Listen to an interview with course author and instructor Peter Bell on WNYC's Soundcheck program.
Have you ever wondered who makes the music for the ads or shows that you see on TV and hear on the radio? Are you curious about how this music is made, how its sold, who buys it and why? If you want to look under the hood at the world of commercial music, both from a process standpoint as well as a business standpoint, this course is for you. Writing and Producing Advertising Music explores effective composition techniques for scoring to picture, writing a melody using provided lyrics, and creating a memorable hook for a jingle.
The course examines the organizational features and personnel roles of production music publishers, ad agencies, and music houses; as well as covering the fees, royalties, residuals, and other revenue opportunities in this potentially lucrative industry. Drawing on years of personal experience, course author Peter Bell provides detailed instruction and case studies of successful business and ad agency jingles, creating stock music track packages, partnering with music libraries, and composing a theme and scoring for a television series.
You'll learn from the author's successes and from his past mistakes as you build your own skills in composing and producing commercial music and in finding, communicating with, and negotiating with clients. Writing and Producing Advertising Music features in-depth interviews with industry players, including agency creative director Terry MacDonald and music library owner/operator and ASCAP board of directors member Doug Wood, as well as successful jingle composers, singers, voiceover artists, and sound designers.
Work in the course will involve planning and creating finished music productions to detailed specifications to meet a deadline. You will get hands-on experience writing jingles by creating an original 30-second jingle in a specific genre, using specific voiceover copy and vocal lyrics, and then re-arranging it in at least one alternative style. You will also create an original 90-second instrumental theme and arrange elements of the composition to be used for stings, transitions, and cues. Each of these assignments will help you build your own promotional reel that you can use to pitch prospective clients.
By the end of the course, you will be able to:
- Understand the structure of the commercial music marketplace and the roles of its participants
- Create original jingles, library track packages, and television themes according to industry standards
- Apply effective composition techniques for scoring to picture
- Write and produce a jingle spot using provided voiceover copy and vocal lyrics
- Create a memorable hook for a jingle
- Understand revenue flow in the industry, in addition to fees, royalties, and residuals
- Begin building your own promotional reel
- Apply effective strategies for pitching your work to prospective clients
"The Jingle Writing course at Berklee Online is a must-take course for anyone who is serious about getting a true ‘boots on the ground,’ relevant and realistic approach to composing music for advertising." - student Michael Aarons
Why should you take this course? See what students are saying on our blog.
Lesson 1: What Is Commercial Music?
- Commercial Music Categories
- Who Uses Commercial Music
- Introduction to Production Terms and Definitions
- The Spec Sheet
- The Attributes of Effective Ad Music
- The Power of a Simple Music Bed
- Assignment 1: :30 Instrumental Bed
Lesson 2: Getting Started
- Forming Your Business
- Music House Responsibilities
- Building Your Commercial Music Business
- The Reel
- The Voice Over (VO)
- VO Production: Processing Tools
- Assignment 2: Voice Over Processing
Lesson 3: Library Music
- What Is a Music Library?
- The Music Library Business Model
- Choosing Online Sites to Partner
- Defining the Music Library Track Package
- Starting a Track Package
- Trimming a Bounce
- Assignment 3: Compose a :60 Music Track Package
Lesson 4: Library Music and the Track Package
- Using Form to Manipulate Length
- Case Studies
- Publishing a Track Package
- The Library Music Business: Observations from Within
- Assignment 4: Create Your Music Track Package
Lesson 5: Local Jingles, the Creative Concept, and the Pitch
- Advertising Strategy for Local Businesses
- Identifying the Target Audience
- Organizing the Message
- The Tag Line
- Tips on Writing Lyrics
- Pitching Local Businesses
- Negotiating a Price
- Assignment 5: Write a Voice Over and Tagline
Lesson 6: Jingle Composition
- Historical Form Issues in American Pop Music
- Standard Jingle Form Elements
- Creating a Melodic Hook
- Melodic, Harmonic, and Production Techniques for Emphasis
- Vocal Casting and Arranging Considerations for Jingle Production
- Mixing and Mastering Audio for Broadcast
- Assignment 6: Create a :30 Donut Jingle
Lesson 7: Winning an Agency Jingle Project
- Case Study: Starting Up Musictech/Bell Music
- Getting to Know Your Agency's Team
- Case Study: Robin Batteau and the Heartbeat of America
- Musical Copyright
- Assignment 7: Compose and Produce :30 Demo
Lesson 8: Scoring to Picture
- The Function of the Score
- Sound Design
- Hit Points
- Technical Issues
- Assignment 8: Spot and Score
Lesson 9: TV Theme Music
- History of TV Themes
- Mnemonic Arranging Techniques
- Profiles of Success
- Interpreting a Style in Theme Music
- Assignment 9: Compose an Original :60 to :90 Show Theme
Lesson 10: Working with a Successful Jingle, Theme, or other Existing Song
- Identifying the Client's Vision
- Common Musical Elements
- The Live Recording Session
- Recording Process
- Hybrid Musical Productions
- Assignment 10: Arrange and Produce a Tool Kit
Lesson 11: Subsequent Work, Melody, and Revenue
- Commercial Music Revenue Stream
- Melodic Issues in Jingle Writing
- Getting Paid
- Demo and Job Bidding
- Assignment 11: Final Project Outline
Lesson 12: Hits, Industrials, PSAs, Pitches, and the Ones That Got Away
- Pop Music in Advertising
- Public Service Announcements (PSA)
- The Agency Pitch
- Rejection and Repurposing
- Awards/Trade Magazines
- Final Project: Nike "Just Do It" Jingle
Author & Instructor
Peter Bell, Electronic Music and Production faculty at Berklee College of Music, is a producer, composer, and guitarist. His compositions and productions include the themes to This Old House, New Yankee Workshop, Victory Garden, the ABC After School Special, the award- winning film Radio Cape Cod, as well as countless jingles and production tracks. Peter has produced tracks featuring many world-class musicians, including Bonnie Raitt, Tracey Bonham, Livingston Taylor, Kate Taylor, Alex Taylor, Layla Hathaway, John Poussette-Dart, The New Kids On The Block, Rebecca Parris, Mick Goodrick, Mike Metheny, Mark Sandman of Morphine, Alan Estes, Patty Grifin, and others. He has recorded with Bonnie Raitt on Warner Brothers and the James Montgomery Band on Capricorn and Island Records, among many others. His awards include two Emmys, seven NEBA awards, and six ASCAP awards. Peter holds a Bachelor of Music in Jazz Composition and Arranging from Berklee College of Music and a BA in Government from Harvard University.
Peter Bell, Electronic Music and Production faculty at Berklee College of Music, is a producer, composer, and guitarist. His compositions and productions include the themes to This Old House, New Yankee Workshop, Victory Garden, the ABC After School Special, the award- winning film Radio Cape Cod, as well as countless jingles and production tracks. Peter has produced tracks featuring many world-class musicians, including Bonnie Raitt, Tracey Bonham, Livingston Taylor, Kate Taylor, Alex Taylor, Layla Hathaway, John Poussette-Dart, The New Kids On The Block, Rebecca Parris, Mick Goodrick, Mike Metheny, Mark Sandman of Morphine, Alan Estes, Patty Grifin, and others.
He has recorded with Bonnie Raitt on Warner Brothers and the James Montgomery Band on Capricorn and Island Records, among many others. His awards include two Emmys, seven NEBA awards, and six ASCAP awards. Peter holds a Bachelor of Music in Jazz Composition and Arranging from Berklee College of Music and a BA in Government from Harvard University.
Completion of Arranging 1: Rhythm Section and or equivalent knowledge and experience is required. Students should have intermediate experience in any DAW. Here are some suggested courses: Music Production 101, Pro Tools 101, Producing Music with Cubase, Producing Music with Logic, Producing Music with Ableton Live, or Producing Music with Reason.
Students should be able to:
- understand the basics of musical form, melody, chord progressions, and arranging
- record or manipulate audio for voice over, singing, or both
- import and sync audio and video in a DAW environment
- A digital audio workstation (DAW). Viable programs include Ableton Live, Digital Performer, SONAR, Logic Pro, Cubase, or Pro Tools. Students should possess an intermediate sequencing skill level with these programs.
- MIDI keyboard/interface/controller (minimum 25 keys)
- 2 GB RAM (4 GB recommended)
- 4 GB hard drive space
- Speakers or headphones
- Internet connection with at least 4 Mbps download speed (http://www.speedtest.net to verify or download the Speedtest by Ookla app from your mobile app store)
Got a question? Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at firstname.lastname@example.org. We can also answer basic questions in the comments below. Please note that all comments are public.
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