RHYTHMTHE NEW VOGUE

Dominion, Volume 29, Issue 202, 23 May 1936, Page 23

RHYTHMTHE NEW VOGUE

By

Swing Bass.

Although for many years American dance bands commanded the monopoly of “hot rhythm,” British artists are now beginning to prove that they can do just as well, and sometimes better. The modern dance jnusic idiom was created by the American negroes, and it was only natural that they, and the white American musicians in close daily contact, with them, should for a while have been the best exponents of it in its more ambitious forms. But for a while does not mean forever. For some time ceria in British musicians have been showing astonishing prowess. The full extent of their endeavour and progress has not been revealed to the public, but, nevertheless, it has been going on quietly behind the scenes, only awaiting an opportunity to show itself. Now, British dance bands have seized that opportunity, some frankly following the American example and others inventing modes of thoir own.

Many of those in the latter category have succeeded in evolving something typically British. Iu dance music “typically British” has generally meant “painfully corny,” but in the more modern compositions it is anything but that. It has “swing” in the most desirable sense of the word, sometimes a rather subtle sense, and it infers music of a much bettor class. Those who think America still has a monopoly on swing music can prepare to receive a very big surprise when they hdar and study the newer presentations of British dance bands. A Question of Stretch. More than one pianist who has shown promise in the interpretation of rhythm music has been deterred from persevering with the study by the assumption that small hands are a permanent handicap. On the other hand some who can with ease encompass a tenth find difficulty in taking advantage of the benefit conferred on them by nature. Tenths may be regarded as an essential to the full bass in swing music, but they can be used to just as great effect when played arpeggio—“rolling tenths” as they are sometimes called—as when the notes are struck simultaneously. In fact, in many cases the intended effect may be quite spoiled by striking the tenths. It is fairly safe to assume that the smallest of hands, by practice and attention to stretching exercises, can be persuaded to encompass an octave. Once that has been accomplished practically every trick and effect of modern rhythm is within reach. There are many able exponents whose playing is a delight Io listen to who cannot stretch more than eight notes. “Anything Goes.” Pianoforte Selection.— Five really bright numbers comprise the pianoforte selection from the musical comedy “Anything Goes.” Both the music and lyrics were written by Cole Porter, whose previous compositions have always proved popular, and whoso most outstanding number recently was the much-talked-of “Night and Day.’’ In his score for “Anything Goes” he has again come to light with some original and captivating melodies, probably the best of which is “You’re the Top.” Other numbers which follow arc “AU Through the Night,” “I

The achievement of being the first women climbers to complete the “Three Pass Trip” without male assistance belongs to Miss Joan Singleton, Wellington', ami Miss Mary Thorpe, Christchurch, who returned to Christchurch on Tuesday. Miss Singleton is a member of the Tararna Tramping Club and Miss Thorpe of the Canterbury College Tramping Club. Miss Singleton and Miss Thorpe left Christchurch on Friday last and went up to the Carrington Hut at the head of the Waimakariri. They were delayed all day Saturday by south-west rain, but making an early start next morning, reached the Park-Morpeth Hut by way of the Harman and Whitehorne passes that afternoon. On Monday they crossed the Browning Pass. After drying out at the Grassy Flats Hut they went on and camped the night in the Kokatahi Valley. From there they went on , to Hokitika.

Get a Kick Out of You,” “Blow,' Gabriel, Blow,” “Lady Fair,” and the theme song, “Anything Goes.” A snappy introduction munches the selection smoothly under way, and the individual numbers are skilfully and naturally welded together. The selection is a mixture of slow and quick tunes, and their contrast is emphasised by the arrangement. The selection is scored in a fairly simple form, and no difficulties will face the pianist. There are 10 pages of first-class music.

Swing Bass Suggests. “Moon Over Miami” (by Edgar Leslie and Joe Burke).—Whatever anyone else says, this is an example of real “swing” music. “Swing Bass” has no hesitation in recommending this number as one of the best slow foxtrots to come out this season. It cannot fail to become popular. _ Even the sheet music arrangement will set the listener swaying, but. with a filled-in treble and a swing bass it is irresistible. A dreamy melody, it should be played very slowly with a caressing touch, and care should be taken with the expression. It is well worth stud}’ as a “star” piano solo.

“A Beautiful Lady in Blue” (by Sam M. Lewis and J. Fred Coots). —This number, too, will stand on its own feet. Few modern waltzes become greatly popular, but “A Beautiful Lady in Blue” has all the essentials. It is rather longer than most, but the melody drifts along so smoothly that there is no suggestion of undue length. Written in the key of E fiat, it presents no difficulties, and any filling-in is easily accomplished. The tune itself bears the hall-mark of originality, and is attractively presented.

“Airs. Worthington” (words and music by Noel Coward). — Essentially a Noel Coward inspiration. For brevity’s sake he calls it “Airs. Worthington,” but the real title is “Don’t Put Your Daughter on the Stage,” and that's the sort of song it is. It is a typical Noel Coward comedy one-step song, and it will probably become the rage at dances this season. The tune is bright and catchy, although, like most of Coward’s music, rather difficult to play at first. “Nico and breezy” is Coward's own advice to the pianist about to play the number.