Motion Picture News (Apr-Jun 1919)

June 21, i 9 i 9 4205 C^e SKeet/S L artest, Hits M \x s i c bAxi, sic cu 1 E q Txiprnen/6' ^4 Progressive Musician in a Small Town I HAVE always been under the impression that big things were only possible in big towns where big crowds bring in big money, but I am learning every day, and to my greatest surprise I found that the above theory is not applicable in every instance. Several days ago, I received a letter from Air. Minckler of the Majestic Theatre, Centerville, Iowa, revealing unprecedented feats of musical aggressiveness. The plain and convincing language of this progressive musician, has taught me a great lesson, and I consider it my duty, as musical editor of these pages, to reproduce part of his letter for the benefit of those who are interested in this particular phase of the musical profession. Music Editor, Motion Picture News, I have been playing pictures since 1912, and will say that I have had quite a bit of success. As you know, in those days the two-reel features were just coming out, and cue sheets were unheard of. Also, there was no incidental . music to help me out. It seems to me, that I have played thousands of K. B. — Broncho's-Kalems — etc., all civil-war and Indian pictures, full of battles, fights, etc., and nothing to use but marches, intermezzos, and overtures. What a pleasure it would have been to use Belwin, Cinema, Berg Fischer, Schirmer and other series of Picture music — what a nightmare then. However, I have always tried to fit music to the picture, using what I had to the best of my knowledge. In 1914 I thought of the idea of timing my music and have kept at it ever since. It has been a great help to me although a great deal of trouble. I have a library of over 2,000 numbers and with the exception of marches, rags, galops, hurries, etc., they are all timed. I have my library cataloged, and can find any number I need in less than a minute. I have a loose-leaf catalog with the numbers classified and followed by descripition and time. Will give you a list of the way I classify them, and any advise that you can give me on doing it to better advantage will certainly be appreciated. My catalog is divided into two parts, the first is arranged alphabetically which takes care of all national music, and the following: Antique, Berceuse, College, Eccentric, Comedy, Funeral, Gavottes, Ghost, Hunting scenes, Mazurkas, Love Themes, Standard songs, popular songs, Minuetts, Military, Nautical, Processionals, Rustic or Rural, Religious, Western etc. The second part is divided as follows : 1. LIGHT NUMBERS, Novelettes— Intermezzos— Ballets— Caprices— Light Waltz. 2. SERIOUS, Neutral Numbers, such as Andantes— Moderatos— Serious Songs — and Serious Waltzes. 3. PATHETIC, Light Pathetic or Plaintive— Valse Lentos— Light Pathetic songs — Heavy Pathetic — Death scenes— Sob Stuff, etc. 4. DRAMATIC, Light Dramatic — Heavy Dramatics — Minor Waltzes. 5. AGITATOS, Light Agitatos — Dramatic Agitatos —Heavy Agitatos. 6. HURRIES, Light Hurries— Heavy Hurries— Battle HurriesStorm Furiosos. 7. MYSTERIOSO, Light Mysterioso— Dramatic Mysterioso — Mysterioso Agitatos. 8. SELECTIONS, Musical Comedies — Comic Opera — Grand Opera. 9. OVERTURES, Dramatic— Hurry— Neutral. 10. MARCHES, 6/8, 2/4 Military, etc. I have never had any help in working this out, have always had to dig for myself, and always being in a small town, have not had many chances of hearing and seeing what others are doing. I read all the papers, Jacobs, Metronome, Dominant, Exhibitors Trade Review, Dramatic Mirror, Motion Picture News, etc. I use all the cue sheets, and they are a wonderful help but I think that I sometimes improve on them. Of course, everyone has a different view of playing pictures and different scenes, and believe me I get stuck once in a while. I have most of the Incidental Music published and also a series of my own compositions and arrangements — 17 numbers so far. Of all the cue sheets put out, 1 find the most reliable are, — S. M. Berg's M. Winkler's and the Film Music Co. I have a criticism to make in regard to some cue sheets — why not have the cues to the left on all cue sheets? Why is it that picture companies issuing weeklies, and current events, etc., do not put out cue sheets? It certainly would help a lot. I always have to plan them right off the "bat " so to speak, and marches don't always fit. Why not use more of the popular songs for love themes? I have used the following successfully I think, — Mary, Till we Meet Again, Little Birch Canoe, Smiles, Beautiful Girl of Somewhere, After All, Chasing Rainbows, I'm Forever Blowing Bubbles, Kisses, Kentucky Dreams, I Found You, Have a Smile— and many others. I can't remember seeing a cue sheet call for any of the above numbers as love themes. Why not? Of course they have to be chosen to fit the picture and the words have to be taken into consideration but I think that they are more pleasing than some of the dry, uninteresting themes suggested. But popular music can not be used on all pictures. It would be a musical suicide to play a sentimental popular song for some of the modern dramas for instance. Why don't the companies putting out Comedies (I mean the two and three reel kind, like Fatty Arbuckle, Chaplin, Sennet etc.) issue cue sheets? It is a pretty hard problem to fit music properly to some of the comedies unless as sometimes happens the film arrives early enough to run it off. Now about cue sheets : How would it be to describe the various scenes in a few words, instead of describing the tempo of the music? Such terms as 4/4 Andante, 3/4 Allegretto, etc., are vague. Alsothe term moderato or Allegretto (as the case may be) tempo being Characteristic as some cue sheets put it. Characteristic of what? Such a term is a Chinese puzzle to me. Now, I don't want you to think that I have a grouch against' cue sheets and cue sheet composers, nor do I have any degree of swelled-head. I have merely written my ideas and suggestions from the standpoint of my experience. These cue sheets have certainly been a God-send to me and I can truthfully say that without them I would not be as far advanced in the picture game as I am. I am a violinist, and as I stated before, have played only in the smaller cities, mostly in Wisconsin, my home state. Have filled position successfully in Oshkosh, Fond du Lac, Racine, Kenosha and Beloit, all in Wisconsin. Am located at present in Centerville, Iowa, a small town but a live one from the picture standpoint, as well as otherwise. I have the orchestra at the Majestic theatre, Mr. Leo Moore, the manager takes pride in showing the best pictures with appropriate music. Any suggestions, criticisms or help of any kind that you can give me will be most thankfully received. Very truly yours, Frank T. R. Minckler, Centerville, Iowa. Note : As the editor of these columns, I perf ectly agree with Mr. Minckler in every point, and I respectfully invite criticisms and suggestions from the readers of this page. M. Winkler.