Underscoring!! 79expense of paying musicians. Once the piece has been demonstrated on
synthesizers (samplers) to the agency and received approval, hire musi-
cians—if needed—to replace some or all of the synthesized parts. Synthe-
sized guitars and horns do not generally sound real. If the budget is small
and the desired sound is a horn section, add one real horn to the synthe-
sized or sampled section; it is surprising how authentic one live player can
make a synthesized or sampled part sound. This technique also works well
with strings. (It is always desirable to hire musicians to play traditional
instrumental parts. Samples cannot replace the feel of live performers.)
Synthesized sounds are popular, and many of them are not intended
to sound real; these are referred to as analog sounds. A synthesizer pro-
grammer, through experimentation, usually programs algorithms, which
create inventive sounds. The sounds that can be generated are infinite.
Genres, such as Trance, most dance music, and electronica, are examples
of musical styles that usually do not require live musicians; in addition,
most electronic effects are created with analog sounds. Because analog
sounds are acceptable to the audience, it behooves composers to learn how
to program or hire programmers.
Electronics has changed the manner in which commercial composers
conceive of music.Most compositions used in commercials are played by
acombinationoflivemusiciansandsynthesizers.Electronicmusicnot
only samples (digitally records) and plays back real instruments (samples)
but also has a musical language of its own (as previously described in the
explanation of analog synthesis). Because of the available technology,
composers are able to conceive of and hear almost any sound imaginable.
If a ‘‘musical bed’’ (sustained chords) is desired, one of the tradi-
tional orchestral approaches is to use a string section.With the availablil-
ity of synthesizers, composers can combine three or four richly textured
sounds to replace a traditional string section; not only will the part sound
rich and full, but it will also have a texture different from that of a real
string section.
Creating an ostinato with an analog sound is very effective.Ostinatos
can create musical tension or provide a beautiful underlying counterpart
to a floating melody.
Generating a bass part using an analog bass sound is common in
contemporary recordings.Sounds can be edited and/or created using
synthesis, offering an infinite variety of sounds. Because of continuous
musical trends in commercial music (as previously stated), ‘‘sounds’’ also
become trends. Be aware of the current contemporary music markets and
stay familiar with the latest technology. After becoming familiar with syn-
thesis, composers begin to conceive of abstract sounds as an intrinsic part
of composition.
Computers have changed the manner in which music is conceived
and composed.Aside from the popularity and listeners’ acceptability of