Home Movies (1954)

SOUND PROJECTOR OWNERS!! An AMAZING INTRODUCTORY OFFER. Typical of Imperial Home V\ovie Values! CLIP THIS AD AND GET BRAND NEW SI 9.75 Sound Films For Only $4.95 Each Order one, two or all three of the following BRAND NEW FULL ONE REEL SOUND MUSICALS at only $4.95 each: 1. LOVE AND KISSES — # 1035 K sses to You When You're Near Me Little Country Tavern 2. NOVELTY REVUE — # 1041 Swinging On A Star Let's Get Away From It All Mama Don't Allow It 3. JOLLY JINGLES — # 1043 I've Got Sixpence One-zy Two-zy Fuzzy Wuzzy Films shipped immediately on receipt of rheck or money order. C.O.D.'s also accepted FREE BIG LIST OF HOME MOVIE BARGAINS IMPERIAL ENTERPRISE, INC. 34 Park Row New York 38, N. Y. FAX FACTS ON FAX A limited number of aluminum FAX REWINDS are now available for the professional editor and film technican. Hollywood studio editorial standards have been met by the rigid specifications for this editing equipment Standard Since 1925 THE FAX CO 1459 No. Seward Hollywood 28, Calif. Automatic Daylight Processing Equipment DEVELOPING TANK • Processes up to 200 Ft. • 8mm-16mm-35mm • Movie — X-Ray — Microfilm • Motor driven portable • Tough plastic tanks • Uniform Density Assured • 70mm tank also available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allowance • Stainless steel and aluminum construction • Easily assembled without tools • Compact. Portable Guaronteed. Write for Free Literature MICRO RECORD CORP. Dept. H 225 W. 28 St., N.Y. 1, N.Y. 16mm Color TITLES Your Movies Are Not Complete Without Titles Price List and Samples Free ZENITH CINEMA SERVICE, INC. 3252 Foster Ave. Chicago 25, HL MUSIC • Continued from Page 101 musical strains. For example, let us say that we have a pictorial sequence of 57 seconds to which we wish to adapt a particular musical strain which has a total timing of only 48 seconds. For the sake of illustration let us assume that we wish to use this particular strain because, starting with a subdued character, it begins to increase in intensity about midpoint and continues to build up to a heavy dramatic ending that will fit perfectly a certain reaction cue in the picture. The two characteristics that we wish to retain in this strain are the low level beginning and the gradual build up (starting in the middle I to the dramatic ending. To extend this musical LOVH SfldDS A LlTTLC (JlfT Of $06t£ 1 1 12 3 4 ll2 3 4 1 123 4 if2-3« j "Sixepy Tine Gal" p_f A T ft T A* T »* 1 c U-2,3-4ll2-3-4liZ-34ll-2-3-4j totmmt Of A tiAire. CrtRiSrnAS" 3 ~( 1 2A3 4ll-2* 4I1 2 J*4 1 i2-5-A Fisuac i. strain the required 9 seconds and retain the desired characteristics it would be logical that we develop the extension from sections in the beginning of the strain since the build up will not have been established at this point and there should be little or no problem of matching levels of reiterated strains or phrases. Although the above mentioned build up and dramatic ending are not actually incorporated. I will again use ""Jeanie W ith Light Brown Hair" for the purpose of illustration. I believe that we can imagine that these two characteristics are there and your familiarity with the melody and lyric will enable you to follow the cutting procedure. 1 1 wish to remind you that 1 do not recommend this type of cutting procedure with well known melodic and popular compositions. It has much better application to music in which the melody is either unfamiliar or not the dominant musical characteristic. I ^ ou will note that, in Figures 2. 3 and 4. I have subdivided each two bar phrase into eight beats numbered 1 to 8. The pickup note lor notes) to the first bar is indicated by the letter X. 1 The complete chorus of '"Jeanie" appears in Figure 3. 1 Since we arbitrarily accepted a timing of 48 seconds for the complete strain of 32 bars, each bar would have a timing of 1*4 seconds. Then. to extend this strain the required 9 seconds, we need an additional six bars of music which, when added to the 32 bar strain, will give us a total of 38 bars with a timing of 57 seconds. Figure 2 illustrates four ways in which the additional 6 bars could be devised from the first (A) eight bar strain in a manner that would retain both musical character and musical continuity. In each case the added 6 bars make proper musical connection to the starting strain of the composition. In the foregoing illustrations we have combined musical strains or phrases with themselves to extend our material. In concert and symphonic musical works we usually find many strains of similar character that can be easily combined for the purpose of extension. This is particularly desirable where considerable extension is required, for instance, it is much better to devise a 90 second sequence from three 30 second strains than to provide the required timing from a single 30 second strain repeated three times. \^ hen this material is selected from various parts of the composition, make sure that the strains are in the same lor suitably related) keys so that they fit together musically. Also, in combining strains in this manner, the mood characteristic can be intensified or relaxed effectively by combining successive strains that are in a higher or lower key than the starting strain. The greater the musical interval between the keys of the succeeding strains, the more pronounced is the effect however, the interval should not be more than a 4th. G to C. C t oF, etc., going up or in reverse order when going down. When strains of similar 1 or not extremely contrasting ) character are to be joined, many times better musical continuity is achieved by starting the second I or succeeding ) strain at the point where a cadence of the preceding strain would normally occur or by allowing the cadence of the preceding strain to be established and then using pick up or 'lead in" notes 1 if possible) into the succeeding strain. (Xote; a 'cadence' is the end or close of a melody or harmonic phrase. ) Of the various types of cadences, for the present we will concern ourselves only with the type that resolves to the tonic harmony or the "kev note" of the composition (or strain I . The best way to illustrate the foregoing statement is to say that a cadence ends every musical composition. So, using that as a basis of comparison, whenever a musical strain has the effect of ending or coming to a close, vou may be sure that it is a cadence. • See "MUSIC" on Page 121 104