Mr Osborn’s stuff and things

I researched many cartoon’s soundtracks before scoring this piece of music; from Looney Toons to the newer cartoon network animations, the constant thread between them all was that the sounds and harmonies were something that were intended for youngsters to immediately grasp and understand, so that they can be influenced by the visual drama even more.

I wanted from the start to include a large amount of vocal samples and noises that the human body can make, much like Bjork circa Medulla. 

This particular video encouraged my vision, and let me get to work without the concern that this particular way of scoring a film was incapable. With this in mind, I put myself in the mind-set of a toddler’s, who is just beginning to develop their ears to harmony.

I split my thirty-one second extract into different sections so as to focus on the precise sounds for each movement. I then recorded various harmonies, sounds and noises I made with my voice through my Sp-303 sampler, that I would later use as music and sound effects. Realising that this texture was a bit too sparse, I decided to score some Toy Piano which I think fit perfectly to the childish actions of Pingu. 

I took into consideration different harmonic techniques, such as the opening scene where Pingu is walking, anticipation is created by the chromatic fall and rise of the different layers, which converge in unison to create a climax simultaneous to the visuals.

In addition, I cued various Rallentando/Accelerando melodies to Pingu sliding down the hill to represent the quick change in movement.

I hope it is apparent in my score my attention to the harmonic detail that Julio discussed last lesson!

Regards,

Dave