78 !!Chapter 5
Since contemporary popular music is mostly rhythmically based, it
can be advantageous to approach a composition by developing a rhythm
pattern as the first step.Understand the style of music before writing a
rhythm pattern. Let us assume that the agency wanted a Latin pop
rhythm. The next question would be, ‘‘There are many styles of Latin-His-
panic rhythms. What Latin style would you like?—Caribbean (denotes
congas), maracas playing Afro-Cuban rhythms (denotes a mixture of Afri-
can and Cuban rhythms), traditional Mexican (requires mariachi trumpets
and acoustic guitars, including the Mexican bass guitar, which looks like
an oversized guitar),’’ and so on. Once the desired style has been deter-
mined, try writing a two- or four-measure loop (repeated pattern) and
play it against the film. Even without hearing a melodic structure, it will
be easy to determine if the rhythm is suitable. The next step could be to
try developing a rhythm pattern with appropriate breaks and fills to fit the
different sections of the film. Then try experimenting with melodic lines,
a bass or piano part, or merely experiment until a kernel of an idea feels
good; continue developing and adjusting all the elements. Eventually, you
will have an interesting piece of music.
Working with a rhythm pattern does not necessarily mean that the
rhythm has to be played by percussion instruments.Orchestras can play
rhythm patterns without traditional percussive instruments; brass, strings,
and woodwinds can play rhythm patterns. For example, ostinatos are
rhythmic patterns and can be played by most orchestral sections.
An interesting approach to rhythm-based composition is to notate
rhythm patterns without filling in the notes or the instruments that would
play them—just write Xs. Then begin experimenting with instruments and
notes playing the patterns. Some interesting compositions have been cre-
ated using this technique.
Try experimenting with instruments other than drums to begin a com-
position. For example, start with only a piano, which helps to define the
harmony. Listen to the piano against the film. If the mood is appropriate,
add parts and develop the composition and the arrangement. One of the
dangers of using this technique is not being able to expand the orchestra-
tion; instruments other than the piano might sound better on a part that
had been originally played on the piano. Whenever composing on an
instrument (e.g., piano), be very careful not to limit the composition by the
inherent limitations of that instrument or the technical limitations that a
composer might have in his or her ability to play that instrument profi-
ciently. Try to internalize the composition and orchestration before assign-
ing it to the appropriate instrumentation. Although this concept was
discussed previously, it is worth mentioning once again because many
inexperienced composers limit their compositional skills because of
unnecessary technical limitations.
One of the advantages of working with synthesizers is that it is possi-
ble to hear real (sampled) instruments playing a composition without the