Exhibitor's Trade Review (Mar-May 1922)

1066 EXHIBITORS TRADE REVIEW Volume 11. Number 15 Music for the Photoplay Conducted by NORMAN STUCKEY i •/ nn HE design of this department is to diffuse among musicians and exhibitors correct information on all important J subjects pertaining to music for the film; to improve the quality of musical interpretation and to raise the standard of music in motion picture theatres. Questions concerning music, suitable instrumentation, queries relating to organs and mechanical players, etc., should be addressed to Music Editor, Exhibitors Trade Review. Experience The average theatre manager will not engage an organist who has not had experience and the lack of experience prevents many organists from securing work. Just how, this experience is to be acquired is a question, but in other professions and trades, one must serve some kind of an apprenticeship. As a rule, a beginner or learner does not receive a high salary, and until the prospective organist can qualify as "experienced" he cannot expect a regular salary for his work. In many theatres it is possible to substitute and in this way much valuable experience may be secured. Another way of gaining experience, aside from actually taking part in a musical program, is by observation. Many difficulties can be solved this way, before the organist starts his career, especially if he is a good observer. It is easy for an audience to tell whether an organist has had experience. The first five or ten minutes of playing usually tells just what the organist's capabilities are and during a "try-out" it is the first impression that counts. In trying out for a new position, it is advisable, if possible, for the organist to know his instrument beforehand, because managers, as a rule, do not make allowances for the applicant's unfamiliarity with a new instrument. If it is possible to try the organ before your "try-out" do so; it will obviate many difficulties and make your "try-out" much easier. As a rule, many of the prominent organists have had different kinds of experience. Some have played in churches — they are not affected with stage-fright; others have played in orchestras, some have been professional pianists. The beginner must not be discouraged for if he knew the inside stories of many organists he envies, he would be surprised to learn that the road to glory was not a smooth road, but like other professions where ability and hard work counts — it had its "ups and downs." Luck plays a great part in securing and holding a position, much the same as any other line of work, but if the prospective organist is not easily discouraged, he will resolve to keep trying until he succeeds. Persistency is a great factor of course; with ability and a thorough musical training in all branches of the work he endeavors to do. "Experience is a dear teacher," as everyone knows, but if met and dealt with in the right way, many pitfalls can be obviated by mastering the obstacles that trip the organist who believes that blundering is experience. Conscientious endeavor and a sincere purpose are the greatest aids to the new organist and only by these can the experience be gained that will enable the organist to truthfully say "I am experienced." Honor Luz A rather exceptional mark of esteem was paid to Ernst Luz by the musical directors of the theatres which Marcus Loew controls in Greater New York on Tuesday night, Feb. 14. Luz has been for the past ten years general supervisor of the musical organization which Mr. Loew maintains as one of his special features in connection with his theatres. Twice a month these musical dirctors have been called to what is termed "a leaders' meeting" by Luz, and the tables were turned on him when he was called to attend a meeting by his musical directors. The affair, up until the presentation, was kept secret. Luz was persuaded to go to supper at Lorber's, where he found the musical directors of the Greater New York theatres, controlled by Marcus Loew, assembled. An informal after-theatre sup per was given, during which Luz was presented with an elaborate chest of silver. This is the first time that anything of this kind has been done in connection vdth the Loew Circuit, and as the spokesman said in the presentation speech, it was just a recognition of Luz's efforts to make these leaders feel that they were an important feature of the Loew Circuit. Special Music Drive Richmond-Robbins, Inc., music publishers, have recently completed plans for a special sales drive to be put on during the early months of the year. The numbers for this exploitation have been selected with great care and have been given tests in both professional and orchestra circles. The success which they achieved with their song "Yoo Hoo," not only in sheet music, but in record and roll form, inspired them to request the writer of the original number give them a melody that would excel the famous "Yoo Hoo." "This encouraged Al Jolson, the vvrriter, to contribute "Old Fashioned Girl," the most sensational fox-trot of today, and incidentally one of the numbers to be used in this campaign. "Marie," novelty song fox-trot, by the writers of "Bright Eyes," will also be used for this exploitation and it is predicted to be a sure-fire hit. Paderewski on Playing the Piano People with thick fingers have a natural tone, and consequently little difficulty in developing a beautiful touch. Others will have to work a great deal before they acquire it. In the latter case the practicing of slow passages with a deep touch, and without lifting the fingers very high, is most important. At the same time, each separate tone should be listened to and its quality noted. The strong hand with the thick fingers may be held even, with the knuckles down, while the weak hand with long fingers should be held with the back ball-shaped or arched, with the knuckles up. In the training of the hand a great fault is the bending out of the first joints of the fingers where the cushions touch the key. Such a position of the finger, its point bent out, makes a good tone impossible. Students should pay great attention to the "breaking down" of the last joints of the fingers; it is a difficulty that must be settled in the very beginning. The ability of producing a legato may be acquired by careful fingering, and by the use of the pedal. In the first case the quick, careful passing of the thumb under the fingers is the practical factor, always studying slowly, with the deep touch, and listening closely to the binding together of the notes. In the second case the judicious use of the pedal is the aim. It is a mistake to be afraid to use the pedal in playing scales. In quick scales the pedal may be effectively used to give brilliance and color, but only under a certain rule. Use it on the central portion of the scale, but never on the important or closing notes. This gives brilliance and color to the quick, passing notes leading up to the climax; then, by shutting the pedal off, the final and important notes ring out with an added value, clear, firm, and effective. Change the pedal with every change of harmony. In playing the lower notes on the keyboard its change should be still more frequent, because of the slow vibrations and the thickness of the tone in that part of the instrument. For Better Music THE FOTOPLAYER THE AMERICAN PHOTO PLAYER CO. NEW YORK CITY CHICAGO SAN FRANCI.5CO 1600 Broadway 64 E. Jackson Blvd. 109 Golden Gate Ave.