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

Musical Skills!! 39

was the beginning of what is now referred to as World Music.Billboard,
the leading music magazine, publishes a contemporary World Music chart.
Ethnic instruments are played and tuned in a unique manner. Instru-
ments that have the same name (e.g., balaphone, an African xylophone)
have dissimilar tunings in different countries. The nuances of the perform-
ance style are also unique to certain countries and regions.
Ancient instruments have limitations. For example, most wooden flut-
ists, from different countries, have multiple flutes, each tuned to a different
key; contemporary flutes are chromatic instruments, so it is not necessary
to have more than one instrument. (This is not a reference to the differ-
ences between a piccolo, flute, alto flute, or bass flute.)
The typical performing style of the kora (an African lute harp) incorpo-
rates the use of triplets. The kora player has to change tuning (in a manner
similar to tuning a guitar) when playing in various keys. The kora is not a
chromatic instrument.

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Author’s Experience: The kora has 21 strings made of

fishing line. It can be played only in certain keys and is

tuned by moving bundles of line wrapped around pegs

that are inserted in the kora’s neck. I used the kora in a

commercial that required a West African style. The

instrument has a unique structure; therefore, under-

stand its limitations before writing. Similar to other

instruments, the kora is traditionally played in a very

distinct style. Listen to recordings and absorb the

generic sounds and performance styles. It is advisable

to consult with instrumentalists to question if passages

can be performed and if the traditional styles are adapt-

able. The parts must be written and performed prop-

erly, or the performances will sound awkward.

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Writing for ethnic instruments requires research and study. It is as
important for composers to be familiar with the more common genres,
such as rhythm and blues, rock, New Age, jazz, Latin, and pop.

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Author’s Example: A harp is not a chromatic instru-

ment. Composers must calculate the time it takes for a

harpist to manipulate the pedals, or the music will be

impossible to perform. Call a harpist and ask questions.

It is improbable that composers, orchestrators, and

arrangers will know the nuances of every instrument. It