Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
track at Disney.
At Warner Bros., wrote a cartoon score every week for 22 years worked with directors Tex Avery, Bob Clampett, Friz Freleng, Robert McKimson, and Chuck Jones developed the "Looney Tunes" style of very rapid changing, highly synchronized musical cues made extensive use of the many works of Raymond Scott, whose music was licensed by Warner Bros. in the early 1940s.
Tuesday, 9 April, 13
Tuesday, 9 April, 13
BPM-FPB Conversion
Frames per Beat (FPB) = 1440 / BPM
60 bpm = 1440/60 = 24 fpb 90 bpm = 1440/90 = 16 fpb 120 bpm = 1440/120 = 12 fpb
Tuesday, 9 April, 13
BAR SHEETS
derived from Music Notation, especially Orchestra Score
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Bar Sheet for Shuffle Off to Buffalo (Rudy Ising, Frank Marsales, 1933)
Tuesday, 9 April, 13
Bar Sheet for Shuffle Off to Buffalo (Rudy Ising, Frank Marsales, 1933)
SFX
bar number
frame count
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
- required to compose/record 6 minutes of music each week. - many early WB writers/directors did not like this situation. They had to design the story to stop and have a chorus of the song. Bob Clampett: Wed have a great story going along, but then wed ... stop and
have the singing chorus.
Tuesday, 9 April, 13
ca. 1940 - stopped writing cartoons with a particular song in mind. Instead, Stalling used portions of several Warner Bros. songs to match changing story situations in each cartoon - Stalling liked using the WB library of popular songs. He would often search for song titles that matched the on-screen story situation. - depended on the audience catching the song reference, at least the title - CS would extend the gag beyond the title pun by changing orchestration, tempo, etc. to make the song anything from a dirge to a dance, tting the tune to the mood of the scene.
Tuesday, 9 April, 13
Tuesday, 9 April, 13
MUSIC
How Dry I Am, Little Brown Jug
- Rossini William Tell Overture - Yiddish wedding song, "Khosn, Kale Mazl Tov" "Sweet Georgia Brown" "Camptown Races, Dixie "Ach du Lieber Augustin"
"Chinatown, My Chinatown
Theres No Place Like Home Edvard Griegs Morning Mood
Tuesday, 9 April, 13
SCENE
Sylvester swallows a bar of soap
MUSIC
- "I'm Forever Blowing Bubbles"
"Am I Blue"
"Angel in Disguise"
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Tuesday, 9 April, 13
Scott Bradley
most famous for scoring the Metro-Goldwyn-Mayer (MGM) theatrical cartoons, including those starring Tom and Jerry, Droopy Dog, Barney Bear, and cartoons by Tex Avery.
(1891-1977)
Bradley was a conservatory-trained composer and English horn player who studied under expressionist composer Arnold Schoenberg.
1930s - rst cartoon scores for Ub Iwerks, a former Disney animator who had opened his own animation studio the year before.
1934 Bradley began composing for Hugh Harman and Rudy Ising, who were producing cartoon shorts for MGM.
Bradley with animator Tex Avery (ca. 1955)
1937 - MGM establishes its own cartoon studio, Bradley hired permanently,
Tuesday, 9 April, 13
Scott Bradley
early style incorporated fragments of popular and traditional melodies, (common practice in scores for animation.)
by the late 1940s, his compositions had become more original and complex, sometimes using the twelvetone technique devised by his teacher, Schoenberg.
expressed pride in his "funny music" and believed scoring for animation offered far more possibilities to the serious composer than live-action lms.
Musical style is extremely precise. Carefully micky-moused his musical themes to screen action, even more so than Carl Stalling.
Tuesday, 9 April, 13
Tuesday, 9 April, 13