rec.arts.movies.past-films

I've done a bit of research here, and during the 1970's had the good
fortune to talk to a number of musicians who were involved in the
silent film music industry. One was Saul Cohen, who was a violinist
with the Boston Symphony Orchestra before beginning his association
with the Thomas Ince Studios.

Saul both performed 'mood music" on the sets during filming, and also
prepared some scores and many "score sheets" during his time at the
studio. In preparing the latter, he would give timings of sections of
the films, describe the mood that needed to be set, and recommend
music from several generally available musical compendiums of the
time. He was kind enough to give me a few of these for the Ince
productions on which he worked, and they are marvelously well-worked
out and very clear in intent. Doubtless, a good many music directors
of the theaters which featured large ensembles or small or large
orchestras would have found these "score sheets" to be of great value.

On the other hand, I spoke with Helen Dillger, who was an organist and
pianist with several cinemas in the Chicago area in the mid and late
1920's. Helen - and according to her, a good many of her colleagues -
thought of these "score sheets" as a bit of a cheat. She felt it was
her duty, as well as a test of her skill, to improvise a score during
the running of the film.

The first showing would sometimes be a bit difficult, but later in the
run - as she had a better idea of what the film needed - she noted she
was able to perfectly synchronize special sound effects and musical
effects in tight coordination with the projected image. As to the
helpful hints offered by scores and "score sheets," she generally
threw them in the circular file unopened - a practice which would have
depressed Mr. Cohen no end.