Writing Music for Television and Radio Commercials (and more): A Manual for Composers and Students

(Ben Green) #1
Musical Skills!! 27

This is a superlative model of production techniques establishing a trend.
Many producers tried to emulate his sound.
The Internet is an excellent research tool for composers. Information
concerning any musical genre can be found. Stylistic recordings, tuning
parameters of unusual instruments, and esoteric recordings (difficult to
locate in record stores) are examples of information that is easily accessible
on the Internet. Specialty record stores—both brick and mortar and
Internet stores—are also valuable sources for researching obscure music.
For example, stores specialize in selling world music, dance music, and
old vinyl records. The stores stock recordings that cannot be found in the
average retail outlet; the same applies to sheet music. It is crucial to learn
certain musical and technical skills. Included in these skills are the fol-
lowing:



  1. Musical authenticity

  2. MIDI (Musical Instrument Digital Interface)

  3. Digital audio

  4. Technical studio knowledge as it applies to music production (e.g.,
    use of effects, reverbs, and so on)

  5. Arranging and orchestration (discussed in a separate chapter)


Modern popular composition is directly linked to this knowledge. The fol-
lowing is a discussion of these skills.


Authenticity


The creatives often request that the music emulate a specified time period
or a specific style. One of the key problems encountered by composers is
how to achieve stylistic authenticity. It is apparent when this goal is not
achieved; unfortunately, music that sounds contrived is common in com-
mercials.
Creatives often play composers musical examples from commercials,
motion picture sound tracks, CDs, or other sources. The copyright laws
protect the sounds of records (or other forms of recorded music) as well as
the actual notation of songs or instrumental compositions; these are called
‘‘soundalikes.’’ If a recording is re-created, it is also considered a sounda-
like. If the composer decides to use a sample (recording and playing back
asectionofanexistingrecording,sound,oreffects),sampleclearance
rights must be obtained. Usually this requires paying a fee and/or addi-
tional compensations; the negotiations should be handled through an
attorney or a sample clearance company.
AlandmarkcaseinvolvedasingerwhoimitatedBetteMidlerona
music track for a Ford commercial. Midler sued and was awarded a sub-
stantial settlement.

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