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8
THE MUSIC TRADE
REVIEW
OCTOBER 30, 1920
7/$ sweepinq the Country/
HONOLULU EYES
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Qfre most beautiful Waltz Melody
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'Publishedby LEO. FEIST \ic .
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COMPOSING AND ARRANGING MUSIC FOR THE PLAYER
(Continued from page 5)
Chopin and occasionally those of Beethoven
rapid passages in which occur measures that ap-
parently have no meaning when played slowly,
being deficient and even sometimes decidedly
ugly. When played with the desired speed these
same vague and evasive measures take on
rhythmic lines and positive accents with the re-
sult that the apparent ugliness is entirely swal-
lowed up. Similar facts will be recognized by
anyone who has carefully studied the works of
Liszt.
So, then, if short passages can be constructed
along these lines, why cannot entire works be
founded upon the same intensified musical
thought? I believe that this can be done in such
W
E—Thick harmonies at very high speed even
in the bass.
F—Numerous progressions of discords.
G—Mass effects at great speed.
H—Less attention than usual to scholastic
harmonization of chords.
I—Less attention than usual to conventional
rules of part writing.
In conclusion I append three examples taken
H,
2.
2
And now, in conclusion, I should like to say
that I have not attempted in these studies to
dictate to musical arrangers or to makers of
player-pianos. I have rather tried to act as a
sort of medium between the player-piano in-
dustry and the musical world. After some years
107
of special study in all these subjects I shall per-
haps be excused if I say that I believe my work
to be virtually unique in this respect. If I
have been able to give to those who are inter-
ested in the subject something to think about
which may lead them to further developments
I shall feel that the time and labor which have
been put to this work have been more than justi-
fied. I hope from time to time to publish the
results of my further studies and meanwhile
should be most happy to hear from any persons
CT
Fig. 106
a way as to endow the player-piano with powers from my Ballades. Fig. 106 clearly illustrates
of expression far beyond anything of which the dramatic possibilities of the much neglected
manual playing is capable. In the second Bal- descending arpeggio.
In Fig. 107 we can easily see that by means of
lade I have tried to aim at dramatic intensity
of musical expression and in the third at a sort the plastic art a kind of diabolical capricious-
ness can readily be given expression to.
of diabotlic capaciousness.
Let me now place in tabular form the em-
Lastly we give an example, shown in Fig. 108.
phatic points to be considered in the construc- illustrating the chimes effect. I believe that
tion of plastic music:
even a skiNful reader of chords will scarcely
A—Speed.
appreciate the latter until he has heard it on the
player-piano at great speed.
B—No emphasis on modulations.
C—Elimination of the old-fashioned lyricism.
Owners of a Leabarjan perforator can quickly
D—No purely accompanimental music.
verify these cuts.
^t
Fig. 108
who have criticisms or suggestions to make, or
who are interested in pursuing further these in-
teresting; matters.
BUYS INTEREST IN MUSIC STORE
Roy R. Hass has purchased an interest in the
Crystal Lake Music Store, North Crystal Lake,
111., and the business will in the future be con-
ducted under the name of the Crystal Lake
Music Co., Tnc. A full line of pianos and play-
ers is carried.
Zephir Leather Is Airtight Leather!
Another
Conservation
Drive
Save air, by equipping your player action with Zephir
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Save trouble, by insuring the airtightness of your
product permanently.
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For PROOFS
and pertinent details, ask
JULIUS SCHMID, INC., 348 West 38th Street, New York City