Aa,O  @ـ`@0`@`  P@ 0@ P@` H $d lHZZ33̀ff@  d Footnote TableFootnote**. . / - :;,.!?) b7 -  hRHeading+AmoritaAustroBerliozBorchBreil BrueggemannCaligariCarliEastmanEdvardErnoFazilFiedler FischersGastonGillianGrieg Griffiths IronsidesJanLaytonMassenet MysteriosoRapeeRapeRapesRedskin RiesenfeldRoxySatieSans SchoenbergStepan Stravinsky Tschaikowsky VitaphoneWhytedahttp intertitlesishnick symphonist unplayable   7EquationVariablesPB    FFFaK@Fc FyFGG G GGGGGG>G@GDHO%HrI 1111 f96429: TableTitle: Table 1: Gaston Borch Dismantles an orchestra in 1918[29]. Borch gives the standard+ T56771: TableFootnote: c. Borchs reduced orchestra has either a flute or a clarinet. . x16260: TableFootnote: d. The two clarinets are usually given separate parts. Two trumpet parts are sometimes on separateB i48693: TableTitle: Table 2: Erno Rape Builds an Orchestra in 1926[22]. From 11 to 25 he gives the leaderA T56771: TableFootnote: c. Borchs reduced orchestra has either a flute or a clarinet.A x16260: TableFootnote: d. The two clarinets are usually given separate parts. Two trumpet parts are sometimes on separateA x16260: TableFootnote: d. The two clarinets are usually given separate parts. Two trumpet parts are sometimes on separateA f96429: TableTitle: Table 1: Gaston Borch Dismantles an orchestra in 1918[29]. Borch gives the standardA i48693: TableTitle: Table 2: Erno Rape Builds an Orchestra in 1926[22]. From 11 to 25 he gives the leader<$lastpagenum>;<$monthname> <$daynum>, <$year>"<$monthnum>/<$daynum>/<$shortyear>+<$monthname> <$daynum>, <$year>"<$monthnum>/<$daynum>/<$shortyear><$monthname> <$daynum>, <$year>"<$monthnum>/<$daynum>/<$shortyear> <$fullfilename> <$filename> <$paratext[Title]> <$paratext[Heading]> Numberonly<$paranumonly>Pagepage <$pagenum>Heading & Page<$paratext> on page <$pagenum>$<$curpagenum> <$marker1> <$marker2>Section#%Section <$paranum> on page <$pagenum> (Continued)+ (Sheet <$tblsheetnum> of <$tblsheetcount>)End note+<$paranumonly> AAAA|$1. OF Table 1: 4"PP  A?FD0;;[FD"FDD@K@ ;L4!FF!F!F!FF#F F#F F FF F F FF F F FF F F KFF 0DF F FF F F#F FF F F FF F G G#GEG 0G  G {GG G G MGG! G# G% G'"G) G+ G- G/G1 G3 G5 G7G9 G; G= GD Table 2: GFDGHDGJDGLDGNDGPD|GRDGTDGVDGXDGZDG\G^!G`GbGdGfGh>GjGlGnGpGrGt/Gv!Gx!Gz!G|!G~!G!G!G!G!G!G!G#GG G G G G G G G G G G GG G G G G G G G G G G GG G G G G G G G G K+ 0"01"(d d HHˆHHˆ  Wd d* HzHz Wl%October  11, 2000 xzXxzX Wd HUX HUX Wd H$ !H$ Wd HZ" TableFootnoteH̰  Table Cell Rule HIpM[ HIpM[HQzHQzTable Footnote30 303030HHˆHHˆl H=UV[ H=UV[HGHGTable Head RuleHzHzlxzX*xzXlHUX  HUX ld#H$ H$ lZ$ Z$ l Z$ $Z$ WhGPhotoplay Music, by Rodney SauerDecember  4, 2004 Z %Z W h"12 Zld&Zld W ` d' Zld(ZldL #Photoplay Musicreusable music for -@silent film scoring $B VAlthough silent films were accompanied by music, they did not have definitive scores. 0^[As in a classical ballet production, where the choreography, set design, and costuming are ^left up to local talent and budgets; the music for silent films was left up to the talent and Zbudget of each individual theater. With 15,000 movie theaters in America alone, each with Zits own live music ranging from solo piano to full orchestra, and an attendance of almost \half the nations population every week, the silent film era represents an period of remark@Lable creativity, productivity, and attendance in live musical performance. !w \This article is an overview of !photoplay music. Short, descriptive musical pieces ^intended for film score compiling were referred to by various terms, including !photoplay hmusic, motion picture music, and !incidental music. Modern film technicians refer to such wpieces as !cue music or !cues, but that usage was not common in the silent era. I use !photoplay nmusic here because the term !photoplay for movies fell out of use at the end of the silent era; "gconveniently restricting !photoplay music to musical cues for silent films. Photoplay music Vwas a unique international genre consisting of somewhat over ten thousand short works @Uthat were once far and away the most frequently-performed genre of classical music. !`/The duration of photoplay music as an art form s> TThe age of silent film lasted from 1895 to 1929, but almost all photoplay music was jpublished in just the last fifteen years, from 1914 to 1929. !The Jazz Singer, the first successZful synchronized sound picture, appeared in late 1926, and with a few exceptions the last HP@[)HP@[HHFootnoteH%* Footnote+Z Z  lZldZld lZldZld"ld"" Zld Zld.">Zsilent films were released in 1929. Although a surprising amount of silent film music was $Tpublished in 1929, including much from Germany where the silent era lasted slightly 8@Plonger, I have not encountered any photoplay music published in 1930 or later. ?j`*The three methods of scoring silent films { iThere are three fundamental kinds of silent film scores: !improvised scores, !composed fscores, and !compiled scores. Improvised scores are created off-the-cuff by a musician while 0Xwatching the film. Composed scores are made of new music written freshly for a specific Ufilm. Compiled scores are assembled from previously written music. In practice, many @Zscores combined these approaches. This article is about compiled scores and their music. a  SIn the early days of cinema, most movie theaters were small store-front operations Panddespite much experimentationthe accompaniment of choice was solo piano. By [the mid-teens, these theaters created a huge demand for pianists of any caliber, even mere Tamateurs. There is much anecdotal evidence that manyperhaps mostof these pianists Zwere women. Then as now, classical piano training did not cover improvisation as a skill, Zso most of these pianists required printed music to work from. With new films arriving in [theaters every few days, a vast amount of music was required to avoid repetition (although Ycontemporary complaints indicate that plenty of pianists didnt mind repetition). In the Xearly days, musicians played whatever music they could find, usually standard classical Zpiano works and popular hit songs. This was the origin of the compiled score. As theaters @Egrew, the same technique was used to compile full orchestra scores. Zld Zld%!!ld%% Zld#ZldX% ZBy the mid teens, the distributors settled on a pattern of issuing a cue sheet for each $Wmajor film, which contained a list of the scenes in the film and recommended music for 8Weach scene. These pieces were usually titles that were available for purchase from the 08[exchange. Theater music directors were expected to maintain a library of music, and either ^use the music suggested in the cue sheet or substitute similar pieces from their collections. ZA person creating silent film scores today should not be at all shy about making substitu@Otions to the cue sheetor ignoring it altogetherit was an accepted practice. ! LCompiled scores are a remarkably efficient way to assemble impressive movie Xscorestypically the score compiler received the film or cue sheet three days to a week [before the picture is shown and was able to have the film score arranged and the orchestra @Frehearsed by opening night while still exhibiting the previous film. ! QA typical compiled film score uses from 35 to 70 pieces of music. Large theaters ^boasted of libraries with 15,000, or even as many as 50,000 scores, typically a mix of classi@;cal works, popular dances and songs, and photoplay music. a@ QThe most prestigious films, notably D.W. Griffiths epics and Douglas Fairbanks Vadventures, had new scores specially composed (or part-composed) for their premieres. \This trend increased towards the end of the silent era. But as the films moved from the big Zcity movie palaces to smaller houses with smaller musical budgets, the specially composed Yscores were often abandoned as too expensive and often unplayable by reduced orchestras, [and the local musicians used their familiar compiled-score technique for these same films. \The exchanges recognized this, so that even films with specially composed scores also had a Zcue sheet compiled from standard photoplay music for those theaters that opted not to use Zld#Zld"($$ld(( Zld&Zld.(@dthe composed score. Consider the late silent-era film !Redskin (1929), for which you could $Wget J.S. Zamecniks complete score as printed orchestra music, you could get the piano/8Zconductor score and expand it on the theater organ, you could get the score recorded in 08\two different ways (sound-on-film or on disks), or you could get a cue sheet to create your Zown compiled score. Besides standard photoplay music selections, the cue sheet called for @Qnine excerpts from Zamecniks complete score, available for purchase separately. !} TThe use of cue sheets and compiled scores meant that a film score might contain the Ywork of 50 or more composers, from Edvard Grieg to Jerome Kern; and since the score also Zvaried from theater to theater, it was impossible to give the composers public credit for Utheir work. Even though their music was very widely performed, the names of prolific Scomposers such as Gaston Borch and J.S. Zamecnik would not have been recognized by @9anyone but the musicians. In the words of Gordon Whyte:  UThis is a field of musical writing in which the composer may not be known to the outfSside world, as the composer of popular songs or musical comedies may be known, but Yif he is able to write the sort of music which is demanded by the pictures it is safe to p Vsay that no other branch of musical writing will yield more performances of his works Uthan this. The picture theaters all over the world are continually searching for new Tmusic adapted to picture requirements. This music is none too easy to find, for the Scomposer who can write melodies may not necessarily knit them together in the form Vdesired by the motion picture conductor. Besides melody, he must have a distinct feelVing for drama and the ability to set down his music to reflect this. Mr. Zamecnik has Xdone this so successfully that no motion picture theater library is considered complete Uwithout a very generous selection of his compositions. Go to Paris and see a picture Rand the chances are much in favor of your hearing a Zamecnik number in the score. SGo to London, Berlin, Melbourne or Moscow, and the same thing is likely to happen. QIn other words, Zamecniks music is played internationally and is relied upon by Umotion picture conductors the world over to heighten the effect of their film presen@ tations. Zld&Zld%@''l 4T 4T4^:4d@@ Zld>Zld<@`The indefinite orchestra ($ QThe American theater orchestra was anything but standard in the silent film era. 8YLarge orchestras of up to one hundred players in the big New York movie palaces are well 08Vdocumented because the theater directors were proud of them. But smaller movie houses \had three to thirty players, and in smaller towns, the theaters had to settle for whichever `musicians were available, and this could result in some strange combinations. Table 413 Yshows Gaston Borchs observations on the variety of theater orchestra instrumentation in _1918, and Table 726 shows Erno Rapes recommended instrumentation for orchestras rangD)ing from three to 72 musicians in 1926. a+  SObviously, successful marketing of photoplay music would be easier if all of these Vorchestras could read from the same published music scores. In a 1922 survey of movie dtheaters by !Motion Picture News cited in Koszarski (1990, page 41), exhibitors were asked Wabout the musical accompaniment in their theaters. 15% didnt answer, which could mean Vthey either used no music at all, used mechanical instruments or phonographs, or just Wneglected to say. Of those who answered the question, 46% used theater organ, 25% used Wpiano only, and 29% had an orchestra. But of these orchestras, only 6.6% had more than [ten players, 29% had from six to ten, and the remainder were orchestras with five (%18), Ufour (13%), three (22%), or two (11%) players. The unscientific nature of the survey ^makes extrapolation from this data risky, but since there isnt a better study Ill do it anyXway. If the data were assumed accurate, in 15,000 theaters there would have been around Z3700 orchestras, of which around 250 would have been larger than ten players, 1100 with Zld>Zld(M??ld ?II Zld @GZldY@@I 3`The end of the era 3y$ TPhotoplay music did not dieit was killed. The talkie revolution did more than just Smove the musical accompaniment to a recorded sound-track, it fundamentally changed Ythe character of the movies thrusting them into a new realm of realism. It was as though ]classical ballet had, within the course of two years, been dropped in favor of network news. ]Photoplay music was cut off at a time when it was still artistically productive and breaking @ new ground. !$ dAfter the runaway success of !The Jazz Singer in late 1926, many silent films still in proTduction were adapted with recorded musical scores to be released in both silent and Xsound versions (often the sound version still had intertitlesthe sound track had a Xpost-synchronized musical score and sound effects but no dialog). These hybrid pictures Zare the one surviving document of how the top-notch silent film orchestras sounded in the @Jlate 1920s. Hugo Riesenfeld, in a tragic bit of hopeful denial, observed 7 WIt is not probable that the Vitaphone will ever entirely replace the orchestra, but it 0Vdoes make it possible for certain films requiring the finest musical accompaniment to HDbe shown in places where there is no orchestra available. q, TRiesenfeld failed to recognize the attraction of the synchronized human voice. Hugo SRiesenfeld and Erno Rape were some of the lucky onestheir reputations guaranteed Vthem a spot in Hollywood, making scores for the talkies. Eugene Ormandy exploited his [intense movie theater experience into an illustrious classical music careerconducting the Vsame Beethoven symphony several times a day six days in a row must have given unprece]dented familarity with the score. But for the average theater musician, one of the best-paid Zld BGZldV@HHl_dMM Zld KZldXM+Zsix to ten players, and 2000 with three to five players. This was the American market for $@photoplay music. )8 VOrchestrators solved the problem of the indefinite orchestra by cross cueing, which 08Wmeans that an important musical line in one instrument would be placed, in small cue [notes, in the parts for other instruments, so that in the absence of the first instrument, ^another instrument could play the line. Using a piano to cover the usual filler work of the Xbasses, violas, and second violins allowed an ensemble as small as a piano trio to play Zalmost any piece in the literature! The piano-conductor score was used by the conductor Xas well, since there was no full score published. Considering that most conductors were Yplaying an instrument, a full score would have had an unwelcome number of page turns. If \the orchestra was large enough, all of the pianos notes were covered by other instruments, Wand the piano was omitted entirely. Most photoplay music was sold in large orchestra _and small orchestra versions. The small orchestras parts consisted of violin 1, violin 2, _viola, cello, bass, flute, clarinet 1, trumpets/cornets 1 and 2 (sometimes on the same score), Utrombone, percussion, and piano/conductor. The large orchestration added oboe, basVsoon, 2nd clarinet, and two horns (usually on the same part) and sometimes harmonium. \But the parts are identical: a cellist would read from same part whether in a piano trio, a [small orchestra, or a large orchestra. The piano/conductor score was also sold separately, [and theater organists played from these parts, using cue indications to choose appropriate @stops. a- `Advertisements for the !Sam Fox Photoplay Editions, state Arranged for full orchestra Xand effective in any small orchestral combination which includes violin and piano. The Zld"KZld@PLLld PP Zld NZldJP-efolder containing! Carl Fischers Loose Leaf Motion Picture Collection reads All parts are $^carefully cued and specially arranged so as to be playable for violin and piano[,] trio, quar8@Ftet, or any other combination of instruments with violin and piano. 1a8 OIn most small orchestras there was no conductorthe orchestra leader conducted Zfrom his or her instrument, usually piano or violin (see Table 2). In the three working _collections that I have looked at, that of Al Layton, that of William Swain, and that of Jason [Brueggemann, the orchestra appears to have been lead by the first violinist, as all of the @Fhand-written screen cues were written on the sole first-violin part. !( RThe authors Mont Alto Motion Picture Orchestra uses an instrumentation of piano, \violin, cello, clarinet, and cornet. We find that these five instruments rarely double each ]other, can cover all of the needed solos and cues, and give the most orchestral sound that ^you can get from five musicians. It is a tribute to the resourcefulness of the arrangers that Yvirtually all of the repertoireeven arranged works of Tchaikowsky, Beethoven, and Sibel@3iusworks adequately with this small combination. ! UIt should be noted that the indefinite orchestra was not limited to motion picture Torchestras. The same principles operate in arrangements marketed to dance bands and @salon orchestras.  `About the music publications b QMost photoplay music composers were serious classical musicians, working in what [they felt was a novel (and economically viable) new field of classical music. Gaston Borch PRhad studied with Jules Massenet and had played in and conducted symphonies across Zld NZldMSOOld &SS Zld 'QZldXSbWEurope and America. J.S. Zamecnik, who studied for two years with Dvorak at the Prague $@6Conservatory, voiced the attitude of many composers: 8 \I believe the biggest composers will be attracted to this field, for there is a scope to it NUhitherto unknown to music. If the great composers only realized the opportunities in PRthe motion picture field they would be knocking on the door for an opportunity to 0<Swrite this music. I am of the opinion that essentially dramatic composers, such as QWagner and Tschaikowsky, would have been vastly attracted by the motion picture. PWagners ideas were always dramatic and always conceived on a tremendous scale. WThey were so vast and called for such technical resource that he had to have a special Qopera house constructed to properly present his music dramas. The motion picture Whas no such limitations as the stage. Nothing is too vast for the screen. I think that UWagner would have reveled in the idea of fitting his music to the motion picture for Qthat reason alone. Then there was Berlioz, whose ideas were even vaster than WagPners. Had he been able to he would have used thousands of people in tremendous Xmusical spectacles and he could have done this in the films. As it was, he died without Urealizing any but a small part of his vision. Again, take Tschaikowsky. His music is Salways dramatic and always emotional. It is also most melodious. I believe that he Swould have written unparalleled music for the screen and would have been enchanted Vby the problems the pictures set up for solution. Likewise, I believe that any future TWagners, Berliozs and Tschaikowskys will be led instinctively to the screen for the @(proper exploitation of their talents. X TIn reality, classical composers such as Stravinsky who tried motion picture scoring >Yoften did as poorly as famous novelists did with screen writing. And although writers on 0Wsilent film music have made much of compiled scores being made up of the standard clashsical repertoireusually mentioning Breils use of the !Ride of the Valkyries in his score for bBirth of a Nationsuch classical pieces are quite rare in actual cue sheets. Photoplay music "Ywas more useful. Zamecnik did not realize that his broad experiences in both popular and Vclassical music had made him much more equipped for the task than the great composers @he looked up to. a QWhen we think of music in the days before radio, we think of church music, commuXnity brass band music, vaudeville, and dance halls. But the photoplay musicians out-perZld )QZldPVRRld;VV Zld<TZld<V Sformed these venues, entertaining up to 28 audiences a week. Silent film music was 0$Zconsidered to be of great cultural importance, and had enormous influence on the publics Ymusical experience. Writers of advice to film musicians stressed the importance of their \position in raising the level of American culture by presenting good music, particularly by Yplaying standards of the classical repertoire as overtures before the film program. Erno WRape attributed the increasing number of American symphony orchestras to the exposure @>to good music that people were getting in the movie theaters. ! RConsidering that America alone had from 15,000 movie theaters, many giving two to Yfour daily programs, its clear that the presentation and attendance of films vastly surWpassed the presentation and attendance of opera, ballet, and classical music concerts. UWeekly attendance in 1926 was 47 million people, or about half the population. ASCAP Zreported that silent film theater orchestras were responsible for more royalties than any @>other type of musical performance. Hugo Riesenfeld observed: ! SIn addition to the vastly greater number of movie theater orchestras, each theater Xorchestra usually gave more performances in a month than a symphony orchestra gave in a @year. Zamecnik again: d QNo one can deny that more good music is being heard in the motion picture houses pTthan anywhere else in this country. Where else can you hear orchestras of symphonic Tproportions playing the best music of the past and present to the extent that it is Uheard in these theaters? Here is where the young people congregate and here is where Wtheir musical tastes are being formed. In the larger houses the musical level is being Npushed up all the time and it is no uncommon thing to hear movements from the Tgreat symphonies, tone poems and the big overtures in such houses. Invariably, such Tcompositions are pleasing to the audiences and familiarity with the best in musical @Hliterature is bound to raise the musical level of all who listen to it. Zld>TZldSIUUl}ZDF[ZDD (ZGaston Borch dismantles an orchestra. Borch first gives the instrumentation for rWstandard American concert orchestras (pointing out that they are smaller than European Rorchestrasof course, such works as the symphonies of Richard Strauss or Gustave VMahler had better be left alone). Then he lists which instruments smaller orchestras @Ytypically do without, from which I derived the last two columns. From Borch, 1918. $ }ش)DFش)D Wa }>xDF>xD W%a }< DF< D W*a }Z~)!FW\Z~)!WG` Instrument }ش)e!F[]ش)e!!H American Concert P@ Orchestra }>xe!F\^>xe!!I Typical Theatre P@ Orchestra }< e!F]_< e!!J Reduced further for P@small theaters }Z~)F^`Z~)WL ` 1st Violin }ش)eF_aش)eWN h 2 ~ZF`bZM) bBorch specifies at least two 1st violins, four firsts was also common (See Anderson, 1987, page P@265). }>xeFac>xeWP h 2 ~ZFbdZWO)`>Borch specifies Two 1st violins, often only 2one.1 }< eFce< eWQ `1 }Z~)FdfZ~)WS ` 2nd Violin }ش)eFegش)eWT `2 }>xeFfh>xeWU `1 }< eFgi< eWV ` }Z ~)FhjZ ~)WW `Violas }ش) eFikش) eWX `2 }>x eFjl>x eWY `1 }< eFkm< eWZ ` }Z~)FlnZ~)W[ `Cellos }ش)eFmoش)eW] `2 }>xeFnp>xeW^ `1 }< eFoq< eW_ `1 }Z+~)FprZ+~)Wb `Bass }ش)+eFqsش)+eWc `1 }>x+eFrt>x+eWf `1 }< +eFsu< +eWg `1 }Z;~)FtvZ;~)Wh `Flute }ش);eFuwش);eWi `1 }>x;eFvx>x;eWj `1 }< ;eFwy< ;eWl h 1 ~ZFxzZ$Wk)hLBorchs reduced orchestra has either a flute 2or1 a clarinet. }ZK~)Fy{ZK~) Wm `Oboe }ش)KeFz|ش)Ke Wn `1 }>xKeF{}>xKe Wo ` }< KeF|~< Ke Wp ` }Z[~)F}Z[~) Wq `Bassoon }ش)[eF~ش)[e Wr `1 }>x[eF>x[e Ws ` }< [eF< [e Wt ` }Zk~)GZk~) Wv hClarinet ~ZGZ,u)(eThe two clarinets are usually given separate parts. Two trumpet parts are sometimes on separate P@`pages, sometimes together on a single score. The two horn parts are usually on the same score. }ش)keGش)ke Wx `2 }>xkeG >xke Wz `1 }< keG < ke W| h1,c }Z{~)GZ{~) W~ hHorns,d }ش){eG ش){e W `2 }>x{eG >x{e W ` }< {eG < {e W ` }Z~)G Z~) W hTrumpet/cornet,d }ش)eG  ش)e W `2 }>xeG" >xe W `2 }< eG$ < e W `1 }Z~)G&Z~)W ` Trombone }ش)eG(ش)eW  `1 }>xeG*>xeW  `1 }< eG,< eW  `1 }Z~)G.Z~)W  `Drums/tympani }ش)eG0ش)eW  `1 }>xeG2>xeW `1 }< eG4< eW `1 }Z~)G6Z~)W `Piano }ش)eG8ش)eW ` }>xeG:>xeW ` }< eG<< eW `1 }ZnG?'ZnnA(ZErno Rape builds an orchestra. From 11 to 25 musicians, Rape gives the leader rQdiscretion about which instruments to add depending on whether the theater needs Tstringy or brassy music. The last two columns give instrumentation for his larger Worchestrasat New Yorks Rivoli Theatre and Capital Theatre, respectively. His largest Vorchestra has a larger brass section than could make use of a typical photoplay music Yorchestration, but Rape was very ambitious in introducing his audience to the classical Xrepertoire and wanted to be able to present Wagner and Richard Strauss in his pre-movie @ overtures. }ش)nGEش)n AWa }u<nGGu<n AWa }6OnGI6On AWa }+bnGK+bn AWa }GunGMGun AWa }cynGOcyn AWa }:nGQ:n AWa }nGSn AWa }nGUn A Wa }}nGW}n A Wa }>nGY>n A W a }Z~)&G[(Z~)&AW!a Instrument }ش)1KG]'5ش)1KAW" aNumber of musicians }u<G_u<AW# a =}6OGa6OAW$ a }+bGc+bAW% a }GuGeGuAW& a }cyGgcyAW' a }:Gi:AW+ a }GkAW- a }GmA W. a }}Go}A W/ a }>Gq>A W0 a }Z~)GsZ~)AW2 a }ش)Gu(6ش)AW4 a3 }u<Gw57u<AW5 a4 }6OGy686OAW6 a5 }+bG{79+bAW7 a6 }GuG}8:GuAW8 a7 }cyG9;cyAW9 a8 }:G:<:AW: a9 }G;=AW; a10 }GZld$  @ ,[jobs in history simply evaporated overnight, leaving them with no career and a vast collec0$\tion of useless music. Of an estimated 22,000 theater musicians at the height of the silent @)era, there were only 4000 left in 1932. a4 NPhotoplay music composers, whose names were never publicized, were easily and \quickly forgotten. Talkies finally allowed screen credit to be given to composers, but many Tof the silent film composers were seen as old-guard, lost in a medium that not only Zswitched to recorded sound but increasingly wanted jazz. These prolific and influential Tcomposers are still unknown. The only photoplay music composers who register in the XGrove Dictionary of American Music are Erno Rapee and J.C. Breil, and they are included Wbecause of their classical music endeavorstheir arguably more influential silent film @work is noted as a sideline. Zld#>ZldI??l}}G=B}A W= a40 }>GAC>A W> a72 }Z~)GBDZ~)AW@ h1st Violin ~Z0GCEZ0G?) hThe second first violin is an obbligato. The job of the obbligato violin was to play cues for missing P@Vinstruments rather than doubling the first violin or playing the second violin part. }ش)GDFش)AWA a1 }u<GEGu<AWB a2 }6OGFH6OAWC a2 }+bGGI+bAWD a2 }GuGHJGuAWE a2 }cyGIKcyAWF a2 }:GJL:AWG a2 }GKMAWH a3 }GLNA WI a6 }}GMO}A WJ a8 }>GNP>A WK a16 }Z*~)GOQZ*~)AWL a 2nd Violin }ش)*GPRش)*AWM a }u<*GQSu<*AWN a }6O*GRT6O*AWO a }+b*GSU+b*AWP a }Gu*GTVGu*AWQ a }cy*GUWcy*AWR a }:*GVX:*AWS a }*GWY*AWT a }*GXZ*A WU a2 }}*GY[}*A WV a4 }>*GZ\>*A WW a10 }Z:~)G[]Z:~)AWX aViolas }ش):G\^ش):AWY a }u<:G]_u<:AWZ a }6O:G^`6O:AW[ a }+b:G_a+b:AW\ a }Gu:G`bGu:AW] a }cy:Gaccy:AW^ a }::Gbd::AW_ a }:Gce:AW` a }:Gdf:A Wa a2 }}:Geg}:A Wd a4 }>:Gfh>:A We a8 }ZJ~)GgiZJ~)AWf aCellos }ش)JGhjش)JAWg a1 }uJGrt>JA Wq a7 }ZZ~)GsuZZ~)AWr aBass }ش)ZGtvش)ZAWs a }uZH~>ZA W} a6 }Zj~)HZj~)AW~ aFlute }ش)jHش)jAW a }ujH >jA W  a2 }Zz~)H Zz~)AW  aOboe }ش)zH  ش)zAW  a }uzH4>zA W a2 }Z~)H6Z~)AW aBassoon }ش)H8ش)AW a }u<H:u<AW a }6OH<6OAW a }+bH>+bAW a }GuH@GuAW a }cyHBcyAW a }:HD :AW a }HF!AW a }HH "A W a1 }}HJ!#}A W  a1 }>HL"$>A W! a2 }Z~)HN#%Z~)AW# hClarinet  ~ZGHP$&ZGH") dThe author finds Rapes delay in adding a clarinet odd. A typical orchestration uses clarinet as a pdharmonic foil to violin, and also gives it prominent solos. My own preference would be to add clari@.net before flute, certainly before trombone. }ش)HS%'ش)AW$ a }u<HU&(u<AW% a }6OHW')6OAW& a }+bHY(*+bAW' a }GuH[)+GuAW( a }cyH]*,cyAW) a }:H_+-:AW* a1 }Ha,.AW+ a1 }Hc-/A W, a2 }}He.0}A W- a2 }>Hg/1>A W. a2 }Z~)Hi02Z~)AW/ `Horns }ش)Hk13ش)AW0 ` }u<Hm24u<AW1 ` }6OHo356OAW2 ` }+bHq46+bAW3 ` }GuHs57GuAW4 ` }cyHu68cyAW5 ` }:Hw79:AW6 ` }Hy8:AW7 ` }H{9;A W8 `2 }}H}:<}A W9 `2 }>H;=>A W: `4 }Z~)H<>Z~)AW; `Trumpet/cornet }ش)H=?ش)AW< ` }u<H>@u<AW= ` }6OH?A6OAW> ` }+bH@B+bAW? `1 }GuHACGuAW@ `1 }cyHBDcyAWA `1 }:HCE:AWB `1 }HDFAWC `1 }HEGA WD `2 }}HFH}A WE `3 }>HGI>A WF `4 }Z~)HHJZ~)AWG ` Trombone }ش)HIKش)AWH ` }u<HJLu<AWI ` }6OHKM6OAWJ ` }+bHLN+bAWK ` }GuHMOGuAWL ` }cyHNPcyAWM `1 }:HOQ:AWN `1 }HPRAWO `1 }HQSA WP `1 }}HRT}A WQ `2 }>HSU>A WR `3 }Z~)HTVZ~)A WS `Tuba }ش)HUWش)A WT ` }u<HVXu<A WU ` }6OHWY6OA WV ` }+bHXZ+bA WW ` }GuHY[GuA WX ` }cyHZ\cyA WY ` }:H[]:A WZ ` }H\^A W[ ` }H]_A W\ ` }}H^`}A W] ` }>H_a>A W^ `1 }Z~)H`bZ~)A!W_ `Drums/tympani }ش)Hacش)A!W` ` }u<Hbdu<A!Wa ` }6OHce6OA!Wb ` }+bHdf+bA!Wc ` }GuHegGuA!Wd `1 }cyHflcyA!We `1 0}:Hgm:A!Wf `1 }HlnA!Wg `1 }HmoA! Wh `1 }}Hnp}A! Wi `2 }>Hoq>A! Wj `3 }Z~)HprZ~)A"Wl hHarp! ~ZkHqsZkIk) \Rape recommends a harpist who can double on piano. Good advicethere may be harp parts for pethe classical works used as overtures, but harp parts for photoplay music are extremely rare. There @Yare also many film scenes thatdue to an on-screen pianocall for a piano being played. }ش)Hrtش)A"Wm ` }u<Hsuu<A"Wn ` }6OHtv6OA"Wo ` }+bHuw+bA"Wp ` }GuHvxGuA"Wq ` }cyHwycyA"Wr ` }:Hxz:A"Ws ` }Hy{A"Wt ` }Hz|A" Wu `1 }}H{}}A" Wv `1 }>H|~>A" Ww `1 }Z ~)H}Z ~)A#Wx `Piano }ش) H~ش) A#Wy `1 }u< Iu< A#Wz `1 }6O I6O A#W{ `1 }+b I+b A#W| `1 }Gu IGu A#W} `1 }cy Icy A#W~ `1 }: I : A#W `1 } I  A#W `1 } I A# W ` }} I } A# W ` }> I > A# W ` }Z~)I Z~)A$W hLeader1 ~ZI ZY) aIt is noteworthy that Rape does not explicitly add a Leader among the first 10 musicians. 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