8
Composing Music for
Radio Commercials
Radio Commercials versus Television
CommercialsRadio commercials generally have copy and music throughout the com-
mercials. The music often has to create virtual images for the listeners.
Some television commercials do not have dialogue or a voice-over.
When a music underscore is added, the pictures will most likely require
hits, which create impact. The pictures and the music are woven into the
fabric of the emotional content of the commercial. If the same basic com-
mercial is adapted for radio, the underscore might not require the same
number of hits. Television and radio commercials can have essentially the
same concept but require different music. Do not assume that the same
music will create similar impact for both mediums. Composing for radio
commercials is analogous to composing for television commercials, except
for some composers it is more challenging and for others less restrictive.
!!Writers must be accu-
rate with the timings of their
readings. For instance, if the
commercial is 60 seconds, it
is common for writers to
write copy that cannot be
read in less than 62 sec-
onds. This creates problems
for composers. The writer
has to shorten the dialogue
before the composer can
write.Watching films helps composers
create musical images. With radio com-
mercials, listening to actors and/or an-
nouncers requires composers to use their
imaginations to produce musical imagery.
Composers are afforded more freedom in
radio because the musical hits are not
generally as precise as television hits. In
some instances, this affords composers
the opportunity to write a more cohesive
piece of music because of the lack of
restrictions (e.g., composing to picture).
If the final dialogue or announcer’s
copy has not been prerecorded, ask the
copywriter to record a pilot track. Listening to the dialogue or announcer’s
copy makes the composing process easier. At times, it is difficult to under-
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