Wurlitzer, Sound Effects, and a Letter from Columbus

Sinn's column appeared only sporadically during the summer months, and this particular column seemed to serve primarily to drum up reader interest in the column. For whatever reason Sinn would place only two more columns in Moving Picture World before the end of September.

Here, Sinn spends the first part of the column on the Wurlitzer Hope-Jones Unit Orchestra, which had made a very big impression at the summer trade show in New York. This instrument is indeed the forerunner of the mighty Wurlitzer that would become legendary during the picture palace era. Wurlitzer had long advertised in the Moving Picture World, but their ads, as the one to the left, had generally sold their cheaper automatic instruments, with the promise that its automatic instruments would "furnish better music than musicians and reduce expenses." Wurlitzer did not, for the most part, advertise the Unit Orchestra directly in Moving Picture World—though it did receive fairly extensive coverage in news items.

Sinn then turns to Lapin's (Excelsior) "Dramagraph" sound effects cabinet, which had likewise impressed at the trade show, before printing a long letter urging musicians to play appropriate music. He ends with a short item announcing a collection of music written specially for "motion picture work."

Come Right In; Don’t Stop to Knock.

The editor of this department has been a few weeks vacation and in consequence the page has been neglected somewhat. Now that we are back in the harness we are going to try with your help to make the music department more interesting than before. Those having new ideas, worries, questions or answers—anything in fact which may be of interest to your fellow musicians—please come forward with your offerings. It says “Welcome” on the door-mat and we are always glad to hear from you.

To the exhibitor who contemplates the installation of a pipe organ in his theater, I would respectfully suggest that before deciding he will give a thorough inspection to the Wurlitzer-Hope-Jones Unit Orchestra. (The manufacturers object to its being styled an organ, tho it is played the same.) Exhibitors who attended the convention in New York heard this instrument among other exhibits, of course; they could not very well help it, but amid all the confusion, bustle and many-voiced sounds, the Unit-Orchestra had little or no opportunity of demonstrating its value as applied to picture-music. To appreciate its worth, one must see and hear a practical demonstration and I found one at the Astor Theater where “Quo Vadis” is being shown. Many of the visitors attended this performance, no doubt. Those who did not, missed a treat. I saw it three times this week and enjoyed Mr. Clarence W. Dow’s masterly accompaniment upon a Wurlitzer-Hope-Jones Unit Orchestra. I wish to remark in passing, that Mr. Dow is an artist, an experienced picture-musician and one of the very few I have been fortunate enough to hear, who can improvise appropriate and musical music to moving pictures.

The instrument at the Astor Theater is only one of their many styles and, as the manufacturers justly say, is destined to become very popular. So again I suggest before you decide upon that pipe organ inform yourself regarding the Hope-Jones Unit Orchestra. The Rudolf Wurlitzer Co. will gladly give you details in case you are so situated that a personal examination is impossible.

Sound Effects.

Lapin’s “Dramagraph” was another exhibit which attracted much attention. This is purely a “sound-effect” instrument and its inventor claims that it can be made to produce “any conceivable sound known and used in dramatic or photoplay portrayal.” As that will cover theoretically every sound known to art and nature, you can see it is a pretty big proposition. At that I think they made all of them and added a few original noises during that week of July 7th. It is “some sound box” all right.

A Few Remarks From Columbus, Ohio.

“So much has been said about music for pictures in your valuable magazine that I feel as though I might add a few words of advice to picture-pianists. First of all, play the picture as it should be played, if you know how. If not, give up your position to one who does know how and save your credit. Not every pianist is qualified to play pictures. I have known the very finest performers of piano to be utterly lost on a picture as far as appropriate music for the picture goes. First of all study your picture thoroughly before you touch the piano, know just what you are playing for and play it. If you played a song for a singer you would have some feeling about that song, wouldn’t you? I am sure no piano player, no matter how brilliant or what amount of knowledge of music he may have, would play ‘Il Travatore’ in the same rambling time and tone as he would ‘Grizzly Bear.’ If some of the old authors who spent the best of their lives in writing such pieces as ‘Melody in F,’ ‘Sextette from Lucia,’ ‘Il Travatore,’ ‘Poet and Peasant,’ or any of the higher class of music, could hear how it is being literally butchered by the ragtime banger, they would week with mortification if they at all recognized their composition. Now, piano player, for sake of poor suffering humanity, please play as though you enjoyed your work and were not doing it simply because you had to, to buy a new frock or that it was more of a task than a pleasure. It is a task for an intelligent audience to sit through, probably, the very finest set of pictures, when they are poorly played. Play all the latest popular airs, of course, and, as much lively ragtime pieces as you like, but for your own sakes play them at the right time and in the right places. It is always best with a three (3) reel subject to carry the feeling of one reel straight into the next one, then play a rag or poplar air at the close of the picture. I was in a picture show in my own town just a few nights ago. The picture was ‘In Slavery Days,’ a Southern drama. The pianist was an exception; she played All the old Southern airs, I believe, that was ever written from ‘Kentucky Home’ to variation of ‘Mocking Bird’ and between the reels she played variations of ‘Massa’s in the Cole, Cole Ground,’ and, to tell the truth, there was not a dry eye in the house and scarcely a breath drawn between reels, simply because that girl got her audience and she held them. One more word, pianists throw your whole life and soul into your picture. Just make yourself fit in and put feeling into your playing. I believe that the time will eventually come when the ragtime junk will be thrown out altogether, and the higher class of compositions used. Pianist should remember that no matter where the theater is located, there is bound to be a musician at some time or other visit it. And they should also remember that his or her manager is depending on them for exactly one-half of his entertainment. If the pianist is no part of the entertainment and cannot hold up his or her end of the entertainment, the sooner the music is dispensed with the better. I have played in picture shows for seven years and the best way to play for pictures is to get the ‘Moving Picture World’ and the moving picture stories each week and read all the stories of the picture your exchange furnishes. Then you are familiar with the thread of the picture before the show. And until pianists do acquaint themselves with the different subjects of the pictures, the managers are bound to have poor music.

“The pianist alluded to in the above is Mrs. Ethel London at the Oakwood Theater, Columbus, Ohio, and I believe her to be one of the best in our City.

“Mrs. I. B. Sneed.”

New Music.

I notice Mr. J. Bodewalt Lampe, the well known American composer, is about to launch a collection of music designed for motion picture work. Mr. Lampe expects to have it on the market in a few weeks and you will doubtless see his announcement in these pages when the work is ready. It will be for piano and orchestra and can be used for any combination of instruments, and will, I am sure, be a welcome addition to the meager selection of music designed especially for picture work which is now on the market.

Clarence E. Sinn, “Music for the Picture,” Moving Picture World 23 August 1913, 833.
Image Sources: Excelsior Sound Effect Cabinet Moving Picture World 12 July 1913, 256; Wurlitzer Moving Picture World 9 August 1913, 692.

More Musical Suggestions

This week's "Music for the Picture" consists largely of musical suggestions provided by a drummer in Virginia. In addition, the page carried a warning from a manager in Illinois about a disreputable music salesman.

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.

1. “The Palms,” until title: “While Jesus and the Twelve Disciples, etc.”
2. “Perfume” (From Suite, “My Lady’s Boudoir”—Witmark), until title: “Five Wise Men and Five Foolish Virgins, etc.
3. “Thais” (Valse Oriental—Jos. Stern), until it shows virgins coming out of door; then:
4. “Bells of Seville” (Valse—Walter Jacobs), until title: “Attracted by Curiosity, etc.”
5. “On a Sunny Morn” (Theo. Presser), until title: “Wednesday Feast Drawing Near, etc.”
6. “Shahin Shan”—Oriental Valse (Smith & Brown, pub.), until title: “Here Comes the Bridegroom.”
7. “Roman Emperor March” (Sinn’s Orpheum Collection), until end of reel.

Part Two.

1. “Old English Dance” (Theo. Presser, pub.), until it shows Jesus and Disciples. Then:
2. “Perfume” (From Suite, “My Ladies’ Boudoir”), until title: “Our Father, etc.”
3. “Oriental March” (From page 12 of “A Tragedy of the Desert”), until title: “Hallowed Be Thy Name.”
4. “Barcarolle” from “Tales of Hoffman,” until title: “Thy Kingdom Come.”
5. Third Movement “Poet and Peasant Overture” (Allegro), until title: “Thy Will Be Done.”
6. Pathetic until title: “Give Us This Day Our Daily Bread.”
7. Prayer from “Der Freischutz,” until title: “Forgive Us Our Trespasses.”
8. Hurry—slow down with action and gradually get down to pathetic until title: “Lead Us Not Into Temptation.”
9. Massenet’s “Elegy,” until title: “But Deliver Us From Evil.”
10. Storm (No. 42, Sinn’s Orpheum Collection), until title: “For Thine Is The Kingdom.”
11. Heavy bass chords until title: “And After Jesus Had Finished, etc.”
12. “Perfume,” until end of reel.

_____

“Slavery Days” (Rex).

1. “Old Folks at Home,” until it shows colonel and wife.
2. “Maurice” Valse Lento, until title: “Colonel Called Away On Business.”
3. Pathetic until title: “The Maid Takes Care of the Baby.”
4. Waltz (No. 2 from “Sign of the Rose”—Vandersloot, pub.), until she brings the baby back.
5. Lullaby from “Erminie” until: “Colonel’s Return.”
6. Lively waltz until: “Fourteen Years Later.”
7. “I’ll Change the Shadows to Sunshine” (Witmark), until it shows girls and mother on porch.
8. Pathetic until it shows them out in the woods.
9. “Trail of the Lonesome Pine” (Shapiro), until title: “Robert Fails, etc.”
10. “Jack O’Lantern” (Flirting Princess), until ballroom.
11. “Flo Waltz” from “Maid and Mummy” until end of reel.

Part Two.

1. “Just My Style” (From Fantana), until girl comes upon them.
2. Agitato until it shows Robert himself.
3. Sentimental until title: “The Slave Dealer, etc.”
4. Intermezzo until Charlotte sells Tennessee.
5. Hurry until Robert comes to tell them.
6. Sentimental until girl runs on.
7. Hurry’s from this on; heavy chords for burning and agitato for boat race until title: “Twenty-four Hours Later.”
8. Intermezzo until they come out of church.
9. “Here Comes the Bride” until end of reel.

_____

“Crossed Swords” (Great Northern).

Part One.

1. Third movement “Raymond Overture” until inside house.
2. “Hallowe’en Valse Lento” (from “Wonderland”), until ballroom.
3. “Birds and Butterflies” (Espressivo movement), until title: “Both Love the Same Girl.”
4. When I Dream of You” (Forrester, pub.), until title: “A Serious Accident.”
5. Agitato; work up into a “hurry” with action until inside house.
6. Pathetic, until title: “Experimenting With Airship’s Guns.”
7. I’ll Introduce You to My Father” (from “A Modern Eve”), until title; “The Proposal.”
8. Waltz until ball.
9. Grand March (No. 2, C. L. Johnson’s picture music), until title: “At the Club.”
10. Waltz until end of reel.

Part Two.

1. Six-eight March until: “He Shows Her, etc.”
2. “Jingles” Intermezzo until it shows one officer creeping after the other.
3. Mysterious—work up into hurry until man by fireside.
4. Sentimental until title: “His Great Day.”
5. “Bobbing Up and Down” (Theo. Morse), until engine room.
6. “Jingles,” until officer about to turn crank.
7. Agitato—work up into hurry until shot.
8. Sentimental until working guns.
9. Jingles intermezzo until inside house.
10. Waltz until end of reel.

Leo Volkenrath, Lyric Amusement Co., Huntington, W. Va.

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.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 19 July 1913, 303.

A Musician's Complaint

Besides the usual musical suggestions, this week's "Music for the Picture" column also contains a long letter from a pianist complaining about his treatment by managers. Indeed, the writer goes so far as to place a large portion of the blame for poor music in the theaters on managers and their lack of knowledge on or inattention to musical matters. Sinn, while acknowledging the validity of some general points, seems generally unpersuaded by the specific complaints against managers as a class.

A correspondent who does not wish his name given offers the following:

“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).

1. “Dorothy” (Old English dance; Seymour Smith), until title: “Lady Bersford, An Old Sweetheart, etc.”
2. “Pull for the Shore, Boys” (old song) until title: “Yorke Introduces Anne, etc.”
3. “La Danse De Souvenir” (Loren Bragden) until foster father dies.
4. “On Wings of Love” (Bendix) until title: “Lady Bersford Accuses Anne, etc.”
5. “Melody in F” (Rubenstein) agitato until title: “The Trial.”
6. “Sextette from Lucia” until Yorke and sailors come to rescue Anne.
7. Mysterious pp. until Yorke attacks guard.
8. Agitato until old man stands on beach watching receding boat.
9. Waltz—rather bright, until end of reel.

______

“Longing For a Mother” (Lubin).

1. Bird of Paradise” (J. V. Mathews) until title: “At the Reception.”
2. “Enchanted Nights Waltzes” (Moret) until title: “Day Dreams.”
3. “Dreams, Just Dreams” (Berlin—Snyder) segue: “Nothing Like a Mother’s Love” until boy awakes by portrait.
4. Waltz pp. until ball room scene, then f. until Mary Evers joins boy at portrait.
5. “In a Red Rose Garden” (Billy Gaston) until fairy disappears.
6. “All Aboard for Blanket Bay” until dark scene.
7. 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.

Clarence E. Sinn, “Music for the Picture,” Moving Picture World 28 June 1913, 1362.

Corrected Version of Musical Suggestions

As mentioned, the typesetter messed up the musical suggestions that Sinn had published on 31 May 1913, leading to a correction published 21 June. This post is a corrected version of the 31 May suggestions per Sinn's instructions.

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.
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.

Part Two.

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).

This picture is a bright, rollicking comedy, and the more lively and “snappy” your music, the better. Popular stuff preferred.

* * *

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.
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.

* * *

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.
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.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 31 May 1913, 908, incorporating corrections published 21 June 1913, 1240.

Bartola Keyboard Attachment

The bulk of this week's "Music for the Picture" column is given over to the Bartola Keyboard Attachment, which was evidently the brand name for one of the Barton Piano Attachments. Surprisingly, Sinn gave Barton this large write-up despite the fact that Barton products had not been advertising in Moving Picture World since March.

In addition, Sinn ran a correction to the musical suggestions from 31 May 1913. A version of those musical suggestions based on these corrections will be posted tomorrow.

Sinn concludes this week's column with a letter discussing the difference in accompanying film with orchestra compared to piano and drummer.

“The International Musician” (which is the official organ of the American Federation of Musicians), on p. 9 of its May issue, has an article entitled “Music Machines.” In the course of this very interesting and timely article it says: “Music machines are beginning to displace orchestras in the cheaper theaters” and “This is a problem that music be faced and solved. Somebody must manipulate these machines. Insist that such operators must be qualified members of the A. F. of M.”

I am moved to this partial quotation through having recently witnessed a demonstration of the Bertola [sic] Keyboard Attachment for Pianos. I want to say right here in the beginning that this keyboard is not an attachment in the true sense. It is entirely separate from the piano, but is merely placed in a position convenient for manipulation by the pianist. As a matter of fact, it could be played without a piano. So many music machines are a combination of piano, organ, etc., that I believe this point is worth notice. A small keyboard containing thirty notes (two octaves and a half) is mounted on a standard. This is not attached to the piano remember, but stands on the floor convenient to the pianists right hand. The keyboard can be swung over the piano keys when wanted and swung back out of the way when not in use. One the floor in front of the pedals is a board containing other keys or pedals connecting with drums and various traps (crash, thunder sheet, auto horn, tom-tom, etc.), which are manipulated by the feet. The organ is a real organ consisting of two sets of pipes voiced to “violin” and “flute” stops respectively. These pipes are of the best quality (being 90 per cent. tin), and their volume and tonal quality are exactly the same as a similar section from a good pipe organ. Although the other attachments are good, this organ section is the one great big musical feature which will make the Bartola Keyboard unique among music machines. Having a good piano already in his theater, any manager who installs the “Bartola Keyboard” only needs a good pianist to insure high-class music. This attachment is not a toy. Its effects are not “cheap,” but of good, solid quality. The drums are played by the feet—the bass drum by the left foot, the small drum by the right. They can be made to play soft or loud at will. This applies also to the xylophone, orchestra bells, chimes, and marimba, which are that is all there is to it. But the combinations and effects likewise attached to the keyboard. The different instruments are in separate cases, which may be placed adjacent to the piano or in various parts of the theater. They are run by a current of low voltage which is supplied from a storage battery. This battery is kept “stored” by a motor generator which is started and stopped automatically by the playing of the instruments. The full quota is given as follows: “Pipe-organ, xylophone, orchestra bells, marimba, chimes, bass drum, small drum, tom-tom, triangle, cymbal, thunder sheet, and auto horn.” These can be played all at the same time along with or without the piano; in any combination with or without the piano. The combinations are infinite in variety. The “violin” stop in the organ section really partakes more of the character of the oboe or high register of the cello to my way of thinking. At any rate, it is possible to get a very good Oriental musette effect on the upper notes of this stop; also an imitation of bagpipes.

Combined with the flute stop a big rich tone is produced which, when accompanied by the piano and drums, gave an excellent orchestral effect. When all the instruments and trap are played together, the volume is sufficient for any ordinary theater. Now, Mr. Exhibitor, when you install the “Bartola Keyboard Attachment,” don’t make the mistake of thinking it will do all the work; get a good pianist to operate it, as it is a really good instrument and deserves a chance. A pianist does not need to “learn” this instrument; in a few moments he can familiarize himself with the situations of the different levers which are all convenient to his hand, and that is all there is to it. But the combinations and effects possible to a good performer are worth the extra money.

A Correction.
A slight mix-up happened to my letter in the issue of May 31st. Under the title, “An Exciting Honeymoon,” the caption “Part One” and numbers 1 and 2 are correct; the remainder of this reel will be found in the next column under Part Two, numbers 3, 4 and 5 respectively. The caption “Part Two” belongs at the head of the second column, the first number in the second reel being “I’d Like to Go On a Honeymoon,” and ending with number 9, “On the Mississippi.”

“A Splendid Scapegrace”; first three numbers correct. The remainder will be found under caption “Part One” of “An Exciting Honeymoon.” Begin with No. 4, “Agitato pp. and mf.” and so on until No. 12, “Religioso until finish.”

“The Courage of a Soldier” is correct to and including No. 7. The remainder will be found under “A Splendid Scapegrace” No. 8, “Indian Music again, etc.,” and so on to finish. Accidents will happen in the best regulated printing office and please note that it seldom happens in this.

———
Likes the Music Page.
Mr. Roy H. Metcalf, of the Empress Theater, Missoula, Mont., submits the following: “One of the most interesting features in the Moving Picture World to me, and no doubt to many other musicians, is the ‘Music for the Picture’ page. I only regret that it does not appear each week and that more musicians do not take advantage of the opportunity to help others by offering suggestions.

“Music for the picture is second in importance only to the picture itself—many of the patrons of the photoplay place the music first.” (They should not if the pictures are all they should be.—Ed.)

“Every live manager is now demanding that the musical accompaniments for his pictures shall be of the best and many houses are spending more for the musical end of the game than for the pictures.”

[That probably accounts for it; I am a strenuous advocate of good music and good pictures, and believe that correct music enhances the value of the picture, but I do not protest against the fine concert program with pictures as a side issue. Not that I think Bro. Metcalf is arguing in favor of this proposition, but I have met a few exhibitors in the past who did and still do, and here is a good chance to get in my little knock.—Editor.]

“There are still some who are emphatic in their assertions that an orchestra cannot properly fit music to the picture. There is no question but that a pianist, either alone or with the assistance of a good drummer, has probably a greater opportunity to work out his pictures in detail than a number of musicians playing together, but I believe most orchestra leaders have demonstrated that it is possible to follow the picture quite effectively and at the same time give the public more pleasing music than a pianist can. We are using a string orchestra and pipe organ, adding drums or brass according to the requirements of the picture. In changing every day it is almost impossible to rehearse our program with the pictures as should be done; however, we do so on special releases. In featuring the music for pictures, the manager prepares slides which are shown before each reel announcing the name of the next picture and the musical numbers which are used for accompaniment. The music loving patrons are loud in their praise of this arrangement.

“We recently showed the Reliance feature, ‘The Bawlerout,’ in three parts; also a Keystone comedy. Below is the program used for that day: ‘Liebesgarten’ (Schumann), ‘Humoreske’ (Dvorak), ‘Serenade’ (Drdla), ‘Solvejg’s Song’ (Grieg), “To Spring’ (Grieg), ‘La Boheme, Fantasia’ (Puccini), ‘Salut D’Amour’ (Elgar), ‘Echoes of the Operas’ (Arr. By Reckers), “Love is the only Thing in Life’ (Helf), selections from ‘A Modern Eve’ and ‘The Fortune Teller.’”

This is a splendid program musically; unfortunately I did not see the picture in question, so cannot pass as to its fitness in regard to detail. Many leaders strive to carry out the general atmosphere of the picture rather than try to [1241] work to every little detail. This on the whole is much the safer plan, for as Mr. Metcalf says, it is difficult for an orchestra to follow closely to the details. Some leaders “humor” the scenes without changing the piece of music. Unless done with skill this is risky, although I have known violinists who could so vary the music at times by means of retard, accelerate, diminish, crescendo, etc., that their work was a joy to hear. This, of course, in certain scenes where the contrasts were not too pronounced. It would hardly hold good in all situations.—Editor.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 21 June 1913, 1240-41.

A Visit to the Deagan Factory

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.

In addition, Sinn also published a short letter that included a cue sheet for Kalem's The Cheyenne Massacre, for which Kalem provided a musical score. The ad on the left prominently mentions the special score, which was available for the very nominal cost of 15¢. The letter writer nevertheless rejected the score as impractical, since his theater used an orchestra, which would have meant orchestrating the piano score. The large variability of theater orchestras was one of the difficulties that such "special music" had to negotiate, and it remained a block to the widespread adoption of original scores throughout the silent film era.

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.

1. “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.”
2. “Indian Summer Intermezzo” until title: “That Night.”
3. “Garden of Dreams Serenade” until Indians are seen.
4. “Tom-Tom Intermezzo” until fight scene starts.
5. Agitato until boy is seen standing alone near ruins.
6. “Alpine Rose—a Flower Song” until scene exterior of post appears; watch for bugle call, then segue.
7. “The Twelfth Regiment March” until end of reel.

Part Second.

1. Introduction of “Danube Waves” waltz until the title is on.
2. Agitato until title: “Vengeance of the Red Men.”
3. “Big Chief Battle Axe” (Indian Novelty) until title: “Lieutenant Ellis Volunteers, etc.”
4. “Venetian Water Waltz” until Indians are seen.
5. Agitato until man with shawl meets Indian girl, then:
6. Chorus of “Silver Bell” or “Red Wing” until he jumps on horse.
7. “Petersburgh Sleighride Galop” until title: “The Attack of Fort Bryson.”
8. Agitato until bugler blows bugle.
9. Bugle call, Siegel march, “Weinblut Wein” until soldiers are seen on hill with American flag.
10. “Red, White and Blue” until fight starts, then:
11. Agitato until title: “After the Battle.”
12. “Boy Scout March.” Lieutenant puts his arm around the girl.
13. “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.

1. “Daisies” (Bendix; pub. Witmark). First part only until title: “Dr. Rice of the Settlement.” Then second movement through two scenes.
2. “Mystic Shrine” (Earl Cameron; pub. Carl Fischer). Until Wamba arrives at Dr. Rice’s home.
3. “Idle Thoughts” (Harry von Tilzer). Until after title: “Wamba’s Baby Dies.” Continue No. 3 until Doctore breaks the news to Wamba; then:
4. Plaintive until end of scene.
5. Agitato p. and f. until Doctor R. orders Pete away.
6. Short sentimental until end of scene.
7. “Flight of the Birds” (or any pretty caprice or novelette) until end of Part One.

Part Two.

1. Agitato; through first scene. Then subdue for second scene or short neutral. At end of second scene:
2. Long agitato p. and f. for flight and pursuit by lions; continue until child climbs up the river bank.
3. Short Intermezzo (“In Cupid’s Garden”—pub. by T. B. Harms), until Dr. Rice and wife enter house.
4. Agitato until child seen crossing glade.
5. “Mozembique” (Oriental intermezzo by Gruenwall; pub. by O. Ditson), until lion comes to child’s hiding place in log.
6. Agitato until Dr. Rice and party leaves Pete’s shack.
7. “Amina” (Paul Lincke; pub. by Stern), until end of picture.

* * *

A FIGHTING CHANCE (Vitagraph).

1. Novelette until girl is seen at piano.
2. “That’s How I love You” (follow pianist in picture).
3. At change, back to No. 1 until: “Not Knowing Wynne Is Married.”
4. Waltz until they enter restaurant.
5. “If You Talk In Your Sleep, Don’t Mention My Name.” When at piano.
6. “That’s How I Love You” (short), then:
7. Waltz lento until: “The Firm Sends Wynne on a Four Months’ Tour.”
8. “Pearls” (Moret) until: “A Stranger to the Wife, etc.”
9. Waltz lento until: “Preparations to Leave for the City.”
10. “Dimples” (Bratton) until: “Learning the Charm of Grace.”
11. Waltz (for dancing) until change of scene.
12. Restaurant scene. Popular cabaret music, “Home From His Trip.”
13. Waltz (Neutral) until: “The Appointment.”
14. “You’re a Great Be Blue-Eyed Baby” until he sees his wife in box.
15. “If You Talk In Your Sleep, etc.” very softly, crescendo at change of scene. When he meets his wife.
16. Sentimental until she plays piano; then:
17. “That’s How I Love Your,” until end, dying away with picture.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 7 June 1913, 1020-21.
Image Source: Moving Picture World 26 April 1913, 409.

Musical Suggestions

This week's "Music for the Picture" column is devoted exclusively to musical suggestions. In this case, the printer messed up the cue lists fairly extensively, so much of the listing makes little sense. I will provide a corrected version of this column when a list of Sinn's corrections are posted (in his column of 21 June 1913).

Through courtesy of Mr. E. C. Zane, of the Bijou Dream Theater, Chicago, I offer the following musical suggestions for the two-reel Ambrosio feature film:

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 31 May 1913, 908.

Classification of Music

In this week's column, Sinn features a number of musical suggestions provided by readers. He also published a letter from a reader requesting a list or catalogue of music classified by musical topic. Sinn in fact had not only considered the idea, as he mentions in his response, but had actually produced such a list, which he supplied to readers upon request in the early days of his column. For the purposes of his column, Sinn points out that he adopted the expediency of well-known exemplars that could stand in for their type. In fact, about this time (1913) catalogues did begin to appear, first as appendices to early "how to" manuals, then as formal publishers' catalogues (most notably Fischer's Analytical Orchestra).

Miss Dittmar is here again with her usual good offering. I hope it is in time to be of service to those who may have occasion to play for this picture, as it appears to be well balanced, thoughtful, and in every way worthy of the subject it accompanies. She says: “Inclosed [sic] find my program for ‘The Crimson Cross’ (Éclair). It might be of help to some one.”

First Reel.

1. “Pilgrim’s Chorus” (Thannhauser).
2. “Prayer from ‘Der Freischütz’” (Weber).
3. “The Rosary.”
4. “Consolation” (Leschetszky).
5. “How Lovely Are the Messengers” (from Saint Paul).
6. “Gloria from the Twelfth Mass.”

Second Reel.

1. “The Agony” from “Crucifixion.”
2. “Procession to Calvary” (Crucifixion).

Mysterious and Agitato until end of reel.

Third Reel.

1. Several bars from introduction to “Otello,” very softly, then a few bars of “I Know That My Redeemer Liveth.”
2. “The Heavens Are Telling.”
3. “Funeral March” by Tschaikowsky.
4. “How Lovely Are the Messengers” until end of 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.

* * *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.

1. Any “Barn Dance” until title: “Steve and Ned Are Rivals.”
2. Chorus of “My Irene Is a Village Queen” (Remick) once. (Von Tilzer’s “Sun Bonnet Sue” my be substituted. Not important.)
3. “Daly’s Reel” (not too fast), or any similar “rube” tune, until title: “Steve Decides to Rob the Bank.”
4. Light mysterious music (not too pronounced) until: “Next Morning.”
5. Agitato pp. until title “Lemuel Tidd, Justice of the Peace.”
6. Any intermezzo for neutral scenes until: “The Squire’s Lawyer Is Called From Boston.”
7. Short Waltz—about 16 bars—just enough to make a change of music for this scene; until title: “Nora Resents, etc.”
8. “Parting” (Bendix-Witmark), until: “Afraid of Being Caught, etc.”
9. Mysterious until end of reel.

Part Two.

1. “Chicken Reel” (by Daly), or “Barn Dance,” until: “The Entertainment at the School House.”
2. “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.”
3. 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.”
4. “A Good Old-Time Straw Ride” (Witmark), or any lively music suggestive of country scenes; until: “Leave My House Immediately.”
5. “Meeting” (Bendix-Witmark), until: “But As a Citizen of These United States.”
6. “Turkey in the Straw” until: “After Choir Practice.”
7. First strain of “Meeting” until Steve enters Church.
8. Long Agitato. A church bell effect is used in this number. Play until crowd enters church and Steve is arrested.
9. Lively intermezzo until: “The Minister’s Faith in Nora Is Restored.”
10. Any Novelette until end of reel.

* * *

“THROUGH THE TEST OF FIRE” (Great Northern).

Part One.

1. Waltz Lento (long) until Count leaves Goldstein’s room.
2. “Apple Blossoms” or any similar slow “Reverie” until: “After the Wedding.”
3. Waltz until “Bride and Groom Depart.”
4. Novelette until: “The Factory Workmen Have Arranged.”
5. Lively music—work up to gallop as runaway horse is seen; crescendo till Jack falls, then:
6. Short plaintive (about 16 bars).
7. Allegretto (“La Secret” by Gautier or “Passion” by Helf & Hager), until end of reel.

[694]

Part Two.

1. “In the Shadows” (Finck) until: “Jack Advises His Comrades to Strike.”
2. “Entr’Acte Gavotte” (Gillet) until: “Eight Days Later.”
3. Pirouette—“Pas Seul” (Finck) until: “A Few Days Later.”
4. Waltz until she is seen on bridge.
5. Agitato—p. Work up to f; till both men knocked down.
6. Waltz until: “Mr. Goldstein Is Killed in the Explosion.”
7. Hurry p. and f. (fire scene) until: “Count Hardegg Has Inherited a Vast Fortune.”
8. Pirouette until: “No, I Will Not Leave My Husband.”
9. “Reverie” until: “Youthful Arrogance.”
10. “The Flatterer” (Caprice by Chaminade), or some light allegretto; work up faster in agitated manner as action develops—until men exit. Then:
11. Intermezzo until end of reel.

Part Three.

1. Any novelette until: “The Workmen Press Their Claims.”
2. Agitato—p. and f. until they ride through crowd and exit.
3. “Love In Idleness” (Carl Fischer) until: “Let Me Stay With You, Dear.”
4. Short Waltz one scene.
5. Hurry (fire scene) till: “I Will Find Your Husband.”
6. Change to heavier hurry until both men come out of burning building.
7. 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 17 May 1913, 693-94.

Sound Effects and Accompanying with Popular Song

The bulk of this week's Music for the Picture column is taken up with a letter from Veola Thompson reporting on musical practice on the west coast. She confirms that the drummer in Albany, Oregon was indeed very adept at accompanying the pictures. She also has high praise for Sid Grauman's Imperial Theater in Los Angeles. She is distinctly less pleased with the growing use of mechanical instruments (probably Fotoplayers), which she notes saves on labor costs but at the expense of the music. A second letter makes a very peculiar argument for coding film genre by time signature.

Miss VEOLA THOMPSON who is lecturing on features in the Pacific States, contributes the following: “Some weeks ago Mr. ———, from Albany, Oregon, contributed an interesting article on effects as produced in the Peoples Theater, Portland, Oregon. Yes, this particular theater has unquestionably a most capable sound effect drummer. His general knowledge of various musical instruments contribute along with an elegant compressed air outfit. Besides these requirements he has a faculty of knowing when and how to produce an effect.

“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.

1. “Poppies” (Moret.) once through, then:
2. “In a Lotus Field” (Bratton), until two horsemen ride away from steps.
3. Light agitato until title: “Lieutenant Driscoll is Persistent.”
4. “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.

1. Light mysterious until man falls on porch.
2. Agitato p. and f. until title, “Three Years Later.”
3. “Twilight—A Reverie.” (by N. D. Ayer; pub. by Remick) until “A Wise Old Elephant.”
4. Light agitato (long) until title: “Toddles Forces a Reconciliation.”
5. Tchaikowsky’s “Chant Sans Paroles,” (play rather quickly), until elephant gives cradle to parents.
6. “Teddy Bears Picnic,” until end of reel.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 12 April 1913, 169.

Opera Selections

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.

The remainder of the column is taken up with a plug for a collection of appropriate numbers for organ (Moving Picture World had been carrying an ad for the collection) and suggestions for music to three war films.

The following was crowded out of my last letter through lack of space: “Dear Sir: I always find your articles and department in general a great help in settling the question, ‘What shall I play for the picture.’ Even though I know for a certainty that three-fourths of the patrons of our theater are utterly oblivious to the music, for the other fourth, I feature every possible situation and climax in each picture as much for my own satisfaction as anything else.

“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).

1. Heavy hurry (for battle), p. and f. until title: “General Green Makes Headquarters, etc.”
2. “Flight of the Birds” (by Rice, pub. Walter Jacobs) until title: “You Are My Brother’s Murderer.”
3. Short sentimental—one scene.
4. Short march until title: “A Broken Heart.”
5. Pathetic music for one scene.
6. Long heavy, hurry (for battle) until hospital scene.
7. Plaintive until title: “Love’s Last Farewell.”
8. “The Vacant Chair,” very pathetic until close of picture.

“The Retreat From Moscow” (Pathe).(Courtesy William E. King.)Part First.

1. “Russian National Hymn” until title: “Napoleon, To Inflame the Courage, etc.”
2. “Marsellaise” (short) until change of scene.
3. Hurry (for battle) until man is brought to general; then subdue until change of scene.
4. Agitato p. and f. until title: “After the Battle.”
5. “Reine de Sabe” (March by Gounod) once through, then:
6. “Festmarsch from Tannheuser” [sic] until end of reel.

Second Part.

1. Storm scene from “William Tell” (long) until officers come out of the Krimlin [sic].
2. “Partant Pour la Syrie” (French song) until change.
3. Agitato p. and f. until title: “The Incendiaries.”
4. Solemn (for execution) until title: “Napoleon, Fearing the Russian Winter.”
5. “Marsellaise” until title: “The Grand Army Pursued by the Russians.”
6. “Partant Pour la Syrie” until title: “The Cossacks harass the Retreating Army.”
7. Second movement “Halka” overture until peasants attack straggling soldiers.
8. Short agitato until change of scene.
9. “Partant Pour la Syrie” until title: “At Last Getting the Remnant of His Army.”
10. “Marsellaise” until end of picture.

* * *
“Pauline Cushman, the Federal Spy” (Selig).Part First.

1. Third Movement of “Raymond Overture” pp. until title: “The Toast.”
2. “It Is Better to Laugh Than Be Sighing” (from “La Traviata”) until title: “Here’s to Jeff Davis and the Southern Confederacy.”
3. “Dixie” until change of scene.
4. Introduction to “Pique Dame” overture pp. until title: “In the South.”
5. “Bonnie Blue Flag” until title: “Pauline is Overheard.”
6. Short agitato until back to camp scene, then:
7. “Bonnie Blue Flag” again pp. until change of scene.
8. Semi-mysterious (similar to No. 4; long) until “Holmes Informs Rosecrans.”
9. “Military March” mf, and p. to action until she crawls out from under tent.
10. Agitato p. and f. according to action until she discards drum and rides away.
11. Hurry; begin p. and increase with action until she enters Union camp.
12. “Yankee Doodle” until end of Part First.

Part Second.

1. Short March until she is left alone in second scene.
2. Mysterious through next three scenes until she takes officers arm and exits.
3. 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.
4. Mysterious semi-agitato until title, “The Confederate Ambush.”
5. March, “Gate City” (Weldon); subdue while writing is seen; play until she is seen in cane brake.
6. Agitato p. and f. At tinted scene change to:
7. Hurry (for battle) p. and f. until title: “General Rosencrans Honors Pauline.”
8. March, until end of picture.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 5 April 1913, 56.

Musical Suggestions; More Discussion of Effects

This week's "Music for the Picture" column covers a variety of topics. Besides, a number of musical suggestions, one correspondent asks for help finding "characteristic" music for orchestra, in particular music that follows the eastern and/or "oriental" style topic. Another correspondent adds to the debate Sinn had initiated on sound effects.

Edgar Ray, Musical director Grand Theater, Newark, Ohio, writes: “I am sending you the program with which I accompanied the two-reel Vitagraph, “The Chains of an Oath.” Used your cues for the “Cowboy Millionaire” with success. Give us some more.”

“The Chains of An Oath” (Vitagraph).Part One.

1. “Joyous Farmer” (Schumann). Repeat once, then segue.
2. “Chants du Voyageur (Paderewski) until Donia enters house.
3. “Sicilian Chimes” (Kerry Mills) until title: “First English Lesson.”
4. “Pearls” (Novelette by Niel Moret) until Donia reads letter.
5. “Farewell to the Piano” (Beethoven) until end of reel.

Part Two.

1. Agitato p. until Svan enters apartment with Donia.
2. “A Summer’s Dream” (By P. Hans Flath) until title: “Svan Decides to Follow.”
3. Short light Hurry until title: “The Land of Bondage.”
4. “Sans La Feuille” (F. Thome) until Gregory appears with knife.
5. Agitato pp. and ff., following action until Gregory turns to leave apartment first time.
6. “Sans La Feuille” until end of reel.

“If entre d’acte is desired, “Romanze” by Schumann will hold the “color” until part two is projected.”

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.

1. Waltz “Blush of the Rose” until title: “Their Boy;” then:
2. Intermezzo “Starland” until he writes home; then:
3. Song “Mother” (from play of that name) until title “Bob Gambles, etc.”
4. Same intermezzo (“Starland”) softening for fireside scene, continuing until mother gets letter. Then waltz (No. 1) until scene out west.
5. March “Local Pride” (fast) until title: “Bob’s Mother Prepares, etc.”
6. Waltz “Asphodel” (Hildreth) until end of reel.

Part Two.

1. At title: “Bob Sells the Stolen Horses” Bright characteristic march “Cowboy Capers” (new—by Allen), until title: “Believing Her Son the Sheriff.”
2. Waltz “Asphodel” until sheriff sends for Bob.
3. Tosti’s “Goodbye” until title: “Their Dreams—and the Reality.”
4. “Mother” song till end.

“A Chance Deception” (Biograph).

1. 16 bars Spanish dance (Bolero) then:
2. “Il Bacio” (The “Kiss Waltz”) until title “Am I Too Old?”
3. “In the Shadows” (Finck) play second part quasi mysterioso at title “His Suspicions Confirmed.” Continue until husband enters house; then:
4. “The Romance of a Rose” (new) 2d movement agitato until title: “Asphadia” then take up “Romance of a Rose” at introduction, play through—then:
5. “Titl’s Serenade” (or any serenade) until finish.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 29 March 1913, 1325-26.