He gave us wings of steel. YU

ALL ABOVE
(Aviamarch)

Music by Yuli Hayt
Words by Pavel German

We were born to make a fairy tale come true
Overcome space and space.
gave us the mind steel arms-wings,
And instead of a heart - a fiery engine.

Higher, higher, and higher
We strive for the flight of our birds;
And breathes in every propeller
The tranquility of our borders.

Throwing up your obedient apparatus
Or creating an unprecedented flight,
We are aware of how the air fleet is growing stronger,
Our first proletarian fleet in the world.

Our sharp gaze pierces every atom,
Our every nerve is dressed with determination.
And believe us - for every ultimatum
The Air Force will be able to answer.

Dawn towards. Songbook for youth. Comp. Yu. K. Komalkov. M., Soviet composer, 1982. - no date, under the title. "All above".

Controversy boiled over the time of the creation of this song, the dates were from the autumn of 1920 to the 1930s, until in October 2009 Valentin Antonov finally established that the song was written and first published in Kyiv between March 8 and May 15, 1923 of the year. Most likely - between May 8 and 15. She came out in the Herman and Hite series "Songs of the Revolution".

Title page of the first edition:

German Pavel Davidovich (1894-1952)
Khait Julius Abramovich (1897-1966)

MAI emblem:

Another article, the song in it dates back to no earlier than June 1923:

ALL HIGHER, HIGHER and HIGHER

Konstantin Dushenko

(Magazine "Reading Together", 2007, January. The text is provided on the personal website of Konstantin Dushenko)

This was in 1920. The Red Army entered Kyiv, and the army's political department instructed two activists from the evacuation center to compose an air march. They were taken to the airfield, where there were two strange structures made of wood, linen and metal. It was this military aviation that the 25-year-old musician Yuli Khait and the 26-year-old songwriter Pavel German were instructed to sing. So, according to Hite, the song “Higher, Higher and Higher” appeared.

Haight's story appeared in print after the composer's death, in Yevgeny Dolmatovsky's book 50 of Your Songs (1967). Dolmatovsky took him on faith, but in vain. Let's take a closer look at the text of "Aviamarch".

"THE REASON GAVE US STEEL HANDS-WINGS."

But in the Civil War, as in the First World War, all aviation was wooden; "steel wings" seemed something unthinkable. Only in 1922 did a special alloy based on aluminum appear, and with it metal wings.

“AND IN EVERY PROPELLER BREATHE
PEACE OF OUR BORDERS”.

In the summer of 1920, in the West of Soviet Russia there was not only "calm", but also the borders themselves, and the Bolsheviks lived in the expectation of a revolution in Europe, which would forever end the borders. This alone is enough to reject the veracity of Hite's story.

"AND INSTEAD OF THE HEART IS A FLAME MOTOR".

This, in essence, is taken from Mayakovsky, from the poem "The Worker Poet" (1919): "Hearts are the same motors, the soul is the same cunning engine."

"OUR SHARP LOOK PIERCES EVERY ATOM."

"... The atom was, as it were, predicted by Herman," remarks Dolmatovsky. This, of course, is not true: already in 1914 Wells wrote not just about the "atom", but about " atomic bombs(in the novel The World Set Free).

“AND BELIEVE US: FOR EVERY ULTIMATUM
THE AIR FLEET CAN ANSWER."

This is where the key to unraveling the mystery of the origin of the "Aviamarch" is hidden. In all probability, we are talking about the answer to "Lord Curzon's ultimatum", i.e. to British notes to the Soviet government on May 8 and 29, 1923. It was then that the slogan "Our answer to Curzon" appeared. On June 16 of the pre-revolutionary military council, Trotsky declared: “If we respond to all the offensives of the bourgeoisie by building airplanes, then maybe we will someday put an end to all these offensives.” And the country took up the creation of a large air fleet.

It turns out that the song was by no means written in 1920, but after the "military alarm" of 1923, quite possibly - by order of the Main Political Directorate of the Army, i.e., in essence, Trotsky. Very soon, everything related to Trotsky was banned, and Hite wisely attributed the creation of the "Aviamarch" to an earlier time. The earliest edition was issued by the USSR Muzfond in a glass-printing method with the indication: “Signed for printing on May 13”, - alas, without indicating the year. The song was dedicated to "USSR Air Force". The USSR, let me remind you, was formed on December 30. 1922, and the edition with the date "May 13" appeared no earlier than 1924 - otherwise the quote from Trotsky's speech delivered in June 1923 would not have got there.

Pavel German, who died in 1952, is known as the author of the words to many other popular songs - “Bricks”, “Sasha, do you remember our meetings?”, “Only once in meeting life" etc. Julius Khait, who died in 1966, never created anything remotely comparable to Aviamarch. The version that the music of "Aviamarch" was borrowed has been expressed more than once. She did not receive reliable confirmation. However, in 1930, the Leningrad magazine Rabochy i Theater wrote with disapproval about “all sorts of Hayts, reworking the old tunes of chansonettes into “revolutionary” songs and romances” (No. 21, article “Uproot the vulgarity!”).

The remark is very interesting. The conversion of pop tunes into revolutionary ones began even before 1917; So, according to the observation of the Russian pop historian E. Uvarova, the melody of the song “We are blacksmiths, and our spirit is young” (1906) goes back to the song “I am a chansonette”, fashionable in those years. Is Aviamarsh from the same place?

The size 4 / 4

	C	F	C
We are born	us to a fairy tale	do	come true,
		G7
overcome	space and pro-	side
A7		D m	F m6	C
	Us mind	gave steel-	nye hands-	wings,
A m		D7			G
	And instead	hearts -	fiery	mo-	torus
	G7	C
Everything	higher, higher, and	above
	A7	D m
Stre-	mime we fly our	birds;
A7		D m	F m6	C
	And	in every pro-	peller	breathes
	D7	G6	G7	C
Spo-	coystvie	on the-	shih gra-	prostrate

TRANSPOSE TO ANOTHER KEY. ON HALF TONE

Current key: before major

C	F	G7	A7	D m	F m6	A m	D7

G	G6

Conventions

Show

I. Strings from 6th to 1st (from left to right).
II. Fret number.
III. Open string.
IV. No sound is produced on the string.
V. Fingers: index (1), middle (2), ring (3), little finger (4).
VI. Barre with index finger.

SONG "AVIAMARSH" ("ALL HIGHER"). PICK UP (BRUTTER)

Six string guitar. Accompaniment and rhythm patterns

Very often, having learned the arrangement of chords on guitar fretboard, novice guitarists are wondering: how should the right hand while playing the accompaniment? Which rhythmic pattern is more suitable for a particular song? Is it worth playing the accompaniment by fighting or busting?

Strictly speaking, any song can be played with any rhythm pattern, but there are some "rules". It all depends on the nature and genre of the work being performed. So, lyrical songs are usually performed by enumeration (in classical guitar terminology, this technique is called "arpeggio"), marching songs - by battle (rasgeado), songs of a restrained nature - by chords. To an experienced guitarist, all this may seem self-evident, but for a beginner, at first, some “cheat sheet” or a quick reference book will not hurt. This small program, which presents the most common rhythmic patterns for popular song sizes (2/4, 3/4, 4/4 and 6/8), is such a reference.

SONG "AVIAMARSH" ("ALL HIGHER"). TEXT

We were born to make a fairy tale come true
Overcome space and space.
Reason * gave us steel arms-wings,
And instead of a heart - a fiery engine.

CHORUS:
Higher, higher, and higher
We strive for the flight of our birds;
And breathes in every propeller
The tranquility of our borders.

Throwing up your obedient apparatus
Or creating an unprecedented flight,
We are aware of how the air fleet is growing stronger,
Our first proletarian fleet in the world.

Our sharp gaze pierces every atom,
Our every nerve is dressed with determination.
And believe us - for every ultimatum
The Air Force will be able to answer.

* option: Stalin

SONG "AVIAMARSH" ("ALL HIGHER"). THE AUTHORS

Soviet composer Julius (Ilya) Abramovich Khait (1897-1966)

YULIY HAYT

Julius Abramovich Khait was born on November 3 (15), 1897 into a Jewish family in Kyiv. In 1921 he graduated from the law faculty of Kyiv University. He took composition lessons from M. I. Pruslin. In the same year he moved to Moscow. In 1923-1949. - an employee of organizations for the protection of copyrights of Soviet composers. In 1949 he was repressed and was imprisoned until 1953. In addition to "Aviamarch", Julius Khait wrote many other musical works: songs and romances (“Meetings will be shorter”, “We are not a couple”, “I won’t forget”, “For the guitar chime”, “No need for meetings”, “Not on the way”, etc.), as well as military -patriotic marches for brass bands ("Change", "Our Emblem", "Red Sailors", "Krasnoflotsky March", "Soviet Hero", "Hello to the Winners", "Guards Banners", "Glory to the Heroes", etc.). Died December 6, 1966. He was buried in Moscow at the Vvedensky cemetery.

Soviet poet Pavel Davidovich German (1894-1952)

PAVEL GERMAN

Pavel Davidovich German was born in Kamenetz-Podolsk in 1894. In 1914, with the outbreak of World War I, he moved to Kyiv. Here the first collection of romances on the verses of Herman saw the light of day. The poet was in Kyiv during civil war. In 1920, he worked together with the composer Yu. Hayt in an evacuation center, and also performed together with Hayt in the cafe "KHLAM" (Artists-Writers-Artists-Musicians). In 1921 he moved to Moscow, becoming the head of the literary part of the Moscow Circus. From 1924 to 1928 he lived for some time in Riga, and then in Paris. In 1928, he began to engage in journalism, preparing for publication, together with N. Agnivtsev, several pop collections at the Teakinopechat publishing house. In addition to "Aviamarch", Herman also wrote the famous "Song of a Brick Factory" (music by V. Kruchinin, 1923), which quickly went to the people under the name "Bricks". This was greatly facilitated by the fact that the song began to be performed by K. Shulzhenko, whom Herman met in 1924 in Kharkov. Among other popular songs of Herman, we will mention “Only once in a life there are meetings”, “I do not regret” (music by B. Fomin); “Days after days are rolling”, “A song remains a song” (music by S. Pokrass, 1923); "Colombo" (music by Y. Khait); "Never" (music by D. Bitsko); "Note" (music by N. Brodsky). Pavel Davidovich German died in 1952 in Moscow.

SONG "AVIAMARSH" ("ALL HIGHER"). HISTORY OF CREATION

Soviet poster with text and notes "Aviamarch"

This march is full of joy, cheerfulness, life-affirmation. It sounded especially sunny, with some new jubilant force, when Moscow met Yuri Gagarin and his other cosmonaut friends. "Higher!" - the lines from the song themselves became, as it were, their motto. And the march was created in that distant time, when our aviation was just in its infancy - in the autumn of 1920. And it happened in Kyiv, quite recently liberated from foreign invaders, where everyone for whom the Soviet government became native, sought to help her in any way he could. Artists also found their place in this patriotic movement.

The Soviet country did not yet have its own planes, but the young poet, young dreamer Pavel German composed poems in which he confidently saw the future of our aviation, designed to "overcome space and space", capable of giving a proper response "to every ultimatum" of enemies. The poet introduced his friend, the young composer Yuli Khait, to poetry (both actively participated in cultural and educational work among the fighters, wrote several songs for them). Hite was carried away by the verses, and the melody was born quickly. Already in a day new song sounded at the propaganda center in front of the Red Army men going to the front.

"Aviamarsh" was enthusiastically received: still - there was its own, soviet song, at that time one of the very few!

And the song took off. According to newspapers, in 1925 it was sung by participants in the first long-distance flight of Soviet aviators from Moscow to Beijing. Five years later, orchestras carried the sounds of this melody at a May Day demonstration in Berlin, when a delegation of Moscow workers greeted Ernst Thalmann. The words taken from Aviamarch were placed in the headlines of numerous newspaper articles devoted to our aviation, and were cited in the appeal of the IX Congress of the Komsomol in 1931. In greeting the 7th Congress of the Comintern, they were delivered by the famous athlete Nina Kamneva, who spoke on behalf of the delegation of Soviet paratroopers. “Native sky,” she said, “is the air fortress of the beloved Fatherland. We confidently sing: "And in every propeller the calmness of our borders breathes."

And in Republican Spain this song sounded, and across the ocean, when in the USA the Chkalovsky crew was enthusiastically greeted, which very clearly brought to life the lines from "Aviamarch".

A significant fact: on August 7, 1933, the People's Commissar for Military and Naval Affairs signed an order: “To establish an air march of the Military Air Force“ Everything is higher! ”, Music by Julius Khait, words by Pavel German.”

In the same year, Konstantin Eduardovich Tsiolkovsky, speaking on the radio from Kaluga to the May Day columns passing through Red Square, in particular, said:

Probably, the orchestra in the square is now playing the march “Higher and Higher!” Wonderful music! Good and remarkably correct words!

Konstantin Eduardovich then expressed confidence that "heroes and daredevils will lay the first take-off routes Earth - the orbit of the Moon, Earth - the orbit of Mars, Moscow - the Moon, Kaluga - Mars ..." A quarter of a century passed - and the Soviet heroes really escaped into space, and then The Earth met them with this "Aviamarch".

An enviable song destiny!

Aviamarsh (better known as the "March of the Aviators") is a Soviet march song written in the spring of 1923 (although Haight himself said that the song was written in 1920). Music by Yuly Abramovich Khait, lyrics by Pavel Davidovich German. Often performed at parades, it was the official anthem of the USSR Air Force. Public attention to this song was attracted in 1983 by Seva Novgorodtsev - in his show "Rock-Crops" on the BBC, he shared with the world a sensational discovery: the official anthem of the Red Army Air Force is nothing more than a Nazi march with a different text, almost not Horst Wessel.

Before we refute this myth, here are the words of the Soviet march:

We were born to make a fairy tale come true
Overcome space and space,
The mind gave us steel arms-wings,
And instead of a heart - a fiery engine.
(in a later version -
Stalin gave us steel arms-wings...)
Higher, higher, and higher
We strive for the flight of our birds,
And breathes in every propeller
The tranquility of our borders.
(In the original text -
And protection breathes in every propeller
the tranquility of our borders)
Throwing up your obedient apparatus
Or creating an unprecedented flight,
We are aware of how the air fleet is growing stronger,
Our first proletarian fleet in the world!
Our sharp gaze pierces every atom,
Our every nerve is dressed with determination;
And, believe us, for every ultimatum
The Air Force will be able to answer!
Chorus.

The march of attack aircraft with motives, one to one similar to the march of Soviet pilots, really was. It was called the Berliner Jungarbeiterlied (Song of the Young Berlin Workers). After the 33rd year, this march was released on records, included in song books, sounded in one of the scenes in the "Triumph of the Will". So who stole the tune from whom?

There is a version that Julius Khait wrote the music, and Pavel German wrote the words of the Soviet march back in 1921, or even in 1920. But such statements do not withstand any criticism - 1920 is also a war with Poland, in addition to the Civil War. 1921 - the war is still going on Far East and in Central Asia. What kind of "calm of our borders" is there? And with the air fleet, things were somehow completely unimportant. The very first discovered edition of the Air March is dated May 1923. Everything agrees in the text - Curzon's ultimatum, the construction of the Junkers factories in Fili. What to fly "higher and higher" is already there. There are no contradictions. Soviet march - documented.

But how did the motive of the song get to the Nazis? Not right away. Almost immediately he got to the German communists. The Comintern not only sponsored strikes and uprisings, not only allocated funds for the publication of newspapers and leaflets and the sewing of red flags. Useful propaganda materials also came from Moscow. So someone carefully, almost word for word, translated the "March of the Aviators" into German. It turned out Lied der roten Luftflotte - Song of the Red Air Fleet. Between 1925 and 1926 the song reached the Berlin communists. The song turned out to be good, but the problem was that it was completely unsuitable for street processions and rallies - there was not a half word about Germany. And what do German voters care about the Soviet air fleet?
Meanwhile, in 1926, the young Joseph Goebbels came to Berlin to lead the work of the local cell of the NSDAP. He arrived and was horrified - Berlin was a "red" city, there were not thousands of Nazis in it, the party budget consisted of nothing but debts. But Goebbels began to put things in order - he drove out half of this thousand, recruited new people, began to organize rallies with scandals and scuffles. As a result, they started talking about the Nazis in Berlin. Soon there were also assault squads. And at that time, cases of the transition of fighters from the "Rot Front" (Union of Red Front Soldiers) to assault detachments and vice versa were not uncommon. So one of the defectors brought with him the "Song of the Red Air Fleet." I liked the melody. But the words didn’t matter - a simple text is a set of slogans for the workers: the proletarian rise to fight for freedom and bread, stop fattening the gentlemen, etc., etc. Such a song would suit the communists if it weren’t for the line about Jewish tyranny (otherwise how else do you know that the song is Nazi?). The author of the text is unknown. Someone attributes the authorship to SA Sturmführer Horst Wessel - he really had fun by shifting his words to popular melodies. One of these songs became the Nazi anthem after his death, out of place mentioned by Seva Novgorodtsev a quarter of a century ago on the BBC.
So, as you can see, we did not borrow anything from the Nazis. Yes, and the Nazis borrowed this song from the Communists, apparently purely by accident. But then a tenacious myth arose about the Nazi origin of the Soviet march.

Berliner Jungarbeiterlied

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