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Composing for Television and
Radio Commercials versus
Composing for Films
Let me begin by saying this: Some commercials would not work
if they contained music. Especially spots that depend on drama
and tension—or are intended to be very serious. Other spots call
for sound design, which is not really music per se. But it’s been
my experience over the years that music can really be a driving
force in making commercials work.
For years I created vignette commercials and used whimsical
music tracks to ‘‘tie the spots together,’’ which kept the musical
momentum. They were usually instrumental tracks but some-
times lyrics were incorporated. Good, strong, stirring anthem-
type spots—usually corporate in nature—can elevate a client’s
message, make it memorable and give viewers chills up and
down their spine, which is a very good thing to happen!
Many highly successful spots don’t contain one word of copy
(incidentally, I as a copywriter, created such spots and didn’t feel
left out because it’s really the idea that counts)—but rather, rely
solely on great, mind-sticking music.
Bottom line: Music, when used well, written by composers
who understand the role of advertising, can make a good spot
better and turn a great spot into an award winner—and quite
possibly a classic. I cannot emphasize enough the role music
plays in broadcast advertising. So much so that sometimes the
element people remember about a commercial is the music. Not
the idea. But I guess, even then, if the music helps them remem-
ber the product—and they go out and buy the product—the cli-
ents haven’t wasted their advertising dollars.
—Joel Harrison, former senior vice president
and group creative director at DMB&BThe crafts of composing, orchestrating, and arranging commercials differ
from scoring films, although the musical elements are basically the same.
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