RHYTHMTHE NEW VOGUE

Dominion, Volume 29, Issue 196, 16 May 1936, Page 25

RHYTHM—THE NEW VOGUE

By

Swing Bass.

The increasing number of piano transcriptions being placed on the market is further proof, if such were needed, of the growing popularity of the piano. Almost each week sees a new transcription offered to the pianist, and the demand is considerable. Three factors enter into this movement —the return to piano-playing, the higher standard of the popular music now written, and the desire of _ the amateur pianist to play that music in the swing rhythm style. Transcriptions are now being featured by music sellers with almost as much display as an ordinary sheet music best-seller. Many of the transcriptions are works of art in themselves, and such a diversified field is now being exploited that every branch of swing music is receiving some attention. Billy MayerL Teddio Garratt and Keith Collins arc all experts in their own particular technique, and their transcriptions vary as the moon from the sun. Tho ambitious

pianist who studies the three cannot fail to benefit. The one drawback to the transcriptions, however, lies in the choice of tunes. For some inexplicable reason, many of the popular songs chosen for transcription are what the lover of swing music regards as mediocre, while many of the really good numbers which could be worked up into rhythmic transcriptions are passed by. Ou the other hand, many of tho mediocre melodies have been given new life by transcription. The outstanding benefit of tlie transcriptions is the incentive they offer to the amateur pianist to make a deeper study of the piano and the technique in modern rhythm. Few transcriptions present great difficulties in execution, but very often the unusual setting teaches a lesson while providing entertainment. Classics With a Swing. Piano Transcriptions.—Five classics are transcribed into swing music in the new modern stylo by Keith Collins, of the Lee Sims School of Music. The numbers he lias selected are: “The Blue Danube” (Straus's), “Rigoletto Quartette” (Verdi): “Aloha Oe” (Liliuokalani), “Melody in F” (Rubinstein), and “Liebestraume” (Liszt). This is probably the first collection of classics which have been transcribed into tho’modern style that has been placed -on the market, and Keith Collins is to be congratulated on the ingenuity he displays. At first glance one would wonder how some of the selections could be fitted into the modern style, but with subtle changes of rhythm and harmony Mr. Collins has created a series of masterly piano solos. At the same time he lias lost nothing of the beauty of the old melodies. Probably the 'best two are “Liebestraume” and “Melody in F,” although “The Blue Danube” ranks a close third. Several rhythmic transcriptions have already been made of the “Melody in F,” which readily lends itself to this typo of playing, but Mr. Collins has departed from the usual trend and has evolved something entirely different. In “Liebestraume” he has kept the melody flowing smoothly, but at . the same time has given it a definite rhythmic Swing. As could only be expected, the transcriptions are difficult to play, and a fair amount of practice will be necessary before the amateur pianist will be able to present them with the proper effect. In all the transcriptions a sound finger technique is essential, but to the moderately proficient in modern rhythm, Hie result will handsomely repay tlie study involved. Swing Bass Suggests. Shirley Temple Songs. “At the Codfish Ball” (music by Lew Pollack). —Three tuneful songs are sung by Shirley Temple in her new picture, “Captain January.” “At the Codfish Ball” is, perhaps, the best, for, while retaining the simplicity of a Shirley Temple song, it nevertheless has the ingredients necessary for a good dance number and a good piano solo. The melody is really bright and goes with a swing, and the filling in should present no difficulties. The middle phase has a particularly snappy break. “Early Bird.”—This has more of the accepted Shirley Temple style, for it is rather a song than a dance number. The melody is bright and catchy, and a number of grace notes add to its piquancy. Toward the end of the number several whistling breaks, which can be effectively duplicatefl on the piano, lend an unusual touch. “The Right Somebody To Love.”— Written in a fairly straightforward style, this number has a quiet and attractive melody, but it lacks the distinctive, touch ot the other two songs. The sheet music score is simply arranged, but. lends itself readily to improvisation.