter by Thomas F. Deuther Publishing. The Deuther firm, known mainly for small piano compositions, was an offshoot of Thomas F. Deuther’s sheet music and “talking machine” store, located at 516 West Chicago Avenue.[9] Deuther also published the White Sox (March Triumphal) by T. F. Durand in the same year, obviously looking to corner both the North- and Southside novelty baseball song market.[10] The original piano score for Cubs on Parade lists two other arrangements of the march available for purchase, one for two mandolins and guitar, and the other for orchestra. The march itself is dedicated to Frank Chance, at the time the first baseman and player-manager of the Chicago Cubs, who would go on to both be immortalized in the 1910 Franklin Pierce Adams poem, “Baseball’s Sad Lexicon,”[11] and be enshrined posthumously in the Baseball Hall-of-Fame in 1946.

Cubs on Parade’s composer, Hans Hempel, was born in Germany in 1872,[12] to a family of influential industrialists;[13] Hans’ father owned a factory outside Berlin, and, according to family members, held sway with Kaiser Wilhelm II.[14] At the age of twenty, young Hans immigrated to the United States, traveling from the German port of Bremen on the passenger ship Aller, and arriving at New York’s Ellis Island on April 19, 1892.[15] Hempel then made his way to the German immigrant enclave of Chicago Illinois, settling in the northwestern portion of the city, in Chicago’s 27th ward, located just west of where Wrigley Field was eventually built a few years later.[16] Hempel married an Illinois-born daughter of German immigrants six hears his junior, Clara, and together they raised two sons named Albert, born in 1897, and Erwin, born in 1901.[17]



Though his descendants have described him as an accomplished musician, Cubs on Parade is Hempel’s only credited composition. However, one Hans Hempel, from Chicago, Illinois, is listed on a 1907 patent for a washing basin attachment, the early twentieth century version of a washing machine, in the same year that Hempel wrote his march.[18] This may or may not be the same Hans Hempel in question, as the sizable German immigrant population in Chicago may have included others with similar names, but no census records have been located to prove otherwise. Hempel would live the remainder of his life in Chicago, passing away on August 4, 1925, at the age of fifty-three.[19]

 “The Champion Double-Play Trio of 1910” from the September 5, 1910, issue of The Spokane Press. Available from the Library of Congress.

12. 1910 United States Census, s.v. “Hans Hempel,” Chicago, Cook County, Illinois.   Back

13. Hans Hempel’s grandchildren also claim that he was a relative of the celebrated soprano Frieda Hempel, an international celebrity known for her operatic and concert careers in both Europe and the United States. Gerry Hempel Davis, interview with Brian Coffill, April 3, 2015.   Back

14. According to the family, Kaiser Wilhelm sent Hans’ father a note congratulating him on the birth of his son. Gerry Hempel Davis, interview.   Back

15. Statue of Liberty – Ellis Island Foundation, “Hans Hempel.”   Back

16. 1910 United States Census.   Back

17. 1910 United States Census.   Back

18. Official Gazette of the United States Patent Office, Volume CXXI. “869,904. Attachment for Washboilers.” (Washington: Government Printing Office, 1908), 17.   Back

19. Cook County, Illinois Bureau of Vital Records, Genealogical Unit.   Back

8. Credited on the music as H. R. Hempel.   Back

9. Musical Trade Review, “Chicago’s News Budget.” Vol. XLVI, No. 13 (1908): 43.   Back

10. It was a good time for baseball songwriters; according to a list compiled by Major League Baseball’s Official Historian, John Thorn, there were fifty-four baseball songs submitted for copyright between 1858 and 1907, with an additional sixty-two between 1908 and 1920.   Back

11. “These are the saddest of possible words: / ‘Tinker to Evers to Chance.’ / Trio of bear cubs, and fleeter than birds, / Tinker and Evers and Chance. / Ruthlessly pricking our gonfalon bubble, / Making a Giant hit into a double – / Words that are heavy with nothing but trouble: / ‘Tinker to Evers to Chance.’ “ Franklin Pierce Adams, “Baseball’s Sad Lexicon.”   Back


"Piano Accompaniment" part for Cubs On Parade, arranged by Joseph Techen, 1908.

Image courtesy of the Library of Congress.

The two surviving versions of Cubs On Parade​ thus far encountered by the author include one for piano,[20] likely the original version of the work, and one for orchestra,[21] arranged by Joseph Techen,[22] and published in 1908.[23] While the orchestral version currently in the collections of the Library of Congress did not contain a copy of the score, either full or condensed, it was furnished with a copy of the piano version of the work listed as “Piano Acc.” [24] that could have potentially be used as a rudimentary score. The orchestral parts published by Techen are for an ensemble that includes the standard string instrumentation (2 violin parts, viola, cello, bass), a wind section consisting of one flute, two clarinets in B-flat, one oboe, one bassoon, two horns in F (one part), two cornets in B-flat, two tenor trombones, one bass trombone, and a percussion section of snare drum, bass drum, gong, crash cymbals, and bells.[25]

The piano accompaniment and the percussion part include references to events within a baseball game, almost a simplified “play-by-play,” leaving baseball clues that helped to unravel questions about certain unclear musical directions within the work. None of the other orchestral parts include the baseball descriptions, which could have been due to either need for clarity on the page, or possibly laziness by the publisher, as that would have required additional, complicated typesetting for sixteen more parts. Like many other published popular songs from the turn of the twentieth century, the extant parts include a wide variety of musical errors, inconsistencies, and ambiguities, so it does not seem out of the realm of possibility that the publisher chose to omit the baseball “stage directions” for faster, and potentially cheaper publication.[26]

There are surviving wax cylinder recordings of the Edison Military Band performing a version of Cubs on Parade in 1908,[27] but it is unclear if the parts they used were the existing wind parts from the orchestral arrangement, or an entirely new band transcription, possibly by Techen or another arranger.[28] Additionally, no printed band arrangements of Cubs on Parade are currently held by the Library of Congress. Also recorded by Zonophone in 1908, (Zonophone #1099), Cubs on Parade may have been the first recording made of a song referencing a specific team, rather than a specific player, or the game of baseball itself.[29]

20. A copy is currently held in the Lester S. Levy Sheet Music Collection at Johns Hopkins University in Baltimore, Maryland.   Back

21. A copy is currently posted online as part of the Baseball Sheet Music Collection of the Library of Congress; click here for the individual record for Cubs On Parade.   Back

22. Listed on the music as "Jos. Techen," Joseph was a 35-year-old German immigrant living in Chicago. See: 1930 United States Census, s.v. “Joseph Techen,” Chicago, Cook County, Illinois.   Back

23. The piano score also interestingly lists an arrangement for two mandolins and guitar, but this version has yet to surface for the author.   Back

24. "Piano Accompaniment."   Back

25. Like many marches of the era, the percussion parts were all condensed into one part, labeled “Drums.”   Back

26. Considering that the typesetting of the day was done by hand.   Back

27. Edison Wax Cylinder Record 9889, released on June 25, 1908 (see image below). For a recording, visit the Syracuse University SoundBeat Podcast.   Back

Advertisement for Edison Phonograph Cylinders, June 27, 1908, Collier’s Weekly, vol. 41, 27.

28. It was the existence of this recording that was became a major impetus for the eventual transcription of this work for the modern wind band.    Back

29. Frank Hoffmann, ed., Encyclopedia of Recorded Sound, Second Edition, vol. 1 A-L (New York: Routledge, 2005), 157.    Back


Form Chart for Cubs on Parade, Brian Coffill, 2015.

Click here for full document.

Listed on the cover as a two-step march, a very popular march style following the publication of Sousa’s Washington Post March in 1889,[30] Cubs on Parade follows basic march form as it musically describes events from an unnamed baseball game, featuring the aforementioned series of textual interjections written on the piano and percussion parts. Four, eight, and sixteen-bar phrases abound, and the three major melodies appear in to their typical march locations. Additionally, like most marches, the trio section adds a flat, modulating to the key of the subdominant, and adds a bell part to enhance the reduced winds.

By investigating the supplementary baseball play-by-play (see Cubs on Parade parts - one need only scan the piano part beginning on page 2 to follow along), one can surmise that the unnamed game described is an inning with the Chicago Cubs at bat. Written for the hometown Chicago fans, it would seem odd for the celebrations late in the march to occur for a visiting team, or for the events to occur in a foreign stadium. After the introductory fanfare, the extra-musical narration signifies an umpire yelling “Play Ball,” and the musical Cubs immediately take their place at the bat. This is problematic, as modern baseball fans are used to the home team, by rule, batting second. However, there are two potential solutions to this conundrum that would still allow the imaginary game within Cubs on Parade to take place at Chicago’s West Side Park, the precursor to Wrigley Field. The first, and perhaps simplest solution, is that the composer did not understand the game of baseball, or even ignored common practice, and simply placed the Cubs at bat first in his musical imagination. There is, in fact, historical precedent for this theory: the authors of 1908’s hit, Take Me Out to the Ballgame, Albert von Tilzer and Jack Norworth, claimed that they had never attended a baseball game prior to penning what would become an iconic American melody.[31] The second solution, however, is located in Major League Baseball’s rulebook. Rule 4.02 currently states,

The players of the home team shall take their defensive positions, the first batter of the visiting team shall take his position in the batter’s box, the umpire shall call “Play” and the game shall start.[32]

However, prior to 1950, it was the home team’s option whether to bat first or second, a statutory wrinkle that might seem odd to the modern fan.[33] This once carried strategic importance, owing to the limited number of baseballs that were used in play in the early years of the game. Unlike today’s game, where a single nick or smudge on a ball will see it removed from gameplay, and dozens of baseballs are used over the course of one game, let alone some single innings, an umpire once reused the same ball for as long as possible. By the second or third inning of use, after the ball had been hit, smashed into the dirt, altered by the pitchers, and potentially scuffed, soaked, smeared, or otherwise doctored, the ball would barely resemble its first incarnation as a pristine, white orb. Many home teams, such as the famously creative 1890s Baltimore Orioles,[34] would often choose to have the first at-bats against a clean ball, rather than bat second against a used one.[35] This may have still occurred often enough in the early years of twentieth century baseball for Hempel to find it commonplace, therefore avoiding any unnecessary issue with his imaginary batting order.

The march begins in the key of C major (B-flat major)[36] with a four-measure introduction that tonicizes the dominant of the given key signature. Fortissimo, tutti eighth notes on beats one and the and of beat two initiate the action across the entire ensemble, separated by the first example of an oft-used neighbor note motive in the melodic parts. The last two bars of the introduction are punctuated by three gong strikes, on beats one, two, and one of bars three and four, followed by a forzando bass drum hit on beat two. Both the percussion and piano parts read “Play Ball” in the next bar (see Figure 1). This seemingly odd use of a gong may refer to a contemporary practice in the early twentieth century game, wherein the umpire would strike a gong to signal the beginning of play. While this may seem strange to modern baseball fans, the practice was the norm at the time.[37] This may have served to alert the crowd to the start of play, but also may have harkened back to an even earlier rule of the game, which stated that runners, upon scoring, needed to check in at the umpire’s table, often then striking a gong, or the run would not count. Neither of these two practices still occurs in the major leagues today, although some anachronistic baseball societies do still play by “pre-modern” rules, incorporating these, and other early statues as they see fit.[38]

The march continues into the first strain, changing to a tutti piano dynamic, incorporating a delicate melody in the upper voices and a lyrical countermelody in the tenor parts.[39] This first statement remains in the dominant G major (F major), then repeats in the tonic C major (B-flat major), giving a weak cadence and the first appearance of the tonic, in measure seven. These two-bar statements form an antecedent, four-bar phrase that is followed by its consequent phrase, moving from the dominant to the tonic, ending on a weak deceptive cadence that sets up a stronger answer later in the piece. Measures nine and eleven incorporate more of the extra-musical baseball narrative, stating “Ball One” and “Ball Two,” respectively, before the melodic material reprises. This initial iteration of the first strain ends with a building, crescendoing statement, accompanied by a “Hit” by the imaginary batter, who is “Safe on First” at the recapitulation of the first strain, in measure twenty-one.

On the reiteration of the first strain, the ensemble returns at a stronger mezzo forte, and the countermelodic material in the low reeds and low brass takes the foreground, at a full forte. With a runner on first, and the material repeating, the new batter at the plate takes two straight balls, in the same corresponding musical places. However, when the music reaches the final phrase, it swells into a stronger perfect authentic cadence on the tonic, buoyed by the crowd cheering “Rah Rah Rah.”

The second strain of Cubs on Parade enters at a dynamic of piano, in contrast to the first strain, but quickly crescendos to forte in a flourish of sixteenth notes. These energetic first two bars of the new material also abruptly modulate to G major (F major), outlining the new tonic with a cadence at the climax of the crescendo. The large, block chords outlined by the tutti ensemble recede, leaving the woodwind melody to whisper a gentle subito piano melody, featuring lilting sixteenth-note triplets. Conforming to the motivic, antecedent-consequent structure of the march form, this first eight-bar phrase ends in a weak deceptive cadence, preparing an immediate restatement of similar material, this time ending in an imperfect authentic cadence on the new tonic. The second iteration of the melodic material contains additional baseball play-by-play, including “Slide Slide Slide” on each accented downbeat of measures forty-five, forty-six, and forty-seven (see Figure 3), with the crescendo acting as surrogate for the crowd, imploring the runner on first to steal second base. Three bars later, as the melody plays an ascending chromatic motif that accents the dominant, the crowd shouts “Rah Rah,” soon followed by a stronger authentic cadence on the tonic, and the exclamation “Safe on Second.” The second strain repeats, taking the action through the same process again, with the speedy base runner stealing third on the hapless, napping pitcher.

In the process of re-scoring the march, while comparing the musical instructions with the non-musical baseball text, a few contradictions came to light, and a few confusing musical instructions were clarified through the baseball text. Originally, the parts included a Del Signo al Fermata after the repeat of the second phrase, returning the musical action to measure twenty-one. From here, the recapitulation of the first strain played through until a fermata, which would serve as a pause before moving to the trio section. However, by following the baseball play-by-play, a number of game actions would be repeated, and some narrative holes would be encountered. Beginning with the recapitulation of the first strain, the baseball actions would play out as “Safe on First,” “Ball One,” “Ball Two,” “Rah Rah Rah,” “Two men on base.” With no mention of a hit or a hit batsman, the batter would not be able to take first base after merely two balls from the pitcher. Continuing on, the second strain as originally written, with repeats, has a runner sliding twice into third base.[40] Lastly, the first strain repeats again, with the exact same instructions.


In order to reconcile this illogical narrative, as well as the slightly confusing musical instructions, the Del Signo al Fermata was removed, and the repeat of the first strain added, completely written out between the second and third strains. The supertext, “Two Men On Base,”[41] was struck from its original location, to return on the last iteration of the first strain. As noted earlier, the repeated second strain now marks the base runner stealing second, and then third, on the sleeping pitcher, events that could theoretically take place during the two balls thrown earlier. The newly reiterated first strain now includes “Ball Three” and “Ball Four,” in the place of the original balls one and two. (For further reference, see "Cubs on Parade Game Story and Box Score," below.) This second recapitulation of the first strain occurs verbatim, modulating back to its original key, and cadences on the tonic before giving way to the third strain.

The trio section of Cubs on Parade, like the opening of the march, features a short, four-measure introduction that establishes the dominant of the new key, which, in this case, follows the typical rules of march style, adding a flat.[42] The tutti introduction, written at a strong forte, quickly diminuendos in the fourth bar, opening the scoring for a delicate woodwind and glockenspiel interlude. This dainty melody, augmented by added light percussion and single tuba, occurs as the batter hits a “Foul Ball.” In the original parts, the next instructions make little sense, describing “Strike One” and “Strike Two,” an impossibility if this was all happening to the same theoretical batter.

Again, in order to reconcile the extra-musical material, one needs to consider the possibilities within the baseball game. There is a strong possibility that the foul ball is a pop-up, caught by the catcher or another infielder, marking the first out of the inning. If so, that sets up dramatic tension for the rest of the inning, as the batter, now with two strikes, hits a ground ball and is thrown out at first. With base runners already on first and third, this would have to be a fielder’s choice, or the inning would have been over via double play. In our theoretical game, the presence of a runner at third base may have caused the infielders to play closer to the plate than usual, in a drawn-in formation, with the hopes of deterring the runner from attempting to score, or possibly throwing him out at home. With this reconfigured defense, the pitching team may have kept the runner on third, but without the luxury of a double play, the defense was not able to escape the inning. This play features one of the more interesting musical devices in the entire march, a unison, isolated forzando attack from the bass drum, snare drum, and cymbals, marking a literal bang-bang play at first, as the ball lands in the first baseman’s mitt (see Figure 4).

At the outset of the break strain, the brass return to a strong fanfare, as the woodwinds fly up and down a chromaticized, slurred scalar passage, adding lower voices and crescendoing as the scale descends. Forte brass provide a foundation, again continuing an extended fanfare with repeated eighth-sixteenth-sixteenth rhythms, and the excitement of the crowd is palpable. “Get There Get There” yells the crowd, on the first phrase of the break strain, as the band outlines the mediant for the entire four-bar phrase; “Hurrah Hurrah” they scream on the first phrase’s four-bar recapitulation, sequentially modulated up a minor third, outlining the dominant. Finally, after a subito piano dynamic drop, the eighth-sixteenth-sixteenth fanfare motive repeats against chromatic descending eighth-note triplets, crescendoing to forte and further reinforcing the dominant. “Home Run Home Run” yells the crowd, as three runs score and the Cubs take the lead.

Finally, as the ensemble reaches fortissimo, and the crowd’s excitement hits a fever pitch, the music begins the grandioso, an amplified repeat of the trio material, as the crowd cheers “Rah Rah Rah,” and the batters round the bases. The low woodwinds and brass present a repeat of the trio, while overhead, the flutes and clarinets present an animated obbligato that propels the music to its eventual climax, and a Cubs victory,[43] culminating in a strong perfect authentic cadence that closes the march with a rousing flourish, and a final return of the eighth-sixteenth-sixteenth motive.

30. Erich Schwandt and Andrew Lamb, "March," Grove Music Online (Oxford Music Online, Oxford University Press, accessed April 12, 2015).    Back

31. Andy Strasberg, Bob Thompson, and Tim Wiles, Baseball’s Greatest Hit: The Story of Take Me Out to the Ball Game (New York: Hal Leonard, 2008), 13.   Back

32. Official Major League Baseball Rules, 2014 Edition (New York: Major League Baseball, 2014), 32.   Back

33. Wayne Townshend, Manager of the Year?, Retrosheet, Vol. 5, No. 3, September, 1998 (Accessed via   Back

34. Originators of the famous “Baltimore Chop.” See Bill Felber, A Game of Brawl: The Orioles, the Beaneaters, and the Battle for the 1897 Pennant, (Lincoln, Nebraska: University of Nebraska Press, 2007).   Back

35. Felber, A Game of Brawl, 82.   Back

36. The original parts began in C major, but the march was transposed down a step to B-flat major, in order to better facilitate performance by wind bands. As such, each reference to a key or key signature will include the original key, as well as the new, transposed key in parentheses. Ex: C major (B-flat major).   Back

Figure 1: Percussion part, mm. 3-5, 1908 edition   Back

37. Abrams, The First World Series, 29.   Back

38. For more information on these modern “early baseball” events, visit ...or watch the video of Conan O’Brien’s famous 1864 baseball game.   Back

39. The new edition features staccato accents across the first bar and a slur in the second in order to create more textural contrast, and to incorporate more specific march style (see Figure 2).

Figure 2: Flute part, mm. 5, 2015 edition - compare to original part.   Back

Figure 3: Piano part, mm. 45, 1908 edition   Back

40.“Slide Slide Slide,” “Rah Rah,” “Safe on Third,” then repeated in exactly the same manner.   Back

41. Interestingly, “Two Men On Base” is written “Two Men On Bass” in the piano part that accompanies Joseph Techen’s 1908 orchestra arrangement. This could be due to the fact that much of the baseball vernacular was not yet codified, as can be seen in many contemporary newspaper articles, or merely an error from the musical copyist who, like the composer, may not have been intimately familiar with the game of baseball.   Back

42. The 1908 orchestra parts modulate from C to F, and the 2015 band parts from B-flat to E-flat.   Back

Figure 4: Percussion part, mm. 69, 1908 edition (mm. 86, 2015 edition)   Back

43. Game called after one inning, Cubs 3, Tigers 0. See below, "Cubs On Parade Game Story and Box Score" for both items.   Back


"A yard of the national game, Chicago baseball club, World's Champions and record breakers, winners National League pennant 1906 and 1907, World's pennant 1907"

Image courtesy of the Library of Congress.

Cubs on Parade Game Story and Box Score

With the musical score offering tantalizing clues to an imagined game (or, in this case, half-inning) of baseball, it seemed as if the logical conclusion to the entire Cubs on Parade endeavor would be to project this theoretical game onto the 1907 Chicago Cubs roster. Seeing as the march celebrated the Cubs World Series championship over the Detroit Tigers, the lineups and starting pitchers reflect a game from the 1907 Fall Classic. As mentioned earlier, in this scenario, the home team, Chicago, has elected to bat first.


  • mm. 5: Play Ball!

    • Set up by gong hit in mm. 4, which was used c. 1900 at baseball games to signify the beginning of play.[44]

    • Leadoff hitter, Jimmy Slagel (Center Field) at bat against Detroit’s Bill Donovan.

  • mm. 9: Ball One

  • mm. 11: Ball Two

    • Pitches separated by two bars? The place of play was undoubtedly faster in 1907 than it is today.

  • mm. 17: Hit

    • Grounder deep in the hole at shortstop, fielded by Charley O’Leary, thrown to Claude Rossman at first base…

  • mm. 21: Safe on First

    • Slagle on first on an infield hit, no outs.

    • Jimmy Sheckard (Left Field) comes to the plate

  • mm. 25: Ball One

    • Connected to mm. 45’s steal of 2nd base?

  • mm. 27: Ball Two

    • Connected to mm. 47’s steal of 3rd base?

  • 1st repeat:

    • mm. 45-47: Slide Slide Slide

      • Happens during mm. 25’s Ball One?

    • mm. 50: Rah Rah

    • mm. 51: Safe on Second

      • Stolen base

      • Slagel beats Schmidt’s throw, steals second base; man on second, no outs, 1-0 count [45]

  • 2nd repeat:

    • mm. 45-47: Slide Slide Slide

      • Stolen base.

    • mm. 50: Rah Rah

    • mm. 51: Safe on Third

      • Happens during mm. 27’s Ball Two?

      • Slagel beats Schmidt’s throw, stealing third base; man on third, no outs, 2-0 count

  • DS al signo (re-written musically, as a repeat to be less confusing):

    • [mm. 54: Safe on First removed from score – related to previous play.]

    • mm. 58: Ball Three (originally mm. 25 on DS al fermata, Ball One)

    • mm. 60: Ball Four (originally mm. 27 on DS al fermata, Ball Two)

      • This pitcher can’t find the plate.

  • mm. 66-67: Rah Rah Rah

  • mm. 69: Two Men on Base (originally “Two Men on Bass,” but not all baseball spellings codified yet. Possibly an error from a musical copyist?)

    • Sheckard walks; First and third, no outs; Frank Chance (First Base) at bat.

  • mm. 73: Foul Ball

    • Not sure the composer understands rules of baseball. See next pitch. This could be a pop-out to the catcher? If so, one out.

    • Chance fouls out to catcher Boss Schmidt; the runners do not advance. First and third, one out, Harry Steinfeldt (Third Base) at bat.

  • mm. 78: Strike One

  • mm. 80: Strike Two

  • mm. 86: Out at First

    • Presumably a groundout to a drawn-in Bill Coghlin at third base, who looks Slagle back, preventing him from scoring, but does not have enough time to get a double play on the advancing Sheckard. Sheckard moves to second base; Steinfeldt thrown out at first base. Men on second and third, two outs; Johnny Kling (Catcher) at bat.

  • mm. 90: Get There Get There

    • On the next pitch, batter launches ball into the air, right fielder Ty Cobb races back towards the fence to attempt a catch…

  • mm. 94: Hurrah

  • mm. 95: Hurrah

  • mm. 98: Home Run

  • mm. 99: Home Run

    • Kling hits a three-run home run, driving home Slagle and Sheckard. 3-0 Cubs. [46​]​

  • mm. 102: Rah

  • mm. 103: Rah

  • mm. 104: Rah

Chicago Cubs 3, Detroit Tigers 0


Box Score:

Chicago            AB    R    H   RBI   BB  SO LOB    AVG

Slagle, CF          1     1     1     0      0     0     0       1.000

Sheckard, LF      0     1     0     0      1     0     0        N/A

Chance, 1B        1     0     0     0      0     0     2        .000

Steinfeldt, 3B     1     0     0     0      0     0     2        .000

Kling, C              1     1     1     3      0     0     0       1.000

Evers, 2B            -      -     -       -       -     -      -           -

Schulte, RF         -      -     -       -       -     -      -           -

Tinker, SS            -      -     -       -       -     -      -           -

Overall, P            -      -     -       -       -     -      -           -

Totals                4     3     2     3      1     0     4        .500


HR: Kling (1, 1st inning, off Donovan, 2 on, 2 out).

TB: Slagle; Sheckard; Kling 4.

RBI: Kling 3 (3)

2-out RBI: Kling (3)

Team RISP: 1-for-3.

Team LOB: 4



SB: Slagle (2, 2nd Base off Donovan/Schmidt; 3rd Base off Donovan/Schmidt).


Detroit      IP   H   R   ER   BB  SO  HR   ERA

Donovan  .2    2    3    3     1     0     1     40.50

Pitches-strikes: 12-6

Groundouts-flyouts: 1-1

Batters faced: 7

44. Abrams, Roger I. The First World Series and the Baseball Fanatics of 1903. Boston: Northeastern University Press, 2003, 29:

Boston’s megaphone man, Charles Moore, announced the lineups to all parts of the field, and the appointed time had arrived. A gong sounded, and Umpire Connolly barked, “Play.” Cy Young took the mound for the Boston squad.   Back

45. Slagel had 28 stolen bases in 1907. See    Back

46. Kling had one home run in 1907, but the team leaders were tied with two (Johnny Evers and Frank Schulte). There were no home runs hit in the 1907 World Series.


Single-season National League home run leaders:

 - 1906: Tim Jordan, Brooklyn, 12

 - 1907, Dave Brain, Boston, 10

 - 1908, Tim Jordan, Brooklyn, 12    Back

Box Score
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