From the first time that I set eyes on the animation, I knew what type of composition I wanted to go for. I want to approach Carl Stalling’s way of composing for Looney Tunes. As I am very new to composing and usually play the role of a sound editor or designer, I feel that I needed to do thorough research into styles.
One technique which I really would like to go for, but it is almost cliché is the aspect of Mickey-Mousing. Mickey-Mousing is a film technique which replicates the actions on-screen. It is defined as,
“The name for a process of music-image pairing that’s employed in the nonanimated cinema as well. Mickeymousing consists in the following the visual action in synchrony with musical trajectories (rising, zigzagging) and instrumental punctuations of action (blows, falls, doors closing).” (Chion, 1994: 121)
An example of Mickey-Mousing is shown here on the Popeye clip: http://www.youtube.com/watch?v=bFYQMd99DwI
Of course, like Coyote, I need lessons on not gravity (of course), but composition. This requires plenty of practice, hence by looking at my Sound Notes I have managed to come up with a composition that resembles the character’s movements. Click here to First Music Draft. (Please Note: I was going to upload video files, however WordPress would not allow me to upload over a certain size.)
Another aspect that I have had to consider are the types of timbre and instrumentation. Because the animation is set in a desert, located inside ruins Lora and Tom have explained to me that they want to resemble this animation in an ancient era, more or less Ancient Egyptian or Greek times. (Initially, I thought it was set in Medieval times!) To gain knowledge of what instruments are used for these type of compositions, I have read upon Music in Ancient Egypt and have identified the following instruments: Lute, Harps, Lyres, Flutes, Oboes and Percussive Instruments. However, I am going to also include Tubas, Strings (Violins, Violas, Cellos & Double Bass), Bassoons, including Piano as well. This is to add more depth into the composition. The piano also gives it that “Sneaky” feel. Here are two examples of the composition without and with a Piano:
My influence for these was of course, Looney Tunes’ Sahara Hare because I believed it was a great example to take ideas from! (click on image to view video)
Of course, I have made some changes regarding each meeting that I have had with Lora and Tom. Here are the compositions that reveal towards the final composition.
March 2013 Music – Overall, the animation students were impressed. There were a few minor changed that they wanted to make and that was during the sequence of the traps engaging. They did not want any music from the point where he steps on the trap until the arrows shoot. They also suggested putting an almost ‘angelic’ composition when he is dreaming about capturing the llama. I also want to add more instrumentation to the trap sequence also.
April 2013 Music – Final composition with minor changes made. I have added more instrumentation to the trap sequence and created more suspence before it also. I have also added a harp for when he is dreaming of capturing the llama.
April 2013 Music (With Drums) – This version includes drums during the trap sequence. I did not use this for the final mix, because the percussion clashed too much with sound design.
May 2013 Music – Mixed & Mastered: The Final Version