The production of musical program is radically different from any kind of non-musical production. While there are certain elements in common, and while the basic procedure is similar at least, there are many marked differences. The main difference, which accounts for all the others, is that: all other program stem from the written or spoken word; musical programmes stem from a musical score or musical instruments.
The major tasks of a producer in producing a music program are: –
- To pick the right talent
- To pick the right music
- To get a “frame” or “angle” or program idea to clothe the program.
- To find a composer, poet & orchestra
- To control the time on the program.
The origination point of a musical point is different from that of any other kind of program. Most other programs originate in a planning board. Music programmes, on the other hand, may originate in the production department. The reason for this is simple. Music programs, as often as not, originate with talent.
Let us look at an example. Suppose that we have a ten-piece orchestra, a popular vocalist, and a man who does semi-classical vocals. This combination does a regular daily program over the station. When it comes time to plan program, where is the beginning point? The first step in building such a program is the choice of the music. This is the job of the produces in consultation with the musical composer, and to music song, which they select to be used. Assuming that the talent is known, then the music becomes the beginning point in building the programme. Sound musical training is desirable. There are many natural” musicians.
A musician must have a “good ear.” This means accuracy of pitch, of course, but it means more than that. It means the ability to hear and dissect music. It means a strong melodic sense and all the intangible connotations built around that phrase.
Versatility is a virtue under certain circumstances. A staff musician who can play four instruments well is obviously more useful than the musician who can play only one. He is usable under more circumstances and in more combinations.
Perhaps most important of all, in the measurement of musical talent, is the determination of an artist’s “feel” for music, whatever that may mean. That is an intangible that looms so large it can easily become more important than all the others. Music is an emotional thing. Perhaps the “feel” for music simply means that the artist is capable of responding to the emotion inherent in the music, which the composer originally wove into the score.
When it comes to choosing individual performers, there are certain considerations, which must be taken into account. One does not often find readymade star performers. A Producer sees potential solo performers. He is, therefore, not only estimating present accomplishment but future possibilities. One of the first things he looks for is willingness and an ability to grow. Only with that attitude is progress possible.
Experience is a sound foundation on which to build. Hence, the more previous experience an artist has had, the less will have to be acquired later, because there is no substitute for appearing before many audiences and on many programs. The more experience an artist has had, and the more varied those experiences have been, the better are the chances of building a star.
Type of Musical Program
The next problem of the Producer in this field is the choosing of music. Here, the Producer finds himself faced with choices for which there are no mathematically correct answers. Only opinions can be expressed, and the Producer must be sure that the public supports his opinions a good safe majority of the time.
Types and Forms of Musical Programs
Broadly speaking, following kinds of Music Programmes exist in Pakistan:
- Classical
- Semi-classical
- Ghazal
- Folk
- Pop
- Instrumental
Different formats are used for presentation of these programmes e.g. straight presentation musical concert, featurized music. Likewise, there are solo, duet, chorus types of musical items.
Instruments in use:
Sarangi, Sitar, Bansri, Dhole, Tasha, Nagara, Duff, Pakhawaj, Clarnet, Nafiri, Ektara, Violin, Harmonium, Piano, Benju Sarod, Tampura, Organ, Vina, Jaltarang. Rabab, Mardhang, Majira, Tangodrum, Alghoza [STRING – WIND – PERCUSSION]
Balancing the Program
The next part is where the musical Producer begins his hard part of the rehearsal period. He must listen to the talent and bring it into balance; that is to say, he must listen to all component parts of the program and juggle them until they are all heard in a proper volume relationship. As the number of musicians or musical units increases, the job becomes amazingly more complex.
In balancing an orchestra, the Producer must consider all the following factors in achieving a suitable setup and balance:
Size of the orchestra
- Type of Orchestra
- Types of arrangements or repertoire
- Personnel
- Size of studio
- Acoustical properties of the studio
- Type of microphones available
- Number of microphones available.
Drama Talent
- The best-hunting grounds for drama talent are educational institutions. Most radio stations broadcast student’s programs regularly for this purpose.
- Selection through auditions is a regular feature Generally weekly auditions are held for this purpose.
- Criteria of selection is based on certain standards consisting;
- Voice quality
- Voice age
- Other requirements as already described e.g. Pronunciation, Accent, Diction, Rhythm, Tone, Modulation, Techniques
- Types of Voice
| Sweet | Cultured | ||
| Harsh | Un-cultured | ||
| Soft | Shrilled | ||
| Base | Husky | ||
| Commanding | Distorted | ||
| Clarity | Accurate | ||
| Romantic | Irritating | ||
| Pinching | Unpleasant | ||
| Hoarse | Nasal | ||
| Meak | Pleasant | ||
| Indifferent | Flat |
- Interest in dramatic literatures is very helpful. Knowledge about TV, theater and movies help a great deal in developing the expertise.
- Observation is a trait, highly recommendable to a drama artist.
Writing for Radio:
Introduction
Writing for radio is different than writing for print. You’re writing for the ear, not the eye. Listeners have to get it the first time around- they can’t go back and hear it again (unlike re-reading a sentence in a magazine). And while a reader may get up and come back to an article, a radio listener who gets up may not come back. So you want to grab their attention and hold onto it for as long as possible.
Writing for major spoken words programme
- Drama (Idea, development, conflict and climax)
- Feature (on a particular topics, personality)
- Dramatic Feature
- Documentary / commentary
A few aesthetic considerations to keep in mind as you write your script:
Be conversational/ one to one
You narration should sound as natural as possible, like you are telling it to your friend. It should be written in a style which may sound as relaxed as possible. Use words you normally used use or listen by the common people of the society in which you are breathing. It is very important as Radio is normally listened into by the masses.
Be visual
Give your listeners a chance to imagine the people, places and things in your script create a sense of scene, describe the story include effects, music to enhance the impact of the story.
Be concise
Always avoid long and compound sentences /dialogues. Your lines / dialogues should be communicative, so always use easy, simple, short sentence which one can understand easily. Clarity of word must be observed. Do not write confused words. The idea must be grasped by the listeners.
It is a sound Picture (Pictorial)
You visualize it first as your script are delivered through sound. It should be like a picture. The words are a bridge between you and your audience. Do not use ambiguous language in script writing.
Most important to read the script whatever you want it sounds like or not. Also punctuate your script to make it more effective & authentic after writing read the script loud by feel.