This updates (corrects) the link to a cue list for Sleepless in Seattle (2d edition, chapter 1).
(I was obliged to move the file to a different Google Drive when our university's contract with Google was updated last year. Apologies to those of you who tried and couldn't get access to the file about this time last year.)
The first publication I’m aware of that sees cataloguing music by topic as key to the whole enterprise is Lyle C. True’s How and What to Play for Moving Pictures: A Manual and Guide for Pianists (1914), which, aside from a two page introduction (reproduced below), consists almost entirely of a list of compositions catalogued by topic. Earlier publications had also contained topically arranged lists of compositions as part of longer works, but these lists were initially fairly short and clearly conceptualized as appendices rather than a primary order of musical knowledge.How and What to Play for Motion Pictures
The motion picture pianist who would be above the mere mechanical devices in playing for the picture must, first of all, take his work seriously. He should be able at once to recognize the dramatic possibilities of a picture and to augment and support them through the medium of his art.
It is obvious, of course, that the solo pianist has an advantage over two or more musicians through being able to watch the pictures and play at the same time. He can instantly follow each change of mood and character, and support the climaxes as it becomes desirable.
It is not sufficient, in many cases, merely to select a number of compositions of a given character, and to play them through as the drama is shown on the screen. To do so is to miss completely the scores of opportunities that arise for fitting the music to the action.
The pianist should create a tone poem that forms a frame, as it were, for the picture: and this involves a true test of his musicianship. To do this well, he should have at his finger tips a large and varied repertoire, and the ability to improvise, so as to unite several, or the fragments of many compositions into a pleasing and effective whole.
As a good accompanist merges his work with that of a soloist to a degree that the hearer is entirely oblivious of his work, so the good picture pianist makes the music so intregal [sic] a part of the picture that the two become one perfect, inseparable, and harmonious whole.
Of course there are scenes and situations requiring no particular kind of music, and yet even here, lack of judgment and taste can work to disadvantage.
After having read the synopsis of the picture in the "Moving Picture World", which is, of course, an essential guide in his work, and having gotten an idea of its general atmosphere, he can select from the particular group of compositions required,
[3]
those single numbers that his taste tells him are best suited. It is needless to say that often his second performance will be an improvement on the first, as some details, not forseen [sic], are sure to suggest more accurately fitting accompaniment.
It is the object of the classified lists and notes on the following pages to aid the player in the selection of suitable material, but he must use good judgment in fitting his selections, whole or in part, in modulating smoothly, and in playing through a picture without break or interruption.
Many songs are included, and these he will, of course, transcribe into piano solos, as they form one of the most valuable groups of his material.
The classification of the following numbers does not mean that they cannot be used for other situations, as, for example, numbers like the Grieg Nocturne, while pastoral in character, would be fine for a sad, or a love scene. The classification simply shows what they are originally written to picture. This is left to the judgment of the pianist.
Time and money spent in acquiring a good library of music is well spent, and this is a part of the preparation for those better positions that are sure to appear when the possibilities of the picture pianist's work are fully recognized, and when he will have developed with the demand created by the higher conception of this offices by the public.
In the better houses the ill-toned and often blatent [sic] mechanical instrument has given way to the grand piano and the ten thousand dollar pipe organ, played by an ambitious artist who is not satisfied to "get by" with a few stock tunes of questionable fitness.
The ambitious picture pianist is proud of his work, and glad of the opportunity never before so favorable, of bringing really good music to countless millions who are in a receptive mood and have no other opportunity of hearing music of lasting merit.
The following list, which includes many gems in piano literature, contains nothing which the author has not used often, and every class embraces the most suitable selections for its character and mood.
LYLE C. TRUE
The object of this book is to deal with the standard music and the serious pictures.
The following synopsis of the Vitagraph release, "The [Mystery of the] Hidden House" will serve as a model to the pianist showing what type of music to use for woodland or forest scenes, poetic fantasy, contrasts of sorrow and gladness, dancing and love scenes.
This two reel subject also demonstrates how much music is required (with no improvising) playing the music successively from beginning to end of the second reel.
There Is so much good music of this type, that the improvising of the average pianist would suffer in comparison.
[21]
"The Mystery of the Hidden House"The music was played as follows:
Synopsis
Reel 1Who is Sylvia. Song—Schubert
Moon Moths (entire suite; 3 numbers)—Kussner
Song of the Waternymph—Rhode
Festival in the Fields—Bachmann
The Lake of Como—Galos
What the Pond Lillies [sic] Whispered—Betts
Scarf Dance—Chaminade
Narcissus—Nevin
Reel 2Dance of the Hours (from ''La Gioconda")—Ponchielli
Pas de Fleur (Nalla)—Delibes
Venezia (complete suite; 4 numbers)—Nevin
Strophe—Bartholdy
Pourquoi?—Latour
Serenade—Drigo
While tramping the hills of Virginia on his vacation, Dick Marston, a young minister, sprains his ankle. Moina Jardine, a demure little mountain maiden, assists him to her grandfather's home, "The Hidden House." Marston learns that Moina is subject to great stress of mind, at times. She tells him she and her sister, Robina, take turns caring for Mr. Jardine. Marston falls in love with the beautiful Moina. but Mr. Jardine and Mercy, the colored servant, say "Wait until you see Robina!" One day, Moina turns from Marston and begs her grandfather to explain the Mystery, but is angrily told to keep silent. That night Marston, walking in the grounds, meets Moina. She seems dazed, tells him that Robina comes! She disappears, leaving him greatly puzzled. The next morning Robina, beautiful and bewitching, comes dancing in.
Mr. Jardine and Mercy decorate the house and at night, before the blazing logs the colored servant tells witch stories. Marston, in his room, sees Robina dancing through the grounds in the moonlight. She pouts and goes straight up his room, laughing at his displeasure. Seeing a picture of Moina, she angrily tears it in pieces and rushes out. Marston is fascinated by Robina and one day, seizing her in his arms, he kisses her passionately. Suddenly her expression changes. She cries out that Moina is coming and falls unconscious. The girl is cared for by Jardine and Mercy, and when Marston next sees her, finds she is once more the sweet and gentle Moina. Appalled at the strange phenomena, he Is overcome with emotion. The grandfather explains that Moina is a dual personality, possessed in turn with the soul of Moina and that of Robina, which explains why Marston has never seen the two girls together, but he now knows that Moina and Robina are one and the same. Marston later meets Moina in the garden and tenderly takes her in his arms, telling her of his love. The mystery of the "Hidden House" is solved and Robina is only a memory of the past.
Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 19 July 1913, 303.From Huntington, Va.: “I don’t suppose you often get a letter from a drummer with a score of music for the picture, but I am an exception. Although I am a drummer I also play piano, having studied it for several years. Am playing with a young lady (Miss Shirley Notter), also a good musician and picture player, so between us we pick out music for the picture; it ought to be pretty good as two heads are better than one. I would like to see ‘Music for the Picture’ every week, as it is just as necessary as any other of the departments. Why don’t you get after the musicians for not sending in any more ‘dope’? We are playing Universal pictures and find in them a good field for good music.
“Am sending in three scores we used last week. If you think they are any good I will send in more every once in a while.”“Thus Saith the Lord” (Eclair).
Part One.
- “The Palms,” until title: “While Jesus and the Twelve Disciples, etc.”
- “Perfume” (From Suite, “My Lady’s Boudoir”—Witmark), until title: “Five Wise Men and Five Foolish Virgins, etc.
- “Thais” (Valse Oriental—Jos. Stern), until it shows virgins coming out of door; then:
- “Bells of Seville” (Valse—Walter Jacobs), until title: “Attracted by Curiosity, etc.”
- “On a Sunny Morn” (Theo. Presser), until title: “Wednesday Feast Drawing Near, etc.”
- “Shahin Shan”—Oriental Valse (Smith & Brown, pub.), until title: “Here Comes the Bridegroom.”
- “Roman Emperor March” (Sinn’s Orpheum Collection), until end of reel.
Part Two.
- “Old English Dance” (Theo. Presser, pub.), until it shows Jesus and Disciples. Then:
- “Perfume” (From Suite, “My Ladies’ Boudoir”), until title: “Our Father, etc.”
- “Oriental March” (From page 12 of “A Tragedy of the Desert”), until title: “Hallowed Be Thy Name.”
- “Barcarolle” from “Tales of Hoffman,” until title: “Thy Kingdom Come.”
- Third Movement “Poet and Peasant Overture” (Allegro), until title: “Thy Will Be Done.”
- Pathetic until title: “Give Us This Day Our Daily Bread.”
- Prayer from “Der Freischutz,” until title: “Forgive Us Our Trespasses.”
- Hurry—slow down with action and gradually get down to pathetic until title: “Lead Us Not Into Temptation.”
- Massenet’s “Elegy,” until title: “But Deliver Us From Evil.”
- Storm (No. 42, Sinn’s Orpheum Collection), until title: “For Thine Is The Kingdom.”
- Heavy bass chords until title: “And After Jesus Had Finished, etc.”
- “Perfume,” until end of reel.
_____“Slavery Days” (Rex).
- “Old Folks at Home,” until it shows colonel and wife.
- “Maurice” Valse Lento, until title: “Colonel Called Away On Business.”
- Pathetic until title: “The Maid Takes Care of the Baby.”
- Waltz (No. 2 from “Sign of the Rose”—Vandersloot, pub.), until she brings the baby back.
- Lullaby from “Erminie” until: “Colonel’s Return.”
- Lively waltz until: “Fourteen Years Later.”
- “I’ll Change the Shadows to Sunshine” (Witmark), until it shows girls and mother on porch.
- Pathetic until it shows them out in the woods.
- “Trail of the Lonesome Pine” (Shapiro), until title: “Robert Fails, etc.”
- “Jack O’Lantern” (Flirting Princess), until ballroom.
- “Flo Waltz” from “Maid and Mummy” until end of reel.
Part Two.
- “Just My Style” (From Fantana), until girl comes upon them.
- Agitato until it shows Robert himself.
- Sentimental until title: “The Slave Dealer, etc.”
- Intermezzo until Charlotte sells Tennessee.
- Hurry until Robert comes to tell them.
- Sentimental until girl runs on.
- Hurry’s from this on; heavy chords for burning and agitato for boat race until title: “Twenty-four Hours Later.”
- Intermezzo until they come out of church.
- “Here Comes the Bride” until end of reel.
_____“Crossed Swords” (Great Northern).Part One.
- Third movement “Raymond Overture” until inside house.
- “Hallowe’en Valse Lento” (from “Wonderland”), until ballroom.
- “Birds and Butterflies” (Espressivo movement), until title: “Both Love the Same Girl.”
- When I Dream of You” (Forrester, pub.), until title: “A Serious Accident.”
- Agitato; work up into a “hurry” with action until inside house.
- Pathetic, until title: “Experimenting With Airship’s Guns.”
- I’ll Introduce You to My Father” (from “A Modern Eve”), until title; “The Proposal.”
- Waltz until ball.
- Grand March (No. 2, C. L. Johnson’s picture music), until title: “At the Club.”
- Waltz until end of reel.
Part Two.Leo Volkenrath, Lyric Amusement Co., Huntington, W. Va.
- Six-eight March until: “He Shows Her, etc.”
- “Jingles” Intermezzo until it shows one officer creeping after the other.
- Mysterious—work up into hurry until man by fireside.
- Sentimental until title: “His Great Day.”
- “Bobbing Up and Down” (Theo. Morse), until engine room.
- “Jingles,” until officer about to turn crank.
- Agitato—work up into hurry until shot.
- Sentimental until working guns.
- Jingles intermezzo until inside house.
- Waltz until end of reel.
I am sure the constituency is under obligation to Mr. Volkenrath, and we hope he will call oftener than “every once in a while.”_____Look Out For a Sheet Music Fakir.
Galesburg, Ill., July 2.
Editor Moving Picture World:
Dear Sir:—Through the columns of your paper I would like to voice a warning to nickel-theater men, particularly those of the Middle West, against a young man who represents himself as Ted Johnson, of the Snyder Music Co. Mr. Johnson is soliciting orders for professional copies of music, claiming that for two dollars a year his company will send three copies of new music weekly together with a catalogue of music arranged for moving picture playing.
Mr. Johnson cleaned up on all the Galesburg houses two seeks ago for music orders. He found ready purchasers. But since his exit no music has been received and enquiry at the office of his supposed employer developed that he was a fraud.
Mr. Johnson is of medium height, well built but not heavily, light haired, has a nervous manner and is well acquainted with the picture business. He is wanted in the city for forging the Snyder Company’s signature to a check.
Yours very truly,
R. C. Schroeder,
Mgr. Colonials of Galesburg.
Clarence E. Sinn, “Music for the Picture,” Moving Picture World 28 June 1913, 1362.
“So much has been printed in this valuable paper concerning suitable music for pictures that one might think all has been said, especially as many writers have gone into great detail, that could not but help the pianist, but I think there is still a great deal to be said that might be of interest to the manager as well as the pianist.
“It is true that the public, on the whole, is getting used to better things and good music is appreciated by the majority of picture patrons. Bearing this in mind, it is sad to state that very few managers know anything about music—many cannot tell the difference between a selection of grand or comic opera—and so long as this condition exists it is not strange that the average music seldom rises above a few waltzes, rags, and the popular airs of the prevalent type with suggestive words and wretched airs.
“And those managers who are seeking better things; what can they expect from a pianist who works longer than a bricklayer and gets less remuneration? Many a manager spends five dollars a week advertising a show with bad music who begrudges an extra dollar or two to get good in its place. It would be well to remember that poor music is not cheap at any price, and that good music is always worth the money. And this brings me to another point. The pianos supplied in many of the best picture houses are relics of the pioneer days, decrepit and worn out by years of toil—patched and repatched to prolong their miserable existence.
“No pianist, however, can do himself justice on such an instrument whose retail value would probably be between five and ten dollars. There is many a manager, whose ear for music can scarce distinguish between the dinner gong and the fire alarm, who seeks to cover up his deficiency by an insane interference with the pianist. If the pianist is good he or she will probably not put up with it, but if circumstances are otherwise they may do so in order to hold down the job. The manager should either decide for himself or seek the advice of his patrons on the merits of the performance; if unsatisfactory a change should be made. If satisfactory the pianist should be left to use his own judgment, free from useless criticism or perpetual harassing. It should be remembered that a pianist is an artist with temperament and high strung nerves uppermost, whose work calls for both mental and physical energy all of the time, and if in uncomfortable surroundings he loses that ambition so essential to produce good music or play pictures correctly.
“And just a word for those who think an orchestra, violinist or drummer an improvement. While a good orchestra is pleasure to listen to, as an accompaniment to pictures it is a woeful failure. The leader can of course choose suitable music—that is, something that will fit the subject on the whole, but it ends there; if the music does not blend in perfect harmony with every scene and action portrayed on the screen, the greatest charm is lost and the interest of the audience is centered either upon the music or upon the play instead of an undivided attention to both. In some places where they have an orchestra or violinist they make frantic efforts to play the pictures with ludicrous result, for no matter how carefully the music is selected or how quickly they switch from one piece to another, the effect is always ragged, the picture is never properly played and the music is usually spoiled in the process of cutting to fit the scenes. A lesser evil is a drummer, inasmuch as he can follow the pianist, but even he can be well dispensed with. A drum is the only instrument that has absolutely no music in it and whose only place is with a brass band or large orchestra. With a lone pianist it is nerve racking and irritating to a degree, especially if the house is small and the sound has no room to expand. The greatest fault of drummers is that they play too loud, drowning the pianist and all attempts at finesse he might put into his playing. It will be a great stride forward when managers realize that there is no music in this barbarous instrument, and drums are forever banished from picture theaters.
“It is when the pianist not only plays appropriate music, but enters into the spirit of the play shown on the screen; accentuating the action and emotions of the actors, working up the climaxes and making the music characteristic of the situation at all times that the picture is well played. And this along is not sufficient, for the successful picture pianist must not only use his head and hands, but he must throw his whole heart and soul into the subject. When he does this, then he can make the picture “talk” to such an extent that scraping feet and wagging tongues will cease and the audience with bated breath will watch the unfolding of the play. When the manager can hear the proverbial pin drop, he may be sure his picture is well played.”
The writer of the foregoing letter has evidently thought intensely on all his subject and bitterly upon a part of it. The indications are that his experience with managers has not been a happy one. One can imagine that a nagging employer who did not know what he was talking about could make things very unpleasant, but fortunately they are rare. At least, I never happened to run across any. Out here in our neck of the woods, most of the managers are too busy, managing, to waste time trying to educate piano players. If the musician is satisfactory, well and good; if not—and speaking on the other side of the case, some employers must be easily satisfied, as some of these piano-and-drum combinations ought to be interfered with; if the manager can’t do it alone he should call in the police to help him.______
F. Edgar Ray, musical director of the Grand Theater, Newark, Ohio, is here again with another welcome contribution. He says: “Am sending musical program of two films that impressed me as worthy of attention, namely: ‘In the Days of Witchcraft’ (Selig); ‘Longing for a Mother’ (Lubin). I trust these suggestions may be of value to some one in the business.”“In the Days of Witchcraft” (Selig).
- “Dorothy” (Old English dance; Seymour Smith), until title: “Lady Bersford, An Old Sweetheart, etc.”
- “Pull for the Shore, Boys” (old song) until title: “Yorke Introduces Anne, etc.”
- “La Danse De Souvenir” (Loren Bragden) until foster father dies.
- “On Wings of Love” (Bendix) until title: “Lady Bersford Accuses Anne, etc.”
- “Melody in F” (Rubenstein) agitato until title: “The Trial.”
- “Sextette from Lucia” until Yorke and sailors come to rescue Anne.
- Mysterious pp. until Yorke attacks guard.
- Agitato until old man stands on beach watching receding boat.
- Waltz—rather bright, until end of reel.
______ “Longing For a Mother” (Lubin).
- Bird of Paradise” (J. V. Mathews) until title: “At the Reception.”
- “Enchanted Nights Waltzes” (Moret) until title: “Day Dreams.”
- “Dreams, Just Dreams” (Berlin—Snyder) segue: “Nothing Like a Mother’s Love” until boy awakes by portrait.
- Waltz pp. until ball room scene, then f. until Mary Evers joins boy at portrait.
- “In a Red Rose Garden” (Billy Gaston) until fairy disappears.
- “All Aboard for Blanket Bay” until dark scene.
- Waltz f. until end of reel.
______
A correspondent wants the names of some pieces similar to “Tam O’Shanter.” Something adapted for long scenes of an agitated nature. I cannot now recall anything just like the number mentioned. The allegro parts of some overtures are often useful. Eduord Holtz’s “Dance of the Demon” is a fast, noisy gallop. No doubt our constituents will come forward with suggestions in plenty.
Deagan's large ad buy in April 1913 continued to generate favorable coverage elsewhere in the Moving Picture World. In June, Clarence Sinn devoted the first part of his "Music for the Picture" column to detailing a visit he evidently made to the factory.Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 7 June 1913, 1020-21.
A very important adjunct to the orchestra—especially the moving picture orchestra—and one which is growing in favor every day is to be found in the musical bells, chimes, marimbaphones and instruments of like character, as well as xylophones and orchestra steel bells. To J. C. Deagan more than any other man is due this growing popularity of these instruments. Mr. Deagan has done two very important things toward this end; first, he has evolved a very superior bell. Second, by means of his clever electric appliances any ordinary pianist or drummer can play them. Also, being of so simple construction, a boy of average intelligence can install them. Of course, he has long made a feature of bells and xylophones, etc., for artists’ use, but undoubtedly the impetus given to the demand for these instruments in late years is due principally to J. C. Deagan’s electric inventions which make their playing an easy matter. It takes long practice to acquire the even “roll” necessary in playing the xylophone or steel bells; it takes none to manipulate a Deagan key-board and get the same result.
A favorite manner of installing the bells is to string them around the auditorium high above the heads of the audience. Some years ago as perhaps you remember, when any one of the bells was installed got out of order, you had to place a ladder under the bell in question and climb up to fix it. Mr. Deagan has eliminated all of this. By his “no contact” mechanism he has reduced their chances of getting out of order to a minimum; and if they should need regulating (which is seldom) it can be done by the performer without leaving his seat. They can be played loud or soft at will; single stroke or roll as desired. A shut-off key is provided; drummers will appreciate this feature who remember the discordant jangle resulting from accidentally touching the key-board when reaching over for some “trap.”
I visited the factory of J. C. Deagan the other day and was much impressed by what I saw there. He occupies three floors of the pretentious Deagan Building in Chicago—25,000 feet of space on each floor—75,000 feet of floor space in all, in addition to the out buildings, dry-rooms, etc. Every thing but the wood and metal is made in the factory. The wood (for the xylophones) is cut especially for J. C. Deagan in Australia; the metal for bells, chimes, etc., is made to order by a special process. These raw materials are received at the Deagan factory and are cut, shaped, polished, tuned, plated and a lot of other things by expert artisans to become the things of beauty which you finally see and hear in the exhibiting department. There were orchestra bells to be played by hand and by electric key-board. Other electric bells in such profusion that space forbids naming them. Electric cathedral chimes; these are the same shape as the usual chimes; long tubes of a beautiful tonal quality with a hammer fixed to strike in exactly the right place and operated from a key-board. The chimes may be placed in the orchestra, lobby or any part of the house. (The same is true of all the J. C. Deagan electrical instruments.)
An electrical marimbaphone was also shown. It is impossible to convey a definite idea of this instrument. Though made of steel bars with resonators and is the same shape as a xylophone, its tone especially on the low and medium notes is something like that of an organ. The illusion was more pronounced when heard at a little distance. Mr. Deagan describes its tone quality as “like that of musical glasses,” but he is too modest; the tone is bigger and fuller than any musical glasses I ever heard. I saw a large xylophone which is played from an electric key-board also. The hammers are of the regular type—hard wood heads and rattan handles, thus insuring the correct tone—and any piano player can play a xylophone solo upon it that would be the envy of any expert xylophonist. This can be hung in the lobby of your theater if desired. I haven’t got room here to tell all the interesting things I saw, but the J. C. Deagan catalogues may be had for the asking and they will tell you more things than I can and tell them better. We visited the plating-room, where each article to be plated receives at least three coats; some of them more. They are just completing a new instrument called the “Nabimba.” This will probably be on the market by the time your read this article, otherwise I would be chary of mentioning it at all. It looked like a xylophone—bars of wood with resonators suspended beneath. When struck with the hammer two tones were produced, one the regular xylophone tone, the other a sustained reedy tone something like the low notes of a clarinet. Impulsively I looked to see where “the wind came from” to make such an effect. Of course, I couldn’t find anything of that sort, but had me guessing and I said so. “You keep right on guessing,” said J. C., “and come away before you see too much. I only wanted you to hear it, not examine it.” That’s all I can say about it, only that it is a wonder. And I am still guessing.* * *
From the “Crown Theater,” Hartford, Conn.: “I am enclosing my musical program to Kalem’s ‘The Cheyenne Massacre.’ Though they had a special piano score for this picture, I did not use it, as I would have had to make an orchestration. My orchestra consists of five men in the winter and four in the summer. At present I am using violin, cello and flute, which can’t be beat for playing pictures and for good music. People want good music and not noise. I have a large library of nearly all the standard overtures, selections, waltzes, etc., and keep a record of all I play, so my audience don’t hear the same music all the time. I change programs three times a week; every number is changed and not played for months again, except when some number is repeated by request. I have trained my men so they have all the cue-music at their finger tips—the whole orchestra—so it is as easy for me to play a picture with them at it is alone on the piano. Every leader should have his men learn all the National airs, a gallop, a march, a waltz and dramatic music, so they can play it the moment he wants it. In that way a picture can be played at sight, then at the end of that picture he can arrange a program for it. The following picture went pretty good the first time and fine the second, so I had the whole program made up of pretty good music.”“THE CHEYENNE MASSACRE” (Kalem).Part First.
- “Brides and Butterflies Waltz.” Play introduction while title is on; as the first scene appears (dancing) segue to the waltz. Until title: “Next Morning, Chief Swift, etc.”
- “Indian Summer Intermezzo” until title: “That Night.”
- “Garden of Dreams Serenade” until Indians are seen.
- “Tom-Tom Intermezzo” until fight scene starts.
- Agitato until boy is seen standing alone near ruins.
- “Alpine Rose—a Flower Song” until scene exterior of post appears; watch for bugle call, then segue.
- “The Twelfth Regiment March” until end of reel.
Part Second.
- Introduction of “Danube Waves” waltz until the title is on.
- Agitato until title: “Vengeance of the Red Men.”
- “Big Chief Battle Axe” (Indian Novelty) until title: “Lieutenant Ellis Volunteers, etc.”
- “Venetian Water Waltz” until Indians are seen.
- Agitato until man with shawl meets Indian girl, then:
- Chorus of “Silver Bell” or “Red Wing” until he jumps on horse.
- “Petersburgh Sleighride Galop” until title: “The Attack of Fort Bryson.”
- Agitato until bugler blows bugle.
- Bugle call, Siegel march, “Weinblut Wein” until soldiers are seen on hill with American flag.
- “Red, White and Blue” until fight starts, then:
- Agitato until title: “After the Battle.”
- “Boy Scout March.” Lieutenant puts his arm around the girl.
- “Star Spangle Banner.”
“Read this over a couple of times and arrange your music in this order. You don’t have to use the same waltzes or marches. Play any you have and you will find this program O.K. Let me hear from those who use it. Yours,R. J. Besette, Musical Director “Crown Theater,” Hartford, Conn.
[1021]
I am afraid I have not got your name correctly, Brother B., as you did not write it distinctly. However, your method of playing to the pictures with an orchestra is correct all right. The only way to get results is to have a lot of music “at your finger tips”—as you say: “every man in the orchestra.” This applies particularly to the dramatic music, as it enables all to watch the picture. Will be glad to hear from you again.* * *“WAMBA: A CHILD OF THE JUNGLE” (Selig).Part One.
- “Daisies” (Bendix; pub. Witmark). First part only until title: “Dr. Rice of the Settlement.” Then second movement through two scenes.
- “Mystic Shrine” (Earl Cameron; pub. Carl Fischer). Until Wamba arrives at Dr. Rice’s home.
- “Idle Thoughts” (Harry von Tilzer). Until after title: “Wamba’s Baby Dies.” Continue No. 3 until Doctore breaks the news to Wamba; then:
- Plaintive until end of scene.
- Agitato p. and f. until Doctor R. orders Pete away.
- Short sentimental until end of scene.
- “Flight of the Birds” (or any pretty caprice or novelette) until end of Part One.
Part Two.
- Agitato; through first scene. Then subdue for second scene or short neutral. At end of second scene:
- Long agitato p. and f. for flight and pursuit by lions; continue until child climbs up the river bank.
- Short Intermezzo (“In Cupid’s Garden”—pub. by T. B. Harms), until Dr. Rice and wife enter house.
- Agitato until child seen crossing glade.
- “Mozembique” (Oriental intermezzo by Gruenwall; pub. by O. Ditson), until lion comes to child’s hiding place in log.
- Agitato until Dr. Rice and party leaves Pete’s shack.
- “Amina” (Paul Lincke; pub. by Stern), until end of picture.
* * * A FIGHTING CHANCE (Vitagraph).
- Novelette until girl is seen at piano.
- “That’s How I love You” (follow pianist in picture).
- At change, back to No. 1 until: “Not Knowing Wynne Is Married.”
- Waltz until they enter restaurant.
- “If You Talk In Your Sleep, Don’t Mention My Name.” When at piano.
- “That’s How I Love You” (short), then:
- Waltz lento until: “The Firm Sends Wynne on a Four Months’ Tour.”
- “Pearls” (Moret) until: “A Stranger to the Wife, etc.”
- Waltz lento until: “Preparations to Leave for the City.”
- “Dimples” (Bratton) until: “Learning the Charm of Grace.”
- Waltz (for dancing) until change of scene.
- Restaurant scene. Popular cabaret music, “Home From His Trip.”
- Waltz (Neutral) until: “The Appointment.”
- “You’re a Great Be Blue-Eyed Baby” until he sees his wife in box.
- “If You Talk In Your Sleep, etc.” very softly, crescendo at change of scene. When he meets his wife.
- Sentimental until she plays piano; then:
- “That’s How I Love Your,” until end, dying away with picture.
Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 31 May 1913, 908.CHILD LABOR TRAFFIC.Part One.1. “Sympathy Waltz” (by Mezzacappo) until title: “The Wicked Guardian, etc.”
2. Waltz Lento until: “The Plot.”
3. Short waltz or allegretto (one scene); an accordeon [sic] is being played in the scene by street musicians. Sound effect can be introduced ad lib. At change of scene:
4. “Dream of the Flowers (Chas. Cohen-Sam Fox), until she writes letter.
5. “Chiffon” (from suite “My Lady’s Boudoir”—Witmark), until Andrea meets her.
6. “In the Shadows” (Finck) until title: “Under the Pretense of Seeking Employment.”
7. Semi-mysterious until: “On the Track.”
8. “La Rose” (Emil Ascher) until end of reel.Part Two.1. “Dream of the Flowers” until: “A Lesson in Misery.”
2. Plaintive till Andrea enters supper room.
3. Agitato, pp. at first and crescendo for struggle until change of scene.
4. Short waltz until child is seen a prisoner.
5. Long “hurry” music. I used “Narcissus Overture” by Schleppegrel, beginning at the Allegro moderato and repeating this movement until she receives telegram, then:
6. “Dawn of Love” (by Theo. Bendix) until last scene.
7. Four bars of Wedding March to finish.* * *THE LADY AND THE MOUSE (Biograph).
1. Lilacs” (Feist) until title: “Boredom and Inefficiency.”
2. “Bees” Novelette (Remick) until: “On the Road.”
3. Any slow Reverie until title: “More Readjusting.”
4. “The Mouse and the Clock” (Whitney-Witmark) until: “A Change in Climate.”
5. Pathetic music (long) until: “Later.”
6. “Pansies” (Bendix) or any waltz lento until “The Change In Climate.”
7. Waltz until end of reel.* * *AN EXCITING HONEYMOON (Pathe).Part One.1. “Wedding Glide” until title: “We Want You To Put On Lady Rowley’s Robe.”
2. “Malinda” (Remick) until drinking scene.
[NB 3 is missing.]
4. Agitato pp. and mf. until: “An Inveterate Gambler.”
5. “Apple Blossoms” (Kathleen Roberts) until: “We’uns Want to be Quality Folks.”
6. “Kiss-Me-Quick” (Novelette), by Emil Isenman, pub. by Fischer, until title: “Fleeced.”
7. Semi-mysterious until he drops his head on table.
8. “Simple Aveu” until Goree Remembers too Late, etc.”
9. Semi-mysterious until: “Let Me Ride Ahead.”
10. Agitato until shot.
11. Plaintive until: “Epilogue.”
12. Religioso until finish.* * *THE COURAGE OF A SOLDIER (Bison).Part One.1. Indian characteristic music until: “The Peaceful Hopis Appeal.”
2. March until change of scene.
3. “Love’s Dream After the Ball” (Czibulka) after introduction. For one scene.
4. Same march as No. 2 until Indians go out of gate.
5. “Spring Dreams” (pub. by Feist) until council scene.
6. “Oy-an-ee-tah,” by Victor Herbert) until all in fort.
7. March until treaty is shown.
1. “I’d Like To Go On a Honeymoon” (from “The Red Rose,” by Bowers) until title: “At Last We Are Alone.”
2. “All Alone” until: “Go ‘way Man, etc.”
3. “One Drink More” (one scene), when colored woman powders her face.
4. “Oh, You Beautiful Doll” (Chorus) once through.
5. “Honeymoon Song from Honeymoon Trail.” When Lord Rowley gets into auto.
6. “Goodbye, Everybody,” until second auto drives on.
7. Galop of lively march until they walk up gang-way to boat.
8. “Goodbye, Everybody,” until boat is seen moving out.
9. “On the Mississippi” until end of reel (lively).Part Two.3. Chorus of “Which He Didn’t Expect from a Lady” (from “Peggy,” by Stuart).
4. “Is There Anything Else That I Can Do for You” (Remick).
5. Lively music throughout the picture.
This picture is a bright, rollicking comedy, and the more lively and “snappy” your music, the better. Popular stuff preferred.* * *A SPLENDID SCAPEGRACE (Edison).
1. Allegro (4th movement) of “Morning, Noon, and Night” overture by Suppe. Subdued agitato for one scene.
2. Any popular intermezzo until title “Selling the House of His Forefathers.”
3. “Old Kentucky Home”—paraphrase (or any Novelette—scenes are neutral); until they enter barroom.
[intervening numbers skipped]
8. Indian music again until change.
9. Agitato p. and f. until end of struggle.
10. “Starlight Souix (or any popular intermezzo of similar character) until: “The Money Arrives for the Indians.”
11. “Indian Summer” (Moret) until he puts money in desk.
12. Semi-mysterioso until: “Chaplain Decides to Leave the Fort.”
13. “Twilight” (Reverie by Nat D. Ayer) until end of reel.Part Two.1. March until change.
2. Indian until change.
3. Sentimental, two scenes.
4. Agitato, pp. until saloon scene.
5. Mysterious, one scene.
6. “Sun Dance” (Freidman) until: “The Lieutenant Accuses the Chaplain.”
7. Intermezzo until Indians.
8. Indian music, one scene.
9. Agitato, one scene; back to Indian music, one scene.
10. Sentimental until: “The Chief Divides His Forces.”
11. Several scenes of hurry and agitato music; when Chaplain lays powder train, softly till explosion—ff. until: “Seeing the Fort Attacked.”
12. March, one scene.
13. Hurry p. and f. Can alternate marches with agitato when cavalrymen seen riding. When army rides into fort.
14. March. When Lieutenant enters.
15. Pathetic until end of reel.
Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 17 May 1913, 693-94.First Reel.
- “Pilgrim’s Chorus” (Thannhauser).
- “Prayer from ‘Der Freischütz’” (Weber).
- “The Rosary.”
- “Consolation” (Leschetszky).
- “How Lovely Are the Messengers” (from Saint Paul).
- “Gloria from the Twelfth Mass.”
Second Reel. Mysterious and Agitato until end of reel.
- “The Agony” from “Crucifixion.”
- “Procession to Calvary” (Crucifixion).
Third Reel. A splendid accompaniment. I would suggest that it might be easier for another to use if you had given an idea of where to being and stop each number, taking cues from the action or from sub-titles appearing on the screen. Anyhow, the constituency is your debtor.
- Several bars from introduction to “Otello,” very softly, then a few bars of “I Know That My Redeemer Liveth.”
- “The Heavens Are Telling.”
- “Funeral March” by Tschaikowsky.
- “How Lovely Are the Messengers” until end of reel.
* * * J. D. S., Nebraska, says in part: “Can you give us a list of classified music (not dramatic) in your suggestions. For instance, some suggestions for music say ‘play —, or —, or —.’
“Now it seems that a list of music might be made out in which all music of the same character might be placed under the same head, thus enabling a person to choose from 25 or 50 numbers if he doesn’t happen to have the particular one called for.”
I want to say to J. D. S. that this question occurred to me when I first began contributing to this page three years ago. It seemed to me that considering the countless musical numbers on the market and in various libraries (and possibly no two pianists in the world have libraries exactly alike), a long list of numbers similar in character would fill more space than its importance would warrant. I therefore chose several numbers of different character, all of them well known, and let each one stand as a representative of its class. For example, Schumann’s “Traumerie” is presumably well enough known to give any pianist an idea of the character of music intended. Knowing this, he might play that number or substitute any similar piece of music he chose. The same may be said of [Braga's] “Angel’s Serenade,” and [Rubenstein's] “Melody in F.” I believe these three numbers are sufficiently well known to represent any number of similar pieces a pianist may chance to have in his library. Novelettes are so much alike it is seldom necessary to specify any particular one, though when a correspondent mentions titles his program of course appears as he sends it. Bendix’s suit of four: “Longing, Parting, Meeting and Reconciliation” I have also mentioned freely, not because I don’t know any others, but because they are good representatives of their class of music, are fairly well known and easy to get. The “Barcarolle from Tales of Hoffmann” [Offenbach] might be taken as representative of another class; Gautier’s “La Secret,” and Delibes’ “Pizzicato from Sylvia Ballet” may be taken as typical allegretto movements from scenes calling for something light, rather lively and not so noisy as a march (for example) might suggest. About all of the old standard music is published in cheap form by some one or other and is easily obtainable at small cost. I take it for granted that the average pianist is more familiar with these as a whole than with the more recent publications—that is, that these numbers are more widely known. For that reason alone I have thought it advisable to stick pretty closely to well-known pieces in my suggestions for music to the pictures, believing it would be intelligible to a larger number of readers than if I tried to choose new programs of up-to-date music for them. Your plan is all right so far as it goes, but it would take quite a large catalogue to hold a list that would be useful to all and for this reason would not be expedient in our limited space.* * * The Selig Polyscope Company are making into pictures some of the successful satires of Chas. T. Hoyt, which were so popular a couple of decades ago. The first one to be released is “The Midnight Bell.” This is a comedy with a little melodrama running through it. The music is mostly of a lively nature, and as the characters are all of the “Down East” country type I would suggest that “barn dances” and “rube” music generally would help to carry out the atmosphere of the story. Suggestions for music are here offered:“THE MIDNIGHT BELL” (Selig). Part One.
- Any “Barn Dance” until title: “Steve and Ned Are Rivals.”
- Chorus of “My Irene Is a Village Queen” (Remick) once. (Von Tilzer’s “Sun Bonnet Sue” my be substituted. Not important.)
- “Daly’s Reel” (not too fast), or any similar “rube” tune, until title: “Steve Decides to Rob the Bank.”
- Light mysterious music (not too pronounced) until: “Next Morning.”
- Agitato pp. until title “Lemuel Tidd, Justice of the Peace.”
- Any intermezzo for neutral scenes until: “The Squire’s Lawyer Is Called From Boston.”
- Short Waltz—about 16 bars—just enough to make a change of music for this scene; until title: “Nora Resents, etc.”
- “Parting” (Bendix-Witmark), until: “Afraid of Being Caught, etc.”
- Mysterious until end of reel.
Part Two.
- “Chicken Reel” (by Daly), or “Barn Dance,” until: “The Entertainment at the School House.”
- “Well, I Swan” (Rube song pub. by Witmark), until telegram is shown; then a few bars of moderato (leading to next movement) until title: “Stop, My Uncle Is Innocent.”
- Light Agitato. After he coasts down hill, a short strain of “rube” music may be introduced for comedy business to end of scene. Then back to agitato and continue until: “The Sewing Society.”
- “A Good Old-Time Straw Ride” (Witmark), or any lively music suggestive of country scenes; until: “Leave My House Immediately.”
- “Meeting” (Bendix-Witmark), until: “But As a Citizen of These United States.”
- “Turkey in the Straw” until: “After Choir Practice.”
- First strain of “Meeting” until Steve enters Church.
- Long Agitato. A church bell effect is used in this number. Play until crowd enters church and Steve is arrested.
- Lively intermezzo until: “The Minister’s Faith in Nora Is Restored.”
- Any Novelette until end of reel.
* * * “THROUGH THE TEST OF FIRE” (Great Northern). Part One.[694]
- Waltz Lento (long) until Count leaves Goldstein’s room.
- “Apple Blossoms” or any similar slow “Reverie” until: “After the Wedding.”
- Waltz until “Bride and Groom Depart.”
- Novelette until: “The Factory Workmen Have Arranged.”
- Lively music—work up to gallop as runaway horse is seen; crescendo till Jack falls, then:
- Short plaintive (about 16 bars).
- Allegretto (“La Secret” by Gautier or “Passion” by Helf & Hager), until end of reel.
Part Two.
- “In the Shadows” (Finck) until: “Jack Advises His Comrades to Strike.”
- “Entr’Acte Gavotte” (Gillet) until: “Eight Days Later.”
- Pirouette—“Pas Seul” (Finck) until: “A Few Days Later.”
- Waltz until she is seen on bridge.
- Agitato—p. Work up to f; till both men knocked down.
- Waltz until: “Mr. Goldstein Is Killed in the Explosion.”
- Hurry p. and f. (fire scene) until: “Count Hardegg Has Inherited a Vast Fortune.”
- Pirouette until: “No, I Will Not Leave My Husband.”
- “Reverie” until: “Youthful Arrogance.”
- “The Flatterer” (Caprice by Chaminade), or some light allegretto; work up faster in agitated manner as action develops—until men exit. Then:
- Intermezzo until end of reel.
Part Three.
- Any novelette until: “The Workmen Press Their Claims.”
- Agitato—p. and f. until they ride through crowd and exit.
- “Love In Idleness” (Carl Fischer) until: “Let Me Stay With You, Dear.”
- Short Waltz one scene.
- Hurry (fire scene) till: “I Will Find Your Husband.”
- Change to heavier hurry until both men come out of burning building.
- Plaintive until wreck is seen burning, then hurry (fire scene) until end of reel.
Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 12 April 1913, 169.
“With an unprejudiced mind I desire to give due credit to conscientious musical artists, forgetting, if possible, that I am a professional, and in so doing I have closely listened to the offering of Los Angeles, San Francisco and Oakland leaders this winter. In many instances, I am sorry to say, the picture music seems to show indifference and a lack of intelligence; a strong desire to use present-day compositions on plots one hundred years old. Perhaps they wanted to please the masses with popular music. However, I do not believe this method wins in the end. Many houses are confining themselves to the mechanical organ operated by a musician. This style of music is popular in San Francisco and Oakland; one man accomplishes the work of ten and this is “great”—financially. Mr Grauman’s Imperial is truly a palace from an architectural point of view. His par excellent orchestra consisting of piano, organ, violin, ‘cello, flute and drums, reaches the climaxes beautifully and makes the musical changes seemingly without effort or discord. They forget to accompany those “hairy pants” and “broncho” subjects with an asphalt paving effect during the wooly cayuse ride, and what a treat this is.
“A great number of theaters in California seem to feel justified in offering few sound effects. We know the audience loves to talk over the plot; to surmise in words the outcome of the scenario on the screen; to read the “leaders” aloud. Therefore why not permit this harmless habit and play soft music more or less throughout. Do let the people talk and make this possible by softening the drum whenever the situation will permit.” [Why not say, “eliminating” the drums in such situations? That would be better. Ed.] “Whatever progress we make in this field of art, let us endeavor to heed the suggestions of those who think and apply the compositions of the masters on all films of a dramatic and educational nature, for this alone, I believe, will elevate the musical atmosphere surrounding the picture.”
The writer of the above has contributed to this department before. She is a clever musician and character actress, and has been a successful manager. At present she is being featured in her portrayal of “Dante’s Inferno,” “A Day in the Alps,” and educational subjects, and her long experience in different phases of picture work makes her opinions worthy of consideration. Whatever progress made by picture-music is due largely to those who not only “think and apply,” but are willing to share the result of their experience. C. K. Aiken, H. R. Seeman, Maurice Komroff, C. B. Lagerquist, Chas. S. Offenberg, Maude Waters Dittmar and a host of other contributors are among those who “think and apply.”* * * C. V. E. writes: “Why is it, I would like to ask, that most moving picture pianists will sacrifice the sentiment contained in a picture to a popular air, whether it fits the scene or not? I have played the pictures for over 14 years” [that is a long time. Ed.] “and have only been out of work for one month during that time. I say if a picture calls for Old Hundred, or Yankee Doodle don’t be afraid to play it. Use your brains as well as your fingers and learn to use them both at the same time, the brains a little in advance, in order to get the right affect, you must feel the sentiment and make the audience feel it, dramas should be played to three-four time. Westerns to two-four time, comedies to ragtime, if you like, but the time must fit the action of the picture. In short, build your music as carefully as you would for an opera.”
The writer of the above is evidently sincere, though his letter may appear a little out of focus. I don’t quite get that last, however. Why should dramas “be played to three-four time?” An opera is usually supposed to be dramatic; how can you build your picture music “as carefully as you would an opera” if you confine yourself to three-four time? When our best pictures have special music written for them (as they soon will), this music will, or should be adapted to the action of the picture as it is to the dramatic action in opera, and the composer will use whatever movements, figures or tempi that seem best adapted to the various scenes according to his judgment.* * * A Kansas City correspondent, who signs no name submits the following suggestions for music to the Kalem release:“The Wartime Siren.” 1. March. Begin very soft until soldiers are seen, then loud; continue until shooting begins, then:
2. Hurry ff. When shooting stops diminish till change of scene.
3. Bugle call and short hurry.
[NB: “4” is missing]
5. Yankee Doodle until Union forces behind breastworks.
6. Dixie until title: “Colonel Ashley and His Daughter, etc.”
7. “Miama” (Moret.) until she brigs Doctor W. into house.
8. Introduction to “Fra Diavolo” overture. I begun [sic] this after the drum solo and kept repeating softly giving a mysterioso character to the music until title: “Colonel Ashley Attacks the Union Forces.”
9. Short agitato until sick room. Then:
10. Pathetic to swell and diminish according to alternating scenes until battle scene.
11. Hurry until change.
12. Short pathetic until Dr. W. rides away.
13. Hurry until he runs with American flag.
14. Yankee Doodle very spirited until title: “Two Months After Appomattox.”
15. Waltz or novellette [sic] until end of picture.
Send in your name next time, Kansas City.* * *
Suggestions for accompanying music to:“A Wise Old Elephant” (Selig). Part First.
- “Poppies” (Moret.) once through, then:
- “In a Lotus Field” (Bratton), until two horsemen ride away from steps.
- Light agitato until title: “Lieutenant Driscoll is Persistent.”
- “Reign of the Roses” (Ellis Brooks), or some number with triplets in accompaniment, which can be given an agitato character when scene demands. Play until end of reel.
Part Second.
- Light mysterious until man falls on porch.
- Agitato p. and f. until title, “Three Years Later.”
- “Twilight—A Reverie.” (by N. D. Ayer; pub. by Remick) until “A Wise Old Elephant.”
- Light agitato (long) until title: “Toddles Forces a Reconciliation.”
- Tchaikowsky’s “Chant Sans Paroles,” (play rather quickly), until elephant gives cradle to parents.
- “Teddy Bears Picnic,” until end of reel.
This week's "Music for the Picture" column is once again a grab bag. It opens with a letter on using opera selections to accompany the films. The writer also makes a comment that most people in the audience seem unaware of the music, which prompts Sinn to argue that just because an audience seems not to paying attention to the music doesn't mean that the music is not affecting them, even deeply.Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 5 April 1913, 56.
“I agree with Miss Ditmar, in the February 1st number, in regard to opera selections; they are my especial hobby. I might suggest that in addition to those Miss Ditmar cites, the most of which I have used to advantage, the following are equally excellent: Little Boy Blue, Rose Maid, Spring Maid, The Firefly, The Love Cure, Oh, Oh, Delphine, Under Many Flags, Hanky Panky, Count of Luxembourg, He Cam From Milwaukee, Mlle. Modiste, Lady of the Slipper, and The Red Rose. Also the overtures, Pique Dame, Jolly Robbers, La Boheme,and Madame Butterfly. Fraternally, G. Warner Metcalfe, Grand Theater, Holyoke, Mass.”
Mr. Metcalfe says that though a majority of his audience may be oblivious to the music, he plays for the minority as well as for his own satisfaction. This is the right spirit. But very often a great part of the oblivious majority may sense the fitness of the musical accompaniment without being aware of it. Anyhow it is pretty generally understood that the music should never be so prominent as to detract from the picture, but should at all times be made subservient to it. For that reason many patrons may not always notice the music in particular unless there is something wrong with it. And, after all, a musician’s greatest satisfaction is found in his own approval of his work.* * *
Organists, of whom the number employed in moving picture theaters is constantly increasing, will be delighted with the new book of organ music published by Meyer & Bro., 77 W. Washington Street, Chicago, Ill. I have examined this book and can vouch for the excellent quality of its musical contents and their adaptability to moving picture work.* * *
The militant spirit seemed to predominate among the feature films viewed last week. Here are suggestions for music to three most excellent war pictures—every one a feature:“The Woe of Battle” (Kalem).
- Heavy hurry (for battle), p. and f. until title: “General Green Makes Headquarters, etc.”
- “Flight of the Birds” (by Rice, pub. Walter Jacobs) until title: “You Are My Brother’s Murderer.”
- Short sentimental—one scene.
- Short march until title: “A Broken Heart.”
- Pathetic music for one scene.
- Long heavy, hurry (for battle) until hospital scene.
- Plaintive until title: “Love’s Last Farewell.”
- “The Vacant Chair,” very pathetic until close of picture.
“The Retreat From Moscow” (Pathe). (Courtesy William E. King.) Part First.
- “Russian National Hymn” until title: “Napoleon, To Inflame the Courage, etc.”
- “Marsellaise” (short) until change of scene.
- Hurry (for battle) until man is brought to general; then subdue until change of scene.
- Agitato p. and f. until title: “After the Battle.”
- “Reine de Sabe” (March by Gounod) once through, then:
- “Festmarsch from Tannheuser” [sic] until end of reel.
Second Part.
- Storm scene from “William Tell” (long) until officers come out of the Krimlin [sic].
- “Partant Pour la Syrie” (French song) until change.
- Agitato p. and f. until title: “The Incendiaries.”
- Solemn (for execution) until title: “Napoleon, Fearing the Russian Winter.”
- “Marsellaise” until title: “The Grand Army Pursued by the Russians.”
- “Partant Pour la Syrie” until title: “The Cossacks harass the Retreating Army.”
- Second movement “Halka” overture until peasants attack straggling soldiers.
- Short agitato until change of scene.
- “Partant Pour la Syrie” until title: “At Last Getting the Remnant of His Army.”
- “Marsellaise” until end of picture.
* * * “Pauline Cushman, the Federal Spy” (Selig). Part First.
- Third Movement of “Raymond Overture” pp. until title: “The Toast.”
- “It Is Better to Laugh Than Be Sighing” (from “La Traviata”) until title: “Here’s to Jeff Davis and the Southern Confederacy.”
- “Dixie” until change of scene.
- Introduction to “Pique Dame” overture pp. until title: “In the South.”
- “Bonnie Blue Flag” until title: “Pauline is Overheard.”
- Short agitato until back to camp scene, then:
- “Bonnie Blue Flag” again pp. until change of scene.
- Semi-mysterious (similar to No. 4; long) until “Holmes Informs Rosecrans.”
- “Military March” mf, and p. to action until she crawls out from under tent.
- Agitato p. and f. according to action until she discards drum and rides away.
- Hurry; begin p. and increase with action until she enters Union camp.
- “Yankee Doodle” until end of Part First.
Part Second.
- Short March until she is left alone in second scene.
- Mysterious through next three scenes until she takes officers arm and exits.
- Ling semi-mysterious with military suggestions; similar to second movement in “Halka” overture or “Lady Moon” song from Bohemian Girl played in march tempo until old negro left along in room.
- Mysterious semi-agitato until title, “The Confederate Ambush.”
- March, “Gate City” (Weldon); subdue while writing is seen; play until she is seen in cane brake.
- Agitato p. and f. At tinted scene change to:
- Hurry (for battle) p. and f. until title: “General Rosencrans Honors Pauline.”
- March, until end of picture.
“The Chains of An Oath” (Vitagraph). Part One.
- “Joyous Farmer” (Schumann). Repeat once, then segue.
- “Chants du Voyageur (Paderewski) until Donia enters house.
- “Sicilian Chimes” (Kerry Mills) until title: “First English Lesson.”
- “Pearls” (Novelette by Niel Moret) until Donia reads letter.
- “Farewell to the Piano” (Beethoven) until end of reel.
Part Two. “If entre d’acte is desired, “Romanze” by Schumann will hold the “color” until part two is projected.”
- Agitato p. until Svan enters apartment with Donia.
- “A Summer’s Dream” (By P. Hans Flath) until title: “Svan Decides to Follow.”
- Short light Hurry until title: “The Land of Bondage.”
- “Sans La Feuille” (F. Thome) until Gregory appears with knife.
- Agitato pp. and ff., following action until Gregory turns to leave apartment first time.
- “Sans La Feuille” until end of reel.
A dignified program which follows the motive of the picture very well. Our constituents will be glad to hear from you again Mr. Ray.* * *
From the Broadway Theater, Salt Lake City, Utah: “This is the first time I have taken the liberty of communicating with the music section though I have contributed many other articles and suggestions to various departments of the Moving Picture World. We are using first run pictures and of course all your accompanying music and suggestions for the various pictures come too late to be of much assistance to us, though from the program you selected for Reincarnation of Karma, I picked many numbers which we will be able to use in future pictures of this nature.
“In making up a recent order list of orchestra music I found the catalog’s particularly short of Oriental and Eastern music; at least they were hard to select from the titles. Also the Mexican music we have on hand is well worn since the long run of these pictures we have had. I think it would be of great value and assistance to exhibitors and orchestra leaders if you would from time to time publish lists of various classes of music, giving when possible the composers’ and publishers’ names. In our new house we will use an orchestra of ten pieces. Yours, Dean R. Daynes.”
I can appreciate Mr. Daynes’ difficulty in selecting music with nothing to guide him but the titles in the publisher’s catalog. The music suggested in this department is usually accompanied by the name of the composer and frequently the name of the publisher is given, but it would not be expedient to publish lists from their catalogs here. Such advertising would be too valuable to the publishers to give them free gratis. When these gentlemen awaken to the fact that over 16,000 moving picture theaters in this country alone are constantly on the lookout for appropriate music, and that the Moving Picture World is read in every one of them, they will arrange assorted lists of their music and publish them in the advertising pages of this paper. They might be surprised to learn that moving picture musicians desire something else than “rags” and popular songs. In the meantime the suggestions for musical accompaniments will give the composers’ names and occasionally, the publishers; but I am sorry to say, no catalogs or lists.* * *
From C. H. Snow, Middletown, Del.: “It is doubtlessly seldom that you hear from this part of the country. I want to congratulate you on the excellent work you are doing in the music suggestions in your department, especially your ‘tips on improvising.’ Am working in the opera house here running the cream of licensed pictures and two 2- or 3-reel features per week. Speaking of the art of picture playing in general, it would benefit all photo-pianists to keep in close touch with each other and exchange views and compare their ideas as to the conception of music for the picture.” (That is what this department is for.—Ed.)
“Only recently a friend sent me a good suggestion and since that time I gave a few pointers to another friend because one had done me a good turn and I passed it along.”
Our correspondent has the right idea, but if he will watch the Moving Picture World closely he will find many friends busily engaged in “passing along” their ideas and suggestions. Not so many as I should like to see, perhaps, but compared to the apathy of a few years ago, it is encouraging to observe the number of thoughtful musicians who are willing to share their experience; in proof of this, witness the growing number of “musical suggestions” sent in from various parts of the country and given this page. They are “passing it along.” Some time ago a correspondent sent us a set of rules for the guidance of picture players. One of his maxims was: “go and hear other pianists play the pictures.” This is broadening. It gets you out of the rut and stimulates your ideas. Studying the other fellows “dope-sheet” is of great help too. In both cases you are bound to criticise or approve; if the latter, you may get some new ideas. If you criticise you will naturally try to think how his work might be improved—if it is wrong, where and why it is wrong, and what will make it right. We develop by sharing our ideas and comparing our efforts.* * *
H. R. Seeman, La Fayette Theater, Saint Louis, Mo., says: “In the issue of the Moving Picture World, March 1st, I notice a letter from Albany, Oregon, in reference to effects from Oregon. If I get him right he thinks a drummer with a first class air-cabinet in the orchestra with the pianist can make the pictures more realistic, and (if I understand him right), is of the opinion that such a combination can accomplish more. Quoting his words, ‘You have got to show me.’
“I grant that the effects are quite essential for making the picture realistic, but I must say that effects and music are two different things, and when a drummer of an orchestra attempts to make all the effects for the picture with his $1800 air cabinet he then and there becomes an effect man, and that orchestra is sadly in need of a drummer that can make effects—I mean effects that are characteristic to the music his leader is playing—and let the effect man take his place behind the screen where he belongs. My idea of a drummer and his traps is to make effects incidental to the music the orchestra is playing. For instance, I am playing this week for the Pathe special release, “Mother”—a western drama, and there is one scene where there is galloping horses and Indian fights. I am playing a good number for this scene entitled “Cowboy Capers” in the drum part of which there is lots of work for cymbals, tom-tom, etc. Is it right for the drummer to sacrifice these effects that are characteristic to the music in order to catch shots, horses hoofs, etc.? In other words, the effect drummer must play his effects according to his picture whereas the orchestra drummer who makes his effects characteristic to the music is helping his leader carry out his contract to play music suited to the picture. I must say again that the drummer who attempts to do both not only sacrifices his work a drummer, but is also doing an injustice to the music. Both good effects and good music are essential, but cannot be worked together in the orchestra pit. The drummer using bells, chimes, xylophone, tympani, etc., is doing more to help the cause of “better music for the picture” than the drummer with his $1800 air cabinet. Yours very truly, H. R. Seeman.”
These gentlemen are evidently looking at the proposition from different angles. Without taking sides one way or the other at present, I wish to point out that the majority [1326] of picture houses employ but one effect man, viz.: the drummer in the orchestra pit. With the larger houses using an orchestra it is often differently arranged, but in the smaller places employing but two or three musicians (usually two—piano and drums), the sound effects incidental to the picture are the most important part of the drummer’s work.
Mr. Seeman kindly encloses his musical program for two pictures.“Mother” (Pathe).Part One.
- Waltz “Blush of the Rose” until title: “Their Boy;” then:
- Intermezzo “Starland” until he writes home; then:
- Song “Mother” (from play of that name) until title “Bob Gambles, etc.”
- Same intermezzo (“Starland”) softening for fireside scene, continuing until mother gets letter. Then waltz (No. 1) until scene out west.
- March “Local Pride” (fast) until title: “Bob’s Mother Prepares, etc.”
- Waltz “Asphodel” (Hildreth) until end of reel.
Part Two.
- At title: “Bob Sells the Stolen Horses” Bright characteristic march “Cowboy Capers” (new—by Allen), until title: “Believing Her Son the Sheriff.”
- Waltz “Asphodel” until sheriff sends for Bob.
- Tosti’s “Goodbye” until title: “Their Dreams—and the Reality.”
- “Mother” song till end.
“A Chance Deception” (Biograph).
- 16 bars Spanish dance (Bolero) then:
- “Il Bacio” (The “Kiss Waltz”) until title “Am I Too Old?”
- “In the Shadows” (Finck) play second part quasi mysterioso at title “His Suspicions Confirmed.” Continue until husband enters house; then:
- “The Romance of a Rose” (new) 2d movement agitato until title: “Asphadia” then take up “Romance of a Rose” at introduction, play through—then:
- “Titl’s Serenade” (or any serenade) until finish.
