Types of Musical Accompaniment

This is an excerpt from George Beynon's 23 March 1918 "Music for the Picture" column in The Moving Picture World. In this column Beynon tries to sort out the differences among the music services available to producers and exhibitors of the time. In the middle of his discussion, he takes a long detour into issues of modulation.

“Music Service for the Exhibitor.”

A well-known producer confessed to us the other day that he did not know the difference between a score, a setting or a cue sheet, and supplemented the remark by saying he did not believe one producer in ten knew what he was paying for in the matter of the much-abused term, “Music Service for the Exhibitor.”

For the information of exhibitor, producer and orchestra leaders, we will try to classify specifically all forms of music pertinent to “Fitting the Pictures.”

MUSICAL SCORE—A Musical score is a compilation of either original or standard music, prepared in synchrony with each and every dominant scene of the picture, carrying throughout themes and counter-themes to denote the characters portrayed on the screen. Each number should be in key sequence and arranged in such a manner that there be no obvious break during the playing of the entire score. They must of necessity be short, and for that reason requires varied orchestral treatment to avoid monotony. Many occasions arise where there are two characters in the foreground, and two themes must be blended together, showing two emotions at one and the same time. Frequently a standard number must be changed in tempo and rhythm to convey the proper idea. Special legitimate effects sometimes must be arranged by the use of the orchestral instruments themselves to obviate shoddiness. All these things call for superb orchestration and a thorough knowledge of instrumentation. A real musical score requires almost as much ingenuity, careful thought and untiring efforts as an opera score, for in every way it meets the same obstacles, which must be overcome. “The scores for “The Birth of a Nation,” “Ramona,” “Civilization,” “Intolerance,” or “Peer Gynt,” will live and continue to be classed as epochs in the picture industry. These are prepared only for the big run features.

MUSICAL SETTING—A musical setting is comprised of standard selections placed loosely, in rotation, in a folder, for the purpose of fitting a picture. There is no synchrony, and because of that fact, no key sequence is considered, for it may happen that where the break occurs the key will fit the following number perfectly. For practical purposes one theme only is used, although it is sometimes feasible to use two. This music cannot possibly fit every foot of the picture, but can hold the atmosphere in a general way and carry the picture. These are used in every theater and are frequently prepared by the aid of cue sheets.

MUSICAL CUE SHEET—A musical cue sheet is a prepared list of cues, indicating where the music should be changed, and suggesting certain selections which are suitable for use, with the tempo and character of each noted to allow for substitution. The approximate time is shown, and sometimes a three-word description of the scene to be fitted is given. Cue sheets are distributed by the picture producers for the benefit of the exhibitor who cannot procure his film in time to see it before the first performance, and are good, bad, or indifferent, according to the ability displayed by the writer of them.

MUSICAL SUGGESTION SYNOPSIS is a concise musical review of the picture with suggested numbers that may be used as a theme. Atmosphere, period of time, location and big moments are noted, and frequently selections are mentioned for use in the climaxes.

At the present time of writing, the above is a complete classification of music for the pictures. The rapid growth of the industry, bringing with it new ideas, may cause changes to be made in the method of musical presentation, but now we can only rely on four forms denoting picture accompaniment.

The importance of music as an adjunct to the picture has been but recently recognized, and there is considerable confusion in the minds of producer, exhibitor and layman regarding its classification. By definition, example and qualifications, we have tried to standardize music for the pictures in order that the producer will not be further muieted [quieted?] by unscrupulous arrangers, and exhibitors will know what they are getting when called by its proper name.

Scores and settings are frequently regarded as one, and the same thing and capital is made out of it by those fakers who throw together loose music and demand score prices for it. In many respects the two are alike; they are played as an accompaniment and must fit the picture. The difference lies in the necessary qualifications required by each.

A score must follow the picture minutely, foot by foot, as an accompaniment follows the voice. It must be in perfect synchrony. By this we mean that if a dominant scene has a footage of 150 feet, and the film projection calls for 15 minutes to the thousand feet, the appropriate selections should run exactly two minutes and fifteen seconds. Naturally the number of measures required will be governed by the tempo selected. An adagio or andante sostenuto number will not be as long as an allegro or allegretto. The following examples, indicative of the time duration of fifteen seconds, will show a marked difference, and by using these as a basis one can readily understand how an entire score can be in absolute synchrony.


A score must have key sequence—in other words, each successive number must be in a relative key to the one immediately preceding it. As students of harmony well know, there are five relatives to every key, so the task is not so great as would appear on the surface. Besides using legitimate relatives, it is permissible to use an enharmonic key, or one which begins with a note common in the chord of the preceding key; for example: Going from the key of F to the Key of A major, we find A is the third of the chord in the key of F, and is also the tonic of the key of A. The best results are obtained when they finish and begin.

At (A) you will notice the upper A is held in common, the F falls one half tone, and the C rises one-half tone, while at (B) these progressions similarly obtain, but in different voices.

The following examples of enharmonic keys are the only ones available and must be used judiciously lest discord appear in the change:

1—5 flats, key of Db, has for its enharmonic 7 sharps, key of C sharp
2—6 flats, key of Gb, has for its enharmonic 6 sharps, key of F sharp
6—7 flats, key of Cb, has for its enharmonic 5 sharps, key of B
and vice versa.

The following table of relative flat keys is worked out in the sharp keys in the same manner.

[1662] Our contention is not that these keys should be used in sequence and selection made with this in mind only. By no means. A number must first be selected for its suitability alone, and then if it does not fall within the rule for key sequence, it should be transposed to a key relative to the preceding number. Before deciding the key for transposition, the orchestration should be carefully scrutinized lest a key be selected that will carry some instrument out of its range. This would be calamitous and make the work of transposition absolutely abortive. Where there appears to be no key suitable for transposition, it is better to write an original modulation for approximately a fifteen-second length. This should be tacked on the end of the preceding number and not used at the cue for the next number. Of course, allowance should be made for it in the timing.

The qualifications required for a musical setting are by no means so exacting, nor do they entail such minute detail or painstaking effort. It must fit the picture in a general way and portray the big emotions depicted. No special orchestral arranging is necessary, no blending of themes is possible, nor is key sequence counted upon to work out satisfactorily. Synchrony is not attempted; the principal problem is simply to fit the picture with standard music. This form of musical accompaniment is not a score and must not be classed as such.

Turning from the playable music to the suggestion sheets, remarkable as it may seem, we frequently see producing companies advertise their cue sheets as scores. This is misleading to the exhibitor and his orchestra leader, and is most detrimental to the company itself.

The difference between the cue sheet suggestions and the musical suggestion synopsis is again the difference between detail and generality. In both cases the picture must be seen in order to suggest proper music, but when a cue sheet is prepared, it entails the use of a stop-watch to catch the time, a stenographer to get the titles, and an assistant to note the effects. When the data has been obtained, each number must be selected with care, looking to its suitability, and practicability, for small combinations, as well as for its probable existence in the library of the average orchestra leader. Of course, the tempo being given, he has a chance to substitute if he deems it wise, and this is made easy because of the given time duration. Cue sheets are sent out when no score is prepared, and from them the leader can compile his musical setting.

Musical leaders prefer to disregard cue sheets for some reason or other, and yet they require some idea of the picture they must fit. These fellows used to read the reviews of the pictures in question and thus learn its general trend. As an aid to this class of musicians, the musical suggestion synopsis was adopted and has received many high commendations for its brevity and conciseness. It is also an aid to those leaders who have been neglected by the exchange, or whose cue sheet has been delayed in the mails. It suggests the music required in a general way and leaves to the judgment of the orchestra conductor the proper presentation of his picture.

Music service in any form is absolutely essential to the up-to-date theater, and every producer should see to it that he is getting the service he is paying for under its proper classification.

Source: [George W. Beynon,] “Music for the Picture,” MPW 23 March 1918, 1661-62.

Playing for the Picture

In 1918, George W. Beynon assumed the role of running the "Music for the Picture" column in The Moving Picture World, taking over from Clarence E. Sinn, who had been running the column on and off since its inception in November 1910. Beynon's inaugural column, reprinted below, includes a brief biography of Beynon, where we learn, among other things, that at one point in his career Beynon was hired to synchronize music to Lasky's Famous Player films and that he was expected to complete his work on a film in three days. This is probably a good guide to how long it took professionals in theaters at the time to do their synchronization work—clearly it was very labor intensive.

(This paragraph has been updated.) After his retirement from the film music business, where evidently he made a considerable amount of money, Beynon lost his fortune in the 1929 crash. In the 1930s, he would become an organizer of bridge tournaments and a newspaper columnist on the game. In 1993, the NY Times still recognized him as a G.O.M. of the game. Early in life, Beynon also had a brief career as a professional hockey player, but after a fight during his third year in the league, he was barred for life. (One this point, see Beynon's obituary in the NY Times 11 June 1965.)

Beynon to Edit Music Department.

Beginning with this issue of the Moving Picture World (February 2) the Music Department will be conducted by George W. Beynon. Mr. Beynon is a musician of wide experience and marked skill. He has made a deep study of photoplay requirements, and of the demands of the management of theaters and of the desires of the public.

Mr. Beynon was born in Canada, but later became a citizen of the United States. He was graduated in Arts from the University of Toronto. Under the tutition of Dr. Anger, an authority on harmony and theory and author of many text books, he spent four years in the Toronto Conservatory of Music. In Leipsic [sic], Germany, he was given the Mus. Doc. degree.

Much time has been given by Mr. Beynon to orchestral and band arranging. He has synchronized many operas to tableau form, which have been used extensively. As an arranger his experience has covered songs, classic and popular music, vaudeville acts and grand opera selections.

Mr. Beynon spent some years as a professional singer. He has a deep bass voice and filled concert and recital dates all over the country. He led choirs and bands, and later entered the orchestral field, where he has remained. In September, 1915, Mr. Beynon was engaged by Oliver Morosco to assemble and synchronize music for “Peer Gynt.” The first playing of the arrangement was at the Broadway Theater by an orchestra of thirty pieces.

As a result of this work Mr. Beynon was engaged to write a score for all of the Pallas and Morosco productions and later secured a contract with the Famous Players and Lasky companies. His schedule called for the arrangement of a score every three days. A total of 162 were written. Exhibitors praised Mr. Beynon’s work, and it is said that many found the way paved for the enlargement of their orchestras and the increasing of their prices of admission.

Mr. Beynon has been retained by some of the large film companies to take charge of their musical service. Also he has found time to direct the musical programs of several theaters.

On January 27, at the presentation at the Lyric Theater of “Lest We Forget,” Mr. Beynon personally will direct an orchestra of thirty pieces.

Proper Presentation of Pictures Musically. Playing for the Picture.

Music for the picture is here to stay. The screen action, watched in silence, has not the wonderful effect that is obtained by use of a musical setting which holds the atmosphere and interprets the dominant emotion. The musical accompaniment to a song is always subservient to, and in perfect tempo with, the singer. It rises and falls with the voice, breathing softly in the pianissimo passages and crashing loudly in forte moments, yet never dominating the situation, nor predominating over the voice. It supports and carries the singer. This principle applies exactly to music for the photoplay. Let your music support the action and carry the atmosphere of the feature.

In this day of symphony orchestras of thirty or forty men, music values have been distorted beyond all proportion. Some of our biggest theaters have become a bedlam of noise, and the idea prevails that each scene must be interpreted musically, to the extreme. We are carried back to the Biblical days when the “sound of brass and crashing of cymbals” was music to the ears of the populace; when songs were loudly shouted and the “trumpets blared” out their motifs. Surely we cannot blame the photoplay for this retrogradation, but the fact remains that many orchestras do not accompany the picture, but play over it.

A scene depicting the grief of an aged mother is shown and the orchestra begins “Asa’s Tod” by Grieg, when “One Who Has Yearned Alone” (Tschaikowsky), “A Keltic Lament” (Foulda) or Lamento (Gabriel-Marie) would have been more reasonable. When they must fit a real anguishing death scene, they have used their loudest thunder and the scene becomes less impressive by contrast. Why use Il Guarany Overture for a picayune fight when one may need it for a terrible battle scene, or La Chevaukee from La Valkyrie for horsemen riding, when it may be used for the stirring onslaught of rushing cavalry charges. The many beautiful selections, specially arranged for strings alone, are seldom, if ever, used in large orchestras. Yet they are most effective, easily procured, and provide a charming change of color, that soothes the ear. It is a grave mistake to use dynamic numbers that overshadow the scene depicted. Each selection sticks out like a sore thumb and the attention of the patrons is detracted from the picture entirely. Losing for the moment the thread of the plot, they sit back and listen to the concert.

Many leaders try to fit every passing scene or “flash back” and provide a choppy, meaningless mélange that irritates the audience. Each scene or series of scenes always has a predominant thought or motif behind the action shown. It is the thought which should be portrayed, and if a “flash back” occurs it does not signify a change in the dominant emotion. Thus the music should continue until a complete change is established. For example, a father is dying and longing for his only song. We are shown in a “flash” the dissipated son, drinking in a saloon. This lasts for 15 seconds and returns to the death bed scene. Sorrow is the dominant emotion and to change to a fox-trot for the “flash” would disrupt the continuity of the scene. The father dies, the family slowly leave [sic] the room with the doctor, and we are then shown an exterior of the home of the hero. This is the point to change the music to a lighter vein in keeping with what follows. There may be a series of scenes containing the same feeling, but distinctly separate and remote from the standpoint of action. In this instance there need be no change in the music to fit each scene; for, by using a long selection which portrays the prevalent thought, you get a smooth and true presentation. Cowbells, sand blocks, wind machines and traps of all description are frequently brought in at every possible excuse. In fact, a drummer is sometimes judged by his agility in handling, one after the other, every contraption around him. Legitimate “effects” have their place in re-enforcing the disturbances depicted on the screen, but when used continually become meaningless and a nuisance.

The fallacy lies in the fact that musical director tries to get as many big musical moments as possible into every film. The consequence is, that, taking the music in its entirety, you get the idea of a series of mountains and valleys, the latter being the incidental or neutral numbers (selected to give the orchestra a little rest) which, by contrast, become drab and meaningless. The photoplay, as the name indicates, is a play given upon the screen, and all the varied scenes and situations gradually lead to a climax. This may come at the finish of the picture, just before the end, or in the middle. Music should be selected with this point kept in view. The climax of the picture should be the climax of your music, though subservient to, and always below, the action. At no time should music predominate or stand out from the scenes shown. The entire setting should be graded up to the climax and down to the anti-climax. There are many examples of big scenes that would be accepted as the climax if the orchestra were not careful in its playing for them. Music must keep pace with the progressive strides of the picture industry. The time has passed when a job-lot of music can be dumped into the orchestra pit to be played for the picture. Music must fit each prevailing emotion (not dominate it), in tempo and character, and also in sequence with the preceding number, with due regard for what is to follow. Key sequence is necessary, to obviate abrupt discords in changing from one number to the next and to consolidate the many selections into a comprehensible whole. The entire musical setting should be built up and welded together; a perfect accompaniment to the picture, unheard by the audience but felt.

Leader Service Bureau. Questions Answered—Suggestions Offered.

Q. “Can music be procured for a saxaphone [sic] quintet in sufficient quantities to use for pictures?”

A. “No. There is little if any music written solely for saxaphones, but if you wish to introduce the instruments into your orchestra, the baritone saxaphone readily plays from a cello part, the alto from a clarinet part transposed and the soprano from the violin part. As an innovation we imagine it would be immense, but might become too ‘Jazzy’ as a regular thing.”

Q. “What is the best instrumentation of a seven-piece orchestra for a small theater playing pictures?”

A. “Piano, Harmonium, two Violins, Flute, Clarinet, and Cello.”

Q. Do you believe in changing the traditional tempo of a number to suit the scene?”

A. “Generally speaking, no—but if the scene is interrupted by a ‘flash back’ of a few seconds the music might be retarded or hastened to fit the flash, returning to the original tempo to complete the scene.”

Q. “Can I get a list of music that can be played free?”

A. “We refer you to our printed lists in the issue of November 10, November 24, December 29, January 12 and January 26. If you cannot readily procure these we will be pleased to send you a copy of them upon your request.”

Q. “I am anxious to study Harmony. What are the best text books to use?”

A. “The best is a matter of opinion. We should suggest ‘Harmony,’ by Prout, ‘Harmony and Theory,’ by Richter, ‘First Rudiments of Harmony,’ by Anger.”

Source: George W. Beynon, “Music for the Picture,” Moving Picture World 2 February 1918, 675.