Cory Stillman
Every generation has its own set of beloved children’s media, but few characters have persisted like Frog and Toad, who have entertained generations of young people since their inception in the 1970s. It is therefore no surprise that Apple TV+’s Frog and Toad series is a moving and gorgeous ode to friendship, a calming show that unites children and parents alike. Composer Mark Evitts is one of many talented contributors to Frog and Toad, partnering with the show’s incredible voice cast to bring his songs to life. With such notable performers as Tom Kenny, Ron Funches, Nat Faxon, Fortune Feimster, and Kevin Michael Richardson at his disposal, Evitts has found ways to maximize each of their individual talents.
“I tried to observe their cadences and tonality to find suitable spots for them in future songs. However, pitch was equally crucial. I found keys that would be easy for them to sing in and listened for range that would help with melodic lines that complemented their unique vocal styles,” says Evitts.
A particular highlight for Evitts was Richardson and Faxon’s duet on “Keeper’s Song,” which Evitts originated as a fiddle tune. Having grown up in Paducah, Kentucky, Evitts continues to draw a great deal from his musical heritage, incorporating elements of jazz, Dixieland, and bluegrass into his work.
One of the remarkable aspects of these musical styles is their simplicity and sophistication,” Evitts says. “I believe that the key to capturing the essence of a character in a scene lies in understanding their vibe and perspective. By doing so, I can craft a folk melody or perhaps even a jazz standard that resonates with their essence.”
Those genres proved to be a perfect fit for Frog and Toad and its jovial atmosphere, pairing naturally with the titular duo’s unbreakable bond.
“I began almost every show with an upbeat and jaunty banjo tune. This was because their days often start with Frog or Toad heading to each other’s houses. They were delighted to see their friend and excited about the journey they were about to embark on together.”
Check out our full conversation with Evitts below, in which he shares several more of his favorite songs from his work on Frog and Toad.
Frog and Toad is in contention for the Children and Family Emmys. What would this recognition mean to you?
Working on Frog and Toad was not a solitary endeavor; it was a collaborative effort. From the songwriting to the score and the mix, numerous individuals contributed their unique talents and perspectives throughout the process. The recognition I receive is not solely for myself but for the entire show. And isn’t that what Frog and Toad is all about? It’s coming together with our differences and diverse viewpoints to create something captivating and beautiful.
Frog and Toad features beautiful animation of natural surroundings. How did the visual style of the show influence your composition choices?
Because Frog and Toad is set in such a lush wooded landscape, it was important to me that one of the main musical elements was the use of wooded organic instruments. I felt that would really complement the beautiful backgrounds.
For instance, in the episode “Night Calls,” there’s a montage scene that begins with Frog and Toad constructing a fire. Growing up, the Motel 6 commercials and memorable slogan “We’ll leave the light on for you.” stood out as a source of inspiration for this scene and reminded me of camping with my family as a kid. In those ads, they used thumb-picking guitar, mandolin, and upright bass. I used the same instruments and overall feel to create a sense of sitting around listening to the crackling wood and wind in the trees.
After they successfully build a fire, Toad prepares for dinner and the atmosphere shifts from the casual campfire setting to a more formal dining occasion. I changed the thumb-picking guitar and mandolin to a gypsy jazz, Django-style rhythm guitar part and piano. Musically, I wanted to add sophistication to the scene, reflecting the change in the setting, as shown in the animation.
To cue this visual transition of Toad whisks a table cloth over the table, I added a piano sweep. I then transitioned to a baroque style of the same melody and harmony, but with staccato strings and harpsichord replacing the formal dinnerware and silverware.
The animation in every episode was so beautiful, yet unique, that I tried to focus on that and match their quality.
Can you talk about your process for working with the vocal performances of Tom Kenny, Kevin Michael Richardson, and Ron Funches? How did their voices influence your songwriting for the show?
They were all fantastic to collaborate with! Whenever I attended the session for the songs, I would arrive a bit early to listen to them recording other lines for the show. It was such a fun experience! I tried to observe their cadences and tonality to find suitable spots for them in future songs. However, pitch was equally crucial. I found keys that would be easy for them to sing in and listened for range that would help with melodic lines that complemented their unique vocal styles.
In the song “Keeper’s Song,” Nat Faxon and Kevin Michael Richardson (playing the roles of Frog and Toad, respectively) deliver a fun duet. I wrote the song as a fiddle tune, allowing them to sing over it. My intention was to create a familiar and sing-songy sound while ensuring it remained non-monotonous, considering their distinct vocal ranges. Obviously, they delivered a phenomenal performance, but it was an absolute dream come true to hear them singing over my fiddle playing.
How do you balance composing for both the songs and the instrumental score in an animated series like Frog and Toad?
Songwriting starts during the pre-production phase. I received the script, which included some lines provided by the episode’s writers. Ultimately, I had the responsibility of determining if the writer’s lines would be effective in the songwriting process. While they were excellent, I utilized what was available, modified them to enhance their suitability for the song, or collaborated with talented cowriters like my songwriting partner, Emily Volman, to improve the song’s flow. The final decision was based on what best served the song.
One aspect that helped maintain consistency was the instrumentation and the overall melody vibe, as I hoped this could translate over into the postproduction score.
Once the show was in post-production, I began composing the score, which featured similar instrumentation of banjo, fiddle, mandolin, piano, and woody percussion. I was happy with how these instruments worked well with traditional scoring elements such as woodwinds and strings. However, I made the decision to avoid grand orchestral movements. Instead, I opted for a smaller scale with fewer orchestral instruments, aiming to create a cohesive feel when transitioning to the songs.
Overall, the blend of songs and score was fairly seamless. When I needed to edit the songs to align with the postproduction visual, I had the flexibility to do so. Additionally, I kept the exact same instruments that I had tracked for the songs, helping make smooth transitions in and out of the score.
The characters in Frog and Toad have gentle and heartwarming personalities. How did you use music to enhance their character traits and relationships?
I try to always create motifs around recurring personality, relational, and emotional themes, so there are several melodies we hear again and again to highlight Frog and Toad’s connection.
I began almost every show with an upbeat and jaunty banjo tune. This was because their days often start with Frog or Toad heading to each other’s houses. They were delighted to see their friend and excited about the journey they were about to embark on together.
Similarly, for sweeter moments, I used softer strings, acoustic guitar, and piano to reflect the warmth that Frog and Toad gave us.
Were there any specific musical themes or motifs that you wanted to develop across the episodes to create a cohesive sound for the series?
I employed similar motifs for different characters and their relationships with Frog and Toad. For instance, when Robin is involved, flute intermingles with acoustic instruments that represent Frog and Toad. Similarly, with Mink a banjo is used, Raccoon a bassoon and Mole a small, dramatic oboe that reflects his personality. My favorite motif is when Frog and Toad encounter Gopher. A bass clarinet motif is used to capture the quirkiness of their interactions.
Were there any unique instruments or musical styles you incorporated into the score to give the show a specific flavor?
I was born and raised in Paducah, Kentucky, a riverboat town located almost halfway between Chicago and New Orleans. This geographical location has profoundly influenced my musical heritage, shaping it into a vibrant blend of jazz and dixieland. However, Kentucky is also the birthplace of bluegrass music, Appalachian folk songs, and the closest city to Paducah is Nashville, Tennessee. This rich tapestry of musical influences has created a cauldron of diverse Americana sounds.
After engaging in extensive discussions with the executive producer Rob Hoegee and the team at Apple about the desired palette, we decided to use these sounds. One of the remarkable aspects of these musical styles is their simplicity and sophistication. I believe that the key to capturing the essence of a character in a scene lies in understanding their vibe and perspective. By doing so, I can craft a folk melody or perhaps even a jazz standard that resonates with their essence.
Can you talk about your favorite moment or song from Season 2? What made it special to you?
The episode, “Stargazing” was so much fun to score. Frog and Toad go on a boat ride at night and encounter glowing mushrooms and nocturnal friends, and we get to see them climb a tall hill so that they can see the constellations.
I was able to go outside the box a little on this episode. Because their environments were so different than the rest of the episodes, I could use different instruments than the standard palette. The first thing I did for this episode was use mallet based instruments like the marimba to give a unique jazz sound that sounded “vintage spacey” to me. Once scored, I went back through every cue and replaced some of the instruments with our standard palette and a few similar motifs. This allowed me to have a completely unique score for the episode while giving me the freedom to think outside the box. Frog and Toad were on a unique journey for this episode, so I wanted to play with different flavors. Ultimately, it gave the entire episode a fun and different ride for the viewer.
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