Underscoring!! 73which are easily adaptable and lend themselves to modulation, helping to
keep the composition interesting. Another suggestion is to write a theme
that is no longer than 12 seconds. This leaves room for an introduction and
ending within the 15-second commercial and room for expansion in the
longer version. (This is based on the tempos of the various versions being
the same.) Before writing, experiment with a variety of tempos for the vari-
ous commercials included in the campaign. It will help determine the
flexibility of the theme; not all themes adapt well.
Writing an extended theme that will not work in its original form in
all thematic variations.This may be a very difficult assignment. Make cer-
tain that the first and/or second part of the theme can be used as indepen-
dent themes. This is a common problem when compressing the music to
fit a 10-second version. The theme might work well in a 30- and 15-second
version, but there is not enough time to fit the entire piece into nine sec-
onds. If the theme has identifiable sections that can be lifted (edited), try
them—this is usually a satisfactory solution. Most agencies accept this
practice because they realize that, otherwise, the original composition
would have to be compromised to solve the problem. Since most of the
airplay will probably be the 30- and 15-second versions, agencies are will-
ing to compromise.
Writing themes that are not adaptable to different styles and tempos.
Some well-constructed themes are not adaptable to different styles and
tempos. Although they may fit other styles and tempos, the composition
might sound good only in its original form. Make certain that the theme is
adaptable. Experiment with the original theme before presenting it to the
agency. Once the theme has been approved, the integrity of the composi-
tion must remain. The agency and client will certainly notice that the
theme is missing or incomplete. If the theme has to be edited for other
versions, inform the creatives prior to composing.
After approving the theme and discussing the various versions, the
agency might decide to add an additional version. If the theme does not
fit the new version in its entirety, present the best solution possible and
explain the problem to the creatives. Most often there is an acceptable solu-
tion.
Writing compositions that contain odd time signatures, which could
make the rhythm and/or melody feel unnatural.(Rhythm, in this context,
does not necessarily refer to drums and percussion but to the flow of the
composition.) This normally occurs if the composer wants to start a new
musical statement during a different section of the film. For example, if a
scene changes from pictures of mountains to the inside of a department
store, the composer will most likely want to start a new musical idea over
this scene rather than continue the previous thematic material. The mea-
sure prior to the scene change might require an odd time signature so that
the timing is correct. Additional compositional devices that help compos-