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

Composing for Television and Radio versus Composing for Films!! 23

agency, the agency usually substantiates their suggestions on the basis of
research. They present their final recommendations to the client.
Some prominant clients hire only global agencies (with worldwide
offices) because they would like their advertising to have a universal and
coordinated effort. (This strategy is not always successful since cultures
differ and a campaign that achieves results in one territory might not
attain success in another.) Some clients also want to hire an agency that
is experienced in media buying. Placing advertising (broadcasting, print,
Internet, and so on) is a crucial business decision. Clients often hire one
agency to produce the creative work and another agency to buy the media.
Some clients purchase their own media, but this is rare.
Films: Studio heads make the final decisions.Success is measured at
the box office. Very few directors have the right to select the ‘‘final cut’’
(final edit). Major films are tested with audiences in much the same man-
ner that commercials are tested with focus groups. If the test results are
unsatisfactory, a director may reshoot or reedit scenes; some directors
shoot two endings and test both versions. Studios will financially support
a director’s vision if the budget allows and the studio feels that the film is
worthy of further investment.
In both films and commercials, music and sound (sound effects and
dialogue) serve a vital function.If the music and sound are removed from
a film, most films lose a vital part of their effectiveness. Music and effects
are crucial to the emotional content of most films.
As previously stated, the main difference between television and radio
commercials and film writing is the length of the compositions. A com-
mercial music writer composes pieces that run between 10 seconds and 1
minute. Within that time period, there can be many visual and emotional
changes that have to be addressed within the composition. There may be
one theme with a varied orchestration that conforms to the changes in the
pictures. Changes can occur within a second or two. In other instances,
one commercial might require numerous musical styles and themes; for
instance, a commercial showing a cruise ship’s ports of call may require
music indigenous to each country referenced.

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Composing for Unity

It is common for commercials to have a completely different mood

in the first half than in the second half. A typical example would be

a commercial for a pain reliever, such as aspirin. The beginning of

the commercial might depict someone with a headache. After taking

the product, the character becomes pain free. Most often, the music

must enhance each emotion portrayed throughout the commercial.

Be careful not to musically overemphasize certain sections, or the

music becomes cliche ́.