The Bioscope (Oct-Dec 1913)

1973. THE BIOSCOPE, DECEMBE cR II, 1117 THE PICTURE PIANIST. [Under this heading we deal with all matters concerning the musical side of the cinematograph theatre and the accompaniment of picture plavs. We shall be glad to hear from musicians and to answer inquiries. All letters for this page should be marked “ Picture Pianist.”’] Music on the Screen. Generally speaking, the function of music, in its relation with a picture play, 1s to create an appropriate emotional atmosphere, and not to supply a direct imitation of sounds suggested by the action on the screen. In many pictures, however—and especially those of a spectacular nature—there are moments when the music does become a sort of “‘effect,”’ giving expression to sounds actually indicated in the film. DProcessions, in which a dumb band is seen on the screen, for example, demand an accompaniment which will realistically supply the sounds lacked by the pictured instruments, and the same thing applies to most scenes in which a piano, violin, or organ solo, or a dance, figures. This “ realistic’’ music should be kept quite distinct from the rest of the accompaniment (a change of key will help to mark the distinctton), and it must necessarily be rendered in much Closer synchronism with the action it illustrates. Instrumental solos on the screen will be illustrated, of course, wherever possible, by corresponding solos in actuality—and the sudden tonal change will, in itself, often prove helpful to the ettect of the scene. Processions are usually best dealt with by a gradual crescendo culminating in the approach of the pictured instrumentalists, or of the most important personage in the procession, this method helping to accentuate the sense ot motion. The possibilities, and the difficulties of the system are infinite, but the latter is full of interest for the clever musical director. Music on Hire. Breitkopf and Hartel, the well-known music publishers, of 54, Great Marlborough Street, W., have established a lending department which comprises, not only their own large stock, but also every foreign publication of importance in the domain of choral, orchestral, and chamber music. This does not, however, include piano or violin solos, or songs. Chimes. Whether the music be prov.ded by a small orchestra or by a pramist only, a set of chimes proves a most useful possess.on in a picture theatre. Most effects machines are fitted with tubular bells, but, if they are lacking, a. set may be purchased separately at no great expense. Although the chimes will doubtless have to be relegated to the etfects worker, however, their use should be ere Ge the | e and re oogle hearsed in conjunction with the piano. Wedding scenes, funerals, etc.. may be greatly enhanced by the careful introduction of bells—and the most unintclhgent boy can be taught to manage the chimes sufficiently well for the simple purposes of the picture play. Chimes sound: better placed behind the screen instead of in front of it, and they should be kept //ano rather than forte. Great subtlety of expression can scarcely be expected, but some discrimination may be made between the bells supposed to be mnging from a steeple seen in the picture, far in the distance, and those from one in the tmmediate foreground. MUSIC RECEIVED. Ascherberg, Hopwood and Crew, Limited (10, Mortimer Street, W.). ‘‘ Fancy Dress" waltz, by Henry Coates. A pretty waltz, full of light fancies, suitable for practically any non-serious occasions. ‘“The Evening News Tango,” by Stephen Hamilton. One of the latest tangus, and one of the best for dancing purposes. ‘‘ The Canoodile Glids.’’ by Bertram Lestrange. A quaint, vivacious one-step with a chorus. ‘* The Song of the Column,” by k-mmceline Brook, words by P. J. O'Reillv. A stirring, swinging marching song: of its kind. first rate. ‘‘ All the Way to Coventry,’ by Reginald Somerville, words by Francis Barron. A dainty, old-world coaching song, with a light) tripping melody. ‘* The Picture in My Heart,’’ bv Hl. Lane Wilson, words by E. Teschemacher. A somewhat commonplace little song. of a conventional but popular order. ‘‘ Lassie o’ Min3,"’ bf. A. Tunbridge, words by P. J. O’Reillv. An unusuallgood sentimental song, far above the average. ‘‘ The Bachelor Ship,’’ by David Richards, words by P. J. O’Reilly. A jolly nautical song from ‘‘ The Marriage Market.”’ Boosey and Co. (295, Regent Street, W.). ‘‘ All That I Ask,’’ by James Coleman, words by J. Y. Bailey. An ordinary piece otf vocal sentiment. ‘‘ Guide Me to the Light,"’ bv W. H. Squire, words by E. Teschemacher. An impressive and etfective song, founded on the solemn and austere ‘* Meditation in CC.” Organ accompaniment may be had with it. ‘‘ Pals,’’ by W. Hl. Squire, words by Fred E. Weatherby. A roystering nautical song, of which the words are quite an attractive feature. ‘‘! Hear a Thrush at Eve,’’ by C. W. Cadman, words by N. R. Eberhart. A sweet and dainty serenade, with plenty of opportunities for the vocalist. ‘* Flowar Rain,’’ by Edwin Schneider, words by R. Loveman. A graceful, melodious little song, with really charming words. ‘‘ Dear Love, Remember Ma2,’’ by Charles Marshall, words by Harold Harford. A conventional sentimental song of no great rmtenest: