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2541_FM_i-vi.qxd 11/9/10 6:28 PM Page i

DH
Notes
Dental Hygienist’s Chairside Pocket Guide

Renee G. Prajer, RDH, MS

Gwen Grosso, RDH, MS

Purchase additional copies of this book at

your health science bookstore or directly
from F. A. Davis by shopping online at
www.fadavis.com or by calling 800-323-
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F. A. Davis’s Notes Book

2541_FM_i-vi.qxd 11/9/10 6:28 PM Page ii

F. A. Davis Company
1915 Arch Street
Philadelphia, PA 19103
www.fadavis.com

Copyright © 2011 by F. A. Davis Company

Copyright © 2011 by F. A. Davis Company. All rights reserved. This product is

protected by copyright. No part of it may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without written permission from the
publisher.

Printed in China

Last digit indicates print number: 10 9 8 7 6 5 4 3 2 1

Acquisitions Editor: Quincy McDonald

Developmental Editor: David Payne
Manager of Content Development: George W. Lang
Art and Design Manager: Carolyn O’Brien

Contributors: Tab 5—L. Teal Mercer, RDH, MPH; Tab 6—Sandra

D’Amato-Palumbo, RDH, MPS; Tab 7—Mark G. Kacerik, RDH, MS

Reviewers: Susan Alexander, RDH, MEd; Lisa Bilich, RDH, MS; Patricia D.
Bouman, RDH, BS, MA; Suzanne M. Edenfield, EdD, RDH; Tracy M. Gift, RDH, MS;
Wanda C. Hayes, CDA, RDH, BSDH; Harold A. Henson, RDH, MEd; Frances
McConaugh, RDH, MS; Rosalyn Word, RDH, MPA.

As new scientific information becomes available through basic and clinical

research, recommended treatments and drug therapies undergo changes. The
author(s) and publisher have done everything possible to make this book accu-
rate, up to date, and in accord with accepted standards at the time of publication.
The author(s), editors, and publisher are not responsible for errors or omissions
or for consequences from application of the book, and make no warranty,
expressed or implied, in regard to the contents of the book. Any practice
described in this book should be applied by the reader in accordance with
professional standards of care used in regard to the unique circumstances
that may apply in each situation. The reader is advised always to check product
information (package inserts) for changes and new information regarding dose
and contraindications before administering any drug. Caution is especially urged
when using new or infrequently ordered drugs.
2541_FM_i-vi.qxd 11/9/10 6:28 PM Page iii

Place 27⁄8 x 27⁄8 Sticky Notes here

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MED COMP
BASICS ASSESS MEDS PAIN ORAL DIS INSTRUM RESOURCE
PATIENTS
2541_FM_i-vi.qxd 11/9/10 6:28 PM Page iv

MED COMP
BASICS ASSESS MEDS PAIN ORAL DIS INSTRUM RESOURCE
PATIENTS

Basics
Fundamental Principles of Dental Hygiene, Dental Hygiene Ethics,
The Dental Hygiene Process of Care, Evidence Based Decision
Making, Cultural Competence, Antibiotic Prophylaxis, American
Heart Association Antibiotic Prophylactic Regimen (2007), Basic
Life Support for the Health-care Provider, Occupational Exposure
to Blood-Borne Pathogens, Infection Control, Dental Emergencies

Patient Assessment
Vital Signs, Patient/Risk Assessment, Extra-oral Examination,
Intra-oral Examination, Documenting Lesions, Dentition, Occlusion,
Malocclusion, G.V. Black’s Classification of Caries, Periodontium,
Classification of Periodontal Disease, Radiographic Survey

Medically Compromised Patients

Angina Pectoris, Anxiety Disorders, Asthma, Bleeding Disorders,
Cancer, Cardiac Arrhythmias, Cardiac Pacemaker/ICD, Chronic
Obstructive Pulmonary Disease (COPD), Congenital Heart Disease,
Congestive Heart Disease, Diabetes Mellitus, Hepatitis, HIV/AIDS,
Hypertension, Myocardial Infarction, Organ Transplant, Pregnancy,
Prosthetic Replacements: Joint, Plates, Screws, Pins; Renal Failure,
Seizure Disorder, Substance-Related Disorders, Tuberculosis

Patient Meds
Emergency Drugs, Classification of Drugs and Their Endings,
Commonly Prescribed Drugs by Classification

Pain Management
Managing Dentin Hypersensitivity, Topical Anesthesia, Local
Anesthetic Agents, Administration of Local Anesthesia, Comp-
lication Associated with the Delivery of Local Anesthesia

Oral Diseases
Red and Purple Lesions, Pigmented Lesions, Raised Papillary
Lesions, Enlargements of Soft Tissue, Ulcerative Lesions, Vesicle
Lesions, White Lesions
2541_FM_i-vi.qxd 11/9/10 6:28 PM Page v

Instrumentation
Instrument Design Characteristics, Periodontal Instrumentation,
Instrument Sharpening, Power-Driven Scaling Devices

Resources
Glossary, Common Dental Terminology, Spanish Terminology,
Web Resources, Bibliography
2541_FM_i-vi.qxd 11/9/10 6:28 PM Page vi
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 1

1
Fundamental Principles of Dental Hygiene
The foundation for dental hygiene ethics originates from our fun-
damental principles. The American Dental Hygienists’ Association
Code of Ethics for Dental Hygienists defines the fundamental
principles of our profession as follows.

Universality
The principle of universality assumes that if one individual
judges an action to be right or wrong in a given situation, other
people considering the same action in the same situation would
make the same judgment.

Complementarity
The principle of complementarity assumes the existence of an
obligation to justice and basic human rights. It requires us to act
toward others in the same way they would act toward us if roles
were reversed. In all relationships, it means considering the
values and perspectives of others before making decisions or
taking actions affecting them.

Ethics
Ethics are the general standards of right and wrong that guide
behavior within society. As generally accepted actions, they can
be judged by determining the extent to which they promote
good and minimize harm. Ethics compel us to engage in health
promotion/disease prevention activities.

Community
This principle expresses our concern for the bond between
individuals, the community, and society in general. It leads us
to preserve natural resources and inspires us to show concern
for the global environment.

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 2

BASICS

Responsibility
Responsibility is central to our ethics. We recognize that there are
guidelines for making ethical choices and accept responsibility
for knowing and applying them. We accept the consequences of
our actions or the failure to act and are willing to make ethical
choices and publicly affirm them.

Dental Hygiene Ethics

Ethics within the profession of dental hygiene is relative to
conforming to what is professionally right or wrong. Dental
hygienists are responsible for upholding the code of ethics set
forth by the professional membership of which they are affili-
ated. The core values of the profession of dental hygiene are as
follows:
■ Autonomy.
■ Guarantee self-determination.
■ Confidentiality.
■ Hold in confidence privileged information entrusted by
the patient.
■ Societal trust.
■ Ensure the trust that patients and society have in dental
hygienists.
■ Beneficence.
■ Doing good/benefit the patient.
■ Nonmaleficence.
■ Do no harm to the patient.
■ Justice/fairness.
■ Fairness and equality.
■ Veracity.
■ Truthfulness and honesty.

2
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 3

3
The Dental Hygiene Process of Care
The dental hygiene process of care provides the framework of
clinical dental hygiene practice and is a continuous cycle.
I. Assess.
Collection of both subjective and objective patient data.
II. Dental Hygiene Diagnosis.
Based on the overall assessment of the patient, the dental
hygienist will identify the patient’s oral health concerns.
III. Plan.
Treatment plan appropriate to meet the patient’s needs.
IV. Implement.
Dental hygiene services are rendered.
V. Evaluate.
Outcomes are evaluated, the patient’s needs are reassessed,
and the process of care begins again.

Evidence-Based Decision Making

To stay current in the profession of dental hygiene and provide
optimum care for patients, clinicians may employ the process of
evidence-based decision making.
■ Create a four-part PICO clinical question based on the need/
problem.
■ Patient problem or population (the problem).
■ Intervention (the plan for the patient).
■ Comparison (an alternative option).
■ Outcome (the results you plan to accomplish).
■ Complete a search to compile evidence regarding the
need/problem.
■ Clinical applicability, appraise the evidence for its
usefulness.

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 4

BASICS

■ Evaluate reliability of evidence.

■ Incorporate findings into clinical practice.
■ Evaluate the outcome.
Evidence-based decision making offers oral health-care
providers a means for supporting clinical decisions.

Cultural Competence
As oral health-care providers, it is necessary to value the impor-
tance of culture in the delivery of care. Oral and overall health
are influenced by one’s culture and values. When treating patients
of diverse backgrounds, the provider should take the following
into consideration:
■ Nonverbal communication. Direct eye contact or physical
contact may be considered disrespectful to certain cultures.
■ Verbal communication should be nonjudgmental to establish
trust.
■ Diseases/conditions that are influenced by the patient’s ethnic
background.
■ Cultural behaviors that have an impact on oral and overall
health.
■ Identifying the decision maker when discussing treatment
options.
■ Cultural influences on proposed treatment plans.
■ Beliefs/customs regarding pain management.
■ Willingness to learn about the patient’s culture and beliefs.

Antibiotic Prophylaxis
Patients with cardiac concerns and patients with total joint
replacements are at greater risk of developing infections; there-
fore, they may require antibiotic prophylaxis. The American Heart
Association (AHA) and the American Academy of Orthopaedic
Surgeons (AAOS) have set guidelines for antibiotic prophylaxis.

4
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 5

5
AAOS Recommendations for Antibiotic
Prophylaxis (2009)
Antibiotic prophylaxis is recommended for all patients who
have undergone total joint replacement.

AHA Recommendations for Antibiotic Prophylaxis

The American Heart Association recommends antibiotic prophy-
laxis during dental procedures for patients with the following
cardiac conditions:
■ Prosthetic cardiac valve.
■ Previous endocarditis.
■ Congenital heart disease only in the following categories:
■ Unrepaired cyanotic congenital heart disease, including
those with palliative shunts and conduits.
■ Completely repaired congenital heart disease with pros-
thetic material or device, whether placed by surgery or
catheter intervention, during the first 6 months after the
procedure.
■ Repaired congenital heart disease with residual defects at
the site or adjacent to the site of a prosthetic patch or
prosthetic device.
■ Cardiac transplantation recipients with cardiac valvular
disease.
! For patients who present with a cardiac condition previously
noted, the AHA RECOMMENDS antibiotic prophylaxis for the
following dental procedures:
All dental procedures that involve manipulation of gingival tis-
sue or the periapical region of teeth, or perforation of the oral
mucosa.
! For patients who present with a cardiac condition previously
noted, the AHA DOES NOT recommend antibiotic prophylaxis
for the following dental procedures:
Routine anesthetic injections through noninfected tissue;
exposing dental radiographs; placement of removable, prostho-
dontic, or orthodontic appliances; adjustment of orthodontic

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 6

BASICS

appliances; placement of orthodontic brackets; shedding of

deciduous teeth; and bleeding from trauma to the lips or oral
mucosa.
Patients who are not premedicated may receive antibiotic
coverage within a 2-hour period if unexpected bleeding occurs
and/or if during treatment the patient discloses additional
medical history information that would indicate the need for
premedication.

AHA Antibiotic Prophylactic

Regimen (2007)
Standard Oral Prophylaxis
Amoxicillin
Adult dosage: 2.0 g orally 30–60 minutes before procedure.
Child dosage: 50 mg/kg orally 30–60 minutes before procedure.

If Patient Is Unable to Take Oral Medications

Ampicillin
Adult dosage: 2.0 g IM* or IV*.
Child dosage: 50 mg/kg IM or IV 30–60 minutes before procedure.

OR

Cefazolin or Ceftriaxone
Adult dosage: 1.0 g IM or IV.
Child dosage: 50 mg/kg IM or IV 30-60 minutes before procedure.

If Patient Is Allergic to Penicillin or Ampicillin

Cephalexin**+
Adult dosage: 2.0 g orally 30–60 minutes before procedure.
Child dosage: 50 mg/kg orally 30–60 minutes before procedure.

6
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 7

7
OR

Clindamycin
Adult dosage: 600 mg orally 30–60 minutes before procedure.
Child dosage: 20 mg/kg orally 30–60 minutes before
procedure.

OR

Azithromycin or Clarithromycin
Adult dosage: 500 mg orally 30–60 minutes before procedure.
Child dosage: 15 mg/kg orally 30–60 minutes before
procedure.

If Patient Is Allergic to Penicillin and Unable to

Take Oral Medications
Cefazolin or ceftriaxone+
Adult dosage: 1.0 g IM or IV 30–60 minutes before procedure.
Child dosage: 50 mg/kg IM or IV 30–60 minutes before
procedure.

OR

Clindamycin
Adult dosage: 600 mg IM or IV 30–60 minutes before
procedure.
Child dosage: 25 mg/kg IM or IV 30–60 minutes before
procedure.

*
IM, intramuscular; IV, intravenous.
**
Or other first or second generation oral cephalosporins in equivalent
adult or pediatric dosage.
+
Cephalosporins should not be used in an individual with a history of ana-
phylaxis, angioedema, or urticaria with penicillin or ampicillin.

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 8

BASICS

Basic Life Support for the Health-care

Provider
Check Responsiveness
Call 911: Activate the emergency medical system and obtain an
automated external defibrillator (AED).
Airway
■ Open airway using the head-tilt, chin-lift, or jaw thrust in
trauma victims.
Breathing
■ Assess breathing for 5 to 10 seconds by looking for the chest
to rise and fall and listening and feeling for air from the nose
and mouth.
■ If the victim is not breathing, give two breaths (1 second each).
■ If the breath does not go in, reopen the airway and attempt
to ventilate. (If the breath still does not go in, assume airway
obstruction.)
Circulation
■ Assess pulse for 10 seconds.
■ Adult and child: carotid.
■ Infant: brachial.
■ If a pulse is present, but no breathing, provide rescue breaths.
■ Adult: 1 breath every 5–6 seconds (10–12 breaths
per minute).
■ Child and infant: 1 breath every 3–5 seconds
(12–20 breaths per minute).
■ If no pulse, begin chest compressions/cardiopulmonary
resuscitation (CPR).
Adult CPR 30:2
■ 30 compressions, 2 breaths.
■ 11/2 to 2 inches for depth of compressions.
■ 100 compressions per minute.

8
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 9

9
■ Allow full chest recoil between compressions.
■ Reassess after five cycles or approximately 2 minutes.
Child/infant CPR 30:2 one rescuer; 15:2 two rescuers
■ 30 compressions, 2 breaths one rescuer.
■ 15 compressions, 2 breaths two rescuers.
■ 1/3 to 1/2 the depth of the chest.
■ 100 compressions per minute.
■ Allow full chest recoil between compressions.
■ Reassess after five cycles or approximately 2 minutes.

Automated External Defibrillator (AED)

Early defibrillation is essential and increases the chance of sur-
vival when someone is in cardiac arrest.
■ AED should be turned on and the health-care provider will
follow the prompts of the AED unit.
■ Adhesive pads are placed as instructed.
■ All rescuers should “clear” the patient.
■ Press the analyze button, allowing the AED to determine if a
“shock is indicated.”
■ Continue with CPR as prompted by the AED until the
Emergency Medical Response team arrives.
AED Precautions
■ AED may not be indicated or effective for patients less than
1 year of age.
■ Proper pad size must be used.
■ Patient must be dry.
■ AED pads must not be placed over an implanted pacemaker
or a transdermal medicated patch.
■ Patient’s chest may need to be shaved for proper adhesion of
electrode pads.

Obstructed Airway
Early recognition of an airway obstruction is essential for a suc-
cessful outcome. An individual with a severe airway obstruction
may experience the following signs and symptoms: inability to

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 10

BASICS

speak, poor or no air exchange, increased respiratory difficulty,

cyanosis.
To relieve choking in adults and children, abdominal thrusts
are employed using quick upward thrusts.
■ Wrap your arms around the victim’s waist.
■ Place the thumb of your fist in the center of the victim’s
abdomen above the navel, yet below the breastbone.
■ Using an upward motion, provide quick abdominal thrusts
until the object is expelled from the airway or the victim goes
unconscious.
■ If the victim goes unconscious, begin the steps of CPR.

Oxygen Administration
Nasal Cannula
■ Indicated for low-flow supplemental oxygen.
■ 2–6 liters per minute/25%–40% oxygen delivery.
Face Mask
■ Indicator for moderate levels of oxygen.
■ 8–12 liters per minute/60% oxygen delivery.
Nonrebreather Mask
■ Indicated for high levels of oxygen.
■ 10–15 liters per minute/up to 100% oxygen delivery.
Bag Mask
■ Indicated for manual ventilation when patient is not
breathing/CPR.
■ 10–15 liters per minute/90%–100% oxygen delivery.

Occupational Exposure
to Blood-Borne Pathogens
In the dental setting, an exposure to blood-borne pathogens
may occur. A percutaneous (needle stick or laceration) or permu-
cosal (splatter into the eye or mucosa) exposure to blood or
bodily fluids that are potentially infectious are considered to be
significant and should follow postexposure protocol.
10
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 11

11
Postexposure Protocol
■ Express blood if possible.
■ Wash affected area thoroughly with antimicrobial soap, rinse
well.
■ Exposures to eye or mucosa should be irrigated thoroughly
with water or saline.
■ Report the incident to the designated supervisor.
■ Follow up with postexposure prophylaxis within 2 hours of
exposure.
■ With supervisor assistance, complete an incident report.
■ Follow workplace postexposure protocols and procedures.
■ Report any illness or symptoms that occur after the incident.

Infection Control
Standard precautions applied in clinical practice follow the
theory that all patients receiving treatment are considered to be
infectious.

Sterilization Methods
Chemical Vapor
Time: 20 minutes.
Temperature: 270°F/132°C.
Pressure: 20–40 psi.
Dry Heat
Time: 120 minutes; temperature: 320°F/160°C.
OR
Time: 60 minutes; temperature: 340°F/170°C.
Moist Heat (Steam Under Pressure)
Time: 15–30 minutes.
Temperature: 250°F/121°C.
Pressure: 15 psi.

BASICS
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 12

BASICS

Monitoring Sterilization
Indicator tape or markings on sterilization pouches are indica-
tive that instruments have been run through a sterilization cycle.
However, they DO NOT indicate that sterilization has been
achieved. To ensure that sterilization has occurred, biologic mon-
itoring should be performed on a regular basis.
Biologic Monitoring
Vials, ampules, or strips are packaged and run through a steriliza-
tion cycle. After the cycle is complete, the vial or ampule is placed
in an incubator. The ampule or vial will change color during incu-
bation indicating that sterilization has been achieved. The strip
organisms are cultured and indicate sterilization if no growth
occurs. Proper documentation of spore testing frequency and
results should be recorded and maintained in the dental facility.

Dental Emergencies
Emergency Symptoms Treatment
Abscess Pain, swelling, pus Antibiotics, draining
drainage of infection, root
canal treatment, or
extraction
Avulsion Tooth completely Reimplantation and
knocked out of splinting, do not
sulcus wash tooth before
reimplanting
Fracture Pain, temperature Restoration, root
sensitivity, pain canal treatment/
upon percussion crown, possible
need for extraction
Loose tooth due Mobility Splinting if tooth is
to trauma salvageable, possi-
ble need for root
canal treatment/
crown, or extraction

Continued

12
2541_Tab1_001-013.qxd 11/2/10 9:43 AM Page 13

13
Dental Emergencies—cont’d
Emergency Symptoms Treatment
Pericoronitis Swelling, soft Debridement of
tissue pain, bad area, irrigation,
taste from the area possible need for
antibiotics, and
removal of tissue
flap
Pulpitis, Pain associated Restoration
reversible with hot, cold, and/
or sweet stimuli,
spontaneous
resolution
Pulpitis, Spontaneous or lin- Root canal treat-
irreversible gering pain that is ment/crown or
difficult to isolate possible extraction
Sinusitis Sensitivity involving Saline nasal
several maxillary irrigation,
posterior teeth decongestants,
upon percussion or antihistamines,
postural change, possible need for
pain is most antibiotics
prominent in the
morning and
subsides
throughout the day

BASICS
2541_Tab2_014-041.qxd 11/2/10 11:08 AM Page 14

ASSESS

Vital Signs
Pulse, respiration, and blood pressure (BP) are vital signs that are
recorded before dental treatment. The purpose of obtaining vital
signs in the assessment phase of treatment is to determine base-
line readings, prevent emergencies from occurring, and make
appropriate referrals when deemed necessary.

Pulse
The oral health-care provider may choose to take the patient’s
pulse at the following arteries: radial, carotid, or temporal.
Pulse rate should be palpated for 1 minute and recorded. Dental
providers should assess for rate, rhythm, and strength.

Normal Pulse Rate Ranges

Age Pulse Rate (bpm)
Adult (18+ years) 60–100
Adolescent (11–17 years) 60–100
Children (1–10 years) 60–140
Less than 1 year of age 100–160
bpm, beats per minute.

Tachycardia: Pulse rate greater than 100 for adults.

Bradycardia: Pulse rate less than 60 for adults.

14
2541_Tab2_014-041.qxd 11/2/10 11:08 AM Page 15

15
Factors Affecting Pulse Rate
Increased Decreased Weak Pulse
Pulse Rate Pulse Rate Rate
Exercise Physical fitness Heart disease
Stimulants Depressants Blood clot
Stress Sleep Atherosclerosis
Alcohol Illness
Heart disease Hypothyroidism
Fever
Hyperthyroidism

Respirations
Respirations should be taken by unannounced observation of the
patient’s chest rising and falling. One respiration is equivalent to
the inhalation and exhalation of one breath.
Respirations should be counted for 1 minute and recorded.
Dental providers should assess for rate, rhythm, depth, and ease
of breaths.

Normal Respiration Ranges

Respirations
Age (breaths per minute)
Adult (18+ years) 12–20
Adolescent (1–17 years) 12–20
Children (1–10 years) 16–30
Less than 1 year of age 30–60

ASSESS
2541_Tab2_014-041.qxd 11/2/10 11:08 AM Page 16

ASSESS

Factors Affecting Respirations

Increased Respirations Decreased Respirations
Anxiety Cardiopulmonary disease
Exercise Medication
Pain
Shock
Medication

Patients who experience anxiety in the dental setting may

present with an increased respiratory rate that may lead to
hyperventilation or syncope.
Hyperventilation
Hyperventilation decreases a patient’s carbon dioxide levels as a
result of excessive intake of oxygen.
Signs and symptoms of hyperventilation inlcude the following:
■ Rapid, deep breaths.
■ Dizziness.
■ Lightheadedness.
■ Nausea.
■ Tingling in the fingers and toes.

MANAGING HYPERVENTILATION
■ Position patient upright.
■ Reassure the patient.
■ Instruct patient on diaphragmatic breathing.
■ Monitor vital signs.
■ DO NOT administer oxygen.
■ If symptoms persist summon medical assistance.
Syncope
Syncope is a common dental emergency that involves a sudden,
temporary loss of consciousness. Syncope is a result of insuffi-
cient blood flow to the brain.

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17
Signs and symptoms of syncope include the following:
■ Weakness.
■ Nausea.
■ Pale coloring.
■ Dilated pupils.
■ Cold perspiration.
■ Shallow breathing.

MANAGING SYNCOPE
■ Place patient in the Trendelenburg position (toes above the
nose).
■ Open airway.
■ Wave ammonia inhalant under patient’s nose.
■ Monitor vital signs.
■ Administer oxygen.
■ Reassure the patient.

Blood Pressure
Blood pressure is the force of circulating blood on the walls of
the blood vessels. Systolic and diastolic readings should be
obtained and recorded. The systolic reading reflects the pressure
during ventricular contraction. The diastolic reading represents
the pressure during ventricular relaxation.
! Blood pressure MUST NOT be taken on an arm with an
implanted shunt/catheter or on the same side as a mastectomy.

Blood Pressure Classifications

Adult BP Classification Systolic Diastolic
Normal <120 mm Hg <80 mm Hg
Prehypertension 120–139 mm Hg 80–89 mm Hg
Stage 1 hypertension 140–159 mm Hg 90–99 mm Hg
! Stage 2 hypertension ≥160 mm Hg ≥100 mm Hg

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Factors Affecting Blood Pressure

Increase Blood Pressure Decrease Blood Pressure
Anxiety Fasting
Exercise Depressants
Stimulants Medication
Medication

Patient/Risk Assessment
Patient assessment should include observations of the following:

Patient’s Gait
■ Balance.
■ Coordination.

Physical
■ Deformities.
■ Body build.
■ Posture.
■ Hearing aids.
■ Odors.
■ Swelling of the ankles.

Skin/Nails
■ Tattoos.
■ Lesions.
■ Scars.
■ Bruising.
■ Clubbing of the fingers.
■ Nail coloring.

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19
Facial Symmetry
■ Eyes.
■ Neck.

American Society of Anesthesiologists (ASA)

Physical Status Classification System
The ASA Physical Status Classification System was established
to determine a patient’s physical status before selecting appro-
priate anesthetics.
ASA I:
■ Patient is healthy.
■ Patient is capable of walking up a flight of stairs or two city
blocks without distress.
ASA II:
■ Patient presents with a mild systemic disease, a significant
health risk, or dental anxiety.
■ Systemic disease does not interfere with daily life.
■ Systemic disease is well-controlled.
■ Patient can walk up a flight of stairs or two city blocks but
may need to rest afterward.
ASA III:
■ Patient presents with a severe systemic disease.
■ Systemic disease interferes with daily life.
■ Systemic disease is uncontrolled.
■ Patient can walk up a flight of stairs or two city blocks but
will need to stop and rest on the way.
ASA IV:
■ Patient presents with a severe systemic disease that is life
threatening.
■ Patient is unable to walk up a flight of stairs or two city blocks.
ASA V:
■ Patient is declining and is not expected to survive.

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Risk Assessment
When obtaining a comprehensive medical history, the dental care
provider should consider the following risks before rendering
treatment:
■ Antibiotic prophylaxis.
■ Allergies.
■ Anxiety.
■ Anesthesia concerns.

■ Bleeding.

■ Chair position.

■ Drug choice.
■ Devices/prosthetics.

■ Emergency probability.

■ Follow-up questions/medical clearance.

Adapted from Little, J., Falace, D., Miller, C., & Rhodus, N. (2008). Dental Management
of the Medically Compromised Patient, 7th ed. St.Louis: Mosby/Elsevier.

Extra-Oral Examination
Total patient care includes the thorough assessment of the head
and neck region. The dental care provider should assess for
abnormalities and make appropriate referrals.
Assess: The head and neck area, skin, muscles, salivary
glands, lymph nodes, thyroid gland, clavicle, larynx, zygoma,
and the temporal mandibular joint.

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21
Muscles of Facial Expression
The muscles of facial expression are innervated by the VII (facial)
cranial nerve.

Temporalis

Frontalis
Orbicularis
oculi

Levator
Zygomaticus
labii
superioris
Masseter
Obicularis
oris
Buccinator

Mentalis
Platysma (cut)

Sternocleidomastoid

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Lymph Nodes of the Head and Neck

The lymphatic system plays a significant role in the immune
function of the body. Lymph nodes that are palpable should be
recorded, monitored, and referred.

Preauricular
Occipital
Postauricular

Facial nodes Cervical chain

Submental
Submandibular

Supraclavicular

Temporal Mandibular Joint/TMJ

The TMJ joint is responsible for articulation between the tempo-
ral bone and the mandible.
Subluxation: A dislocation due to opening the mouth too wide
resulting in the inability to close; however, the contact
between the joint surfaces remains.
Bruxism: Grinding, overuse of the muscles of mastication.
Crepitus: Noise or vibration felt when opening the mouth.
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23
Thyroid Gland
The thyroid gland is a part of the endocrine system, which
secretes hormones that control metabolism. Disorders of the thy-
roid include hypothyroidism (underactive) and hyperthyroidism
(overactive). During the extra-oral examination, the dental care
provider should assess the size of the gland (goiter: enlarged
thyroid gland), note any nodules or masses, and make appropri-
ate referrals.

Thyroid
cartilage

Thyroid
gland

Trachea

Intra-Oral Examination
Assess: Labial and buccal mucosa, salivary glands, tongue,
hard and soft palate, oral pharynx, floor of the mouth.

Lingual tonsil Epiglottis

Palatine tonsil
Sulcus terminalis
Foramen cecum

Circumvallate papillae
Median lingual sulcus
Filiform papillae

Fungiform papillae Apex of tongue

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Anterior Uvula
tonsillar
pillar
Palantine
tonsils

Dorsal
Posterior wall of surface of
oropharynx tongue

Incisive
papilla
Palatine
rugae

Median
palatine
raphe
Hard
palate

Soft
palate

Salivary Glands
The three paired major salivary glands and associated ducts
should be evaluated for secretion during the oral examination.
Parotid Gland
■ Largest salivary gland.
■ Produces 25% of salivary volume.
■ Serous secretion.
■ Saliva is secreted through the parotid duct.
■ Tissue surrounding the parotid duct is the parotid papilla.
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25
Submandibular Gland
■ Produces 60%–65% of salivary volume.
■ Serous and mucous secretion.
■ Saliva is secreted through the submandibular duct.
■ Tissue surrounding the submandibular duct is the sublin-
gual caruncle.
Sublingual Gland
■ Smallest major salivary gland.
■ Produces 10% of salivary volume.
■ Serous and mucous secretion, mostly mucous.
■ Saliva is secreted through the sublingual duct.

Parotid
salivary gland

Parotid duct

Submandibular duct

Submandibular
salivary gland
Sublingual
ducts
Sublingual
Sublingual caruncle salivary gland

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Documenting Lesions
Lesion Characteristics
Location: Document location, provide drawing on chart.
Size/dimensions: Measured in mm documenting width, height,
and depth.
Borders: Regular/irregular.
Color: Document color/s of lesion.
Texture:
■ Corrugated.
■ Crusted.
■ Papillary.
■ Fissured.
Consistency: Firm, soft, resilient.

Lesion Descriptors
Flat lesion: At the same level as the mucosa.
Depressed lesion: Below the level of the mucosa.
Macule: Lesion of color different than surrounding tissue.
Sessile base: Base as wide as the lesion.
Pedunculated base: Narrow base, stalk-like.
Fluid-filled Lesions
■ Bulla: ⱖ1 cm in diameter.
■ Vesicle: ⱕ1 cm in diameter.
■ Pustule: Contains pus.
Solid Tissue Lesions
■ Nodule: ⱕ 1cm in diameter.
■ Papule: ⱕ 5mm in diameter.
■ Tumor: ⱖ 2 cm in diameter.
■ Plaque: flat, wide slightly raised.
Assess and document the following:
If the lesion is mobile or fixed, palpable or nonpalpable, and
whether or not the patient is experiencing tenderness at the
lesion site.

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27
Dentition
Patient assessment includes a thorough examination of the
dentition.

Primary Dentition

Primary Eruption Dates

61/2 to 8 months of age Central incisors

7 to 9 months of age Lateral incisors
12 to 16 months of age First molars
16 to 21 months of age Canines
21 to 30 months of age Second molars

Permanent Dentition

Permanent Eruption Dates

(based on years of age)
Maxillary Mandibular
6 to 7 years first molar 6 to 7 years central incisor
7 to 8 years central incisor 6 to 7 years first molar
8 to 9 years lateral incisor 7 to 8 years lateral incisor
10 to 11 years first premolar 9 to 10 years canine
11 to 12 years canine 10 to 12 years first premolar
10 to 12 years second premolar 11 to 12 years second premolar
12 to 13 years second molar 12 to 13 years second molar
17 to 22 years third molar 17 to 22 years third molar

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Permanent dentition Maxillary

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

A B C D E F G H I J
Primary Maxillary
dentition
Mandibular
T S R Q PO N M L K

32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17
Permanent dentition Mandibular

Occlusion
Occlusion refers to the relationship between the maxillary teeth
to the mandibular teeth as they come together, or occlude.
Normal occlusion: All teeth in the maxillary arch are in maximum
contact with all teeth of the mandibular arch. Maxillary teeth
are slightly buccal/facial to the mandibular teeth.

Normal molar relationship:The mesiobuccal cusp of the maxillary

first molar occludes with the buccal groove of the mandibular
first molar.

Normal canine relationship: The maxillary canine occludes with

the distal half of the mandibular canine and the mesial half of
the mandibular first premolar.

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29

Normal occlusion

Malocclusion
Malocclusion is any deviation from the normal occlusion.

Angle’s Classification of Malocclusion

Class I Neutrocclusion
Molar and canine relationship is normal; however, there is mal-
position of teeth.
Class II Distoclusion
Molar relationship: Buccal groove of the mandibular first molar
is distal to the mesiobuccal cusp of the maxillary first premolar
by at least the width of a premolar.
Canine relationship: Distal surface of the mandibular canine is
distal to the mesial surface of the maxillary canine by at least
the width of a premolar.
Two divisions are included in Class II malocclusion.

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Class II Division 1
Mandible is retruded and maxillary incisors are protruded.

Class II Division 2
Mandible is retruded and one or more maxillary incisors are
retruded.

Class III Mesioclusion

Molar relationship: Buccal groove of the mandibular first molar
is mesial to the mesiobuccal cusp of the maxillary first molar
by at least the width of a premolar.
Canine relationship: The distal surface of the mandibular canine
is mesial to the mesial surface of the maxillary canine by at
least the width of a premolar.

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31
Malrelation of Teeth
Crossbite
Anterior: Maxillary incisors are lingual to mandibular incisors.
Posterior: Maxillary or mandibular posterior teeth are excessively
lingual or buccal to the norm.

Edge to edge: Incisal surfaces occlude.

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End to end: Cusp-to-cusp contact of molars and/or premolars.

Open bite: No incisal contact.

Overjet: Maxillary incisors are labial to mandibular incisors.

Overjet

Overbite: The relationship between the incisal edge of the

maxillary tooth to the facial surface of the mandibular tooth.
■ Slight: Within incisal third.
■ Moderate: Within middle third.
■ Deep: Within the gingival third.
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33

Overbite

Underjet: Maxillary incisors are lingual to mandibular incisors.

G. V. Black’s Classification of Caries

Class I
Caries in pits and fissures.
Occlusal and facial/lingual surfaces of premolars and molars.
Lingual surfaces of maxillary incisors.

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Class II
Caries in proximal surfaces of posterior teeth.

Class III
Caries in proximal surfaces of incisors and canines that do not
involve the incisal edge.

Class IV
Caries in proximal surfaces of incisors and canines that involve
the incisal edge.

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35
Class V
Caries in the cervical third.

Class VI
Caries on incisal edges or cusp tips.

Periodontium
The periodontium consists of tissues that support the teeth.
Free gingiva (marginal gingiva): Surrounding the tooth,
unattached, forming the wall of the gingival sulcus.

Free gingival groove: A linear groove that separates the free

and attached gingiva.

Gingival sulcus: The crevice between the free gingiva and the
tooth. A healthy sulcus is 1.8 mm in depth.

Junctional epithelium: A band of tissue that encircles the tooth

and forms the seal at the base of the gingival sulcus.

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Interdental gingiva (interdental papilla): An area of tissue

between two adjacent teeth.

Attached gingiva: Tissue that is bound to underlying structures.

Mucogingival junction: The area where the attached gingiva

meets the alveolar mucosa.

Alveolar mucosa: Movable tissue, loosely attached to alveolar

bone.

Alveolar bone: The portion of the maxilla and mandible that

supports the alveoli.

Gingiva

Alveolar crest

Alveolar bone

Periodontal ligament

Cementum

Gingival Descriptors
Descriptor Healthy Disease
Color Pale pink, coral, Acute: Red
melanin Chronic: Bluish red,
pigmentation cyanotic
due to ethnicity
Size Conforms to Enlarged, easily deflected
tooth Edematous, Hyperplastic

Continued
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37
Gingival Descriptors—cont’d
Descriptor Healthy Disease
Shape/contour Marginal gingiva: Marginal gingiva:
Knife edged Rounded, rolled
Papilla: Fills Papilla: Bulbous,
contact, pointed blunted, cratered
Consistency Firm Spongy: Dents when
pressed due to edema
Fibrotic: Chronic
inflammation
Hyperkeratinized: White
in appearance due to
extrinsic factors,
smoking, chewing
tobacco
Bleeding No bleeding Bleeding on probing
upon probing
Exudate None Purulent (pus)
Position Gingival margin Recession: Gingival
is 1–2 mm margin is below the CEJ
above the Enlarged gingival
cementoenamel margin: may cover 2/3
junction (CEJ) of clinical crown or
greater

Gingival health may also be influenced by systemic illness,

medications, or patient lifestyle.
In addition to documenting gingival descriptors, it also is neces-
sary to describe the extent of inflammation by using the following
terms.
Papillary: Inflammation involving the papilla.
Marginal: Inflammation involving the papilla and extending into
the free gingiva.
Diffuse: Inflammation involving the papilla, free gingiva, and
extending into the attached gingiva.

ASSESS
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Studio. [Hymn, with music] 15¢ © Lula Phillips Brown; 25Mar50;
EP45542. BROWN, MADGE KATHLEEN, 1896Getting myself in love
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Brown. © Madge Brown, d.b.a. Brown Music Pub. House, Portland,
Or.; 1Jan50; EP43650. Appl. states prev. reg. as EU1i42211.
BROWN, MARGARITE, 1915God is a searching. SEE Brown, L. P.
BROWN, MERTON LUTHER, 1913Arioso; for piano, [by] Merton
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Bruno & Son Music Pub. Co., inc., New York; 11Mar50; EP45376.
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one thing it's another; by Boudleaux Bryant. [For voice and piano,
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Paul Rovert] 50¢ © The Mello-Music Pub. Co., Winnipeg, Can. ;
26May50; EF 15520. BRYDSON, JOHN. Of a shepherd and a lamb;
two pastorals for unison voices and piano, words by William Blake,
music by John Brydson. (Francis & Day's unison and part songs,
103) 4d © Francis, Day & Hunter, ltd., London; 23Dec49; HFO-1414.
Stars of the summer night; two part song for §.A., words by Henry
Wadsworth Longfellow, music by John Brydson. (Francis & Day's
unison and part songs, 101) [With piano acc.] 4d © Francis, Day &
Hunter, ltd., London; 20Dec49; EFO-1415. A sunny shaft; two part
song, words by Samuel Taylor Coleridge, music by John Brydson.
(Francis & Day's unison and part songs, 102) [With piano acc. ] ©
Francis, Day & Hunter, ltd., London; 20Dec49; EFO-1416. BUCH, A,
Folk dance. SEE Sternberg, E. W. BUCHANAN, FANNIE R., 1875The
music and story of Fannie R. Buchanan's 4-H songs, SEE Parish, R.
M. A song of health. SEE Parish, R. M. BUCHTEL, FORREST
LAWRENCE, 1899The hunter; [for] E flat or F horn duet & piano
acc., composed by Forrest L. Buchtel. (Neil A. Kjos editions, no. D-
2705) [Score and parts] 60¢ © Neil A. Kjos Music Co., Chicago;
2Dec49; EP43766. Lift up your heads. SEE ColeridgeTaylor, Samuel.
Rhythm time for band; rhythmic development for the elementary
band, by Forrest L. Buchtel, Piano-conductor score and parts. © Neil
A. Kjos Music Co., Chicago; 23Mar50; EP46306. Two friends; [by]
Forrest L. Buchtel. (Neil A. Kjos editions, no. D-2702) Score (2 solo
instruments & piano) and parts for horns in F and alternative parts
for horns in E flat] 60¢ © Neil A. Kjos Music Co., Chicago; 2Dec49;
EP43533. BUCK, RICHARD HENRY, 1870Kentucky babe. SEE Geibel,
Adam. BUCK, RONALD, 1907Forgive me, darling; lyric by Frank
Willis, music by Ronald Buck. 35¢ © Bruce Humphries, inc., Boston;
16Jan50; EP43742. 34 Hoping; words by Bonnie C. Lannan, music
by Ronald Buck. © Cine-Mart Music Pub. Co., Hollywood, Calif. ;
15Dec48; Ep44662. Appl. states prev. reg. 22Jul46, 32397. I couldn't
be blue and dream about you; words by Franklin C. Reed, music by
Ronald Buck. © Nordyke Pub. Co., Hollywood, Calif. ; 3Jan50 (in
notice: 1949); EP45836, I just can't help loving you; words by
Wayne Vowell, music by Ronald Buck. © Nordyke Pub. Co.,
Hollywood, Calif. ; 13Jun49; EP45866. Iknow a secret. SEE Rotella,
Johnny. I'll get even blues; words by Mary Hayes, music by Ronald
Buck. © Nordyke Pub. Co., Hollywood, Calif.; 25Jun49; EP45777.
The man in the moon; words by Elizabeth Martin, music by Ronald
Buck. © Nordyke Pub. Co., Hollywood, Calif. ; 7Jun49; EP45787. No
more will I roam; words by Don R. Anderson, music by Ronald Buck.
© Nordyke Pub. Co., Hollywood, Calif, ; 260ct49; EP46529. i BUCK,
RONNIE. Mountain boys have fun with mountain girls; lyric by Leon
Pober, music by Ronnie Buck. © Bantam Music Pub. Co., Hollywood,
Calif. ; 20Jan50; EP43736. BUCKHAM, JAMES. Dwell deep. SEE
Mueller, C. F. BUDROW, MANUELA. Our Spanish serenade. SEE
Theroux, Camille. BUCHTGER, FRITZ, 1903*Drei Motetten; [by] Fritz
Btchtger. Op. 33. [Score: chorus (SSATB)] © Willy Mller,
Sfiddeutscher Musikverlag, Heidelberg; 30Jan50 (in notice: 1949);
EF0-2948. *Sieben Chdre nach Christian Morgenstern; [by] Fritz
Bichtger. Op.29. [Score: chorus (SAB)] © Willy Miller, Stiddeutscher
Musikverlag, Heidelberg; 1Dec49; EFO-2946, Spielbuch fir Ute; ein
Klavierbuch nach Kinderliedern ffir den ersten Unterricht gesetzt, von
Fritz Biichtger. [For piano, with words] © Willy Muller, Stiddeutscher
Musikverlag, Heidelberg; 20Nov49; EF0-2943. BUEGERT, CYNTHIA.
Getting myself in love again; words by Edward Laughlin, music by
Cynthia Buegert, [arr. by Madge Brown] © Madge Brown, d.b.a.
Brown Music Pub. House, Portland, Or.; 1Jan50; EP43651. Appl.
states prev. reg. as EU154105. BUENCAMINO, FRANCISCO, Sr.
Harana; serenade, piano solo by Francisco Buencamino, Sr. 60¢ ©
Theodore Presser Co., Bryn Mawr, Pa.; 21Apr50; EP45733. My soul's
lament. [Hibik fig diwa] Piano solo [by] Francisco Buencamino, Sr.
40¢ © Theodore Presser Co., Bryn Mawr, Pa.; 29May50; EP46911.
BUSING, GEORG, 1914Auch Matrosen haben eine Heimat. SEE Olias,
Lotar. BUFFUM, HERBERT, 1879-1939. The best of the trade;
composed by Herbert Buffum. Topeka, Kan., Anderson. [For voice
and piano] 15¢ © Herbert Buffum; 1Jan27; EP46747. I got it that
way; words and music by Herbert Buffum. [Close score: SATB] 15¢
© Herbert Buffum; 1Jan29; EP47411. In His pavilion; words and
music by Herbert Buffum. Topeka, Kan., Anderson Print. & Music Co.
[Hymn, with music] 15¢ © Herbert Buffum; 1Jan24; EP47410. My
heart is fixed. SEE Winsett, R. E.
 BUGATCH, SAMUEL, 1898*Israel, a dream realized; a
cantata for soli, unison chorus and narrators, by Samuel Bugatch.
[With piano acc. ] $1.50 © Bloch Pub. Co., New York; 20Apr50;
EP45952. BUGGY, SEE Konyn, Liliane, 1929BUIVYDAITES, B. AS per
nakti. SEE Banaitis, K. V. EN BUKETT SCHLAGER. SEE
Schlagerbuketten. BUKIN, ARKADIUSZ, 1896Leé piosenko. SEE
Evangeline, Sister. BULBER, FRANCIS GERARD. *Teacher activities of
the vocal school music program. 156 p. (George Peabody College for
Teachers. Contribution to education no. 406) © Bureau of
Publications, George Peabody College for Teachers, Nashville;
17Dec49; A39798. BULL, OLE BORNEMANN, 1810-1880. Siciliano e
tarantella. Siciliano og tarantella. [By] Ole Bull. [Arr. d'aprés les
manuscrits originaux (piano et partition d’orchestra) par Ola Lingé]
Paris, Ermon. [Score (violin and piano) and part] © on arrangement;
Ola Lingé; 15Dec48; EF15511. BULLOCK, WALTER, 1907Blue day.
SEE Ellstein, Abraham. What a day. Call it love. SEE Ellstein,
Abraham. What a day. Dreams ago. SEE Ellstein, Abraham. What a
day. It's a long time till tomorrow. SEE Ellstein, Abraham. What a
day. What a day! SEE Ellstein, Abraham. BULMAN, BEATRICE, Fifty
sacred songs. SEE Bach, J. S. BULTERMANN, JACK, 1898Du und eine
Frthlingsnacht. SEE Olias, Lotar. Das Geheimnis des hohen Falken.
BUMP, EDNA L 1908Tom Thumb polka; lyric by Henry B. Burkland,
music arr. by Edna L. Bump. South Carver, Mass., Tom Thumb Pub.
Co, © Edna L. Bump; 30Dec49; EP43465. Appl. states prev. reg.
30ct49, EU180529, BUNCE, MARGARET. An island song. SEE
Longmire, John. BUNNELL, ALVAS, 1910Man of sorrows. SEE Zierk,
Mildred. Thank you, Lord, for every trial. SEE Zierk, Mildred. The
harvest fields are calling. SEE Zierk, Mildred. BURDGE, GORDON,
1906Anniversary toast to my wife. SEE Robinson, J. R. BURKE,
CAROLINE. Sweet Kitty Malone from Athlone. SEE Hall, David.
BURKE, JOE, 1884Hymn of the hills; words by Paul Cunningham,
music by Joe Burke. © Broadway Music Corp., New York; 22Mar50;
EP45116, BURKE, JOHN, 1908Accidents will happen. SEE Van
Heusen, James. Mr. Music. PUBLISHED MUSIC And you'll be home.
SEE Van Heusen, James. Mr. Music. Early American. SEE Van
Heusen, James. You can change the world. High on the list. SEE Van
Heusen, James. Mr. Music. The horse told me. SEE Van Heusen,
James. Riding high. I've just got to get out of the habit. SEE Van
Heusen, James. Life is so peculiar. SEE Van Heusen, James. Mr.
Music. Someplace on anywhere road. SEE Van Heusen, James.
Riding high. Sunshine cake. SEE Van Heusen, James. Riding high.
We've got a sure thing. SEE Van Heusen, James. Riding high.
BURKHART, FRANZ, 1902Passacaglia; [by] Franz Burkhart
[Einrichtung von Karl Scheit] (Musik fir Gitarre, U. E. 11959) © on
adaptation; Universal-Edition, Wien; 13Jul49; EFO-1266, BURKLAND,
HENRY B., 1900Tom Thumb polka. SEE Bump, E. L. BURLI, ANGELO,
1895Bacancita; musique de Angelo Burli, arrangement de Albert
Lasry. Paris, R. Breton. [Piano-conductor score (orchestra) and parts.
© on arrangement; France Music Co.; 18Jul49; EF15155. Mala pata;
musique de Angelo Burli, arrangement de Albert Lasry. Paris, R.
Breton. [Piano-conductor score (orchestra) and parts] © on
arrangement; France Music Co, ; 2Feb49; EF15153. Me voy
compafieros; musique de Angelo Burli, arrangement de Albert Lasry.
Paris, R. Breton. [Piano-conductor Score (orchestra) and parts] © on
arrangement; France Music Co.; 27Dec48; EF15154. Mufiequita de
Paris; musique de Angelo Burli, arrangement de Albert Lasry. Paris,
R. Breton. [Piano-conductor score (orchestra) and parts] © on
arrangement; France Music Co.; 13May49; EF15151. Primavera;
paroles de Géo Bonnet, musique de Angelo Burli. [For voice and
piano, and voice part; French words] © Arpége, éditions musicales,
Paris; 30Sep49; EFO-1574. Puisque tu me reviens; tango chanté.
Paroles de Henri Contet, musique de Angelo Burli, [For voice and
piano, and voice part] © Arpege éditions musicales, Paris; 30Jul49;
EF0O-1190. Solitario; musique de Angelo Burli, arrangement de
Albert Lasry. Paris, R. Breton. [Piano-conductor score (orchestra) and
parts] © on arrangement; France Music Co.; 13May49; EF15152.
BURMEISER, VIKTOR, 1895Die Sonatine. SEE Scholz, E. C.
BURNETTE, LESTER ALVIN, 1911Don't you think you're wrong?
Words and music by Smiley Burnette, arr. by S. Ellison. © Rancho
Music Co., Studio City, Calif. ; 28Jun50; EP47491. Lonely rose; words
and music by Smiley Burnette, arr. by Stanley Ellison. © Rancho
Music Co., Studio City, Calif. ; 24Apr50; EP45641. Make it do; words
and music by Smiley Burnette, arr. by S. Ellison. © Rancho Music
Co., Studio City, Calif. ; 24Apr50; EP45642. No time; words and
music by Smiley Burnette, arr. by Stanley Ellison. © Rancho Music
Co., Studio City, Calif. ; 28Jun50; EP47490. BURNAM, EDNA-MAE,
1900At the carnival; for the piano, by EdnaMae Burnam. 30¢ ©G.
Schirmer, inc., New York; 31May50; EP47272. 33 The barber pole;
for the piano, with words, by Edna-Mae Burnam, 35¢ © G. Schirmer,
inc., New York; 5Jun50; EP47259. BURNIER, ROBERT. Sérénade en
passant; paroles de Paul Potron, musique de Robert Burnier. © Les
Nouvelles Editions Méridian, Paris; 15Mar50; EF0-2911. BURNS,
BOBBY. SEE Burns, Charles James, i902BURNS, CHARLES JAMES,
1902Lovestruck. SEE Walter, Serge. BURNS, JEANNE. Ho-hum, it's
spring; words by Harold Mott, music by Jeanne Burns. © Robert
Music Corp., New York; 30Mar50 (in notice: 1949); EP45187. San
Francisco sketches; modern American suite for piano, by Jeanne
Burns. $1, 25 © J. J. Robbins & Sons, inc., New York; 10Feb50;
EP44390, Sunday isn't Sunday any more. SEE Jeffries, Herb. BURNS,
JETHRO. SEE Burns, Kenneth C. BURNS, JOHN JOSEPH, 1919Clap
your hands when you're feeling blue; by Johnny Burns. [For voice
and piano, with chord symbols] © Westchester Music Co., New York;
1Jan50; EP46686. BURNS, KENNETH C. Tennessee border no. 2. SEE
Work, Jimmy. What put the pep in Grandma? SEE Foree, Mel,
BURNS, TITO, 1921You gotta bop the question; words by Johnny
Brandon, music by Tito Burns. © The Cinephonic Music Co., ltd.,
London; 13Feb50; EF0-3083. BURNS, WILFRED, pseud. SEE Harris,
Bernard, BURNTVEDT, THORVALD OLSEN, 1888Home-longing. SEE
Sateren, L. B. BURROUGHS, JOHN. Waiting. SEE Frey, Erik.
BURROW, JAMES B. The cowboy's hopes. SEE Carleton, R. L.
BURROWS, RAYMOND MURDOCK, 1905*Let's write and play; guided
home activity to insure reading skill and musical understanding when
used as a companion to The young explorer at the piano, by
Raymond Burrows and Ella Mason Ahearn. 75¢ © The Willis Music
Co., Cincinnati; 24Feb50; EP44761. Raymond Burrows piano series:
For the older beginner. [By Raymond Burrows] in collaboration with
Harry R. Wilson and D. Savino. $1 ©J. J. Robbins & Sons, inc., New
York; bk.1, 31Mar50; EP45444, [BURROWS, REX JOHN] 1903You
and me; by Frankie Russell [pseud., words by] Leo Towers [pseud.
and] Michael White. © Rex Music, ltd., London; 16Jan50; EF0-3560.
BURT, JUSTIN GUY, 1887He is my song; [by] Justin G. Burt. [Hymn,
with music] © Justin G. Burt; 8Jun50; EP47080. Light my way;
theme and title suggested by Myrtle Rice Shumate, words by Justin
G. Burt, music by J. G. Burt. [Hymn, with music] © Justin G, Burt;
8Jun50; EP47079.
 CATALOG OF COPYRIGHT ENTRIES BURTON, ELDIN,
1913(Sarabande, piano) Sarabande in G major; piano solo by Eldin
Burton. 50¢ © The Boston Music Co., Boston; 15Jun50; EP47357. A
walk in the country; piano solo by Eldin Burton. 30¢ © The Boston
Music Co., Boston; 5May50; EP46381. BURTON, MARCEAU,
1915Joyeux titi; java, musique de M. Burton & W. Staquet, arr. [by]
Leo Straal [pseud.] [Piano-conductor score (orchestra) and parts] ©
Editions musicales bruxelloises, Bruxelles; 1Dec49; EFO-1113.
Lucette; polka, [by] M. Burton & W. Staquet, arr. [by] Leo Straal
[pseud. ] [Piano-conductor score (orchestra) and parts] © Editions
musicales bruxelloises, Bruxelles; 1Dec49; EF0-1114. Manneken-Pis.
SEE Wittebols, Frangois. BURTON, VAL (The Hollywood nine o'clock
revue) Penthouse serenade. When we're alone, [from The Hollywood
nine o'clock revue] by Will Jason and Val Burton. Simplified
accordion arrangement by Alfred Mayer. 35¢ © on arrangement;
Famous Music Corp., New York; 9Mar50; EP45759. (The Hollywood
nine o'clock revue) Penthouse serenade; When we're alone, [from
The Hollywood nine o'clock revue] by Will Jason and Val Burton, arr.
by Charles Strouse. [For piano, four hands] 75¢ © on arrangement;
Famous Music Corp., New York; 28Jun50; EP47609, BURY,
WINIFRED. It was the lovely moon; song, with music by Winifred
Bury, words by John Freeman. 2/- © Paterson's Publications, ltd.,
London; 2Dec49; EF15183. BUSATTI, CHERUBINO. Dite ch'io canti;
[by] Cherubino Busatti, edited by Knud Jeppesen. (In Jeppesen,
Knud, ed. La flora. v. 1, p. 22) [For voice and piano] © on
harmonization; Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49;
EF0-2135. E tornato il mio ben; [by] Cherubino Busatti, edited by
Knud Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 2, __ p. 28) [For
voice and piano] © on harmonization; Wilhelm Hansen, musikforlag,
Copenaghen; 1Sep49; EFO-2098. Morto son io; [by] Cherubino
Busatti, edited by Knud Jeppesen. (In Jeppesen, Knud, ed. La flora.
v. 2, p. 26-27) [For voice and piano] © on harmonization; Wilhelm
Hansen, musik-forlag, Copenaghen; 1Sep49; EFO-2097. Pupillette;
[by] Cherubino Busatti, edited by Knud Jeppesen. (In Jeppesen,
Knud, ed. La flora. v. 2, p. 25) [For voice and piano] © on
harmonization; Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49;
EFO-2096. BUSBY, ROBERT. Between the scenes I; eight montages,
by Robert Busby. [Melody with instrumental cues] 6d. © Chappell &
Co., Itd., London; 18May50; EF0-3478. Between the scenes II; by
Robert Busby. [Melody with instrumental cues] 6d © Chappell & Co,,
ltd., London; 7Feb50; EFO-1904. Big city; by Robert Busby. [Melody
with instrumental cues] 6d © Chappell & Co., Itd., London; 7Feb50;
EF0-1902. Carnival; by Robert Busby. [Melody with instrumental
cues] 6d © Chappell & Co., lItd., London; 18May50; EF0-3479.
Dignity; by Robert Busby. [Melody with instrumental cues] 6d ©
Chappell & Co., Itd., London; 7Feb50; EF0-1898, Follow the sun; by
Robert Busby. [Melody with instrumental cues] 6d © Chappell & Co.,
ltd., London; 7Feb50; EFO0-1903, Orchid room; by Robert Busby.
[Melody with instrumental cues] 6d © Chappell & Co., ltd., London;
7Feb50; EF0-1866. Out of the blue; by Robert Busby. [Melody with
instrumental cues] 6d © Chappell & Co., ltd., London; 7Feb50; EFO-
1868. A refrain from Spain; by Robert Busby. [Melody with
instrumental cues] 6d © Chappell & Co., ltd., London; 22Mar50;
EFO-2553. Sign on, sign off; by Robert Busby. [Melody with
instrumental cues] 6d. © Chappell & Co., ltd., London; 18May50;
EFO0-3480, Sweet and slow; by Robert Busby. [Melody with
instrumental cues] 6d © Chappell & Co., ltd., London; 7Feb50; EF0-
1867. Taffeta and tails; by Robert Busby. [Melody with instrumental
cues] © Chappell & Co,, ltd., London; 7Feb50; EFO-1901. BUSCH,
LOU. Ivory rag; words and music by Jack Elliott and Lou Busch.
[Includes optional piano solo arr. by Lou Busch] © Ardmore Music,
Division of Capitol Publications, inc., New York; 15May50; EP46701.
BUSCH, LOUIS. With men who know tobacco best, it's women two to
one; words and music by Charles Hayes and Louis Busch. ©
Beechwood Music Corp., New York; 21Feb50; EP44525, BUSCH,
RICHARD, 1902Ich heirate nur aus Liebe. SEE Sieber, H. H. BUSCH,
WILHELM. Wer zuletzt lacht. SEE Thieme, Karl, BUSCHLE, HUBERT
FRANCIS, 1901Purcell anthem; words by Victor J. Brown, music by
Hubert Buschle. © Purcell High School, Cincinnati; 1Dec49;
EP47295. BUSER, WERNER. Wedding ring of gold. Le bonheur est
une mélodie. Lyrics by Carroll Lucas and Frank Stanton, music by
Werner Buser. [English words] © Southern Music Pub. Co., inc., New
York; 7Feb49 (in notice: 1950); EP44562, BUSH, ALAN DUDLEY,
1900*English suite; for string orchestra, op. 28 [by] Alan Bush, Full
score. 15/© Joseph Williams, ltd., London; 1Mar50; EF0-2172.
BUSH, ESTHER MUGAN, 1887Only a dream; words by Eva Pollock
Dale, music by Esther Mugan Bush. 35¢ © Bruce Humphries, inc.,
Boston; 20Apr50; EP47486. BUSH, GEOFFREY. Four pieces; for piano
[by] Geoffrey Bush, 3/- © Augener, ltd., London; 21Feb50; EFO-
2024, Nocturne; for piano [by] Geoffrey Bush, 2/- © Augener, ltd.,
London; 21Feb50; EFO-2025. Toccata; for piano [by] Geoffrey Bush.
(With his Nocturne) © Augener, ltd., London; 21Feb50; EFO-2025.
BUSH, GLADYS BLAKELY. The bargain; five-part song for mixed
voices, S.S.A.T.B., acappella. [By] Glacys Blakely Bush, [words by]
Sir Philip Sidney. (Part songs, no. 33240060) 16¢ © Oliver Ditson
Co., Bryn Mawr, Pa.; 10May50; EP46284. Sarabande; piano solo, by
Gladys Blakely Bush. 30¢ © Schroeder & Gunther, inc., Rhinebeck,
N, Y.; 3Jan50; EP43260. 36 Song of the river; three-part song or
chorus for women's voices, [by] Gladys Blakely Bush, [words by]
Charles Kingsley from The water babies. (Three-part_ songs, no.
332-40068) [With piano acc. ] 18¢ © Oliver Ditson Co., Bryn Mawr,
Pa.; 17May50; EP46704, A stately dance; piano solo by Gladys
Blakely Bush. 30¢ © Schroeder & Gunther, inc., Rhinebeck, N. Y.;
3Jan50; EP43259. BUSH, GRACE, Good news from heaven; a
Christmas carol, SA accompanied. Text by Martin Luther, music by
Grace Bush. (Harold Flammer choral series, 86079) 15¢ ©Harold
Flammer, inc., New York; 13Dec49 ; EP43161. It is a good thing to
give thanks; SATB with soprano, contralto or baritone solo, [by]
Grace Bush, arr. by Wallingford Riegger. Text from the 92nd and 93rd
Psalms. (Harold Flammer choral series, 84322) [With organ or piano
acc. ] 16¢ © Harold Flammer, inc., New York; 310ct49; EP43339.
BUSHONG, MARGARET, 1909Simple steps to smooth shifting for
violin; by Margaret Bushong. © Margaret Bushong; 1Dec49;
EP44091, BUSOLINI, EMILIO, 1910Inno a San Giusto; [by] Emilio
Busolini, [words by] E. Bortuzzo. [Score: chorus (SATB) and organ]
© Casa musicale Giuliana, edizioni Schmidl, soc, a.r.l., Trieste;
1Dec49; EFO-1975, BUSSER, HENRI, 1872Messe de Domrémy; & la
gloire de Sainte Jeanne d'Arc. [By] Henri Busser. Op.122. [Chorus
parts: SS and TB] © Durand & cie, Paris; 29Mar49; EF15094-15095.
Messe de Domrémy; 4 la gloire de Sainte Jeanne d'Arc [op. 122] et
Deux antiennes [op. 123] ad libitum pour la féte de Sainte Jeanne
d'Arc. [By] Henri Busser. [Score (chorus (SSTB) 4 trumpets an
organ) and parts for trumpets] © Durand & cie, Paris; 8Apr49;
EF15122, (Messe de Domrémy) Deux antiennes; pour la féte de
Sainte Jeanne d'Arc. [From Messe de Domrémy. By] Henri Busser.
Op.123,. [Chorus parts: SS and TB] © Durand & cie, Paris; 29Mar49;
EF15089-15090. BUSZIN, WALTER EDWIN, 1899Be our guide
through life, dear Lord. SEE Bach, J. S. Dear Christians, one and all
rejoice. SEE Bach, J. S. The Lamb that was slain for us, SEE Bach, J.
S. Ich hatte viel Bekimmernis. O whither shall I flee? SEE Bach, J. S.
Six chorales harmonized by Johann Sebastian Bach. SEE Bach, J. S.
Why art thou cast down, O my spirit? SEE Bach, J. S. Ich hatte viel
Bekimmernis. BUTLER, RALPH. Singing beside the sea. SEE Littman,
Michael. There's a lovely lake in Loveland. SEE Evans, Tolchard.
What a pity! what a shame! SEE Littman, Michael. BUTTOLPH, EDNA
GIBSON. Sing a song of action, SEE Norman, Ruth. BUTZKE,
MARGARET, My secret love. SEE Hall, David.
 BUXEUIL, RENE DE. Close your pretty eyes. Ferme tes jolis
yeux; berceuse, paroles de Virgile Thomas et R. de Buxeuil, musique
de René de Buxeuil. English lyric by Kermit Goell. © Hudson Music
Corp., New York; 23Feb50; EP44421. BUYS, PETER, 1881*Cavalier;
overture, by Peter Buys. (Symphonic band series, no, 32) [Score and
parts] $8.50 © Ludwig Music Pub. Co., Cleveland; 29Mar50;
EP45321. BUZZACCHI, IGINO, 1898(Tragedia sul Pacifico)
Settembre; valzer lento, dal film Tragedia sul Pacifico, parole di
Puricelli, musica di Buzzacchi. [Piano-conductor score: orchestra,
with words] © Italmusica, Milano; 1Jan50; EFO-2014. (Tragedia sul
Pacifico) Stanotte saprai; moderato swing, dal film Tragedia sul
Pacifico, parole di Pinchi [pseud. ], musica di Buzzacchi. [Piano-
Conductor score: orchestra, with words] © Ital-musica, Milano;
1Jan50; EFO2013. BUZZOLENI, GIOVANNI. (Lontananza) Si che
morte; [aria dalla cantata Lontananza. By] Giovanni Buzzoleni,
edited by Knud Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 1, p.
72-74) [For voice and piano] © on harmonization; Wilhelm Hansen,
musikforlag, Copenaghen; 1Sep49; EF0-2152. (Sogno) Non fuggirai;
[recitativo ed aria della cantata Sogno. By] Giovanni Buzzoleni,
edited by Knud Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 2, p.
40-42) [For voice and piano] © on harmonization; Wilhelm Hansen,
musikforlag, Copenaghen; 1Sep49; EFO-2103. (Suplica amorosa)
Volgimi, o cara Filli; [principio della cantata Suplica amorosa. By]
Giovanni Buzzoleni, edited by Knud Jeppesen. (In Jeppesen, Knud,
ed. La flora. v. l, p. 68-71) [For voice and piano] © on
harmonization; Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49;
EFO-2151. BYERS, ELSIE BIRT. Rainbow of roses. SEE Benson, Roy.
BYHMAR, GOSTA. SEE Sonoras sommarrevyalbum. BYNNER,
WITTER, 1881Beloved stranger. SEE Babin, Victor. BYRD, CH., pseud.
SEE “ Schleich, Ernest, 1894BYRD, WILLIAM, 1542 or 3-1623. *
(Works) The collected vocal works of William Byrd; edited by
Edmund H. Fellowes. © on editing & arranging; Stainer & Bell, ltd.,
London; v, 13-15, TNov49; v. 16-17, LONov49; EF0-2385, 2384,
2383, 2382, 2381. BYSTROM, AXEL. H&rliga stad; av Axel Bystr6m.
[For 1-2 voices and piano, with chord symbols] Kr.2:- © A.-b, Carl
Gehrmans musikf6rlag, Stockholm; 16Feb50; EF0-2619. Livets land;
text och musik: Axel Bystrém. Piano med gitarranalys. kr, 2:©
Sonora musikf6rlags a.-b., Stockholm; 1Jan48; EF 15282. Cc C., M.,
es SEE Elkan, Henri. CAB, MARC, pseud. SEE Cabridens, Marcel
Eugene. CABLE, HOWARD. Music in my heart; music by Howard
Cable, words by Leslie R. Bell. 50¢ © Canadian Music Sales Corp.,
ltd., Toronto; 23Feb50; EF0-2730. PUBLISHED MUSIC CABRIDENS,
MARCEL EUGENE. A l'américaine. SEE Lopez, Francisco. La belle de
Cadix. La chanson des camélias. SEE Padilla, José. Symphonie
portugaise. Chanter. SEE Lopez, Francisco. La belle de Cadix. Chaque
nuit une étoile. SEE Padilla, Jose. Symphonie portugaise. Le dernier
chant de mon coeur. SEE Padilla, José. Symphonie portugaise.
Espafiita. SEE Sentis, José. Madona mia. SEE Padilla, José.
Symphonie portugaise. Partir sur les routes du monde. SEE Padilla,
José. Symphonie portugaise. Pleure mon coeur, SEE Padilla, José.
Symphonie portugaise. Premier recueil de l'opérette Symphonie
portugaise. SEE Padilla, José. Symphonie portugaise. La saison des
violettes, SEE Padilla, José. Symphonie portugaise. Un seul jour. SEE
Malderen, Edouard van. Symphonie portugaise. SEE Padilla, José.
CACCINI, FRANCESCA, b. 1581. *(La liberazione di Huggier9) La
liberazione di Ruggiero dall' isola d'Alcina; a balletto by Francesca
Caccini. Edited by Doris Silbert. (Smith College music archives, no.7)
[Piano-vocal score] © on corrections, realization of figured bass &
editing, The Trustees of the Smith College, Northampton, Mass,;
20Mar45; EP47406. CACCINI, GIULIO. Al fonte, al prato; [by] Giulio
Caccini, edited by Knud Jeppesen. (In Jeppesen, Knud, ed. La flora.
v. 3, p. 6) [For voice and piano] © on harmonization; Wilhelm
Hansen, musik-forlag; Copenaghen; 1Sep49; EF0-2038. Amarilli;
[by] Giulio Caccini, poesia: Gio. Batt. Guarini. Edited by Knud
Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 1, p. 12-13) © on
harmonization; Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49;
EF0-2130. Amor, ch'attendi; [by] Giulio Caccini, edited by Knud
Jeppesen. (In Jeppesen, Knud, ed. Laflora. v. 3, p. 4) [For voice and
piano] © on harmonization; Wilhelm Hansen, musik-forlag,
Copenaghen; 1Sep49; EF0-2036. Aur' amorosa; [by] Giulio Caccini,
edited by Knud Jeppesen. (In Jeppesen, Knud, ed. Laflora. v. 3, p. 5)
[For voice and piano] © on harmonization; Wilhelm Hansen, musik-
forlag, Copenaghen; 1Sep49; EF0-2037. Deh, dove son fuggiti; [by]
Giulio Caccini, edited by Knud Jeppesen. (In Jeppesen, Knud, ed. La
flora. v. 1, p. 10-11) [For voice and piano] © on harmonization;
Wilhelm Hansen, musik-for lag, Copenaghen; 1Sep49; EF0-2129.
Fere selvaggie; [by] Giulio Caccini, poesia: Francesco Cini. Edited by
Knud Jeppesen, (In Jeppesen, Knud, ed, La flora. v. 1, p. 8-9) © on
harmonization; Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49;
EF0-2127. O, che felice giorno; [by] Giulio Caccini, edited by Knud
Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 3, p. 3) [For voice and
piano] © on harmonization; Wilhelm Hansen, musik-forlag,
Copenaghen; 1Sep49; EF0-2035. Occh' inmortali; [by] Giulio Caccini,
poesia: Ottavio Rinuccini. Edited by Knud Jeppesen. Jeppesen, Knud,
ed. La flora. v. 1, p. 10) © on harmonization; Wilhelm Hansen,
musik-forlag, Copenaghen; 1Sep49; EF0-2128. 37 Udite amanti; [by]
Giulio Caccini, poesia; Ottavio Rinuccini. Edited by Knud Jeppesen.
(In Jeppesen, Knud, ed. La flora. v. 1, p. 7) © on harmonization;
Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49; EF0-2126.
CACERES, EMILIO. Ciegamente; letra de Angelina Sandoval, miisica
de Emilio Caceres. © Peer International Corp., New York; 18May50;
EP47221. Olvidate de mi; letra de Angelina Sandoval, muisica de
Emilio Caceres. © Peer International Corp., New York; 13Mar50;
EP45396. [CADALEN, FRANCK] La pipeta; samba guaracha, letra de
Tortiluna Doddy [pseud. ], musica de José de Clana [pseud.] (With
Sentis, José. Gaditana) [Piano-conductor score (orchestra, with
words) and parts] © Julio Garzon, Paris; 30Dec49 (in notice; 1950);
EF0-2515, CADICAMO, ENRIQUE. Entre sombras. Dans l'ombre;
bolero, [by] Enrique Cadicamo, arrangt. de Pedro Diaz [pseud.]
[Piano-conductor score (orchestra) and parts] © Julio Garzon, Paris;
31Dec49 (in notice: 1950); EFO-2510. Montparnasse. SEE
Deambrogio, Juan. CADOU, ANDRE PIERRE, 1885Snow-waltz. Valse
de la neige. [By] André Cadou. [Paris, R. Breton] [For piano] ©
France Music Co.; 3Jan50; EF15445, CADZOW, DOROTHY, 1916- /
Golden dawn; for medium voice, poem by Marjorie Pickthall, music
by Dorothy Cadzow. 60¢ © BMI Canada ltd., Toronto; 30Dec49;
EF15015. [CAFFOT, SYLVERE VICTOR JOSEPH] 1903Ca c'est le coeur
de Paris; paroles de Léo Leliévre, fils, musique de René Sylviano
[pseud.] © Editions Salabert. Paris; 14O0ct49; EF0-1324.
CAGNACCI, MARCELLO, 1897Un! eredita’ bizzarra; operetta comica
in due atti, per soli maschi. Parole e musica di Marcello Cagnacci.
[Pianovocal score] © Ditta R. Maurri, Firenze; 10Mar50; EF0-2751.
CAHAN, JULES, 1912Dans les fleurs, dans les choux, dans les
pommes; paroles de Louis Poterat, musique de ypcques Cahan &
Joseph Colombo. © Editions Salabert, Paris; 21Mar50; EF0-2834.
Malambd; tango malambd, paroles frangaises et espagnoles de
Framique [pseud.], musique de Jacques Cahan et Joseph Colombo.
© Editions Salabert, Paris; 14Mar50; EF0O-2831. CAHARD, ANDRE,
1918Anémone; de André Cahard & L. Lunazzi. (With Colombo, Breen
La lombarda) [Parts: orchestra] © Editions L. Lunazzi, Paris;
24Apr50; EF0-3076. Rosa; [java], musique de André Cahard. Epa
copancier Score (orchestra) and parts] © Editions F. Grare, Paris;
30Mar50; EF0-2815. Sultane. SEE Baraldi, Ernest. Tyrojava; java
\yrolienne, musique de Andee Cahard. [Ports: orchestra] © Editions
F, Grare, Paris; 30Mar50; EFO-2814. CAHILL, RITA. SEE Singing
words.
 CATALOG OF COPYRIGHT ENTRIES CAHN, SAMUEL, 1913-
CALIBI. Always leave them laughing; words and music by Milton
Berle and Sammy Cahn. [From the picture] Always leave them
laughing. © Remick Music Corp., New York; 27Dec49; EP43458. Can
I come in for a second? Words and music by Sammy Cahn, © Sam
Weiss Music, inc., New York; 1Mar50; EP44641. Appl. states prev.
reg. 15Dec48, EU151001. Go to sleep, go to sleep, go to sleep. SEE
Spielman, F. F. I believe. SEE Styne, Jule. It happened in Brooklyn.
Kisses and tears. SEE Styne, Jule. It's only money. Melancholy
rhapsody. SEE Heindorf, Ray. Young man with a horn. CAIAZZO,
RALPH. Till I found you; by Ralph Caiazzo. [Piano arr, by Thayer
Walthall] [For voice and piano, with chord symbols] © Wyner Music
Publishers, New York; 20Feb50; EP44716, CAILLAT, JEAN, 1911Ay
ma maémy. SEE Vandenbosch, H. CAILLETEAU, RENE JEAN,
1888J'espere faire mieux. SEE Prud'hon, Angéle. CAILLIET, LUCIEN,
1891The Bohemian girl. SEE Balfe, M. W. Romantic tone poem; [by]
Lucien Cailliet. [Condensed score (band) and parts] $6.50 © Elkan-
Vogel Co., inc., Philadelphia; 2Jun50; EP47010. CAIN, NOBLE,
1896All hail the power of Jesus! name; by Noble Cain, arr. and
edited for mixed chorus, S.A.T.B., [words by Perronet and Rippon]
(Choruses for general use, no. R134) [With piano or organ acc. ] 18¢
© Choral Art Publications, New York; 3Jul50; EP47603. The bulldog;
TTBB accompanied, old college song arr. by Noble Cain. (Harold
Flammer choral series, 82149) 16¢ © on arrangement; Harold
Flammer, inc., New York; 13Dec49; EP43172, Chorus of joy. SHE
Beethoven, Ludwig van. Symphony, no. 9. Deep river; for mixed
chorus, with optional accompaniment. Negro spiritual arr. by Noble
Cain. (Harold Flammer choral series, 81187) 16¢ © on arrangement;
Harold Flammer, inc., New York; 310ct49; EP43344, Flow gently,
sweet Afton. SEE Spilman, J. E. He, watching over Israel. SEE
Mendelssohn-Bartholdy, Felix. Elias, Ho! every one that thirsteth,
SEE Martin, G. C, Hodie Christus natus est. SEE Sweelinck, J. P. I
love Thy kingdom, Lord; from Williams Psalmody, 1770, hymn tune
St. Thomas, arr. by Noble Cain. [Words by] Timothy Dwight. (Harold
Flammer choral series, 84323) [Score: chorus (SSAATTBB) and piano
or organ acc,] 16¢ © on arrangement; Harold Flammer, inc., New
York; 310ct49; EP43341, I will extol Thee. SEE Tye, Christopher.
Praise ye the Lord. SEE Franck, C, A. That old-fashioned song; for
mixed voices with baritone solo, [by] Noble Cain. (Harold Flammer
choral series, 81186) (With optional piano acc.] 25¢ © Harold
Flammer, inc., New York; 310ct49; EP43337, Thy judgments are a
great deep; for mixed voices, accompanied. [By] Noble Cain, [words
from] Psalm 36:5-9. (Harold Flammer choral series, 84336) 20¢ ©
Harold Flammer, inc., New York; 13Dec49, EP43167. To music; for
mixed voices, a cappella, by Noble Cain, [words by] Robert Herrick.
(Harold Flammer choral series, 81188) 16¢ © Harold Flammer, inc.,
New York; 13Dec49; EP43173. CAIRE, ARTHUR ADOLPH, 1900I've
loved you secretly; by Arthur Caire. Albany, Arca Music House. [For
voice and piano, with chord symbols] © Arthur A. Caire; 5Jun50 (in
notice: 1949-1950); EP47614, CAIRO, PABLO. Miya que viva 'E";
guaracha, letra y musica de Pablo Cairo, arr. de Juan E. Lazaga.
[Piano-conductor score (orchestra) and parts; with words] 50ctvs. ©
Peer y Compafiia, s. l., Habana; 30Dec49; EFO-1285. El pipisigallo;
son-mambo, letra y miisica de Pablo Cairo, arr. de Juan E. Lazaga.
[Piano-conductor score orchestra) and parts; with words] $0.50 Peer
y Cia., s.l., Habana; 28Dec49; EF0-1934, Puerto de Santa Maria;
mambo, letra y mfisica de Pablo Cairo, arr. de Juan E. Lazaga.
[Piano-conductor score (orchestra) and parts; with words] $0.50 ©
Peer y Cia., s.1., Habana; 27Apr50; EFO-3582. Ya se pein6 Marfa;
guaracha, letra y mfsica de Pablo Cairo, arr. de Juan E. Lazaga.
[Piano-conductor score (orchestra) and parts; with words] $0.50 ©
Peer y Compafiia, s.1., Habana; 7Mar50; EF0-2708, CAJARAVILLE,
ARMANDO. Me ensefiaron a querer; bolero, letra y miisica de
Armando Cajaraville, arr. de Juan E. Lazaga. [Piano-conductor score
(orchestra) and parts; with words] $0.50 © Peer y Cia., s.l., Habana;
27Feb50; EFO-1932, CALDER, GEORGE, 1914Twilight time in Texas.
SEE Mulé, Louis. CALDER, RAY, 1903Nothing so lovely. Vivons un
réve. Words and music by George Taylor & Ray Calder [Paroles
frangaises de Mimi Forestier, pseud.] 50¢ © Starview Music Pub. Co.,
Toronto; 24Apr50; EF0-2995. CALDWELL, C. B., 1921Men of O.V.C.
SEE Kenney, Bill. CALE, JOHNNY. Eskimo kiss polka. SEE Navarre,
Ted. CALESTANI, VINCENZIO. Accorta lusinghiera; [by] Vincenzio
Calestani, edited by Knud Jeppesen, (In Jeppesen, Knud, ed. La
flora. vy. 1, p. 17) [For voice and piano] © on harmonization;
Wilhelm Hansen, musik-forlag, Copenaghen; 1Sep49; EFO-2132.
Ferma, Dorinda mia; [by] Vincenzio Calestani, edited by Knud
Jeppesen. (In Jeppesen, Knud, ed. La flora. v. 3, p. 13) [For voice
and piano] © on harmonization; Wilhelm Hansen, musikforlag,
Copenaghen; 1Sep49; EF0-2044. CALHOUN, A T 1885Look up;
words and music by A. T. Calhoun, arr. by Virginia Davis. Chicago,
Jackson Music Studio. [Hymn, with music] 15¢ © Rev. A. T. Calhoun
(in notice: Elder A. T. Calhoun); 28Jan50; EP47476, 38 Stasera,
bebop! SEE Soffici, Piero. CALL, REX, 1907- . That's Texas over
there. SEE Call, Ruth. é CALL, RUTH, 1925That's Texas over there;
music by Ruth Call, words [by] Rex [Call], arr. by Bernie Kaai Lewis.
© Clef Music Publishers, Hollywood, Calif.; 1Mar50; EP45231.
CALLAWAY, A BERTONE. From heaven to me; words and music by A.
Bertone Callaway. © Nordyke Pub. Co., Hollywood, Calif.; 6Sep49;
EP46522. CALLERSTEN, E. Nisse sj6man. SEE Bergstrém, Gulli.
CALMON, PIERRE, 1898- _ Le chant des bongos. SEE Léardée,
Ernest. Douceur d'un beau réve. SEE Léardée, Ernest. Massamba.
SEE Léardée, Ernest. Réver d'un baiser. SEE Léardée, Ernest.
CALVOCORESSI, M. D. Deux poeémes. SEE Poniridy, Georges.
CALZELLI, A La bella Fréghéro; canzone danza andalusa. Parole: §.
Glorioso, musica: A. Calzelli. Roma, Peri. [Piano-conductor score
(or= chestra) and parts; with words] © Italian Book Co. ; 50ct49;
HFO-1081. La Fréghéro; samba brillante, musica di A. Calzelli. Roma,
Edizioni musicali Peri. (With Bianco. La samba di don José) [Piano-
conductor score (orchestra) and parts] © Italian Book Co. ; 50ct49;
EFO-1082. Torno a te; canzone valzer di A. Calzelli; parole di
Glorioso. Roma, Peri. [Piano-conductor score (orchestra) and parts;
with words] © Italian Book Co. ; 5Oct49; EFO-1085. CAMACHO,
JOHNNIE, 1916Serenade. SEE Romberg, Sigmund. The student
prince. CAMARA, BRAZELINA. No ceu, com Jesus eu morarei;
composto por Antonio Leal, musica por Brazelina Camara. [Close
score; SATB] © Antonio Leal; 6Apr50; EP45524. 4 ; CAMARA, JUAN
ANTONIO, 1917(Suite, flute, clarinet & bassoon) Suite; flauta,
clarinete y fagot [by] Juan Antonio CAamara. Montevideo, Editorial
Cooperativa Interamericana de Compositores. (Publicacién no. 44)
[Score] © Instituto Interamericano de Musicologia; 27Dec45;
EF15056, CAMARASA, JEAN, 1903Caria! Paso-doble [by] Jean
Camarasa. [Piano-conductor score (orchestra) and parts] © Julio
Garzon, Paris; 20Apr50; EF0-3802. CAMARASA, JUAN. Guitarra
espafiola; paso doble, letra y miisica de Juan Camarasa. © Reinbert
CAMBI. Son geloso. SEE Baratta, E. CAMILIERI, LORENZO,
1885Christmas dawn; for solo and chorus of mixed voices, [by] L.
Camilieri, [words by] Grace Lord. [With piano acc.] © Lorenzo
Camilieri, New York; 31May50; EP47002,
 CAMINO, JAIME, 1915Oh, Maria; Samba, [by] Jaime
Camino, deutscher Text [by] Giinther Schwenn, Arrangement [by]
Fried. Schr&der. [Piano-conductor score (orchestra, with words) and
parts] © Tempoton-Verlag Hans Sikorski, Hamburg; 20Dec49; EF0-
1732. CAMPBELL, CECIL ROBERT, 1911No where, no time, no place;
words and music by Cecil Campbell. © Peer International Corp., New
York; 29Dec49; EP44576. CAMPBELL, JOHN EDWARD, Varied
harmonies to well-known hymn tunes for unison singing; by John E.
Campbell. [For organ] 3/- © A. Weekes & Co., ltd., London; bk.3,
16Nov49; EFO-2504. CAMPBELL, JOSEPH. The blue hills of Antrim.
SEE Deale, E. M. The old woman. SEE Roberton, H. S. CAMPBELL,
LUCIE EDITH. He understands, He'll say well done; [by] Lucie E.
Campbell. Memphis, Campbell & Williams. [Close score: SATB;
shape-note notation] © Lucie Edith Campbell and Countee Robert
Williams; 29May50; EP47509. Appl. states prev. reg. 8Mar50,
196388. Looking to Jesus; words and music by Lucie E. Campbell.
Memphis, Campbell & Williams. [Hymn, with music] 15¢ © Lucie
Edith Campbell & Countee Robert Williams; 29May50; EP47507.
Something within; words & music by L. E. Campbell. Memphis,
Campbell & Williams. [Close score: SATB] © Lucie Edith Campbell
and Countee Robert Williams; 25May50; EP47506. Appl. states prev.
reg. 8Mar50, 196389. Touch me, Lord Jesus; words and music by
Lucie E. Campbell. Memphis, Campbell & Williams. [Hymn, with
music] © Lucie Edith Campbell and Countee Robert Williams;
29May50; EP47510. Appl. states prev. reg. 8Mar50, 196387. When I
get home; words and music by Lucie E. Campbell. Memphis,
Campbell & Williams. [For solo voice and chorus] 20¢ © Lucie Edith
Campbell and Countee Robert Williams; 29May50; EP47508.
CAMPBELL, ORVILLE BENTLEY, 1920I could paint a picture of you.
SEE Beebe, H. H. “ CAMPBELL, ROVILLA, 1900Don't neglect your
parents; by Rovilla Campbell. An Art Melody arrangement. Chicago,
Art Melody Studios. [For voice and piano, with chord symbols] ©
Rovilla Campbell; 28Feb50; EP44629. CAMPBELL, WISHART NEIL
MUNRO, 1906O blessed wedding day. SEE BarnhamKappey, C. G.
Sweetheart of mine; words by Harold Walker [pseud.], music [by]
Neil Munro [pseud.] 50¢ © Canadian Music Sales Corp., ltd.,
Toronto; 20Apr50; EFO0-3681, CAMPBELL-WATSON, FRANK,
1898Begin the beguine. SEE Porter, Cole. Jubilee. The birch tree.
SEE Stone, Gregory. The child asleep. SEE Korngold, E. W.
Univerg&nglichkeit. Clarinet polka; Polish folk song, arr. by Douglas
MacLean [pseud. ] for clarinet and piano. [Score and part] 60¢ © on
arrangement; Remick Music Corp., New York; 3Jan50; EP43455. In a
monastery garden. SEE Ketélbey, A. W. PUBLISHED MUSIC Jesu, joy
of man's desiring. SEE Bach, J. S. Herz und Mund und That und
Leben. Just a memory. SEE Henderson, Ray. Lover, cOme back to
me. SEE Romberg, Sigmund. New moon. My regards. SEE Llewellyn,
Edward. Romany life. SEE Herbert, Victor. The fortune teller. The
Rose of Tralee. SEE Glover, C. W. The daughter of Rosie O'Grady.
Silver moon, SEE Romberg, Sigmund. My Maryland. Stop dat buzzin'.
SEE Mitchell, R. E. A tribute to Romberg. SEE Romberg, Sigmund.
Vanka 'n' Tanka. SEE Dargomyzhskil, A. S. CAMPESE, G Non so
perche'; ritmo lento, di G. Campese. [Words by] Corrado della Gatta.
Roma, Didniso, [Piano-conductor score (orchestra) and parts; with
words] © Italian Book Co.; 4O0ct49; EFO-1074. CAMPO, ALEX.
Piérdete; letra y mfisica de Pupi y Alex Campo. © Peer International
Corp., New York; 31May50; EP47220. CAMPO, PUPI. Piérdete. SEE
Campo, Alex. CAMPORI, Mariolita; canzone valzer popolare. Parole e
musica di Faccilongo - Campori, [arrto.] diG. B. Conti. Roma, Dioniso,
(With Frandi, L. (La ribelle del sud) Piccola ribelle) [Piano-conductor
score (orchestra, with words) and parts] © Italian Book Co. ;
4Oct49; EFO-1079. CANALES, CARY c6mMeEz DE. SEE Gémez de
Canales, Caridad Rosa, 1911CANARO, FRANCISCO, 1888Yo también
sofie. SEE Canaro, Rafael. CANARO, RAFAEL, 1890Yo también soné;
[Aprés un réve]; tango, [by] Rafael et Francisco Canaro, [paroles
espagnoles de Amadori, paroles frangaises de Henri Doucet] [Piano-
conductor score (orchestra, with words) and parts] © Julio Garzon,
Paris; 30Dec49 (in notice: 1950); EFO-2437. CANDLYN, T
1892Benedictus es, Domine; in A minor, four part mixed voices,
S.A.T.B. Text from the Apocrypha, music by T. Frederick H. Candlyn.
(The Witmark sacred choral library, 5-W3399) [With organ acc.] 18¢
© M. Witmark & Sons, New York; 9May50; EP46612. O God,
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