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Hearing the movies music and sound in film history 1st
Edition David Neumeyer Digital Instant Download
Author(s): David Neumeyer, James Buhler, Rob Deemer
ISBN(s): 9782008051024, 2008051021
Edition: 1
File Details: PDF, 15.48 MB
Year: 2010
Language: english

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HEARING THE MOVIES
Music and Sound in Film History
James Buhler
The University of Texas at Austin
David Neumeyer
The University of Texas at Austin
Rob Deemer
The State University of New York at Fredonia
New York Oxford
OXFORD UNIVERSITY PRESS
2010

Oxford University Press, Inc., publishes works that further Oxford University’s
objective of excellence in research, scholarship, and education.
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With ofﬁces in
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Copyright © 2010 by Oxford University Press, Inc.
Published by Oxford University Press, Inc.
198 Madison Avenue, New York, New York 10016
http://www.oup.com
Oxford is a registered trademark of Oxford University Press
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.
Library of Congress Cataloging-in-Publication Data
Buhler, James, 1964–
Hearing the movies : music and sound in ﬁlm history / James Buhler, David Neumeyer, Rob Deemer.
p. cm.
ISBN 978–0–19–532779–3 (pbk.)
1. Motion picture music—History and criticism. 2. Motion picture music—Analysis, appreciation.
3. Motion Picture soundtracks—Production and direction—History. I. Neumeyer, David. II. Deemer,
Rob. III. Title.
ML2075.B84 2010
781.5⬘42—dc22
2008051021
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper

PREFACE xv
INTRODUCTION xxi
PART I The Sound Track and Film Narrative:
Basic Terms and Concepts 1
Chapter 1: The Sound Track and Narrative 7
Introduction 7
Basics: Image Track, Sound Track, Narrative 7
Sound Track Components and Narrative 11
Speech 11
Sound Effects 13
Music 16
Example for Sound Track Components and Narrative (1):
Sleepless in Seattle, Second Botched Meeting 20
Example for Sound Track Components and Narrative (2):
Good Will Hunting, Boston Common Scene 25
Summary 31
Exercise 1: Masking 31
Exercise 2: Using an Analysis Checklist 33
Chapter 2: The Musicality of the Sound Track:
Concepts and Terminology 34
Introduction 34
Music and Sound 34
Contents
v

Tempo 36
Rhythm and Meter 37
Volume 38
Timbre 41
Filters and “Distortion” 41
Pitch 42
Orchestration 43
Timbre and Sound 46
Texture 47
Density and Liveliness 47
Monophony 48
Homophony 49
Melody and Accompaniment 49
Polyphony 49
A-melodic (Accompaniment without Melody) 50
Texture and Foreground/Background Functions 53
Example for Sound Track Analysis Using Musical Terms
(1): Trzy Kolory: Bialy (Three Colors: White), The
Shooting 55
Example for Sound Track Analysis Using Musical Terms (2):
Atonement, Main-Title Sequence and First Scene 58
Summary 60
Exercise 1: Analysis of Sound Track Elements (After
Altman, Jones, and Tatroe) 60
Exercise 2: Using Graphic Displays for Sound (After
Wierzbicki) 61
Chapter 3: Music, Sound, and the Space of Narrative:
Concepts and Terminology 65
Introduction 65
Diegetic/Nondiegetic Music and Narrative 66
Example for Diegetic and Nondiegetic Music: Glory,
Boston Party Scene 67
Onscreen/Offscreen Sound and Music 72
Offscreen Sound 72
Onscreen/Offscreen Sound Interaction: Examples 75
Ambiguity of Offscreen Sound: Underdetermination
of Sound 77
Point of View Sound 78
Offscreen Sound and Music in Relation to the Diegesis 80
Voice-over 80
Audio Dissolve 82
vi CONTENTS

Mickey-Mousing: Music as Effects “Sweetener” 85
The Acousmêtre (Acoustical Being) 88
Summary 90
Exercise 1: Using an Events Table 90
Exercise 2: Using an (Updated) Analysis Checklist 91
Chapter 4: Music, Sound, and Time 92
Introduction 92
Transitions: The Sound Bridge and Hard Cuts 92
Sound Advance 93
Sound Lag 94
Sound Link 96
Sound Match 97
Hard Cut 97
Synchronization (“Playing with the Film”) 98
Example for Synchronization: Casablanca, Rick and Ilsa
Meet 102
Counterpoint (“Playing against the Film”) 106
Summary Example for Synchronization and Counterpoint:
Casablanca, After-Hours Scene 108
Summary 110
Exercise: The Commutation Test 110
Interlude: Writing About Film Sound:
Analysis and Description 114
Introduction 114
Analysis Report: Catch Me If You Can 116
Overview 116
1. Background 117
2. Synopsis 117
3. Music Cues 118
4. General Description of the Sound Track Elements
and Their Balance 121
5. General Evaluation of the Sound Track 122
6. Description of Music’s Narrative Functions 122
Response Paper That Describes Music’s Narrative
Functions 123
Compare and Contrast Paper Focusing on Music 125
Concluding Comments 126
Contents vii

PART II Music, Film Form, and Film Style 129
Chapter 5: Music in Film Form 131
Introduction 131
Runtime Segmentation 131
Sync Points and Audiovisual Phrasing 137
Examples for Music in Film Form 140
Lady Windermere’s Fan 140
Mildred Pierce 146
Rashômon 151
Psycho 154
The Birdcage 157
The Hours 160
Summary 163
Chapter 6: Music in Main-Title and End-Credit
Sequences 165
Introduction 165
Establishing Sequence 165
Meet Me in St. Louis, Titles and Opening Scene 166
Rashômon, Titles and Opening Scene 168
The Sound of Music, Overture and Title Sequence 168
Out of Africa, Prologue and Title Sequence 170
To Kill a Mockingbird, Music in the Main-Title
Sequence 172
Additional Examples 176
End-Credit Music 177
Films From 1939, End Credits 177
Out of Africa, Final Scene and End Credits 179
Bridget Jones’s Diary, End-Credits Sequence 179
Summary 180
Chapter 7: Music in Performance and Montage
Scenes 181
Introduction 181
Performance Scene 181
To Have and Have Not, “Am I Blue?” 182
The Sound of Music, “The Laendler” (as Dance Scene) 183
The Sound of Music and Grease, Two Larger Performance
Numbers 185
viii CONTENTS

Montage or Fantasy Scene 187
Gone with the Wind, Montage Sequence in the Prologue
to Part 2 188
Pride & Prejudice, Three Montage Sequences 188
Bridget Jones’s Diary, “Out of Reach” and “I’m Every
Woman” 190
Summary 194
Chapter 8: Film Style and the Sound Track 195
Introduction 195
Style Topics and the Leitmotif 196
Introduction: Theme, Motif, and Motive 196
“Love” Themes 197
The Leitmotif 200
Style Topics 202
Musical Styles 204
Location and Stereotype 205
Style Topics in Rebecca 210
A Note on Sound Topics 213
Summary 214
Chapter 9: Music in Character and Action Scenes 216
Introduction 216
Dialogue Scene 216
Rebecca, Terrace Scene 218
Action Scene 222
Wo Hu Cang Long (Crouching Tiger, Hidden Dragon),
“Theft of the Sword” 222
The Matrix, “Trinity in a Jam” 223
Love Scene 225
Out of Africa, “On Safari: The Second Dinner” 227
Sound of Music, “The Laendler” (as Love Scene) 228
Shadowlands, Four Scenes 229
Summary 232
Interlude: Writing About Film Music:
Interpretation 234
Introduction 234
Developing a Reading (1): Finding a Thesis 235
Thesis Options for Catch Me If You Can 235
Contents ix

Examples from the Published Literature 236
Developing a Reading (2): Reading against the Grain 238
Example: Casablanca against the Grain 239
Summary 243
PART III The Sound Track:
A Technological History 245
Chapter 10: Music and Sound in the Silent Era
(1895–1929) 247
Introduction 247
The Early Years 248
The Nickelodeon 249
“Playing the Picture” 253
Special Scores 261
The Picture Palace 263
Stratification of Exhibition 263
The Show 264
Music and Sound Production in the Picture Palace 267
Fitting the Picture 268
Special Scores in the 1920s 273
Road Shows 275
Music on the Set 275
Summary 276
A Note on the Music for Silent Film Releases to VHS
and DVD 277
Chapter 11: The Transition to Sound Film
(1926–1932) 278
Introduction 278
Issues of Technology and Economics 278
Sound Research in the 1920s 282
Sound Film and the Standardization of Exhibition 288
Sound and the Feature Film, 1927: The Jazz Singer 289
The Transition from Silent to Sound Film 293
Types of Early Sound Film 295
Musicals in Early Sound Film 299
Mastering the Sound Track and Elements of Style 301
Production 304
Production Phases 304
Music Department 305
Sound Department 306
Summary 307
x CONTENTS

Chapter 12: Music and the Sound Track in the
Classical Studio Era 308
Introduction 308
Improvements in Recording Technology 308
Rerecording 310
Sound in the Theaters of the 1930s and 1940s 311
The Great Depression and the Consolidation
of Genres 314
The Sound Track in the Studio Era and Elements
of Style 314
The Classical System 314
Foreground and Background 315
Background(ed) Music and the Sound Track 321
Scoring Practices 322
Production 325
Summary 335
Chapter 13: The Stereo Sound Track and the Post-
Classical Era (1950–1975) 336
Introduction 336
Issues of High Fidelity and Stereo Sound 336
Legal and Economic Challenges to the Industry 336
Widescreen and Stereo Formats 340
Magnetic Tape in Production and Postproduction 345
Issues of Stereo 347
Analysis: The Robe 348
Stereo and Space 350
Stereo Sound, Magnetic Tape, and Elements
of Style 350
Issues of Aesthetics 350
Main Theme from High Noon 353
Popular Song and the Underscore 354
Soundtrack Albums 357
Importance of Recordings 358
Relation to the Musical 359
Scoring with Recordings 361
Production 363
Contents xi

Summary 365
Chapter 14: The New Hollywood, Dolby Stereo,
and the Emergence of Sound Design
(1975–2000) 366
Introduction 366
The New Hollywood and Saturation Booking 367
Sound in the Multiplex 369
Dolby Stereo in the Theaters 372
Home Video and Limitations of Television 374
Sound Design and Elements of Style 377
Issues of Aesthetics: Sound Design 377
Aesthetics and the Stereo Field 378
Aesthetic Issues of Cross-Marketing
and Promotion 383
Music Video Style 386
Production 388
Summary 391
Chapter 15: Music and Film Sound Today 392
Introduction: The Digital Era 392
Digital Sound 392
Digital Sound Formats 393
Video, DVD, and Television Technologies 395
The Multiplex Palace 397
Digital Sound and Elements of Style 398
Issues of Aesthetics 398
The Rise of Rap 402
Production 403
Music Production 404
Music Postproduction 410
xii CONTENTS

Sound Production 412
Postproduction 413
Dialogue 414
Foley Effects 416
Sound Effects 417
Summary 418
AFTERWORD 419
GLOSSARY 425
CREDITS 435
NOTES 437
INDEX 447
Contents xiii

Preface
This book is about music in cinema, and it proceeds from the view that
“hearing the movies” involves skills that are different from listening to
music for its own sake. Film is a technology-dependent medium that relies on
reproduced sound, and the aesthetics of film sound have changed over time
with changes in technology. In the cinema, music is positioned in the sound
track. Accordingly, we focus on music in the context of the film sound track
and on the sound track in the context of a history of film technology.
Approach
Our goal is to facilitate critical viewing and listening within the context of an ap-
preciation of the impact of the history of film technology. The book is designed
to teach a general method for analyzing and interpreting the sound track and
its music and a general framework of technological history in which to position
individual films and practices. The skill set involved is applicable to almost any
film experience. We do not aim to promote a particular historical narrative that
valorizes certain repertories. Instead, the overarching viewpoint is that the sound
cinema as a medium and the narrative feature film as a broad genre can be un-
derstood to constrain practice in ways that allow analysis, despite cultural and
historical differences, but that also permit taking account of those differences.
At the same time, it is true that film studies pedagogy has steadily—though
not deliberately—worked toward a canon, that is, a list of “core” films that need
to be taught and discussed in all introductory-level or survey-style film courses.
The teaching of film music and film sound courses has, to date, not produced any
comparable list of works (especially if one wants to include repertoires outside
classical Hollywood), but certain titles do come up again and again, among them
xv

The Jazz Singer, King Kong, Citizen Kane, Casablanca, Laura, Psycho, and Apocalypse
Now. Hearing the Movies is not intended primarily as a chronological film music or
sound track “masterworks” history, but we have worked at achieving a reasonably
open level of coverage of repertoires and decades, in addition to making ample
use of films that are commonly taught. If a very few familiar films and their mu-
sics are given short shrift (Citizen Kane may be the most obvious example), that is
in part because they are covered well elsewhere in the scholarly and textbook lit-
erature, and in part because we preferred to assist pedagogical convenience by cit-
ing a few titles and scenes in several chapters rather than continually naming and
discussing new films for the sake of broad coverage (titles that do have multiple
citations include, among a few others, Casablanca, The Big Sleep, Psycho, The Apart-
ment, Sleepless in Seattle, Good Will Hunting, Catch Me If You Can, and De-Lovely).
The recurrent commentary on these titles should not be taken as advocacy
for some particular film music canon. As in most contemporary film textbooks,
we have tried to give at least some minimal attention to repertoires outside the
United States, but we also readily acknowledge that there is much more work
to be done in that respect: the tension between the traditional, Hollywood-
based canon and a contemporary culture of world cinema is very much in play
now, and it will be some time before the outcome can be codified in pedagogy,
all the more so as it pertains to sound or music. The repertoire of feature film
is very large and growing—steadily in the older traditions of the United States,
Europe, Russia, and Japan, rapidly if one factors in trans-national cinemas, and
the design and priorities of Hearing the Movies should make it quite feasible
to augment the list of films discussed—or to make substitutions—with titles
reflecting the instructor’s or students’ preferences.
Organization
Hearing the Movies is laid out in three parts and fifteen chapters, a design intended
to facilitate use on its own as the textbook for a semester course on film music
and film sound. The book may also serve effectively as a substantial supple-
mentary or reference text in introductory film courses, courses on sound design
and aesthetics, courses on film music composition, courses on twentieth-century
and contemporary music, courses on music and media, or even seminar courses
on specific repertoires—for example, science fiction films after 1970, composers
(such as Bernard Herrmann or John Williams), or periods (Hollywood in the
1930s, film and rock and roll in the 1950s and 1960s, etc.). We have mapped out
basic syllabi for many of these options in files on this text’s companion website,
where we have also made suggestions for adapting the book to ten-week term
formats. The URL is http://www.hearingthemovies.net.
The four chapters of Part I encourage development of basic listening and
viewing skills. Chapter 1 introduces the sound track elements and the concept
xvi PREFACE

of an integrated sound track, the aesthetic standard for sound film since the
1930s. The emphasis here is on general relations of sound and image, in par-
ticular, the narrative functions of sound. In chapter 2, we stress the musicality
of the sound track by introducing musical terms (such as tempo and timbre)
that can also be used to describe speech or sound effects or the sound track as
a whole. Chapter 3 turns to sound and music in relation to narrative space,
with special attention to the diegetic/nondiegetic pair. In chapter 4, then, we
concentrate on terms associated with sound and time—including, among oth-
ers, the pair synchronization/counterpoint—but also some related terms for
the analysis of affect (empathetic/anempathetic). The overall goal of Part I is
to position music within the sound track as one of its elements, as a peer (and
partner) of speech and effects, and to introduce terms that are essential to the
analysis of spatial and temporal aspects of sound and music.
The Interlude following chapter 4 covers methods and motivations for
writing about films in terms of their sound tracks, particularly their musics,
and then details the construction of an analysis report or response paper for
Catch Me If You Can. (The Interlude following chapter 9 continues and expands
the work to essays of analytic appreciation and interpretation, including essays
of critical and ideological analysis.)
The five chapters of Part II turn attention more narrowly to music and its
characteristic treatment in the sound feature film. Chapter 5 discusses general
questions of music in relation to film form; chapters 6 and 7 provide a set of
scene analyses that illustrate the function of music as a sound track element in
common sequence types, including opening and end credit sequences, as well
as montage/fantasy scenes. Film style in broader and narrower senses (genre
in the first case, themes and topics in the second) is addressed in chapter 8,
and chapter 9 provides illustrations through analyses of dialogue scenes, love
scenes, and action scenes.
Part III lays out a concise history of music and film sound organized
around technological innovations and their role in film production and ex-
hibition. The stages of that history include the remarkably varied practices
of the early cinema (ch. 10), the rapid series of technological and aesthetic
changes in the first few years of sound film (ch. 11), the settling in and stan-
dardization of practices for sound film in the studio era (ch. 12), the shifts
in aesthetics (especially with respect to musical styles) but relative conserva-
tism in sound technology in the two subsequent decades (ch. 13), the revo-
lution in sound technology (and birth of modern sound design) with the
introduction of Dolby stereo (ch. 14), and the characteristics of digital sound
production and post-production (including music) in the decades since then
(ch. 15). An afterword comments on the current—and prospective—situa-
tion for music and sound in film production and in other venues, particularly
those that are Internet-based.
Preface xvii

Features
• As the focus of this book is on critical listening and analysis skills, we
include detailed sample analyses with timings, tying the image track to
the sound track.
• Copious examples and screen stills help bring film music into the con-
text of sound, and sound into the context of the whole film.
• Extended exercises in Part I encourage skill development and suggest
tools for basic analysis of a sound track.
• Students can get full benefit from the book without the ability to read
music notation (the authors have taught courses based on this mate-
rial to general undergraduate audiences successfully for more than ten
years), but some musical examples have been included to enhance
understanding for those who can read them.
• We have made every effort to bring together the broadest range of
scholarship on film music currently available, spanning both music
scholarship and film/media studies.
• Sidebars feature behind-the-scenes commentary from historical and
contemporary industry professionals.
• Key terms are included in a glossary at the back for easy reference.
• At the ends of Parts I and II, chapter-sized Interludes provide guidelines
for writing about films in terms of their sound and music.
• A companion website at http://sites.google.com/site/hearingthemovies/
offers basic syllabi for ten- and fifteen-week courses in which Hearing
the Movies is the principal textbook, along with suggestions for using
the book in other courses. The site also contains electronic copies of
many of the screen stills (but not other graphics) from the book, a list
of the DVD editions we used, additional timings for scenes with music
in the films discussed here, annotated film music bibliographies, com-
mentary on articles we particularly recommend for class readings, links
to relevant film and film music websites, supplementary scene analyses,
and suggestions for assignments and projects.
A Note on the Films
As a practical matter, films were chosen on the basis of availability in DVD
format with region coding for North America. Timings for specific scenes
are given in the usual DVD player format: 00:00:00 (⫽ hours:minutes:sec-
onds). Many films have multiple DVD editions, some of which feature quite
different versions of the film (for example, the theatrical release versus the
xviii PREFACE

director’s cut). Wherever possible, we have used editions readily available in
video stores and through major distributors at the time this book was writ-
ten. On the course website, we have provided a reference list of those DVD
editions.
Acknowledgments
We thank a number of individuals who gave support, encouragement, and
help (including information or materials): first of all, Jan Beatty, our music
editor at Oxford; Lauren Mine, her assistant; Brian Black, production manager;
indexer June Sawyers; and the following reviewers, who provided a wealth of
ideas and advice: Anthony Bushard, University of Nebraska-Lincoln; James
Deaville, Carleton University; Richard Freedman, Haverford College; Dan-
iel Goldmark, Case Western Reserve University; Julie Hubbert, University of
South Carolina; Neil Lerner, Davidson College; Michael Pisani, Vassar Col-
lege; Gayle Sherwood Magee, University of Illinois at Urbana-Champaign;
Scott Murphy, University of Kansas; and Frank Ryan, University of Tulsa. For
graphics materials and help with permissions, we also thank Dan Goldwas-
ser, who supplied the series of Hollywood session photographs; and John
Waxman, for images of his father.
James Buhler would like to thank John Belton, Bruce Calvert, Jeff Cohen,
Lynn E. Eaton, and Antoinette Follett for their assistance in obtaining images.
He is also very appreciative of the early support and encouragement shown
by Neil Lerner, who offered timely advice and provided images and other
documentation.
David Neumeyer is grateful to Martin Marks, Paul Riseman, John Wax-
man, and James Wierzbicki for documents and permission to use materials;
Tim Lynch for information relevant to Good Will Hunting; to Michael Pisani for
steadfast support, advice, and critical input, including a detailed list of films
from the 1950s to the 1970s; and to Laura Neumeyer for her assistance with
the scene analyses from The Sound of Music, Grease, Shadowlands, Good Night
and Good Luck, and Pride & Prejudice. Some of the text for the latter is revised
from David and Laura Neumeyer, “On Motion and Stasis: Photography, ‘Mov-
ing Pictures,’ Music,” in Music, Meaning and Media, ed. by Richard Littlefield,
Erkki Pekkilä, and David Neumeyer (Imatra/Helsinki: International Semiotics
Institute, 2007).
Rob Deemer thanks Jason Poss for his unique recollections of the Lord of
the Rings scoring sessions; Lee Sanders for his invaluable knowledge and insight
into the film music industry; Graham Reynolds for his interview on the scoring
process for A Scanner Darkly; Lukas Kendall, Justin Baron, and Jill Streater for
their assistance in acquiring graphics materials; Catherine Saucier and Gordon
Root for their critical input; and Lori Deemer for her love and support.
Preface xix

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Superior quality. Our own manufacture.
Real Hogskin. Complete, with Girths,
Stirrup Irons, Leathers and Crupper, 39/6
Do., do., Imitation Hogskin, 32/6
BOY’S QUILTED PAD SADDLE,
With Removable Back Rail.
Superior quality. Our own manufacture
Real Hogskin. Complete, with Girths,
Stirrup Irons, Leathers and Crupper. 52/0

CHILD’S PILCH SADDLE.
Superior quality. Our own manufacture.
All-over Quilted Hogskin, with Leaping
Head, as Lady’s Saddle, to ride on either
side, for Boy or Girl. Complete 63/0 Extra
large size ditto, 68/6
CHILD’S PILCH SADDLE
Without Leaping Head. All-over Quilted
Hogskin, to ride on either side, for Boy or
Girl, complete 57/6
Do., Quilted Imitation Hogskin, to ride
either side, 47/6

FITTINGS INCLUDED
WITH CHILD’S PILCH
SADDLE, viz.:
1 pair Girths,
1 pair Stirrup Leathers,
1 Crupper,
1 pair Stirrup Irons,
1 Shoe for Girl.
All the above are included
with Boy’s Pad Saddle
except Shoe.

BRIDLE FOR DONKEY OR PONY UP TO 12 HANDS.
Single-rein snaffle with bit sewn on, best quality ... 8/0
Ditto, No. 2 quality ... 6/0 Ditto, No. 3 quality ... 4/6

LADIES’ SADDLES (All-over Hogskin).
Superior quality, London made, with Safety Bar and
Triangular Heads. Complete with best fittings £11 11 0
Do., with Brown Doeskin Seat and Heads; plain, safe £12 12 0
(as illustration).
Do., No. 2 quality, with Hogskin Seat and Heads
complete £9 17 6
LADIES’ SADDLES.
Superior quality, London made, with Plain Heads and
Safety Bar. Complete with best fittings, £10 17 6
Ditto No. 2 quality, complete £8 8 0
YOUNG LADIES’ SADDLES.
London made. Plain Hogskin Seat and Heads, complete
with Girths, Stirrup Iron and Leather, £4 9 0
Do., with French cut Back Tree, £4 17 6
Young Ladies’ Reversible Saddles.
To ride either side. Complete with best fittings, £8 8 0

STANDING MARTINGALE.
Superior Quality
Flat Standing Martingale, 4/9
Ditto, rounded, 6/6
CHESHIRE MARTINGALE.
Superior Quality Plain Flat
Martingale, with chain ends and
spring hooks to attach to bit, 7/3

HUNTING BREASTPLATES.
Superior quality Breastplate, lined and stuffed,
silver on German silver furniture, ... 19/0
Short Ring Martingale, part for buckling on to
above, lined and stitched 6/6
Superior quality Plain Breastplate, silver on
German silver furniture... 13/9
Short Ring Martingale, part for buckling on to
above, plain ... 4/9

IRISH MARTINGALE.
Silver on German silver rings, 1/6
Stout Rubber Ring for Martingale, each 0/6
RUNNING MARTINGALE.
Superior Quality Flat Running Martingale,
silver on German silver rings ... 6/9
Ditto, as above, rounded ... 8/3
[504]
CHILDREN’S CHAIR SADDLES AND PANNIERS.

CHILDREN’S PANNIERS.
Suitable for small children of about equal weight, fitted
with red leather Cushions and Waist Belts.
The Panniers are supported on a well-stuffed pad, lined
White Serge. Complete with Crupper and Girths, 47/6
We make a special feature
of Children’s Chair Saddles.
Manufactured of superior quality
materials in our own workshop.
FOR PRICES OF BRIDLES
SEE PAGE NO. 503.

CHILDREN’S DOUBLE CHAIR SADDLE.
Suitable for use on a Cob about 14 hands, fitted with
red leather Cushions and Waist Belts.
Complete with Crupper and Girths, 52/0

New Design
DOUBLE FACE FRONT CHAIR SADDLE.
Fitted with red leather Cushions and Waist Belts.

CHILD’S SINGLE CHAIR SADDLE.
To face front as illustration fitted with red
leather cushion and waist belt. Complete
with crupper and girths, 28/6

CHILD’S SINGLE CHAIR SADDLE.
To face side as illustration. Fitted with red
leather Cushion and Waist Belt.
[505]

WITHER PAD.
Knitted Wool.
Made in White, Fawn, Blue, and
Grey, superior quality. 2/6 each.
SADDLE WALLETS.
Regulation pattern. Superior
quality Brown Cowhide, lined
waterproof check, complete with
straps. 31/6 per pair.

GAME PANNIERS (our own manufacture).
Size, 22½ × 15 × 17 in. (outside measurement). To hold about
22 brace Grouse each. Superior quality baskets, varnished all
over, covered with best quality brown waterproof canvas, fitted
with well-made leather pad, lined serge. Complete with best
quality stout leather breeching and breast girth, as illustration.
Price £4 4 0
Other sizes made to order in about 7 to 10 days.
BRIDLES.
With stop on one rein to lead. Superior quality, 12/6
No. 2 quality, 10/6 No. 3 quality, 8/0

HUNTING WIRE NIPPERS
and Knife combined.
Superior quality, nickel-plated, 4½ in. long.
Price 11/6
POCKET HUNTING WIRE NIPPERS.
Superior quality, 4½ in. long.
Price 5/0

SADDLE NUMNAHS.
Graduated as in illustration, in superior quality Fawn
Felt, for Ladies’ Saddles, 16/6 each.
Ditto, for Gents, 13/6 each.
Plain felt Numnahs, superior quality, Lady’s 11/0
,, ,, Gent’s 9/6
Leather Numnahs, Gent’s 15/0
,, ,, Lady’s 18/0
*Sheepskin Numnah 21/0
*Sponge lined felt Numnah 52/6
*Sponge lined leather Numnah 43/6
* To order only.
HUNTING WIRE NIPPERS.
Superior quality nickel-plated with
removable steel cutters.
Price per pair, 6/6.
Spare cutters per pair, 1/4
Superior quality Leather Case, with strap
and flap to fit on saddle.
Price 7/6

LEATHER SADDLE BAGS.
Superior quality brown Cowhide,
lined waterproof check.
32/6 per pair.
SAFETY STIRRUP BAR
Betts’ Patent.
For attaching to ordinary bars, per pair, 17/6

5
RACING NUMBER SHEET.
White Linen, plain, bound Venetian 2/6 each.
,, twilled, bound silk 2/9 ,,
in. Cloth Figures 0/8 ,,
SADDLE BOX.
For side saddle, with inner lining of zinc.
To open with lid, shaped as illustration.
Complete with Padlock and Key, 20/6
Painting name extra, 1/0
[506]
HUNTING AND HACKING BRIDLES.

THE “WEYMOUTH” BRIDLE.
Superior quality double rein bridle, sewn
on to super quality hand-forged steel
long cheek Hackney bit, or short
cheek Polo Bit and bridoon, complete
with plain wide caveson noseband. 31/6
Ditto as above, if supplied with fixed
mouth Hackney bit. 30/0

SPECIAL NOTICE.
ALL BRIDLE WORK
shown on this page is
made from the finest
quality leather
procurable, and exactly
the same as supplied by
the leading West End
saddlers.
All work made on the
premises by our own
workmen. The Reins on
Full Size Bridles are all
made-Full length, i.e.,
4 ft. 9 in. long.

THE “BANBURY” BRIDLE.
Specially recommended for pullers, the bit
being made with a sliding, revolving
mouth. Superior quality double rein bridle,
sewn on to super quality hand-forged
steel, Banbury Bit, and flat ring bridoon,
complete with plain wide caveson
noseband. 35/0

THE “BANBURY-PELHAM” BRIDLE.
Bit made with sliding, revolving mouth.
on to super quality, hand-forged steel
“Banbury-Pelham” Bit, as illustration,
noseband, 30/0

DOUBLE REIN SNAFFLE BRIDLE, with
Flat Ring Bridoon Bit.
to super hand-forged steel, plain jointed
flat ring bridoon, complete with plain
wide caveson noseband. 21/6
SINGLE REIN SNAFFLE BRIDLE.
Superior quality single rein snaffle bridle,
sewn on to super quality hand-forged
steel plain jointed flat ring bridoon,
noseband. 17/6
BRIDLES, LESS BITS AND NOSEBAND.
With new pattern inside stud billets, or with
billets to buckle on to bit.
Weymouth Heads and Reins 18/9
Pelham Head and Reins 16/0
Double-rein Snaffle, Head and Reins 16/0
Single-rein Snaffle, Head and Rein, ¾ in. rein 11/9
,, ,, ,, ⅞ in. rein 12/9

THE “RUGBY POLO PELHAM” BRIDLE.
“Rugby Polo Pelham” Bit, as
illustration, complete with plain wide
caveson noseband. 29/0
THE “PELHAM” BRIDLE.
snaffle jointed Pelham Bit, complete
with plain wide caveson noseband, 26/0
Ditto as above, sewn on to super hand-
forged steel Pelham Bit, with plain half-
moon mouth, complete with plain wide
caveson noseband. 27/0

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