84 !!Chapter 5
rhythmic groove to play on the film set; it helps to create a mood for the
actors.In this scenario, a complete track is not necessary. It is advisable to
create several grooves, which enables the director to experiment on the set.
An editor may request a rhythm track for editing; it creates a pace or
mood.There can be a danger in submitting a rhythm track that is used in
editing the final track. If the agency or composer wants to change the
tempo or feel, there could be creative problems. For example, the track
may lose its feel at a new tempo. Most often, there are solutions.
Some commercials only run approximately 25 seconds, and 4-second
local tags are added (at the end) at a later time. Ask the creatives if they
want a full 29.5 seconds of music or if they want the music to end with the
film. Sometimes, they will ask for a separate musical tag (musical ending).
The tag might be used on numerous spots of the same advertising cam-
paign. An example of a singing tag/logo is ‘‘G.E., We Bring Good Things
to Life.’’
A simple piano or guitar track might be adequate for a first submis-
sion.This is ordinarily acceptable when an agency is exploring ideas and
the budget is modest. Once a musical direction has been chosen, an ample
demo budget is usually available.
A simple demo is not recommended if there is an option. It is likely
that even at the initial stage of selecting music, there will be competition.
Most music companies present complete demos.
Conclusion
Compositional ‘‘tools’’ are merely aids. The most important element is cre-
ativity, which cannot be taught. Initially, always write what you feel. If
the agency disagrees with your musical approach, they will tell you. Most
composers cannot explain why they have written a certain piece of music.
They usually say, ‘‘It just feels right.’’
Assignment
Tape a commercial and erase the music and dialogue. Transcribe the dia-
logue, rerecord it with your voice, and view the picture with the new dia-
logue track. Choose a musical mood (e.g., gentle, high energy, and so on)
and write three demos with different musical styles. Experiment by com-
pleting several mixes of each composition, trying to create different moods
by incorporating technology in an inventive setting, such as phasing,
delays, reverb, and so on. [Listen to track$12 on the enclosed CD.]