By Bill Evans, Greg Stone
Prepared through Greg Stone, shooting invoice Evan's exact close-voiced jazz piano chord voicings at the guitar.
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MB: Was that room the one called “the music room”? 6 MB: You invented the “tick” system of recording music for animated cartoons, didn’t you? Do you recall the circumstances that led to that? The “tick” system was not really an invention, since it was not patentable. Perfect synchronization of music for cartoons was a problem, since there were so many quick changes and actions that the music had to match. The thought struck me that if each member of the orchestra had a steady beat in his ear, from a telephone receiver, this would solve the problem.
36 An Interview with Carl Stalling by MIKE BARRIER Carl Stalling was the person most responsible for changing people’s notions of how much could be accomplished in a seven-minute cartoon score. Stalling was born in Lexington, Missouri, on November 10, 1891. While he did not score Steamboat Willie (1928), he wrote the music for the first dozen Mickey Mouse cartoons, while simultaneously inspiring Disney’s second series of shorts, the Silly Symphonies, which he also scored for a year. , where he worked as musical director for the animation division from 1936 to 1958.
WILFRED: WALT: Yes, but then it begins to get too modern—it may be too much melody in it there—I would see it more à la Raymond Scott. That’s even more sophisticated. It’s the kind of thing you have to work out with color more than modern licks. LEIGH [HARLINE]: WALT: You can do it with color, and not have so much the modern harmonies back there playing it. ] I think the world is waiting for someone to bust wide open all musical rules—that’s what Scott did. HAL [KING, AN ANIMATOR]: We had a bazooka in there.