FOLKWAYS RECORDS Album No. FX 6111 © 1965 Folkways Records and Service Corp., ' 632 BROADWAY, N.Y.C. 10012

BACKGROUND MUSIC FOR HOME MOVIES

VOL.2 A moving-picture, whether it is of the professional or the home-made variety, needs special background music to bring it to life. ProfeSSional film-makers often spend considerable amounts of money to have tailor­made mUSical scores composed and recorded for their productions. Others turn to extensive professional libraries of recorded music to acquire the rights to music that fits their needs. Up to the time when Folk­ways Records issued its Volume One of BACKGROUND MUSIC FOR HOME MOVIES, the home-movie maker had little or no access to music especially written and recorded for background purposes. No wonder then that the reception of Volume One by the public was so enthusiastic that the issuance of a second volume in­evitably became a "must".

Like Volume One, BACKGROUND MUSIC FOR HOME MOVIES, VOLUME TWO, presents orchestral compo­sitions by leading film and television composers, writ­ten expressly for background purposes and carefully selected from a large and comprehensive Recorded Background Music Library • . As before, each piece, aside from its functional qualities as background material, is musically well integrated and makes for pleasurable listening by itself.

Since the need for musical background material in con­nection with mOving-pictures is practically limitless and embraces myriads of different Situations, Volume Two of BACKGROUND MUSIC FOR HOME MOVIES in many ways extends, enriches and complements the material presented in Volume One. But, at the same time, Volume Two is complete within itself. It pre­sents as great a variety of characteristic musical moods as the limitations of a single LP record make possible. The specific needs of the average home­movie maker have been carefully kept in mind. Dramatic moods have been kept at a minimum to give preference to the various aspects of the home, the children's world, lighthearted travel, impressive scenery and the like. For music indigenous to foreign countries where travel pictures may have been taken the Folkways Catalogue offers a rich source of material elsewhere. .

HELPFUL SUGGESTIONS

BaSically, there are three different ways of using BACKGROUND MUSIC for Home Movies in connection with your films. The simplest and for most home­movie makers most practical way is to edit your film in such a manner that all related clips, such as for instance your travel sequences, your vacation or play activities, your record of the children, your scenic shots, etc. are spliced together. Then select the right piece from BACKGROUND MUSIC for Home Movies and play it on your phonograph while you run your picture ••

You will see how the music can enliven and accentuate the action in each scene. And you will be surprised how often, by happy aCCident, changes in the music will coincide with changes in your picture. Since most home-movies consist of a compilation of shots taken at different times and places, organizing your film ac­cording to subject is a good plan altogether. If you can adjust the playing time of your film sequence to the length of the piece you have selected, your pleasures will be multiplied. If that is not possible you may have to fade out the music or repeat the piece or do whatever the occasion dictates. You will quickly gather enough experience to cope with whatever situation presents itself.

The second way of using BACKGROUND MUSIC is slightly more sophisticated. It would apply to film sequences consisting of scenes that vary in mood and content. Obviously, a fast moving piece is not the right accompaniment to a quiet scene, nor is happy music the right background for dark moments or awe-inspiring scenic shots. In a film where chronological continuity is deSirable, such as a picture recording a voyage or telling a story, many scene changes may occur that de­mand changes in the music. In this case it is important to select a suitable piece for each scene. While you try the music against the picture get a pictorial bearing near the end of each sequence that leaves you enough time to fade out the piece that is playing and fade in the new piece for the next scene~ THe volume control on your phonograph makes such fades quite easy. Select­ing the right music for each scene is, of course, a challenge to your ingenuity. Then, too, a certain amount of skill is necessary to change the needle to the right piece each time. But here, as in all things, practice makes perfect. For this procedure, which can be most effective for the shOwing of still pictures too, the availability of two turntables and two records is of great advantage. Making out a cue-sheet that fixes the order in which the pieces are to be used for a specific film and noting down the record-side and the band­number of each is an absolute must if confusion is to be

. avoided.

The third way of using BACKGROUND MUSIC for Home · Movies is the professional way. As a matter of fact, it is the way this music has been and is being used on many important television, radio and film productions. For the home-movie maker, this requires a tape­recorder by means of which a detailed musical score is assembled, recorded and spliced together on tape from suitable segments of different pieces, segments that might often be found on the inside of a piece and are therefore difficult to catch by a mere needle-drop. Here, taste, dramatic instinct and a critically selective ear p lay an important role. To develop a high degree of know-how in this respect takes a bit of patience and

1

experience. But the results are well worth the trouble. Subtle details can be effectively underscored, changes can be achieved without fading or jarring clashes. Sud­den contrasts, if well planned, can attain fullest im­pact. The procedure here is to block out your film carefully from a point of view of musical scoring, time each blocked sequence accurately and then find the piece of music that corresponds to it in mood and duration. The time element sometimes makes for difficulties. This is where you need most of your patience and - a stop-watch. But experience will teach you how to juggle and even how to cut the music on your tape with­out ill effects. The task becomes easier as you get to know the music more intimately in detail. Sometimes a small cut in the film does the trick. In the taking of the film you might leave yourself a bit of leeway to start with. This is accep ted procedure with professional films almost all of which come to the cutting room oversized. A poignant scene can be greatly enhanced by synchronizing it sympathetically with an important musical phrase. On the other hand, special effects and their effectiveness not withstanding, you want to keep in mind that too many changes in the music, that is, trying to go with every detail of the action, can become annoying. In the trade, this is called "mickey-mousing" and is considered amusing only in cartoons and certain types of comedies. Music should try as often as pos­sible to tie subordinated details of action together, bringing them ''Under one hat" so to speak. Wherever the picture speaks for itself, the music should subtly enhance but not intrude. It should follow the spirit, not the mechanics of the action. Very often you will find that the music to a film is good when it is not noticed by the average viewer. The absence of it, however, would be felt by everybody immediately.

If voices and sound-effects are to be recorded on the same tape you must carefully watch the volume-level of each so that the important things come through clear­ly and undistorted. To achieve the desired balance be­tween them you must establish the proper distance be­tween your sound-sources and your microphone. This may require a bit of experimenting at times.

Once your music-tape is ready, you must see to it that the speed of your camera is in perfect synchronization with that of your tape. The speed of your tape is con­stant so as to avoid pitch distortions. Latest develop­ments in the manufacture of cameras and projectors make perfect synchronization possible and in some in­stances even allow for direct attachment of your sound­track to your film.

In selecting the mUSiC, remember that the title of a composition does not limit its usage to the situation in­dicated thereby. The language of music speaks in general rather than in specifiC terms. Each piece of mUSic, therefore, may serve a multiplicity of moods when used for background purposes. As mentioned be­fore, ingenuity plays an important role in the selection of the right music for a given scene, especially when trying to catch the elusive over-and under-tones of the action.

The following guide through BACKGROUND MUSIC FOR HOME MOVIES, VOLUME TWO, although not meant to be confining in any way, may be of some help in the planning of the musical background to your picture. It is divided into two parts: 1. a general description of each piece, including its general mood classification . . 2

and overall playing time; 2. a collective breakdown of all the pieces into various categories.

BACKGROUND MUSIC FOR HOME MOVIES, VOLUME TWO

General Description

Side A

General Category

1. Travel O. Watters

2. Scenic Alexander Semmler

3. Continental P. Morgan

4. Intimate Pat Lynn

5. Romantic Alexander Semmler

6. Dramatic King Palmer

7. Metropolitan Alexander Semmler

8. Religious Vaclav Nelhybel

Title Time

FLATSprn 2.37 A fast moving, agitated piece, good for fast travel, hurries, races etc.

SKIES AND MOUNTArnS 2.43 A broad American theme depicting large panoramic vistas and scenic majesty

BISTRO TIME 2. 49 An infectuous con-tinental waltz in a captivating perform-ance featuring an ac-cordion with guitar ac­companiment

THEME FOR PATRICIA 2. 01 A warm romantic melody piece, featuring the piano as a lyrical solo-instrument

CINDERELLA DREAMS 2. 00 Light fanfares usher in a dreamy waltz of simple naive charm. Harp glissandi and vibraphone chords near the end con­vey impressions of won­drous things

WORLD WITHOUT END 3. 05 A sweeping melody, broad and dramatically compelling, anticipates scenes of importance, grandeur and dramatic impact

STEP ON IT! 2. 42 A lively piece in the tempo and spirit of bright metropolitan or industrial activity

YEARNING 1.22 A lyrical piece for strings with a feeling of reaching up to heaven, of peace on earth and of the goodness of life

9. Sports J. Woodburn

Side B

1. Bright Movement John Rhodes

2. Home Alexander Semmler

3. Western Alexander Barta

4. Latin Flavor H. Geller

5. Humorous Jack Jordan

6. Carefree Alexander Semmler

7. Lonesome Trail Alexander Semmler

8. Gentle Movement Alan Perry

9. Fashions Alexander Barta

EMPIRE GAMES 2. 46 COLLECTIVE BREAKDOWN A lively march, good for sports, parades and festive ceremonials.

SHOPPING SPREE 2. 46 A gay hurry depicting light activity in city

In the above general description each piece has been given a separate category. However, while listening to BACKGROUND MUSIC FOR HOME MOVIES, VOLUME TWO, it will become apparent immediately that practically all the numbers fit into more than one cate­gory, depending on mood, character and tempo of the film to be scored. Here are a few hints for cross­cuting.

streets,' happy crowds and spirited travel Category

LULLABY OF THE Agitato CITY 3.17 Soft and velvety, this Carefree gently flowing piece is quiet, intimate and restful

WESTERN T"WILIGHT 2.45 Children A Western piece, brightly mOving with the feeling of riding or Closings traveijng across the plains

TlPICA 1.29 Lighthearted latin- Continental flavored waltz played by small continental combo Dramatic

THE FAT MAtf 2. 30 Fashions A humorous character piece, moving with good-natured clumsi- Festive ness

HAPPY GO LUCKY 1. 52 Home In gay sauntering motion, children, their elders and their pets appear in a mood of happy play- Hurry fulness

SUNSET TRAIL 1. 13 Industrial A lonely harmonica-tune with guitar ac-companiment

Intimate MERRILY ALONG 2. 49 A happy sauntering piece of simple naive charm Light Motion

PENTHOUSE AFFAIR 2. 14 A sweetly melodic, Metropolis slightly nostalgic but sophisticated ''dressed in silk and satin" lyrical Openings jazz number

Patriotic

Religious

3

FLAT SPIN

BISTRO TIME, STEP ON IT!, SHOP­PING SPREE, WESTERN TWILIGHT, TlPICA, HAPPY GO LUCKY, MERRILY ALONG

SHOPPING SPREE, THE FAT MAN, HAPPY GO LUCKY, MERRILY ALONG

For big curtains: the end of SKIES AND MOUNTAINS and of WORLD WITHOUT END. The endings of all other numbers according to character of film

BISTRO TIME, TlPICA, PENTHOUSE AFFAIR

WORLD WITHOUT END, YEARNING

PENTHOUSE AFFAIR, CINDERELLA DREAMS

SHOPPING SPREE, BISTRO TIME, EM PIRE GAMES

THEME FOR PATRICIA, CINDERELLA DREAMS, LULLABY OF THE CITY, YEARNING

FLA T SPIN, STEP ON IT! SHOP­PING SPREE

FLAT SPIN, STEP ON IT!, SHOP­PING S::>REE, HAPPY GO LUCKY, MERRILY ALONG

THEME FOR PATRICIA, CINDERELLA DREAMS, LULLABY OF THE CITY, SUNSET TRAIL

WESTERN TWILIGHT, THE FAT MAN, HAPPY GO LUCKY, MERRILY ALONG

STEP ON IT!, FLAT SPIN, SHOP­PING SPREE, PENTHOUSE AFFAIR

Impressive opening Titles: SKIES AND MOUNTAINS, WORLD WITHOUT END. Begmnings of other pieces according to Character of film

EMPIRE GAMES

YEARNING, LULLABY OF THE CITY

Romantic THEME FOR PATRICIA, CINDERELLA DREAMS, YEARNING

Walking

Western Scenic SKIES AND MOUNTAINS, WORLD

WITHOUT END, YEARNING, WESTERN TWILIGHT, SUNSET TRAIL

Travel FLAT SPIN, STEP ON IT!, SHOPPING SPREE, WESTERN TWILIGHT, HAPPY GO LUCKY, MERRILY ALONG

SCIENCE

ON RECORDS Folkways' series of science .recordings pro­vides a unique documentary of the world a­round us. This ever-growing caWogue of long-playing records, captures the sounds, both natural and mechanical, of man's phy­sical world. These sounds -- the documen­tation of animals, insects, man-made satel­lites, railroads, etc. -- are all recorded in geographical context. All of the recordings are edited under the supervision of leading scientists. Each record is accompanied with a set of extensive documentary nqtes, providing background on the subject plus additional information on the circumstances of recording and the significance of the sounds ·recorded.

FX6007 n.c Scimcc of Sound 0......-01'- of .""""Ie -r:.~:~~~r~no;run;!~~r:~a::n~r/~:en .. '1.::e~ Hur. frtquenc)'. Pitch, Vibration and AelOnance, Inlen­lily, LoudMU. Noiar MtasWf:rMnl. Muking. Ech~ and

::=:.btO:~~;. ~u~~c~:,~i:.;/u~:r;u~~n.d ~r~d ~luIic and Speech. ot.onance and ConlOnance:. Music Scales. VibrAtO and Tremolo, The Doppkr [ffCCI ,

"oduce:d by lell Te~phOiW: Labora,orie. Incorporated Dbuibute:d and manufactured by FOLKWAYS RECORDS. I[fI:YICE CORP. 2-12- 33-1/3 rpm lana play fUel'.

FX6120 Sounds of A Tropical Rain foftsI in ~ ftIT dr. ~lielirn.flon~ a'fi'iJ"liiiCJ"lt doulfi IOU'" "cre: .Wl i1abl~ it wa. dec ided dlA' the apprOAcb would be •• for

~~~rlt '::'::d I:: =: ~r::d~nc ~u~~ :r!:'~:' :'=~or ~Jn ~I~ i::).1'.:,~o~n~~~C::.1 ~b~~ns:e:~~n~akket ~n'" Don. Violac:toUl Jay, Jac). Howie, MDnu". Panon. Swau.on TOUCAft, Ciadu. Great -.fus MlM.mot, Cia.,

SPOCh'!ol CbA,·twu.c.a, Grea t Tinlmou, \rIoallkd G'~n. ~d

~:~~: ~';~~':'Fi:).e:; :.n~!~'w~"'::kt:r ~~~~: ~'-uw ul k, Wllh Crick~u, Crelted (j~ns In ~U'l~: h'Ofn1, C.h.:sl · nut Hdded Tlnlmou and Ctickf'u , Criclte-II .n ... p~,~lce. t, Crick.:a and "burning n,ve. ~m.all ·I.~. · ·:·oa"'. I\.: p.·rs,

~i&h~!:;-,::~r~ iI~ ~~~C~,~ \ ~~ •• ;: ~:~~u~!:r~: ':Jd ,1, t: ~' I, Ikll lIu(!. IYck Huwkr Monke-)'I, ·;-r~,· hill Will. ~r.:- . r • ing. ~1onke-". Parron and ~u.u"', fhl,. fOld, an ,J RI~ TOld,

FX6121 Sounds of the Sea ACIUloI ~~>l'~ro~ ('I fllh spltci ~. f.fcordC-a ffiI.olai1t'cli7i1ci ""O . t v~rytng df'ptl,s • : rt'. rr :. Iut in shelt~rtd 'rdS 10 ~.OOO f,uhO)mI 'l.OO (Y\il ... · 0.,11· I., uopial "'."":u ol lhe- Alw-ntic ano Dll,CUIC ('n:. ns, Il<ror •. ed

~o~:/:)~~ ~S<~(;~t~·~~~r~~I.~T:';~~f3~ll):~ ~~;~s _ =~~;; ~o~.C:!p -.'.:f:i;~':;~7:,~ ;":~:1~~1:\;~~~;, ~I:na, , -fish - Atl.. ~O' w.tltr - Pac . • One mik oHahOl'e (cubl) P.c ,. 4~' w.t~r - . napp in( Ih,imp; Ah~'i\o,)U~ ~ ~I I ., 4~' ".Iel ; Evf'ning ~ Atl.. I 1/: 1ni1~s OUI . bov ... wa tel - :-o.c ,

::!.~i~~ ~:;;Po~t~.~~bC:;e~ c:~I~~r~. ~~~(' r~7~~~:~;~ . trout), 600 '.Ihom. down 18 mUu out - p~c . - crOll "'.-' f~mily 600 I.thonu down - un~fK't'Ion lOunl.i5 - r.lc., ~OO(l fathoms ~n. 200 mik. OUt - Pac .• SPOI (ub. s..-.. NUin.

~~~f:'tw!.·~%~~~c7;k~".5~Sc,:~~:~:i~;~~~:~~n\ ' ..... ppinSwimp cborUoi in oprn wa ter. Q-um fOO, and TN,J­filii .

FX6U2(FPX6U2) Sounds of rhr AnKrican Sourh .. ,~ ·,dS5rd.;3 in Ati.tona ni.rluaon. eave Creek. OIui6i.huC' Mount.ins .nd ~.tlen P.r k, In ~'" ""'lllCO, San Simeo" Valley .nd in C£lHornl.a, ..... ndevil1. CAnyon, s.ant~ Moruc.a

~::!!'::~ ~~:t~U~~~ ~:"t~~tr~': !~~~~ aniJ Reptile. of Ihe Ame,iean Museum of Sat . HiSl • • "" . Y

Irr;, ~~i~n!e:(!~h:~~ ~om;~~:"1r~~':·.Y~Jj~!n the

in\eX~:e~ig~~;g ~~':: ~!"cf~cs~f'~,rr:'b~~~~t~:M~" -bot au, cric~u, bef':tltl loads. frORI, etc . Tbundu Ito. m and n.shflood . llIum.ted Tut.

FX6123 VOX Hwnana .. <.,dod In Ensland. A1fr.d Wo"--lOlul's fipirTrilf''''1itnn dt~nsion of buman v('Oc.Iol r~nlt wtth

an Inuoduction by Dr, IICNY Cowell, Includes Female

:~~: ::n·g;~n~/sf ::: iC:;C:::~' ~~~~: ~~ ~n:fI~~l OCt.ve, lups, Dau blf' .nd multipw Slopping by the yoice. Stw tel\uu:rs (male and ft'mak 'IOlee). ~"Je voice in ntnt' octaves. -Suing Quanf't· for fOUl f~male voic~s, .nd Vob 'ltnus lratNl'T'k'nt.

FX6124 Sounds of Animals .... ibk communiulion of 0 ..

and fii'in."'iirmal •. nle~ · vi.rious recorded sounds lUJ8e'l thaI juS! as man h., his own sptc ... ) Langu.g~, SO an ItT)A U havt' Ihe-II uwn 5~C~J me.ns of v~1 communication which ht'lp Ih<nl 10 IOlvt Ihdr own livlntt pt\'lhlt' ms. In­elud<s. ZOO PUrN. Lion. In"'IAn Ekphant, ItI .... , Hip­POPCH.l nlu S, Chimpanz~~. P~cca ry. FIh~",s ~Ionlorf'ys, Rhinoc~ros. TiStr. ",'cOfckd by Arlhur " I. c.;teC":"Ih~lI. F AR~I· Oncki. Goat. SbeeD. leCOfckd by Nicholl.s Collias,

FX612S SoW1ds of Sra Animals Vol. U Florid.. This reci..;J COrit.illS repie-wru . tive Or 'ypial ulIl"rWal~r IOUnds

productd by k·v ... r~J lpe::CI~' of h.h~s ;an'" by Ih< ..... co)w Of manal~ • . REC0 HOfO BY W ~ . ~£IJ . ~""It. ·,r. ('('. LJ,~O-

GR. ... "IUC I!'\STlTl IT£ . f1.0RIDA STAT£ Ul"IV[RSITY ...

~I~:~r.:~~~~~rh~:,?fsh . T~~!:sI~~u~~~~I:'~:fI~~fiS~ ~"nalet' , Ol'k porpout. Fow porf'OUC's, School 01 JIOfpoilel. -SchooI M.t 1/2, I/R. It' ll. and l, t.4 spr('d.

FX(,121)IFP~1261 ~s qf <:ami.nlT! .. ' .hdway.nd hkrry~v~Round "lUu~corckc!.1 Iht RoT.' Amerian Shows by .Iudtnll ol lht Ch iU,l' In.,hule- 0 Ot:'I~n. Tllii

~:~ ~o!~I~~~;~:u:I~; ~~ ~~~~~~:::~Z~ . .;{~iUI ear",v~1. Inc ludes Ih~ uowd, "kny~-liiDund. Ia,ker . Ouuide lhe: fun hous~, Animal barker, Ff'rru Whal. MOlor­.drOI"nf: barktr. RoII~·PI.&Ik. Str.ngt people bark~r, Laugh ing down, Inl~tvitw ••• n'" tht' I.moul rt'~no ile of Inf'rrY'1o -round mulic. inclu"'ing CalUopt' : Uvt'r the W.vc:., Ta1~1.-tw-.Jm",~ .nd CHheu. "oIes.

4

HAPPY GO LUCKY, MERRILY ALOi~G

SKIES AND MOUNTAINS, WESTERN TWILIGHT, SUNSET TRAIL

fX6U7 Sounds of Mrdici~ ,«o,<le d on loca liDn. Cont. lns

~~~~t1~b~::,~~c:~C:~ °c~:.::.n~r~ ~~~Ya:~tb lu,. lDunds - A WUrNn with "'~u lnalk Hc:..oirt OiIdw,

;:n:I_~!to:,dnJ~~~ ~~~=:. ~~";'fr3:~r;.:~~ ::~~e IUtg ic.a1 opel.uon • • ulh lOunda. Soundl 0' the bo,.lweb • A Ik,IfrN) hungr y man '"JOking. cil.,ellt bt fon ~i"l'k't . Heart IOUn. - A man w itt: inflammation 01 ttwo h.~'1 oue 10 ac­tift Ibc:un.,ic Fen,.

fX6130 Sound PaU('fS T~ kt'n OUt of content tbue soun ... .....nd .. D,-t1it'rriielv~s in their unique X U, and crute ntW .UditOfY dime,..ions. SA TURAL SOIJ'IOS · Wood Thrush-­Mlur.1 'pt' ~d. rlC'lfed down 10 I/~ .pe~.J. IJcwtd dow n 1(\

!i: .... r.~~~~~~!:~.:~7:~pe~~d;·I~f'!w~I~ fl~i ~~Cd. Thlonder Slorm (whh toad and bud). AlIig.lfor Chorus . Amer­ic.an, .nd one "'M,le). Two Lions ( Atlant •• ZOO). MI)f1kt'y

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~~lm;1 ~'llil, "J:::~ntj~ ~~~~~~1~!.'1 Sr~r\.:~;: t':~I,o~nd l~ inchts tape! .

fX~l:rt Th< Sci<nc< of So,!!,cje Sho" .. niDns of FX6007) record &lCtbis .nd"iJi'monstr.tu v.,tou. phenornt:na

ollDund •• an .id to undcnt~nding how sound it pol Ot work fOf the br:MliI .nd pLe.uuh' of man. Ho,« We HU r. Frr" Quency. Pitch, Int~nsity, The Doppler Eflecl , Echo .nd Re-

~~I;;:i~~it~r::~L~:~O:~i:~.::;:menub .nd Ovenon~ •• Ptoduct'd by IIdl Tt!kphonr: Labor.lor~S lneorpor.led

Dbuibul.:d and manuf.ctured by F<x'K'WAYS R£CORO &. SERVIC£ C.ORP.

fX(,1 S I Sounds of A Sourh African H()mtSr~ad .. -~d in me Lind 01 tnc: Zulus by li. ""Ri'Ym""On'a"T.Lowl~s

Cont.ines DAW,," CHORUS Doves, Thrush, Cuckoo. Weav~r .

~~!~il~~s~j~:~~i~io~~~~I:~~:t,b~%i.kesSI~t~~~ f',t·b, Trogon. £:tongo. LATE AFTER!"-:OON U~Tll DANK: P. rI­ridae. Q-ont', "'Ibol, Crickel. Amphibw.n chorus. Toads,

~rl~s ... '~'!H~'!'~: ~::: i~~r:;,.:s: ·~~~~t~~~, beer .... nk. praiKs, dances, Accompanyi", notes and Ulu.uatioru.