156 !!Chapter 7
the same commercial.The most frequent assignment is to write a 30-sec-
ond jingle that can be shortened to 15 seconds. Depending on the musical
needs of the film, one suggestion is to write short thematic fragments that
are easily adaptable and lend themselves to modulation, helping to keep
the composition interesting. Another suggestion is to write a theme that is
no longer than 12 seconds, leaving space for an introduction and ending
in the 15-second version and room for expansion in the longer version.
(This proposal is based on the assumption that the tempos of the various
versions are the same.)
Before writing, experiment with a variety of tempos; each commercial
included in a campaign might require a diversity of arrangements and
tempos. This helps determine the flexibility of the theme. Not all jingles
adapt well.
It is often difficult to write an extended jingle that works in its origi-
nal format as well as in all variations.In this situation, try to compose the
jingle so that the first or second part of the jingle can be used as indepen-
dent themes. This is a common problem when compressing the music
from a 30-second version to fit a 10-second version. The theme might work
well in 30- and 15-second versions, but there is not enough time to fit the
entire piece in 9 seconds. A solution might be to select a section of the
original theme. The audience will still identify with the original theme
because they will recognize the phrase that has been ‘‘lifted.’’
Most agencies accept this practice because they realize that the original
composition has to be edited to solve the timing issues. Since most of the
airplay will probably be the 30-second and 15-second versions, they are
willing to make this compromise.
!!Film composer Danny
Elfman writes short, identi-
fiable themes so that a four-
or five-note excerpt heard
within a cue will immedi-
ately create an identity for
the audience (e.g.,Spider-
Man 2).Some jingles, although well con-
structed, do not adequately adapt to vari-
ous musical styles and tempos.Although
a theme might fit other styles and tempos,
the composition sounds best in its original
form. If thematic variations are needed,
experiment before the original composi-
tion is presented to the agency.
Once a jingle has been approved, the
integrity of the composition must
remain.A problem can result if the composition is not adaptable to differ-
ent arrangements. It will be noticeable that the theme is missing or incom-
plete. If the theme has to be compressed for additional versions, inform
the creatives before writing.
After approving the theme and discussing the various versions, the
agency might add another version. If the theme will not fit in its entirety,
present the best solution and explain the problem to the creatives. There
is usually an acceptable solution.
The composition might contain odd time signatures, which could