24 !!Chapter 2
The most difficult skill to master is to write a composition that
sounds cohesive rather than divided into numerous disjointed musi-
cal sections sewed together ‘‘with the wrong colors.’’ This skill is
developed through the use of compositional and arranging tech-
niques. (These topics are described in detail later in the book.)""""""""""""""""""""""""""""""$
!!If clients do not receive
tangible results from an
agency’s work, the account
is ‘‘put up for review.’’ The
client invites several agen-
cies to ‘‘pitch’’ the account.
Each agency is given a bud-
get and a date to present
their creative work, and in
some instances a media
buying plan is included in
the presentation. (Not all
agencies perform both
functions.)Conclusion
The most important aspect of a compos-
er’s job, in both mediums, is to musically
capture the essence of a film. Film com-
posers must understand the emotions a
director is trying to communicate with the
music. Some directors may want scenes
scored to reflect the literal action (e.g.,
fight scene) or obvious emotional aspect
(e.g., romantic) of a film; others may have
acompletelydifferentviewoftheemo-
tional influence the music should evoke.
Reaction to music is subjective, making it
difficult for composers to always satisfy
directors.
The same criterion applies to the advertising creatives. Five directors
working on a project bring five different viewpoints to a project. The same
applies to creative teams working on the same commercial. It is a compos-
er’s job to uncover the essence of what is wanted and to achieve that goal.
Assignments
- Videotape a scene from a motion picture. Analyze the musical com-
position and its relationship to the scene. What does the music
accomplish? Would the scene be just as effective without the music?
Why or why not? - Videotape a commercial. Analyze the musical composition and its
relationship to the scene. What does the music accomplish? Would
the scene be just as effective without the music? Why or why not?