Writing Music for Television and Radio Commercials (and more): A Manual for Composers and Students

(Ben Green) #1

88 !!Chapter 6


are generic to the instrument—not consistently too high or too low for a
particular instrument.
Each section should have traditional rehearsal markings.Mark each
main section with a letter, such as A, B, and C, and each measure with a
number, such as 1, 2, and 3. This saves time in the studio because the con-
ductor can quickly communicate with the musicians by referring to the
rehearsal markings.
Be precise with dynamic markings and other musical indications.
The cost of being in the studio prohibits wasting unnecessary time. Plan
your modus operandi prior to the session. For instance, if you are record-
ing an orchestra, are you going to record the rhythm section first? Are you
planning to double the strings? Are you going to give the editor ‘‘stems’’?
(Stems are sections of your mix, such as stereo brass on one stereo track,
strings on another, a rhythm section track, and so on.)
Technological advances have enabled live performances to emulate
recordings. This is accomplished in several ways:



  1. Some artists play prerecorded tracks in synchronization with their
    live performance. This enhances the fullness and ambience of the
    sound. Frequently, they play the tracks used on the original
    recording.

  2. Individual parts are preprogrammed on a computer-sequencing
    program and played in synchronization with the live performance.
    The drummer wears headsets and hears a metronome-like ‘‘click
    track,’’ along with the music, which aids in keeping time with the
    computer tracks.

  3. Small-scale productions of Broadway shows sometimes have addi-
    tional parts programmed on synthesizers or prerecorded; for exam-
    ple, the horns and strings are programmed. This technique is
    frequently used in shows on cruise ships and in live pop concerts.


!!If the parts are prere-
corded, two Pro Tools rigs
(or other programs) are
locked together in case one
malfunctions.

Elements to be considered when creat-
ing an arrangement follow.
Format and rhythm:Are the verses
and choruses in the proper order? This is
the responsibility of the composer (jingle
writer) and the music producer. The lyri-
cist usually determines the format. (Often,
the lyricist at an advertising agency is also the copywriter.) Determining
the basic rhythm feel, the arranger should play a sample for the creatives.
The ‘‘feel’’ of the composition is the first element of the arrangement. This
is usually predetermined, but there are still creative choices that will vary
between arrangers. If it does not seem musical, offer suggestions on how
to improve it.
Harmony:Some composers submit only a lead sheet to an arranger. A

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