Edison Kinetophone Ad

Here is an ad announcing the Edison Kinetophone from the 25 January 1913 issue of Moving Picture World. (Click on image for larger version.)

The Talking Picture

The year 1913 saw renewed attempts to commercialize synchronized sound film, which had mostly disappeared from the American market at least after the failure of the Cameraphone Company around 1910. (For a PDF of contemporaneous article that gives an overview of the earlier period, see . Harvey Middleton, "Pictures That Speak," Technical World Magazine (March 1909).) In the article below, Hugh Hoffman reviews three systems that were available for talking pictures in 1913: Edison's recently introduced Kinetophone (pictured right); the Vivaphone; and Gaumont's latest version of the Chronophone, which had originally been introduced in 1902.

Even in 1908-1910, the primary challenge to sound film had not been synchronization, which could be managed through a reasonably competent projectionist. In this article Hoffman addresses three main issues: the difficulty of damaged film, the lack of good subjects, and the "hollow" sound of the phonograph. According to Hoffman, the Kinetophone and Vivaphone could manage slightly damaged film with only a little difficulty, but the Gaumont system required replacing any damaged film with the equivalent length of blank leader. Of course, this made the Gaumont system somewhat less flexible—though it should be remembered that the Vitaphone system, which would prove successful, had exactly the same requirement. The lack of good subjects was a hard one to remedy because the economic situation in 1913 was not yet favorable. Most top-flight artists were still reluctant to go before the camera (not to mention the sound camera), and the industry did not yet have the money to convince them otherwise. Most problematic, I think, was the sound of the phonograph, or more precisely, the lack of a system of electrical amplification. Regular phonographs were inadequate for any but the most modest theaters, and the means of mechanical amplification (especially compressed air) tended to make the sound "tinny." Larger theaters of the time also were not designed for reproduced sound and the high degree of reflected sound in those theaters tended to make recorded sound in particular muddy and indistinct, which had the effect of making dialogue in particular difficult to follow.

The Talking Picture.

A Review of Some of the Synchronizing Systems Now on the Market. The Edison, Vivaphone, and Gaumont Systems.
By Hugh Hoffman.

The talking picture, meaning particularly the combined and simultaneous action of the phonograph and motion picture, is having a revival. The idea is not new, but new methods have been introduced and advertised to an extent that warrants some attention to the subject. When the Cameraphone Company failed, some four years ago, the incident was considered to be the finish of the talking picture as a practical commercial proposition. There was no great objection to the synchronizing results of the Cameraphone; they were all that could be expected, but the big missing link was the inability to make a phonograph keep time with a patched reel. It cannot be unqualifiedly stated that this condition has been eliminated in any of the new devices now on the market, but it has been provided for in ways that render it a less momentous question than before.

So far as actual synchronized action is concerned, satisfactory results have been obtained by the manufacturers mentioned herein, each in his own way, which is radically different than that of the others. With this fact established, the exhibitor will no doubt wish to know just what can be expected in the way of screen results. We can truthfully say that there is much that can be expected, provided certain other simple faults are corrected. The first failure of the talking picture was not due to any failure to synchronize the phonograph and motion picture. The main cause of the failure was the poor choice of subject. And that very cause will bring about the failure of these new devices if not observed by their promoters. The remedy lies in providing better stuff for an audience to look at and listen to. The public are willing to admit that the talking picture is a great invention, but they refuse to pay their money to witness it and then have their intelligence insulted by the reproduction of a lot of stereotyped, small-time vaudeville acts, and puerile subjects of various kinds.

Mechanically the talking picture is a success. Now it is up to the promoters to make it an artistic success. If the talking picture fails against we will know that it is because its sponsors have overlooked the ends in their attention to the means. Poor choice of subject is the one big drawback, and the remedy is so simple that it will be a great pity if the idea fails again.

Among the mechanisms treated herein there are prices to suit all purses, according to the elaborateness or simplicity of the device, and according to the results that can be obtained therefrom. One of them is complicated, another is simple, and the other is half way between. Each does its work well, but the one is that provided with the right kind of pictures is the one that is going to win out in the long run.

The Edison Kinetophone.

The Edison people do not claim to be the inventors of the talking picture. They do claim, however, that Mr. Edison has taken the original idea as a foundation, and, after having made a study of synchronization in all its phases, has produced an apparatus, embodying original ideas of his own, that is commercially practical. The Edison outfit consists of giant phonograph, an Edison projector, and a synchronizing mechanism. The phonograph is operated by a small motor, for reasons which will appear presently. A large wax cylinder record is used, measuring about four inches in diameter. Some of the phonographs are equipped for disk records. An ordinary phonograph horn is used. The phonograph is located just behind the curtain, and in vaudeville theaters is set below the level of the stage. For operation, the trap door is opened, the phonograph operator sets his horn, starts his motor, waits for his cue, which is in the picture itself, and then throws in a clutch or switch which starts the phonograph. The trap door arrangement is probably used to save the time that would be required to set the phonograph properly, thus avoiding a stage-wait.

The projector used is the regular Edison Kinteograph which is too well known to need description, except that on the take-up pulley there is bolted a gear wheel that is connected to the synchronizer by a chain belt. The main trick is in the synchronizer, one of the most beautiful little pieces of mechanism that ever was made. A mere glance at it is sufficient to convince one that it is an example of the highest type of the machinist’s art. It bulks to about the size of a small cigar box, and the mechanism is encased in a metal envelope. The synchronizer is bolted to the off side of the machine table and is propelled by two different forces; on one side by the moving picture machine, which is turned by hand, and on the other by a belt from the phonograph motor. The synchronizer is all gears, and if these gears are not all traveling at the same rate, they will bind and stop the projector. There is a warning brake that tells the operator to slow down or hurry up, as the case may be. It operates by centrifugal action, like a governor. In addition to this there is a traveling bevel gear, or differential, between the two sets of gears, which is operated by turning a knob. This arrangement enables the operator to catch up or drop behind if there is the slightest variation between the phonograph and the lips of the actor. The operator must keep his eyes on the picture all the time. He also has a telephone receiver on his head which is connected by wire to the phonograph, and this enables him to hear it at any distance.

The same motor that propels the phonograph also drives the phonograph side of the synchronizer. This is done by a belt that travels from it to the operating room and back again. The belt is a strong, black, waxed, silk cord about the size of a heavy fish line. In theaters it passes up through the ceiling, across the dome roof, or inner dome roof, over to and through the proscenium wall, and by various angles it reaches the phonograph from underneath the stage. At every corner, this belt passes around pulleys that are encased in metal, making them dust and water proof. Two belts are usually installed, so that in the case one breaks the other is handy. In the case of small picture theaters, this belt would probably be rigged close to the ceiling. It is not necessary, with the Kinetophone, for an operator to be a mechanical or electrical expert, but he must not be a “greenhorn” by any means. Its operation requires a reasonable amount of common sense and during the time of operation it requires that the operator shall concentrate all of his faculties upon the work.

In case of a patched reel, if the cut-out is not more than a few inches it is easy for the machine operator to drop back enough for the phonograph to catch up. In case of serious or long breaks, the Kinetophone Company provides an extra subject for substitution and the broken reel is taken out of commission until the broken scene is replaced with a new one. One of the principal claims of the Edison Company is that their field of reproduction is practically unlimited, because their records and films are made at the same time and by the same machinery.

The Vivaphone.

The Vivaphone is a device that has been in use for the past couple of years in Great Britain. Its mechanism is extremely simple. The synchronizing device is located in the operating room. It is a sheet metal box that stands on edge. It is about two inches thick, fifteen inches long and a foot high. There is an electric light inside this box that shows a red bulls eye, when lighted, to the phonograph operator, who is located on or near the stage. On the machine operator’s side of this box is an upright slit through which the light shows in its ordinary color. Outside the box, on the machine operator’s side, is an upright pointer about the width and length of a lead pencil, which in its normal upright position always covers the slit in the box and stops off the light. Attached to this pointer are two miniature windows about the sixe of a postage stamp; one on each side of the pointer. These little flag windows or window flags are on a level with the light slit in the box. One window is colored red and the other green. These window flags indicate whether or not the machine and phonograph are in time with each other. When machine and phonograph are in time, the pointer covers up the slit and there is no light. If they get out of time the pointer moves to one side or the other, according to whether the machine is running too fast or too slow. When the pointer moves to the right it brings the little red window across the light slit and produces a red light, which means the machine is running too slow, if the machine is going to fast the pointer goes the other way and brings the green window across the light slit, thus producing the green signal, meaning too fast.

There is a particular spot on the film that must be threaded in the machine directly over the aperture for a starting point. Likewise there is a marked starting point on the phonograph disk. The machine operator signals the phonograph man that he is ready, by turning on the light in his synchronizing box, and that shows the red bulls-eye to the stage. The moment the phonograph starts, the synchronizing box begins to tick slowly, like a clock. A special handle is required for turning the machine. This handle is electrically connected, by wire, to the synchroniz- [1348] ing box, in a way that affects the pointer and its little colored windows. It is the operator’s business to see that the pointer stays perpendicular, which means that he is in time with the phonograph.

The only connection between the phonograph and the synchronizer is an ordinary double bell wire. This wire is attached to a skeleton casting, bearing a magneto. One end of the casting rests upon the solid part of the phonograph, and the other end fits over the pin in the center of the disk record. The revolutions of the disk establish a make-and-break circuit that travels through the magneto back to the synchronizer and causes it to tick. The handle of the machine also establishes a make-and-break circuit with the synchronizer at the same time. The phonograph travels at the same speed always. If the machine goes too fast the extra magnetic force generated by the speed pulls the pointer to one side. If the machine goes too slow the phonograph magneto, by its greater excitement, pulls the pointer the other way. On reasonably short film patches the operator can slow down until the phonograph catches up. On bad breaks a new subject should be used.

This entire device is very compact. It can all be packed in half the space of a dress suit case, and weighs only eight pounds. It can be attached to any standard projector without previous preparation, and can be made ready for operation within twenty minutes, with temporary wiring. The electrical power is furnished by an ordinary bell battery and the wire is common bell wire or extension lamp cord. There are three pairs of binding posts on the synchronizer. One pair for the machine handle; one pair for the phonograph and one pair for the battery. Any ordinary Victrola talking machine, such as are sold for home use, can be used with this outfit. The machine operator who gave the demonstration learned to handle the apparatus in half a day. Anyone who can operate a Victrola at home can operate one with this device. Mr. Albert Blinkhorn, formerly of London, has the American and Canadian rights.

The Gaumont System.

The Gaumont system of talking pictures has been in vogue for several years. The present device is an amplification of the Gaumont Chronophone which made a brief American appearance in 1910. Since that time Mr. Leon Gaumont has been experimenting continuously with synchronizing machinery. The recent revival of talking pictures prompted him to bring his device to America, principally as a matter of pride and to remind the American public that for more than two years he has been giving such exhibitions in Paris. He recently leased the Paris Hippodrome for that purpose. The new Gaumont talking pictures were given their first American showing in New York, at the 39th Street Theater, on June 10. Mr. Gaumont is not certain at this time when and how he will market his apparatus, or whether he will market it at all.

The Gaumont system can properly be called a scientific instrument. In its working it has been brought right down to the ultimate of scientific perfection. It has been before the French Academy, and the learned scientists there have marveled at its infinite precision points. From this viewpoint it is entirely praiseworthy, but at the same time it is complicated and it is doubtful whether very many operators could be found who have the necessary mechanical knowledge to successfully manipulate it. Exceptions may be taken to the last statement because the Gaumont mechanism is almost entirely automatic. After the film and the phonograph disk have been placed in position there is nothing for the operator to do except turn on the electricity, and the machine does all the work itself. Still there must be some one around to keep it in working condition, and, unless the operator is a pretty thorough many, there is likelihood that he would do more harm than good.

The entire apparatus operates and is controlled by electricity. There is a wonderful electrical affinity between the phonograph and the projector. With this system the phonograph man is the engineer, instead of the man in the operating room. He sits on the stage behind the screen directly under the projection surface. Before him is a low aluminum machine foundation resembling a lathe. At each end of this base is a round solid metal plate for the support of a disk record. These are revolved by a motor which keeps exact time with the motor that operates the projector. Between the two disks is an upright electric switchboard, with many contacts. This apparatus controls itself and the synchronism automatically. It is delicate and complicated and contains presumably many relays, magnets, inductors, circuit breakers, etc. Connected to each one of these is a wire, and there are many wires; enough to make one large cable when all bound together.

When the exhibition begins the phonograph operator switches in his record. The instant the record starts there is a clutch thrown in at the projection machine propeller and the film starts at full speed, getting its momentum from its own motor, previously started. Then the wonderful switchboard begins to work. It resembles accordeon keys playing themselves. There is no chance for the film and the record to get out of time, except by a bare chance that the pin should jump ahead or behind on the record. In that case the mechanism will adjust itself. In the matter of patched film, whatever is cut out must be replaced by an equivalent length of film, whether it be blank film or a duplicate. The exact relation of the picture to its corresponding dialogue or music must be maintained. To insure absolute precision, the phonograph operator has a dial board beside him on which are two instruments resembling ammeters or voltmeters. These tell him to a hair’s breadth how his film and phonograph are traveling. The machine operator uses a head telephone receiver connected to the phonograph. The double phonograph idea is for alternating purposes on long pictures. The change from one to the other is also made automatically.

_____

In concluding the subject it cannot be said that any of these devices has succeeded in evading the hollow sound of the phonograph. Perhaps it is asking too much to expect absolute perfection in that direction. If no improvements are forthcoming it behooves everybody to make the best of what is available. Phonographs are enjoyed in the home; why not in the theater? It is quite probable that any audience would not object to a phonograph if the subject were interesting enough to hold their attention, but it is asking rather a good deal of them to sit and look at a musical act, or a synchronized song and dance, with the feet cut off, when they may have seen the same thing in real life on the same bill thirty minutes before. The fault of the talking picture lies in the lack of variety. To hold its own it must offer something that is not common to a vaudeville bill. Something worthy of it. We are not prepared to say what this should be, but is quite probable that tabloid grand opera would be a good beginning. The grand opera records seem to be the most satisfactory so far, and the great majority of picture or vaudeville devotees have little opportunity to attend grand opera. Addresses by prominent men; solos and monologues by famous artists; scenes from classic dramas; all would be well received. The people are willing, even eager, to admit that synchronism is possible, but they want to see something worth looking at. Why not give it to them?

Source: Hugh Hoffman, “The Talking Picture,” Moving Picture World 28 June 1913, 1347-48.
Image Source (1913 Kinetophone): Edison National Historic Site.

Music from the Edison Lab

While browsing through the IMSLP library for vocal scores of nineteenth-century French operas and operettas, I found this file. The original French title is "Le Coeur et la Main."

Although rarely performed nowadays, the operettas of Charles Lecocq were among the most successful French theater pieces in the generation after Offenbach and Gounod -- that is, in the fourth quarter of the century. As such, they form an important link to early twentieth-century French, Viennese, and American operetta. The traffic between stage, film, and reproduced-sound industry/culture is made concrete in the stamp on this cover page: "From Music Department, Edison Laboratory, Orange, N. J." This score eventually ended up in the Sibley Music Library, Eastman School of Music, Rochester, NY. Here is the IMSLP main page link.

Music in Up

The recent Disney animated film Up has a large amount of underscore. Michael Giacchino, who has had a longtime association with Disney, seems to be everywhere in the past few years. Instructors might use this score as a foil to a traditional adventure-fantasy film score from the 1930s or 1950s, or perhaps to a family character drama (in the vein of It's a Wonderful Life). All the traditional devices are here, in all the right places, but the sound of the score is slightly different. It would be interesting for students to speculate on what that difference is and also what it means for the film to employ traditional film-music techniques and an (almost) traditional style in this way -- or, more generally, what it means for music to be deployed this way in the present day.

There is, btw, a nicely done "time passing" montage near the beginning of the film.

One of the traditional elements of the score's design is the use of character themes. I will admit that I completely missed the thematic construction and focused on topical associations when I saw the film for the first time. It would be an interesting empirical study to find out the percentages of viewers who respond to a film's music topically or thematically on first viewing.

Sam Fox, Vol. 2

International Music Score Library Project (IMSLP) is a public domain sheet music library (Petrucci Music Library) run on a wiki engine. Browsing through it, I see that they have J. S. Zamecnik's Sam Fox Moving Picture Music, vol. 2 (1913), available for download here. Vol. 1 (1913) is available here. A short profile of Zamecnik by Rodney Sauer is located here.

Sound Effects and the "Thematic" Treatment

In this column, Sinn first addresses the issue of sound effects. Responding to a complaint about sound effects that are not sufficiently realistic, Sinn somewhat uncharacteristically criticizes more broadly than his correspondent, seeing the problem not just in a lack of fidelity but in their generally undomesticated quality. Nevertheless he also makes the important claim that learning to play sound effects was a first step toward the current practice of playing the pictures, because rather than being indifferent to the picture, as the ragtime piano apparently often was, the effects attempted to find motivation in the picture. Music for the picture, he implies, is a domestication of the old, crude sound effect.

The second part of the column is devoted to the leitmotive, what Sinn here calls the "thematic" treatment. He gives a brief account of the technique and then offers Gaumont's three-reel feature, The Vengeance of Egypt as an example of how the thematic treatment can be applied to a film. Importantly, Sinn does not associate a theme with the ring per se, but rather with its effect of bringing death. In this way, the thematic treatment serves the "dominant idea of the picture," and for Sinn locating and retracing this dominant idea is the main priority of all musical accompaniment.

Here’s that old complaint again, this time from New England: “Dear Sir.—Won’t you please give the exhibitors a jolt? Several Boston picture houses permit their drummers (or some Eastern product) to beat a tumpty-tum as of horses trotting on asphalt pavement—a terrific racket—during the army and Indian pictures, when it is plain the horses are on soft or sandy soil—the dust flying so they can hardly be seen. It’s anything but “Western,” is ridiculously absurd and intensely annoying to the audience. Many people speak of it.—C. D., Dorchester, Mass.”

One would have a right to hope that this sort of thing belonged to the past. Whoever is to blame, but it manager or drummer (and I fear it is usually the latter), he can hardly plead ignorance as an excuse. Noisy, silly and incorrect “sound effects” have been so often criticised by the public, the daily papers and the moving picture trade journals—particular the Moving Picture World—that even the most thoughtless and careless out to know better. I believe “sound effects” had an immense value a few years ago. I think they contributed largely to the awakening of managers and others to the importance of appropriate music for accompanying the picture. Previous to the sound effect period anything in the shape of a ”bally-hoo” was good enough for the musical part of the show; phonographs, mechanical pianos and rag-time “thumpers” amused (?) the easily entertained patron of the moving picture novelty. Then the sound effects were introduced adding a new element of interest. They were generally noisy, crude and misplaced, but the average picture of six or seven years ago was not harmed to an appreciable extent. Even then the better element among the picture patrons resented the incorrect and noisy “effects.” To the best of my knowledge the value of appropriate music began to be advocated at that time by critics, patrons and musicians. Music for the picture has advanced to a much higher plane in the past six years; the “sound effect” idea (with many) is practically the same now as it was in its crude beginning. It must either change for the better or be doomed to oblivion.

Music Programs.
Gaumont’s three-reel feature entitled “The Vengeance of Egypt” gives an opportunity for the “thematic” treatment which occasioned some comment in this page of a couple of years ago. Some musical theme may be chosen to represent the mummy’s ring and its malignant power (as Wagner uses a motif for the Shield, Fire, Sword or other important object), and this theme should be repeated each time the ring changes hands—that is, when it is developed that the ring has found a new victim. This theme should be of a weird, mysterious character; the third movement (doloroso) of Theo. Bendix’s “Hindoo Priest’s Incantation” is offered as a suggestion. If this is used it should be played slowly to end of number if necessary; if not long enough repeat from the same place (3rd movement doloroso). I believe it would be a good idea to use one plaintive also for the death of each victim of the ring; though not really necessary, it would still further carry out the “thematic” form and emphasize the dominant idea of the picture—the vengeance following the ring.

“THE VENGEANCE OF EGYPT” (Gaumont).

1. Marseilles. Begin softly; swell as Napoleon entersl diminish when slaves stoop to raise mummy casket. When casket is upright change to:
2. First part of “Sultan’s Dream” (Bendix) or any Oriental of mysterious character. At title: “Lieut. Berard, Officer of the Guard,” very softly until case is opened. Swell to mf until “The Mummy is Despoiled.”
3. Mysterious until he takes ring from mummy’s finger, then:
4. Theme of ring. I have suggested the third movement of Theo. Bendix’s “Hindoo Priest’s Incantation” for this. It will be referred to as “Theme” whenever it occurs. Repeat until title: “The Home of Charlotte Gartier.”
5. “Daisies” (from Bendix’s Floral Suite) until “A Weird Dream.”
6. “Theme” till vision; then:
7. First part of “Sultan’s Dream,” until vision over.
8. “Theme” again until after newspaper item shown.
9. Plaintive until end of reel.

Part Two.

1. Gavotte until he takes ring from cabinet.
2. “Theme until next title.
3. “Lilies” (or bright light waltz) until: “The Ring’s Second Victim.”
4. “Theme” until burglar enters behind girl.
5. Mysterious till change of scene.
6. Waltz lento (“Devotion”) until title: “The Antiquary Loves to Descend to His Shop.”
7. “Theme” until: “The Ring’s Third Victim.”
8. “Miama” (by Neil Moret) until: “The Ring’s Fourth Victim.”
9. Waltz until man is scene with gun.
10. Mysterious until “The Empty Boat.”
11. Pathetic (some [sic] as end of first reel) until end of reel.

Part Third.

1. Waltz or Novelette until he puts ring on girl’s finger.
2. “Theme” until title; “Paul Is a Daring and Successful Aviator.”
3. Lively Intermezzo till machine starts.
4. “Theme” (faster this time—agitated character) until machine is seen wrecked.
5. Crescendo until title: “From the Fingers Cold in Death.”
6. Pathetic (same as before) until title: “The Journey.”
7. “Passion” (by Hager) until: “Into the Depths of Doom.”
8. Agitato until: “The Fisherman’s Discovery.”
9. “Passion” again until mummy case is opened.
10. First Part of “Sultan’s Dream” until close.

Another fine picture with the atmosphere of ancient Egypt is
“WHEN SOUL MEETS SOUL” (Essanay).

1. “Autumn (by Losey) until letter is shown.
2. “Egyptian Love Dance” pp and crescendo until: “Off to Battle.”
3. Soft agitato until: “The Return From the War.”
4. “Isis” (Witmark). Begin soft and slow through two scenes, then crescendo and quicken to march tempo until they are about to drink at the table.
5. Agitato (soft) until change of scene.
6. “Egyptian Love Dance” until old man awakes.
7. “Heartsease” (by Moret) until close.

Through favor of W. E. King, of the Orpheum Theater, Chicago, I offer the musical accompaniment (as played by his orchestra of
“ROMEO AND JULIET” (Pathe)

1. “A Little Story” (by Zimmerman; pub. by Carl Fischer) until title: “Hopelessly in Love with Romeo.
2. “Reconciliation” (Bendix) until reception scene.
3. Gavotte (Harp effect) until all exit but two.
4. Barcarolle from “Tales of Hoffman,” until they enter church.
5. Religioso until: “Provoked By His Rival.”
6. Soft agitato until he is brought before the duke.
7. Rather slow and solemn. (Could use introduction of “Poet and Peasant.”—Ed.) “Romeo Takes Leave of Juliet.”
8. The Roses Honymoon” (Bratton) until end of reel.

Part Second.

1. “Roses and Memories” (Ted Snyder) until: “Friar Laurence Gives Juliet.”
2. “Melody of Peace” (Carl Fischer) until title: “Romeo Ignorant of the Death of Juliet.”
3. “Pansies” (Witmark) until funeral procession seen coming down steps.
4. Funeral March (Sousa’s “Our Honored Dead”) until Romeo is left alone with bier.
5. “Longing” (Pathetic) from Theo. Bendix suite until close.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 25 January 1913, 352.

Music for Comedy

This is Clarence Sinn's inaugural column for 1913, and it is given over to a letter and set of suggestions for a comedy, Vitagraph's "Four Days a Widow," from a reader. Sinn also provides a set of suggestions of his own to the Vitagraph two-reel drama, "Reincarnation of Karma."

We see many programs for heavy dramas in Music for the Picture and appreciate them, writes a contributor, but very few programs for comedies. Whey don’t more of these appear? I am sending the program I played for Vitagraph’s “Four Days a Widow,” and the reason I send it is because every musical number I have listed fits into the scene perfectly. Of course I played all of these from memory, which is almost necessary on account of the quick changes. (Quite necessary in my opinion. Ed.)

The picture business is on a steady rise here in the West, and the wise managers are realizing that to make the pictures “go” they must have musicians who can play the pictures. Our house her (The Majestic), will be enlarged in January from 450 seating capacity to 1,000; that’s going some for a town of 15,000, isn’t it? (Here follows the suggestions for music to picture.)


“Four Days a Widow.”

1. “So Long Mary” until Helen reads note, then:
2. “Hot Time in the Old Town Tonight,” then “Lonesome” until title: “In Springdale.”
3. “Merry Widow Waltz.”
4. “Summertime” till title: “In Chicago.”
5. “Dear Delightful Women” (from “Balkan Princess”). “Automobile Honeymoon.”
6. “Stein Song” (Bullards) till “Roses.”
7. “Who Were You With Tonight?” until Jim drinks water, then:
8. “How Dry I am” then back to “Who Were You With Tonight?”
9. “Home Sweet Home” in march time until “At Party.”
10. “Beautiful Lady” (from “The Pink Lady”) until Marjory tells Helen, husband has arrived.
11. Agitato until Marjory’s exit, then
12. “Beautiful Lady.”
13. “I Want To Marry You” (from “The Early and the Girl”) then quick to:
14. “I Got Rings On My Fingers.”
15. Burlesque “Love Me and the World Is Mine.”
16. Agitato (As Jim pleads with Marjory) then:
17. “I Wonder Who’s Kissing Her Now?” (from “Prince of Tonight”)
18. “There’s No Girl Like Your Old Girl” until close.

Hoping these suggestions may be of some help, I am yours,

THOMAS BRUCE, Pianist and Organist,
Majestic Theater, North Yakima, Wash.

Many thanks, friend Bruce. Your program looks like a “catchy” one, and I have no doubt will be of value to many of our readers. I could have wished you would have given “stopping” cues—that is, cues for changing the music in each number, but after seeing the picture there should be no difficulty in fitting your excellent program to it.
“Reincarnation of Karma.”
I had the pleasure of viewing the “Reincarnation of Karma” (Vitagraph), and here append some suggestions for accompanying music:

1. “Egyptian Love Dance” (by Prior), until title: “E’en ‘Neath the Splendor of the Eastern Sky.”
First Reel.

2. (Incantation) First part of “Sultan’s Dream” (by Bendix) until “Great Buddah Save Me,” etc.
3. Isis (Greek intermezzo), play rather slowly until “A Jug of Wine, a Loaf of Bread, etc.
4. “Vision of Salome” (by J. Bodewalt Lampe) until “Snake Thou Art and Snake Thou Shalt Become.”
5. Agitato until close of reel

Second Reel.

1. Any novelette or intermezzo until he begins smoking pipe.
2. First part “Sultan’s Dream” until he awakes.
3. Back to No. 1 (or any novelette) until “In India Leslie Becomes Engaged.”
4. “In the Soudan” (Oriental music) until musicians exit.
5. Novelette until change of scene.
6. “Inman” until “The Ancient Temple.”
7. “Star of India” (by Bratton) until “They Are Shown Qunitrate the Snake.”
8. Mysterious until snake changes into woman.
9. First part of “Sultan’s Dream” until “If You Would Break the Curse, Give Her This Amulet.”
10. Isis (Greek intermezzo) until she puts amulet on neck; then slow down—ritard and diminish for 8 bars.
11. Agitato until he lays her on the table.
12. First part: “Sultan’s Dream,” start pp and increase; two scenes.
13. Very pathetic until end of picture.

For the incantation (No. 2, first reel), the introduction to “Faust” will be appropriate. Play through two scenes; then first part of “Sultan’s Dream.”

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 18 January 1913, 254.