166 !!Chapter 8
stand the intention of a writer by only reading the script; hearing the dia-
logue clarifies the true meaning of the copy.
If the agency does not provide a pilot track, ask the writer questions.
Make certain that the writer’s intentions are absolutely clear. Several peo-
ple reading the same script may interpret it in dissimilar ways.
Sometimes agencies want the radio music completed before recording
the dialogue. The producer may play the music for the actors and/or
announcer while they are recording. The music helps to establish the
proper mood.
Frequently, a radio commercial contains the same basic music as a tele-
vision version. The difference is usually in the duration. The average radio
commercial is 60 seconds, and the average television commercial is 30 sec-
onds; therefore, the composition must be expanded from the radio version.
In some instances, the television music does not adapt for the radio
version because the pictures enhance the effectiveness of the music. Writ-
ing new music can be difficult because the composer has to reconceptual-
ize a commercial that has basically the same message as the television
version. The best advice is notto listen to the television music and
approach the radio version as a new commercial.
Approach
If the commercials are recorded only for radio, initiate the same procedure
and analysis used for television commercials—ask the same questions.
The objective is to discover the most appropriate musical style and obtain
the approval of the creatives. Discuss everything in detail before compos-
ing and arranging.
Procedure
Understand the script.The music will not work if the composer lacks a
thorough understanding of the script and the emotional impact required
of the music. Ask the creatives to play an example of a musical style that
would be appropriate. If they do not have an example, assemble some
samples that seem suitable. Play them for the creatives and decide on an
acceptable musical style and direction.
Time each section.Break the script down by timing each section.
Determine where the music should change and mark the script with
detailed notes.
Lay out the score exactly the same as a television commercial.Decide
on a tempo(s) and write down on the score paper or in a computer music-
sequencing program where musical changes should occur (e.g., new the-
matic material, hits, tempo changes, and so on). Try to visualize pictures.
‘‘Draw’’ the pictures musically.
Determine the hits by the connotation of the words.The music might
be more important to the final success of radio commercials than it is to