The Cartoon Music Book by Daniel Goldmark, Yuval Taylor (eds.) PDF

By Daniel Goldmark, Yuval Taylor (eds.)

ISBN-10: 1556524730

ISBN-13: 9781556524738

The acclaim for comic strip tune, from Carl Stalling’s paintings for Warner Bros. to Disney sound tracks and The Simpsons’ tune parodies, hasn't ever been larger. This energetic and interesting examine comic strip music’s previous and current collects contributions from famous song critics and cartoonists, and interviews with the imperative caricature composers. right here Mark Mothersbaugh talks approximately his tune for Rugrats, Alf Clausen approximately composing for The Simpsons, Carl Stalling approximately his paintings for Walt Disney and Warner Bros., Irwin Chusid approximately Raymond Scott’s paintings, Will Friedwald approximately Casper the pleasant Ghost, Richard Stone approximately his tune for Animaniacs, Joseph Lanza approximately Ren and Stimpy, and lots more and plenty, a lot more.

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Extra info for The Cartoon Music Book

Example text

It must have been in 1929, at Disney’s, on The Skeleton Dance. How did you record the music for cartoons before you started using the “tick” system? MB: I had lines drawn on the prints of the cartoons that I used for recording. The lines would show on the screen so that the whole orchestra could see them, and that’s how I got my beat when I was conducting. When I was composing the music for Gallopin’ Gaucho and Plane Crazy, the two silent pictures, I had the cartoons shown at the theater where I worked, so that I could decide what music would be appropriate.

His best feature animation underscoring includes the Headless Horseman chase in Ichabod and Mister Toad, several original cues in Alice in Wonderland (1951), which Wallace amusingly developed from Sammy Fain’s song melodies, and the Peter Pan/Tinkerbell music in the opening section of Peter Pan. Wallace’s theater organ background often manifested itself in his use of the Novachord, an early electronic keyboard that can be heard in his “Pink Elephants on Parade” sequence in Dumbo, and in many of the shorts, notably The Little Whirlwind, in which the spacey sounding instrument represents the mischievous title character.

We made recordings of “tick” sounds at different beats—a tick every eight frames, or ten frames, or twelve frames—and played this on a phonograph connected to the recording machine and to earphones. Each member of the orchestra had a single earphone, and listened to the clicks through that. It wasn’t necessary for the conductor to give a beat, but I did, because one or two of the musicians didn’t like to use the earphones. We had a woman cello player at Warner’s, and she didn’t like to use the earphones because they hurt her head or something.

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The Cartoon Music Book by Daniel Goldmark, Yuval Taylor (eds.)


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