223:, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation. Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was reportedly impressed with his style. He approached Stalling to introduce himself, and their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, and Disney ensured that Stalling would play the accompaniment for his films.
376:—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. According to Sigall, Stalling was hired by the Leon Schlesinger studio in July, 1936. She recalled the month because she was hired by the studio as an apprentice painter that same month. Stalling already had a reputation as a very talented musician and composer. He had gained this reputation and considerable experience as the music director at the studios of both Walt Disney and Ub Iwerks. Schlesinger was aware of these facts when offering to hire him. Stalling had been recommended to Schlesinger by storyman
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589:" (1937) by Scott was frequently used to accompany animated scenes involving conveyor-belts or chases. Scott's works had a cartoon sensibility and brought visual images to mind, elements which Stalling needed for his compositions. Due to Stalling's frequent use of his works, Raymond Scott was eventually considered a "cartoon composer" in his own right. But Scott did not actually compose his works with the intention of using them as film scores.
380:. Hardaway had met Stalling while they both worked at the Iwerks studio and, when Schlesinger started searching for a new music director for his studio, Hardaway suggested hiring his old colleague who was available. According to Sigall, the hiring of Stalling turned out to be a smart move for Schlesinger. The new music director (Stalling) became an integral member of the team producing two very successful animated series.
419:. The executives at Warner Bros. in fact insisted that Stalling should use as much music and songs from their feature films as possible. Their dual goal was to help promote the animated shorts by associating them with already popular music, and to help promote the songs themselves by giving them additional publicity. They hoped that such cross promotion would increase the sales of the songs.
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Although
Stalling's composing technique followed the conventions of music accompaniment from the silent film era that were based on improvisation and compilation of musical cues from catalogs and cue-sheets, he was also an innovator. Stalling is among the first music directors to extensively use the
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and his innovative musical quotation techniques. His musical cues, the unedited periods between the commencement and end of a single musical take, had varying lengths. At the short end of the spectrum, they would last no more than two seconds. At the long end, they would last two minutes. Stalling
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Stalling's working process involved meeting each animated short film's director or directors before the animation process began. Together they set the time signatures to which the short was to be drawn. The animators of the film were measuring animation frames per beat. After the animation process
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Musicologist and animation historian Daniel
Goldmark has noted that Jones repeated this anecdote about Stalling in a number of interviews. Jones also claimed in a 1975 interview that "My Funny Little Bumble Bee" song was too obscure for the audience to notice the musical reference. He exaggerated
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of popular songs, and "hair-trigger shifts in pacing". The pacing of the film score could quickly change from manic and furious to slow and gentle, and back again. Stalling's music would match the mood required for any given scene. Neuwirth argues that the music managed to enhance the mood set by
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Most of his film scores involved 500 measures in ten sections. His compositions were performed by Warner
Brothers' fifty-piece orchestra. Neil Strauss notes that this orchestra was often employed for relatively undemanding film scores for live-action feature films. When working for Stalling, the
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utilised a
Metronome to set a definitive tempo of the cartoon sections, that then got further developed over the years (being transcribed onto a "bar-sheet" or a "dope-sheet"). The system helped synchronise music and sound effects to the visuals. An early example of a click track was used in the
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Stalling was a master at quickly changing musical styles based on the action in the cartoon. His arrangements were complicated and technically demanding. The music itself served both as a background for the cartoon, and provided musical sound effects. The titles of the music often described the
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was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music. Stalling helped Disney streamline and update the sound process used in creating early animated sound films,
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Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music. This was still unusual at the time, since film music was played or composed to match the action of a film. Stalling's discussions with Disney on
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Disney eventually left Kansas City and moved to
California to open a new studio. Stalling and Disney kept in touch through correspondence, and considered each other friends. In 1928, Disney was on a journey from California to New York City to record the sound and make the preview of
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pointed out that listening to the soundtracks of the Warner cartoons was an important part of his musical education; the use of the full Warner Bros. Orchestra resulted in a richness of sound that is often lacking in more modern cartoons.
353:(1929). The method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Strauss, this version of the click track is credited to sound effects artist
233:, Disney's first released sound short. During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Stalling composed several early cartoon scores for Walt Disney, including
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was completed, Stalling would receive the animators' exposure sheets or bar sheets. The sheets broke the animation, dialogue, and sound effects into musical bars, which
Stalling would then use to create his score for the film.
434:, who had assisted Stalling as an arranger since the mid 1930s and was promoted to musical director in the early 1950s. Stalling and Franklyn had shared credits for musical direction during the last years of Stalling's tenure.
272:, Stalling accepted because the job offer was a great opportunity for him. He probably realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was also at its end.
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When working on a film score, Stalling would incorporate his musical puns. He chose popular songs whose titles fit the on-screen gags. His music quotations were often brief, sometimes not lasting more than four seconds.
650:. Stalling is remembered today for the scores of cartoons that remain popular, and are often remembered for their music. His melodies are heard through most of the classic Warner Brothers cartoons, and imitated in new
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Like his predecessors as music director for the studio, Stalling had full access to the expansive Warner Bros. catalog and musicians. He could also use the fifty-piece orchestra of the company, headed at the time by
747:(1949), an animated short directed by Chuck Jones. Goldmark has also noted that Jones' claim about the repeated use of "Fingal's Cave" in cave scenes was inaccurate. Stalling did use the melody composed by
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that one had to be 108-years-old to even remember the existence of the song. Goldmark believes that the anecdote itself was inaccurate in several ways. The "Bumble Bee song" of the anecdote was actually "
585:, whose music was licensed by Warner Bros. in the early 1940s. According to Strauss, Stalling relied heavily on the music Scott composed during the 1930s. For example, the reportedly "fast and wacky" "
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where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the
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He was a brilliant musician. But the quickest way for him to write a musical score was to simply look up some music that had the proper name. If there was a lady dressed in red, he'd always play "
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His stock-in-trade was the "musical pun", where he used references to popular songs, or even classical pieces, to add a dimension of humor to the action on the screen. Working with directors
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When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was apparently pleased with the results, and offered to hire
Stalling as
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in
California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936. In 1936, when
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168:(November 10, 1891 – November 29, 1972) was an American composer, voice actor and arranger for music in animated films. He is most closely associated with the
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Stalling was born to Ernest and Sophia C. Stalling. His parents were from
Germany; his father arrived in the United States in 1883. The family settled in
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until his retirement. Stalling served as the music director for this studio for 22 years and is credited for the film score of over 600 animated films.
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orchestra would find itself burdened with more challenging and taxing work. Stalling recorded many variations of the opening themes of the
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directors sometimes complained about Stalling's proclivity for musical quotation and punning. In an interview, Jones complained:
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considers Stalling's work style in the Warner Bros. films to be highly recognizable. It consisted of "lush orchestrations",
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By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in
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series of animated short films. Stalling is credited with both the composition and the musical arrangement of
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style of very rapid and tightly coordinated musical cues, punctuated with both instrumental and recorded
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were originally silent films and were the first two Mickey Mouse animated short films in production.
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Stalling, Carl W. The Carl W. Stalling Papers, American Heritage Center, University of Wyoming
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Stalling's cues are always tied to the story on the screen. For example, he often used "
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whether the animation or the musical score should come first led to Disney creating the
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The Carl Stalling Project Volume 2: More Music From Warner Bros. Cartoons, 1939–1957.
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has described Stalling's sense for quotation as "Ivesian", in reference to composer
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Stalling remained with Warner Bros. until he retired in 1958. His last cartoon was
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Original music scores and other documents relating to Carl W. Stalling (1900-1978)
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would often use music quotations from the themes of the live-action films of the
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While working at the Disney studio, Stalling further refined a forerunner to the
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in several animated shorts, but never in combination with an actual cave scene.
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The two animated series which Schlesinger produced for Warner Bros. were the
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The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958,
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The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958.
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Zorn, John (1990) "Carl Stalling: An Appreciation," Liner Notes for
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Living Life Inside the Lines: Tales from the Golden Age of Animation
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action, sometimes forming jokes for those familiar with the tunes.
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Stalling left Disney after two years, at the same time as animator
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credits Stalling for basically inventing the process of creating a
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Makin' Toons: Inside the Most Popular Animated TV Shows and Movies
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It had also been recorded to great acclaim by the popular duo of
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following the long and laborious synchronization process used in
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these scenes. This was what made Stalling's work so effective.
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to time film scores. He was one of three composers, along with
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were the new trend. Stalling soon followed Disney in moving to
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Stalling died in the Los Angeles area on November 29, 1972.
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by Maureen Furniss (2005, University Press of Mississippi)
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Tebbel, John R. (Sept/Oct 1992) "The Looney Tunester"
430:. After Stalling retired in 1958, he was succeeded by
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706:". If we were doing anything about eating, he'd do "
1016:Tunes for 'Toons: Music and the Hollywood Cartoon,
1003:Adamson, Joe (1980) "Chuck Jones Interviewed." in
215:. During that time, he met and befriended a young
200:at the St. Louis Theatre, which eventually became
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1036:Tunes for 'Toons: Music and the Hollywood Cartoon
581:Stalling made extensive use of the many works of
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2379:The Day the Earth Blew Up: A Looney Tunes Movie
372:—under contract to produce animated shorts for
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2450:Baby Looney Tunes' Eggs-traordinary Adventure
2436:Tiny Toon Adventures: How I Spent My Vacation
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1119:. In Goldmark, Daniel; Taylor, Yuval (eds.).
702:". If somebody went into a cave, he'd play "
342:, they called the "Tick-system". Initially,
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2912:Yosemite Sam and the Gold River Adventure!
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2340:Bugs Bunny's 3rd Movie: 1001 Rabbit Tales
2333:The Looney Looney Looney Bugs Bunny Movie
2188:Spike the Bulldog and Chester the Terrier
1117:"Tunes for Toons: A Cartoon Music Primer"
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947:"Funnyworld Revisited: Carl Stalling"
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458:, credited with the invention of the
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2638:The Sylvester & Tweety Mysteries
782:. (Broadway Cast Album conducted by
1226:Interview with Carl Stalling (1971)
798:. (Live Concert Recording from the
708:A Cup of Coffee, a Sandwich and You
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3029:American male film score composers
2371:Feature-length theatrical animated
1992:Wile E. Coyote and the Road Runner
1175:Works by or about Carl W. Stalling
654:compilations and features such as
648:Wile E. Coyote and the Road Runner
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3044:American people of German descent
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1125:. A Capella Books, an imprint of
864:Neuwirth (2003), unnumbered pages
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2326:The Bugs Bunny/Road Runner Movie
2173:Quick Brown Fox and Rapid Rabbit
3014:People from Lexington, Missouri
3004:20th-century American composers
2804:Battle of the Music Video Stars
1095:University Press of Mississippi
3009:20th-century American pianists
2797:The Bugs Bunny Mystery Special
2443:Tweety's High-Flying Adventure
1041:University of California Press
1005:The American Animated Cartoon,
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3019:American film score composers
2857:The Merry-Go-Round Broke Down
2645:Pinky, Elmyra & the Brain
2471:Teen Titans Go! See Space Jam
2361:The Looney Tunes Hall of Fame
2347:Daffy Duck's Fantastic Island
1235:Carl Stalling: Music Animator
1087:"The Boys of Termite Terrace"
838:
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548:The Merry-Go-Round Broke Down
27:American composer (1891–1972)
2949:Chip 'n Dale: Rescue Rangers
2404:Looney Tunes: Back in Action
2270:Featuring Marvin the Martian
1638:Leon Schlesinger Productions
717:Be My Little Baby Bumble Bee
657:Looney Tunes: Back in Action
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2178:Ralph Wolf and Sam Sheepdog
2118:Hugo the Abominable Snowman
1650:DePatie–Freleng Enterprises
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1154:Warner Bros. Records 26027
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971:Chuck Jones: Conversations
796:Bugs Bunny at the Symphony
644:The Dance of the Comedians
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2734:Meet the Groovie Goolies
2571:The Merrie Melodies Show
1632:Harman-Ising Productions
1215:Article on Carl Stalling
1204:Article on Carl Stalling
1198:Animation World Magazine
1193:Article on Carl Stalling
1170:American Heritage Center
1057:Neuwirth, Allan (2003),
989:Goldmark (2005), pp. 175
833:American Heritage Center
3034:Musicians from Missouri
2935:Who Framed Roger Rabbit
2882:Looney Tunes River Ride
2741:Carnival of the Animals
2708:Tiny Toons Looniversity
2680:Wabbit/New Looney Tunes
2411:Space Jam: A New Legacy
1668:Chuck Jones Enterprises
1662:Warner Bros.-Seven Arts
1166:Carl W. Stalling papers
1085:Sigall, Martha (2005).
936:Sigall (2005), p. 88-90
683:Comments by Chuck Jones
602:California, Here I Come
3069:American male pianists
3064:20th-century organists
2836:Dance of the Comedians
2783:Looney Christmas Tales
2517:Chuck Amuck: The Movie
2290:Featuring Yosemite Sam
2133:Merlin the Magic Mouse
1674:Warner Bros. Animation
1670:(1976–1980, 1994–1997)
1652:(1964–1967, 1979–1980)
1147:, 28.5, pp. 64–66
1122:The Cartoon Music Book
1115:Strauss, Neil (2002).
1031:"Notes to pages 22–39"
780:Bugs Bunny on Broadway
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611:Captains of the Clouds
606:In My Merry Oldsmobile
598:Oh, You Beautiful Doll
49:Background information
2850:Merrily We Roll Along
2811:Overtures to Disaster
2687:Looney Tunes Cartoons
2673:The Looney Tunes Show
2503:Bugs Bunny: Superstar
2485:Taz: Quest for Burger
2389:Live-action/animation
1982:Tasmanian Devil (Taz)
1644:Warner Bros. Cartoons
1007:edited by Gerald and
829:University of Wyoming
744:The Bee-Deviled Bruin
739:Warner Bros. Cartoons
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636:The Rabbit of Seville
568:Merrily We Roll Along
496:The Rabbit of Seville
409:Warner Bros. Cartoons
166:Carl William Stalling
59:Carl William Stalling
2790:Bustin' Out All Over
2617:The Plucky Duck Show
2603:Tiny Toon Adventures
2564:The Road Runner Show
2295:Blue Ribbon reissues
2265:Featuring Elmer Fudd
2260:Featuring Daffy Duck
2255:Featuring Bugs Bunny
2013:Babbit and Catstello
1788:William L. Hendricks
1209:The Partial Observer
1127:Chicago Review Press
827:can be found at the
727:Florenz Ziegfeld Jr.
255:The Gallopin' Gaucho
242:The Gallopin' Gaucho
202:Powell Symphony Hall
2897:Road Runner Express
2889:Road Runner Express
2769:King Arthur's Court
2755:Bugs Bunny in Space
2701:Bugs Bunny Builders
2666:Loonatics Unleashed
2631:Pinky and the Brain
2550:The Bugs Bunny Show
2285:Featuring Sylvester
2275:Featuring Porky Pig
562:. The theme of the
485:, he developed the
194:Lexington, Missouri
180:shorts produced by
77:Lexington, Missouri
2762:Howl-oween Special
2557:The Porky Pig Show
1957:Marvin the Martian
1275:Winsor McCay Award
1230:MichaelBarrier.com
951:Michaelbarrier.com
800:Sydney Opera House
350:The Skeleton Dance
315:The Skeleton Dance
3039:Theatre organists
2981:
2980:
2776:Thanksgiving Diet
2717:
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2652:Baby Looney Tunes
2526:
2525:
2216:
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2153:Penelope Pussycat
1977:Sylvester the Cat
1576:
1575:
749:Felix Mendelssohn
626:shorts, and his "
245:in 1928 (but not
160:
159:
87:November 29, 1972
74:November 10, 1891
16:(Redirected from
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2315:
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2138:Michigan J. Frog
2113:Hubie and Bertie
1903:
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1858:Leon Schlesinger
1743:David H. DePatie
1708:Bernard B. Brown
1603:
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784:George Daugherty
502:A Corny Concerto
417:Leo F. Forbstein
401:Bernard B. Brown
370:Leon Schlesinger
329:Steamboat Willie
324:Silly Symphonies
320:Silly Symphonies
309:Silly Symphonies
299:The Karnival Kid
247:Steamboat Willie
230:Steamboat Willie
198:theatre organist
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2198:The Three Bears
2168:Playboy Penguin
2063:Colonel Shuffle
2001:
1972:Speedy Gonzales
1942:Foghorn Leghorn
1892:
1838:Robert McKimson
1823:Michael Maltese
1713:Arthur Q. Bryan
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722:A Winsome Widow
700:The Lady in Red
685:
634:-derived short
594:The Lady in Red
572:electric guitar
564:Merrie Melodies
539:Merrie Melodies
479:Robert McKimson
443:
441:Composing style
424:To Itch His Own
392:Merrie Melodies
355:Jimmy MacDonald
344:Wilfred Jackson
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1160:External links
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1141:
1136:978-1569764121
1135:
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1109:
1103:
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1078:978-1621531975
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1069:Allworth Press
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1050:978-0520941205
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725:, produced by
690:and the other
684:
681:
672:Allan Neuwirth
665:Leonard Maltin
442:
439:
426:, directed by
405:Norman Spencer
397:Frank Marsales
347:production of
333:Mickey Mousing
282:Allan Neuwirth
266:music director
189:
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162:Musical artist
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2148:Nasty Canasta
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2023:Beaky Buzzard
2021:
2019:
2018:Barnyard Dawg
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1868:Edward Selzer
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1539:
1538:Complete list
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1515:Bill Melendez
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560:Tin Pan Alley
557:
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552:Dave Franklin
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2659:Duck Dodgers
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2542:Compilations
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2318:Compilations
2250:1970–present
2043:Cecil Turtle
1997:Yosemite Sam
1930:Duck Dodgers
1877:
1863:Rod Scribner
1848:Hawley Pratt
1813:William Lava
1798:Rudolf Ising
1773:Ben Hardaway
1763:Friz Freleng
1758:Stan Freberg
1738:Arthur Davis
1728:Bob Clampett
1656:Format Films
1615:
1611:Looney Tunes
1609:
1525:Otto Messmer
1494:Hans Conried
1488:
1417:Ward Kimball
1407:Mike Maltese
1402:Rudolf Ising
1373:Faith Hubley
1347:Winsor McCay
1332:Friz Freleng
1311:Walter Lantz
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1145:Film Comment
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954:. Retrieved
950:
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823:
812:Warner Bros.
794:
789:Warner Bros.
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773:Warner Bros.
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764:Warner Bros.
760:
742:
735:Billy Murray
720:
713:
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692:Looney Tunes
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663:Film critic
662:
655:
652:Looney Tunes
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635:
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566:series was "
563:
556:Cliff Friend
546:series was "
544:Looney Tunes
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533:Looney Tunes
531:
528:
524:Warner Bros.
519:Charles Ives
511:
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494:
487:Looney Tunes
486:
475:Friz Freleng
471:Bob Clampett
464:
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386:Looney Tunes
384:
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378:Ben Hardaway
374:Warner Bros.
359:
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294:Mickey Mouse
262:his studio's
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221:Neil Strauss
213:silent films
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191:
182:Warner Bros.
175:
171:Looney Tunes
169:
165:
164:
155:Warner Bros.
142:Years active
89:(1972-11-29)
2999:1972 deaths
2994:1891 births
2955:Video games
2874:Attractions
2821:Music/songs
2478:King Tweety
2208:Witch Hazel
2158:Petunia Pig
2143:Miss Prissy
2103:Henery Hawk
2078:Egghead Jr.
2058:Clyde Bunny
2048:Charlie Dog
1962:Pepé Le Pew
1918:Development
1853:Virgil Ross
1818:Abe Levitow
1803:Chuck Jones
1778:Hugh Harman
1748:Earl Duvall
1723:Daws Butler
1718:John Burton
1664:(1967–1969)
1658:(1965–1967)
1646:(1944–1964)
1640:(1933–1944)
1634:(1930–1933)
1520:Mae Questel
1484:Dick Huemer
1438:Joe Barbera
1397:Hugh Harman
1368:John Hubley
1363:Walt Disney
1342:Art Babbitt
1337:Chuck Jones
1009:Danny Peary
688:Chuck Jones
483:Chuck Jones
460:click track
452:Max Steiner
428:Chuck Jones
340:click track
274:Sound films
251:Plane Crazy
236:Plane Crazy
217:Walt Disney
209:Kansas City
94:Los Angeles
2988:Categories
2942:Animaniacs
2864:Powerhouse
2723:Television
2624:Animaniacs
2532:Television
2203:Willoughby
2093:Goopy Geer
2053:Claude Cat
1952:Lola Bunny
1937:Elmer Fudd
1925:Daffy Duck
1913:Bugs Bunny
1898:Characters
1888:Ben Washam
1843:Tom Palmer
1793:Cal Howard
1783:Ken Harris
1768:June Foray
1733:Cal Dalton
1453:Bill Scott
1433:Bill Hanna
1412:George Pal
956:10 October
839:References
755:Recordings
628:Powerhouse
587:Powerhouse
526:' studio.
286:film score
122:Composer,
113:soundtrack
109:Film score
98:California
70:1891-11-10
55:Birth name
2610:Taz-Mania
2595:Originals
2397:Space Jam
2245:1960–1969
2240:1950–1959
2235:1940–1949
2230:1929–1939
2006:Secondary
1967:Porky Pig
1808:Jack King
1703:Mel Blanc
1693:Tex Avery
1479:Ub Iwerks
1458:Milt Kahl
1443:Mel Blanc
1327:Tex Avery
1239:AHC blogs
802:with the
731:Ada Jones
640:Smetana's
620:Sylvester
515:John Zorn
467:Tex Avery
448:metronome
362:Ub Iwerks
302:in 1929.
278:Hollywood
188:Biography
146:1928–1958
2973:Category
2725:specials
2183:Sniffles
2098:Gossamer
2073:Cool Cat
1474:Jay Ward
676:sampling
290:cartoons
124:arranger
1625:Studios
1277:(1970s)
1177:at the
1168:at the
1129:, Inc.
997:Sources
632:Rossini
618:in the
596:" and "
133:Piano,
2534:series
2222:Shorts
1987:Tweety
1947:Granny
1685:People
1133:
1101:
1075:
1047:
1022:
820:Papers
814:, 2010
791:, 1990
775:, 1995
766:, 1990
624:Tweety
616:Granny
264:first
151:Labels
105:Genres
100:, U.S.
79:, U.S.
2922:Other
2163:Piggy
2038:Buddy
2033:Bosko
2028:Beans
1906:Major
1568:2020s
1563:2010s
1558:2000s
1553:1990s
1548:1980s
1543:1970s
646:" to
403:, or
2123:Inki
2083:Foxy
1614:and
1503:1979
1467:1978
1426:1977
1387:1976
1356:1975
1320:1974
1304:1973
1283:1972
1188:IMDb
1131:ISBN
1099:ISBN
1073:ISBN
1045:ISBN
1020:ISBN
958:2018
733:and
622:and
554:and
536:and
499:and
481:and
454:and
389:and
288:for
253:and
239:and
174:and
84:Died
64:Born
1237:at
1228:at
1217:at
1206:at
1195:at
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810:.)
296:in
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2990::
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68:(
20:)
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