74 !!Chapter 5
ers make compositions sound smooth may include a harp gliss, a tempo
change, a new lead instrument, and so on.
Writing in the same frequency range as the actors or the announcer.
When scoring to film, listen closely to the frequency range of the actors’
and/or announcer’s voices. Frequently, the composition will sound busy
and cluttered. One solution is to choose octaves that will not conflict with
the frequency range of the voices. Think of the dialogue as a part of the
orchestration. This also has to be taken into account when writing a theme
that continues throughout a commercial. Sometimes sparse writing can be
very effective, but there are no rules. Whatever technique solves the prob-
lem should be used. (The same principle applies when creating arrange-
ments for vocals.)
Inexperienced composers often write compositions that are too loud
and powerful to sit under dialogue without masking the actors and/or
announcer. The mixing engineer will lower the music track during the
mixing process to achieve the correct balance. The problem with this solu-
tion is that, in most instances, the music will be too low to be effective. The
most effectual solution is to write the music in a less obtrusive manner so
that an acceptable balance can be achieved.
Compositional Problems
Let us assume that an assignment is to compose a melody, a rhythmic
groove, and to musically accent the product each time it appears. Musi-
cally accenting specific events (called ‘‘hits’’) is the most common compo-
sitional restriction. For example, let us assume that the picture of the
product being advertised instantly appears on the screen in exactly 6.5 sec-
onds, lasts 4 seconds, and disappears and that the film continues with new
scenes. Depending on the tempo—referred to as beats per minute—the
6.5-second mark will appear in different measures and on different beats.
For instance, if the tempo is 130 beats per minute, the time signature is 4/
4, and the hit is at 6.5 seconds, the hit will apppear on the fourth measure,
a fractionafterthe third beat. If the tempo is 120 beats per minute, then the
6.5-second hit would appear on the fourth measure, directlyonthe second
beat.
Let us also assume that the composition is in 4/4 time, which equals
four beats per measure, with the quarter note equaling one beat. It is possi-
ble that the measure that contains the hit might require a time signature
of 3/4 (three beats per measure), followed by a 2/4 measure (two beats
per measure) and return to a consistent 4/4 feel, or four beats per measure.
The next information needed is: In what measure and on what beat
does the composition resume? For this exercise, let us assume that it con-
tinues on the upbeat of the first beat following a 2/4 measure. Example 5-
2 shows multiple meter changes.