Underscoring!! 71scores use vocal choruses to add power and richness. The sound and emo-
tion generated by live singers cannot be replaced by synthesized vocals,
although sophisticated vocal samples can produce credible results. (Songs
used in commercials are referred to as jingles, even though some songwrit-
ers resent the term. Jingles are discussed in chapter 7.)
There is a belief that background music should be ‘‘felt and not
heard.’’ This means that the score should be unobtrusive and merely
accompany the film in such a manner that it provokes the desired emo-
tional response from the audience. If a well-crafted score were removed,
the film would lack a key emotional element.
Many commercials contain minimum announcer’s copy and/or sparse
dialogue. In this scenario, the score is no longer background music but a
featured element. This can either help or destroy the effectiveness of the
commercial. When the creatives suggest that the composer write a ‘‘bed,’’
they are referring to music that is subtle and unobtrusive. If the music is a
featured ingredient of the overall commercial, there is usually more time
and attention allocated to the composition and production of the music.
[Listen to track$9 on the enclosed CD.]
It is obvious when an underscoring does complement the picture.
With experience, composers develop a dramatic sense of what works best
with a film. A number of musical styles might match the film but may not
meet the expectation of the agency. Some creatives are very specific, while
others do not know what they want until they hear something that ‘‘feels
right.’’
Compositional Techniques
The compositional techniques used for commercials are similar to those
used for film scoring. The main differences are the length of the music and
a composer’s ability to write complete compositions in short formats. Vari-
ous techniques are discussed in this chapter; it is hoped that this ‘‘toolbox’’
of ideas will be stored in the composer’s mind.
Onemajormistake made by composers is to accept assignments they
are not qualified to write. Some composers and arrangers are skilled only
in certain styles. Accept your limitations and tackle only assignments in
those styles. You will most likely not be rehired by an agency that is dissat-
isfied with a submission.
After analyzing a film, the first step is to decide on the most appro-
priate style of music and have it approved by the agency.Since the aver-
age length of a television commercial is 30 seconds, some of the
compositional techniques that might apply to a longer composition might
not be relevant to commercials; the time for musical development is
shorter and therefore limiting.Economy is the best compositional ‘‘tool’’ for
a commercial composer. Learn how to expand a flowing composition in a