[Fmpro] Carl Stalling scores

[digitalwizzard@mindspring.com]

IMHO his scores were genius
yes the virtuoso playing
yes the contemporary pop music and musical allusion
whimsical use of melody 
orchestration and instrument timbre to set or portray a mood
I could go on and on..
guess i'm a big fan of stalling
:-)

$oward

-----Original Message-----

From:  Fernando Rivas <rivas2750 at comcast.net>
Subj:  Re: [Fmpro] Carl Stalling scores
Date:  Sat Aug 19, 2006 11:19 am
Size:  1K
To:  <fmpro at nxport.com>

Dozens of ways. Subtlety of orchestrations. Timing and the constant demand
for virtuosic playing. Almost every single move on the screen is captured
and reinforced. That's difficult even with SMPTE locked in sequencing as we
have now - imagine devising a click track. A lot of film scoring these days
is about sticking a pad, a sample groove, or some drawn out chord behind the
action.

Stalling is credited with the invention of the click track, by the way. I
guess necessity was the mother of invention there. He also had apparently
developed an approach to engineering music timing sheets that were created
along with the animation. His scores appear superficially facile but if you
listen closely the workmanship is inescapable. Another one of his strengths,
though some often cite it as a weakness, was the quoting from pop tunes and
classical pieces to create humor - like 'How Dry I Am' when some character
on screen had been hitting the bottle (something you'd never see in today's
sanitized cartoons) or 'Humoresque' to portray a happy-nappy scene.

Appreciation of Stalling's music calls for getting past the style, however.
Yeah, the shit sounds 'old' but - hey - it is. So is baroque music. If you
can't get past the style it's hard to see the work that went into it.

FR


On 8/18/06 4:19 PM, "Marcahti at aol.com" <Marcahti at aol.com> wrote:

> 
> In a message dated 18/8/06 20:46:10, rivas2750 at comcast.net writes:
> 
> <<  It still
> 
> is incredibly complex  >>
> 
> in what way ?
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