The audiencc feels comfortable when led to believe that certain things will happen and in fact they do. The character walks in rhythm with the music; he accents his movements on the beat; it feels right. The opposite must be true of the surprise gag, the unusual, the startling. These accents should come on the off beat, the up beat, somewhere in the middle of the measure, where they are least expected. T he audience is led to anticipate one thing, and the continued accents on the downbeat fortify this sense of security. To be a surprise, the sound must come at a totally unexpected place in the music.
Walt also suggested there might be feelings of dissonance in the harmony, for the sake of comedy, and to show that there was no agreement in this group. Without just the right feeling in the music, he thought the whole idea of the sequence was ordinary and not worth doing. He commented at the end of the meeting, "It is important that we work out a good musical pattern on this or else we had better give up the idea and try to work it out in some other way." The sequence eventually was cut out of the picture.
Walt was just as critical of the songs that were suggested for the characters to sing. One musician reported that Walt could get his ideas across almost without using words, because his criticism was always in terms of the feeling he wanted. He knew that a merely pretty song with a nice melody would soon
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