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Advertising & IMC: Principles and Practice, 11e (Moriarty et al.)
Chapter 10 Promotional Writing
1) What is the most important word selection in marketing communication?

A) headline
B) slogan
C) brand or corporate name
D) mission statement
E) display copy
Answer: C
Learning Objective: 10.1: Describe the writer's role in brand communication.
Difficulty: Moderate
AACSB: Written and oral communication
2) Letters with a hard edge, such as T and K, suggest ________.

A) relaxation
B) innovation
C) effectiveness
D) speed
E) calm
Answer: C
3) A short phrase that wraps up the key idea or creative concept and that usually appears at the
end of the body copy is known as a(n) ________.
A) caption
B) overline
C) underline
D) call-out
E) tagline
Answer: E
Difficulty: Easy
1
Copyright © 2019 Pearson Education, Inc.
4) A distinctive catch phrase that serves as a motto for a campaign, brand, or company is known
as a(n) ________.
A) caption
B) overline
C) underline
D) call-out
E) slogan
Answer: E
Difficulty: Easy
5) According to research reported in the text, which of the following letters have a calming or
relaxing effect?
A) T and K
B) X and Z
C) C and S
D) P and K
E) S and Z
Answer: C
Difficulty: Difficult
6) Which of the following literary techniques used to enhance the memorability of slogans refers
to the repetition of the structure of a sentence or phrase?
A) direct address
B) parallel construction
C) startling phrase
D) rhyme, rhythm, alliteration
E) cue the product
Answer: B
7) Which of the following literary techniques used to enhance the memorability of slogans refers
to the repetition of specific sounds?
A) direct address
C) startling phrase
D) rhyme, rhythm, alliteration
E) cue the product
Answer: D
2
8) The slogan "Have it your way" is an example of which of the following literary techniques
used by advertisers?
A) direct address
C) music
D) rhyme
E) cliché
Answer: A
9) Which of the following is an example of a corporate publication?

A) newsletter
B) public service advertisement
C) banner ad
D) news release
E) testimonial
Answer: A
10) An advertisement for an exercise bike states, "Get fit as a fiddle fast!" Which of the
following literary techniques is used in this advertisement?
A) a startling phrase
B) alliteration
C) combination
D) parallel construction
E) cue the product
Answer: B
AACSB: Analytical thinking
11) The Microsoft slogan "Where do you want to go today?" is an example of which of the
following literary techniques?
A) a startling phrase
B) rhyme
C) combination
D) parallel construction
E) direct address
Answer: E
3
12) For several years, Nike included the phrase "Just Do It" in all of its advertisements, print and
television. This phrase is an example of a(n) ________.
A) caption
B) underline
C) slogan
D) call-out
E) copyright
Answer: C
13) The person who shapes and sculpts the words in marketing communication is called a(n)
________.
A) account planner
B) art director
C) copywriter
D) creative director
E) account manager
Answer: C
Learning Objective: 10.2: Name the types of brand communication writing.
Difficulty: Easy
14) A type of formula writing that is full of clichés, superlatives, stock phrases, and vague
generalities is known as ________.
A) hyperbole
B) display copy
C) key copy
D) adese
E) news copy
Answer: D
Difficulty: Easy
4
15) Which of the following can be described as "we" copy, written from the company's point of
view in a pompous tone?
A) hyperbole
B) display copy
C) key copy
D) brag-and-boast copy
E) your-name-here copy
Answer: D
Difficulty: Easy
16) According to creative professionals, which type of audience member responds best to humor
in advertising copy?
A) younger male
B) younger female
C) middle-aged male
D) middle-aged female
E) retired adult
Answer: A
17) According to creative professionals, humor in advertisements works best when the
________.
A) audience has a high need for cognition
B) product is high-involvement
C) ad appears in print media rather than broadcast
D) product is high-risk
E) audience has a low need for cognition
Answer: E
18) Public relations news and feature stories are written and distributed to external media in a
ready-to-publish format called a ________.
A) creative brief
B) news release
C) script
D) storyboard
E) press kit
Answer: B
Difficulty: Easy
5
19) Which of the following can most likely be individually targeted and personalized?
A) news releases
B) collateral materials
C) direct-response messages
D) directory ads
E) print magazine ads
Answer: C
Difficulty: Easy
20) A television advertisement for Chick-fil-a shows several cows eating grass in a large field.
The camera zooms out to show that the cows have eaten a pattern into the grass that reads "Eat
more chikin." The message closes with the lines, "We didn't invent the chicken, just the chicken
sandwich." This commercial best demonstrates which characteristic of effective copy?
A) using news
B) using imaginative description
C) providing product information
D) being original
E) being general
Answer: D
21) Gwen, an English major in college, took a job at an advertising agency after she graduated.
She knows the meanings and derivations, as well as the moods and feelings, of words and the
images and associations they create in a reader's mind. Her job is to select, shape and sculpt the
words in an advertisement. Gwen works as a(n) ________.
A) art director
B) creative director
C) copywriter
D) wordsmith
E) proofreader
Answer: C
6
22) Howard Computers is a manufacturer of portable medical laptop computers, which are more
technical than a typical laptop computer. Howard Computers will be advertising in trade and
medical professional publications. Which approach to writing copy would be most appropriate
for this product and target market?
A) being conversational
B) being funny
C) being specific
D) using alliteration
E) using adese
Answer: C
AACSB: Application of knowledge
23) Which of the following is the primary criterion for judging the value of a news story?
A) appeal
B) originality
C) creativity
D) newsworthiness
E) tone of voice
Answer: D
24) Which of the following are the two categories of copy that print advertising uses?
A) display and body
B) headline and text
C) tagline and slogan
D) overlines and underlines
E) headlines and subheads
Answer: A
Learning Objective: 10.3: Explain how to write for various media.
25) ________ include(s) all elements that readers see in their initial scanning; these elements are
set in larger type size than other elements of a print ad.
A) Body copy
B) Display copy
C) Adese
D) Headlines
E) Subheads
Answer: B
Difficulty: Easy
7
26) ________ includes the elements in a print ad that are designed to be read and absorbed.
A) Body copy
B) Display copy
C) Adese
D) Brag-and-boast copy
E) News copy
Answer: A
Difficulty: Easy
27) All of the following are most likely considered display copy EXCEPT which one?
A) lead paragraph
B) headline
C) subhead
D) tagline
E) slogan
Answer: A
28) Which element in print advertising conveys the main message so that people get the point of
the ad?
A) headline
B) overline
C) body copy
D) subhead
E) call to action
Answer: A
Difficulty: Easy
29) The text of the ad is known as the ________.

A) headline
B) overline
C) body copy
D) subhead
E) tagline
Answer: C
Difficulty: Easy
8
30) Which of the following is NOT considered one of the copywriter's tools?
A) adese
B) overlines
C) body copy
D) call-outs
E) calls to action
Answer: A
31) Phrases or sentences that either lead into the headline or follow up on the thought in the
headline are known as ________.
A) overlines and underlines
B) heads and subheads
C) display and body copy
D) call-outs and calls to action
E) taglines and slogans
Answer: A
32) Which of the following copy elements in a print ad is a sentence that floats around the visual,
usually with a line or arrow pointing to some specific element in the visual that it names and
explains?
A) caption
B) overline
C) underline
D) call-out
E) tagline
Answer: D
33) A sentence or short piece of copy that explains what the viewer is looking at in a photo or
illustration is known as a(n) ________.
A) caption
B) overline
C) underline
D) call-out
E) tagline
Answer: A
Difficulty: Easy
9
34) A line at the end of an ad that encourages people to respond and gives information on how to
respond is called a(n) ________.
A) underline
B) caption
C) call to action
D) overline
E) call-out
Answer: C
35) According to researchers, how many readers who read the headline go on to actually read the
body copy?
A) 5 percent
B) 20 percent
C) 50 percent
D) 70 percent
E) 90 percent
Answer: B
36) Copy tests of headlines using two versions of the same ad are known as ________ tests.
A) end-run
B) tag
C) split-run
D) dual
E) direct
Answer: C
37) Headlines can be grouped into which two general categories?

A) call-outs and calls to action
B) overlines and underlines
C) taglines and slogans
D) direct action and indirect action
E) display and body
Answer: D
10
38) Which type of headline is straightforward and informative?
A) call-out
B) call to action
C) overline
D) indirect action
E) direct action
Answer: E
Difficulty: Easy
39) Which of the following is a type of direct-action headline?

A) news announcement
B) puzzle
C) association
D) question
E) provocation
Answer: A
40) Which type of direct-action headline states a claim or a promise that will motivate someone
to try the product?
A) assertion
B) command
C) how-to head
D) association
E) provocation
Answer: A
41) Which of the following is a type of indirect-action headline?

A) assertion
B) command
C) how-to head
D) association
E) news announcement
Answer: D
11
42) Which type of indirect-action headline is strictly used for curiosity and provocative power?
A) assertion
B) puzzle
C) how-to head
D) association
Answer: B
43) Which type of indirect-action headline uses image and lifestyle to get attention and build
interest?
A) assertion
B) puzzle
C) how-to head
D) association
Answer: D
44) Indirect-action headlines that give little information but attempt to compel readers to read on
to find out the point of the message are known as ________.
A) blind headlines
B) blank headlines
C) assertion headlines
D) taglines
E) commands
Answer: A
Difficulty: Easy
45) After the headline, which copy element has the second-highest readership?
A) overlines
B) underlines
C) call-outs
D) captions
E) taglines
Answer: D
12
46) ________ are sectional headlines that can be used to break up a mass of "gray" type in a
large block of copy.
A) Captions
B) Subheads
C) Taglines
D) Slogans
E) Direct headlines
Answer: B
47) Which copy element develops the sales message, states the argument, summarizes the proof,
and provides an explanation?
A) headline
B) subhead
C) caption
D) body copy
E) display copy
Answer: D
Difficulty: Easy
48) Most ________ is brief, straightforward, and informative, providing critical information
about styles, sizes, and prices of merchandise.
A) direct-response copy
B) newspaper advertising copy
C) directory advertising copy
D) news release copy
E) outdoor advertising
Answer: B
49) Which of the following media rely most heavily on visuals?

A) direct-response messages
B) newsletters
C) newspapers
D) directories
E) outdoor boards
Answer: E
13
50) Which paragraph or combination of paragraphs in body copy are most likely to be read?
A) lead only
B) middle and closing
C) lead, middle, and closing
D) lead and closing
E) lead and middle
Answer: D
51) Which of the following is another name for the first paragraph of the body copy?
A) tagline
B) lead
C) underline
D) overline
E) headline
Answer: B
Difficulty: Easy
52) What is the purpose of the closing paragraph in body copy?

A) to give readers interesting information so that they go back and read the full body copy
B) to provide specific information such as price and warranty
C) to highlight the required disclaimers
D) to draw the reader's attention to the selling premise
E) to refer back to the creative concept and wrap up the Big Idea
Answer: E
53) In which print medium can ads be more informative and carry longer copy?
A) newspapers
B) magazines
C) directories
D) posters
E) outdoor advertising
Answer: B
14
54) What is the most important characteristic of copywriting for outdoor advertising?
A) rhythm
B) adese
C) call to action
D) brevity
E) alliteration
Answer: D
55) Brochures and pamphlets that provide details about a product, company, or event are known
as ________.
A) add-on materials
B) service materials
C) collateral materials
D) overlines
E) underlines
Answer: C
Difficulty: Easy
56) Radio's special advantage, referred to as ________, is that the story is visualized in the
listener's imagination.
A) theater of the mind
B) emotional resonance
C) image enhancement
D) abstract theater
E) synthesis
Answer: A
Difficulty: Easy
57) Which of the following is a tool of radio advertising?

A) headline
B) body copy
C) theater
D) motion
E) voice
Answer: E
Difficulty: Easy
15
58) Which of the following is considered the most important element in radio advertising?
A) human voice
B) instrumental music
C) sound effects
D) jingle
E) copy
Answer: A
59) Commercials in song are known as ________.

A) jingles
B) musicals
C) lyricals
D) sound effects
E) voice-overs
Answer: A
Difficulty: Easy
60) Which of the following is NOT a guideline for writing effective radio commercials?
A) Keep it impersonal.
B) Wake up the inattentive.
C) Speak to listeners' interests.
D) Make it memorable.
E) Include a call to action.
Answer: A
61) ________ occurs in a radio commercial when the visuals from the TV version of an ad are
re-created in a listener's mind by the use of key phrases and ideas from the TV commercial.
A) Theater of the mind
B) Memorability
C) Call to action
D) Image transfer
E) Recognition
Answer: D
Difficulty: Easy
16
62) Copywriters working on a radio commercial use a standard ________ format to write the
copy to certain time blocks, including all the words, dialogue, lyrics, sound effects, instructions,
and descriptions.
A) storyboard
B) radio script
C) transcript
D) dialogue
E) dual-column
Answer: B
Difficulty: Easy
63) Which of the following is NOT a technique used in television copy?

A) action
B) demonstration
C) storytelling
D) emotion
E) underline
Answer: E
64) What are the two primary toolkits available to television copywriters?
A) voice-over and on-camera
B) voice and sound effects
C) visual and audio
D) on- and off-location
E) script and storyboard
Answer: C
65) Which of the following involves an announcer, who is not visible, describing some kind of
action taking place on the screen?
A) voice-over
B) remote-voice
C) off-location
D) ghost-voice
E) monologue
Answer: A
Difficulty: Easy
17
66) In a television ad, where does the action take place?
A) storyboard
B) script
C) cast
D) set
E) frame
Answer: D
Difficulty: Easy
67) Commercials shot outside the studio are said to be filmed ________, which means the entire
crew and cast are transported somewhere away from the studio.
A) off frame
B) on camera
C) on location
D) off location
E) off camera
Answer: C
Difficulty: Easy
68) Which of the following is NOT a role for which people can be cast in a television
commercial?
A) announcer
B) director
C) spokesperson
D) character type
E) celebrity
Answer: B
69) A commercial's ________ refers to how fast or slowly the action progresses.
A) storytelling
B) action
C) direction
D) key frame
E) pace
Answer: E
Difficulty: Easy
18
70) Segments of action in a television commercial that occur in a single location are known as
________.
A) scenes
B) photoboards
C) key frames
D) storyboards
E) scripts
Answer: A
Difficulty: Easy
71) The visual that sticks in the mind and becomes the image that viewers remember when they
think about a commercial is known as the ________.
A) brand personality
B) key frame
C) tagline
D) elemental visual
E) scripted visual
Answer: B
Difficulty: Easy
72) A(n) ________ is the visual plan or layout of the commercial that shows the number of
scenes, the composition of the shots, and the progression of the action.
A) key frame
B) script
C) storyboard
D) storyline
E) action plan
Answer: C
Difficulty: Easy
73) What is the most common form of online advertising?

A) blogs
B) native advertising
C) pop-ups
D) email ads
E) banners
Answer: E
AACSB: Information technology
19
74) Banner ads normally invite viewers to click on the banner to link to an ad or the advertiser's
home page. The effectiveness of such efforts is monitored in part by the number of ________.
A) write-ins
B) readers
C) visuals
D) key words
E) click-throughs
Answer: E
Difficulty: Easy
75) A website writer wanting to improve the user experience of a site should follow which of the
following tips?
A) Provide detailed information on the top of the page.
B) Create multiple links throughout the text so users can navigate to multiple pages.
C) Convert bullet points to paragraphs.
D) Keep it simple.
E) Design major copy blocks that flow into each other.
Answer: D
Difficulty: Easy
76) A print ad for Wonder Bread used a picture of a little boy with sentences floating around him
and arrows pointing to various parts of his body. Each arrow was accompanied by a statement
about how Wonder Bread helps a specific body part. These sentences and lines pointing to the
various parts of the visual are known as ________.
A) overlines
B) underlines
C) subheads
D) call-outs
E) cut-outs
Answer: D
20
77) The advertising agency for the Ford Focus wants to test the impact of the two headlines it is
considering for a magazine ad. What kind of test can the agency conduct to determine this?
A) end-run test
B) body copy test
C) split-run test
D) dual test
E) direct test
Answer: C
78) A headline for a magazine ad states "Lose up to 10 pounds this weekend!" Which type of
headline does this best represent?
A) command
B) news announcement
C) association
D) assertion
E) how-to
Answer: D
79) A Johnson & Johnson campaign for the company's "Healthy People" initiative includes
posters with the headline "Keep your spirit pure" with no additional information in the headline.
This is an example of a(n) ________ headline.
A) how-to
B) indirect
C) action
D) news
E) identifying
Answer: B
21
80) George just finished writing the copy for a pamphlet detailing the healthy food options at a
chain of fast food restaurants. The pamphlet will be available at the counter of each restaurant,
giving customers the opportunity to learn about the nutritional value of different meal
combinations before they order. George has written ________.
A) underline material
B) taglines
C) collateral material
D) slogans
E) overline material
Answer: C
81) A car insurance company has a successful and popular television commercial. The company
would like to expand its advertising to radio, building on the momentum of its television
campaign. What is the company most likely trying to accomplish?
A) Keep the ad personal.
B) Speak to listeners' interests.
C) Make the ad memorable.
D) Create image transfer.
E) Deliver a call to action.
Answer: D
82) Sleepy's, the national mattress store that has branded itself as "the mattress professionals,"
runs several radio spots throughout the country on a variety of stations. All of the radio ads end
with the slogan, "Trust Sleepy's for the rest of your life" sung to a simple tune. This slogan is an
example of a(n) ________.
A) jingle
B) sound effect
C) emotional pivot
D) key frame
E) key visual
Answer: A
22
83) In preparation for the filming of a television ad for a new line of organic coffee, Tara has
analyzed the auditions of 10 actors and actresses who hope to play one of the two characters in
the commercial. Tara is in the process of ________.
A) framing
B) casting
C) storyboarding
D) photoboarding
E) scripting
Answer: B
84) Sponsored content online is referred to as ________, while sponsored content in a magazine
is referred to as ________.
A) native advertising; advertorials
B) infomercials; advertorials
C) image transfer; advertorials
D) infomercials; native advertising
E) native advertising; image transfer
Answer: A
Refer to the following scenario to answer the questions below.
Travelocity.com is an online travel agency that advertises that users will get the best prices on
airfare, hotels, and rental cars. Travelocity.com uses the "Roaming Gnome" in its television
commercials, often in humorous situations. For example, a recent ad showed the gnome in
Europe where he plugged an American appliance (i.e., hair dryer) into a socket and was shocked
across the room. All that was shown of him when the smoke cleared was the top of his gnome
hat down behind a chair. Viewers hear him say, "Am I going to die?"
85) The "Roaming Gnome" is most accurately classified as which of the following?
A) announcer
B) spokesperson
C) character type
D) celebrity
E) talking head
Answer: B
23
86) Most audience members who see this commercial remember the image of the "Roaming
Gnome" being jolted across the room. This visual is known as a(n) ________.
A) action point
B) visual point
C) key visual
D) key frame
E) primary frame
Answer: D
87) When a new concept and execution is developed for a television commercial,
Travelocity.com's advertising agency provides a visual plan or layout of the commercial for the
company to approve. This plan is called a(n) ________.
A) storyboard
B) scene-by-scene plan
C) script
D) action plan
E) progression sheet
Answer: A
88) Which of the following statements about copywriting in a global environment is FALSE?
A) English is more economical than many other languages.
B) Standardizing the copy content by translating the appeal into the language of the foreign
market involves many possible communication blunders.
C) Few international campaigns are literally translated.
D) A back translation of the ad copy from the foreign language into the domestic one is rarely a
good idea because it fails to convey a complete cultural interpretation.
E) The most reasonable solution to the language problem is to use bilingual copywriters who
understand the full meaning of the English text and can capture the essence of the message in the
second language.
Answer: D
Learning Objective: 10.4: Identify some challenges that writers face.
24
89) In a ________ culture, brand communication messages are best understood when presented
within contextual clues.
A) global
B) local
C) high-context
D) low-context
E) technological
Answer: C
AACSB: Diverse and multicultural work environments
90) A ________ of an ad translates the foreign language copy into the original domestic
language to check the accuracy of the message.
A) high-context translation
B) low-context translation
C) global translation
D) bilingual translation
E) back translation
Answer: E
Difficulty: Easy
91) Parallel construction involves the repetition of sounds.

Answer: FALSE
92) Experts suggest that copywriters use at least 20 words in outdoor advertising copy.
Answer: FALSE
93) "Pork. The other white meat." is an example of a slogan that cues the product.
Answer: TRUE
25
94) If a message tries to convey abstract qualities, such as justice and quality, words tend to
communicate these concepts more easily than pictures.
Answer: TRUE
95) Copy is the text of an ad or the words that people say in a commercial.
Answer: TRUE
Difficulty: Easy
96) If your brand communication objective is to generate awareness of the brand, then you
should most likely avoid humor in your advertising.
Answer: FALSE
97) One tip for writing effective copy is to use evocative or figurative language to build a picture
in the consumer's mind.
Answer: TRUE
98) Public relations writers follow the traditional "five Ws" form when writing news stories sent
as news releases to external media.
Answer: TRUE
99) Only grammatically correct sentences should be used in advertising copy.

Answer: FALSE
100) The more elaborate the copy, the greater its impact is likely to be.
Answer: FALSE
26
101) "Your-name-here copy" is most effectively used in corporate advertising.
Answer: FALSE
102) Display copy includes the elements that are designed to be read and absorbed, such as the
text of the ad message and captions.
Answer: FALSE
Difficulty: Easy
103) To be effective, a headline needs to interrupt readers' scanning and get their attention,
present the selling premise, and lead to conviction.
Answer: FALSE
104) A command headline politely tells the reader to do something.

Answer: TRUE
105) Association headlines use image and lifestyle to get attention and build interest.
Answer: TRUE
106) Subheads are short, catchy, and particularly memorable phrases used at the end of an ad to
complete or wrap up the creative idea.
Answer: FALSE
107) The two paragraphs that get the most attention in body copy are the lead and the follow-up
paragraph.
Answer: FALSE
27
108) All print ads end with a call to action with instructions on how to respond.
Answer: FALSE
109) Sound effects used in radio advertising are often taken from sound-effects libraries rather
than created originally for a specific radio message.
Answer: TRUE
110) Speaking style in radio advertising should match the speech style of the target audience.
Answer: TRUE
111) Slang is usually effective in radio advertising.

Answer: FALSE
112) Storytelling is one way that copywriters can present action in a television commercial more
powerfully than in other media.
Answer: TRUE
113) A message that uses an emotional pivot structure creates a feeling at the beginning of the
message and then intensifies that feeling throughout the message.
Answer: FALSE
114) The audio elements for television and radio messages are the same.
Answer: TRUE
28
115) Television copywriters have two primary toolkits: video and audio.
Answer: TRUE
116) Commercials shot outside the studio are said to be filmed on set, which means the entire
crew and cast are transported somewhere away from the studio.
Answer: FALSE
117) The people appearing in a television commercial are referred to as the talent.
Answer: TRUE
Difficulty: Easy
118) The key set is what sticks in the mind and becomes the image that viewers remember when
they think about the commercial.
Answer: FALSE
119) The storyboard is the visual plan or layout of the commercial.

Answer: TRUE
Difficulty: Easy
120) Effective banner ads often use promotional incentives such as prizes or gifts to motivate
visitors to click through to the sponsor's website.
Answer: TRUE
121) Members of an audience for internet ads are referred to as visitors or surfers rather than
readers or listeners.
Answer: TRUE
29
122) The internet is more interactive than any other mass medium, so internet writers must be
able to both attract people to a brand and manage a dialogue-based communication experience.
Answer: TRUE
123) The last line of copy in a magazine advertisement for Post-its reads, "Find out more at post-
it.com/bigpad." This is an example of a call to action.
Answer: TRUE
124) In comparison to direct-action headlines, indirect-action headlines are more effective tools
for targeting the right audience for the brand.
Answer: FALSE
125) Most international campaigns are translated word for word to keep the original meaning or
intent of the brand message.
Answer: FALSE
126) List and describe five techniques copywriters can use to create catchy, memorable slogans.
Answer: Techniques for creating catchy slogans:
(1) Direct address: Speak directly to the audience.
(2) Startling or unexpected phrase: Twist a common phrase to make it memorable.
(3) Rhyme, rhythm, alliteration: Use repetition of sounds.
(4) Parallel construction: Use repetition of the structure of a sentence or phrase.
(5) Cue the product.
(6) Music.
(7) Keep it short.
(8) Double entendre: Create a slogan with two different meanings to create stronger connections
with consumers.
30
127) What is the difference between a tagline and a slogan?
Answer: A slogan is a distinctive catchphrase that serves as a motto for a brand for an extended
period of time, while a tagline is a line at the end of an ad that wraps up a creative concept. A
slogan is much more enduring than a tagline, which is typically associated with a single
campaign.
Refer to the passage below to answer the following questions.
Advertisements for a particular brand of soap include the phrase, "Love the skin you're in." Print
ads show a close-up of a young woman's clean face, and the copy is written as if she is telling the
reader the benefits of this soap. She explains how soft your skin will feel and how much you will
love that feeling.
128) The phrase "Love the skin you're in" appears in every ad for this product. Which copy
element does this phrase represent?
Answer: This represents a slogan, which is a distinctive catch phrase that serves as a motto for a
campaign, brand, or company. It is used across a variety of marketing communication messages
and over an extended period of time. Slogans, which are repeated from ad to ad as part of a
campaign or a long-term brand identity effort, also may be used as taglines.
129) Which two literary techniques for writing copy are represented in this slogan?
Answer: This example uses direct address and rhyme (skin, in).
31
130) List and describe five characteristics of effective copy that were given in the chapter.
Answer:
(1) Be succinct: Use short, familiar words in short sentences.
(2) Be single-minded: Focus on one main point.
(3) Be specific: Avoid generalities.
(4) Get personal: Directly address the audience.
(5) Keep a single focus: Focus on and support a single idea.
(6) Be conversational: Use the language of everyday conversations, which may mean imperfect
grammar.
(7) Be original: Avoid stock phrases and clichés.
(8) Use news: Announce something as new if it is truly newsworthy.
(9) Use imaginative description: Use figurative language to create a picture in the audience's
minds.
131) How does the language of direct-response messages typically differ from that of other print
brand communications?
Answer: Direct-response messages are often longer and contain more explanation and detail
than other forms of marketing communication. Direct-response messages can be individually
targeted and personalized, unlike other print brand communications.
132) Why is language more important in an advertisement for a high-involvement product than
for a low-involvement product?
Answer: A consumer spends very little time thinking about the purchase of a low-involvement
product, but will spend a significant amount of time considering a high-involvement purchase.
For a high-involvement purchase, the more information the consumer has about the brand, the
better, and this means more words in the ad.
133) Compare and contrast display copy and body copy.

Answer: The two categories of copy that print advertising uses are display copy and body copy
(or text). Display copy includes all elements that readers see in their initial scanning. These
elements —headlines, subheads, call-outs, taglines, and slogans—usually are set in larger type
sizes than body copy and are designed to get attention and to stop the viewer's scanning. Body
copy includes the elements that are designed to be read and absorbed, such as the text of the ad
message and captions.
32
134) Name and describe the types of direct- and indirect-action headlines.
Answer: Types of direct-action headlines:
(1) Assertion—States a claim or a promise that will motivate someone to try the product.
(2) Command—Politely tells the reader to do something.
(3) How-to heads—People are rewarded for investigating a product when the message tells them
how to use it or how to solve a problem.
(4) News announcements—Used with new-product introductions, but also with changes,
reformulations, new styles, and new uses. The news value is thought to get attention and
motivate people to try the product.
Types of indirect-action headlines:
(1) Puzzles—Used strictly for their curiosity and provocative power. Puzzling statements,
ambiguities, and questions require the reader to examine the body copy to get the answer or
explanation. The intention is to pull readers into the body copy.
(2) Associations—Use image and lifestyle to get attention and build interest.
135) Compare and contrast copywriting for radio and copywriting for television.
Answer: Because radio is a transitory medium, the ability of the listener to remember facts is
difficult, so copywriters repeat the key points of brand name and identification information.
Radio is pervasive in that it surrounds many of our activities, but it is seldom the listener's center
of attention and is usually in the background. Radio's special advantage, referred to as theater of
the mind, is that the story is visualized in the listener's imagination. The copywriter has all the
theatrical tools of voices, sound effects, and music, but no visuals. The most important element
in radio advertising is voices, which are heard in jingles, spoken dialogue, and announcements.
Radio advertising also relies on conversational style and vernacular language. Guidelines for
writing effective radio copy include:
(1) Keep it personal
(2) Speak to listeners' interests
(3) Wake up the inattentive
(4) Make it memorable
(5) Include call to action
(6) Create image transfer
Television copywriters understand that it is the moving image, the action, which makes
television so much more engaging than other media. The challenge for the writer is to fuse the
images with the words to present not only a creative concept, but also a story. One of the
strengths of television, then, is its ability to reinforce verbal messages with visuals or reinforce
visuals with verbal messages. Viewers watching a program they enjoy often are absorbed to a
degree only slightly less than that experienced by people watching a movie in a darkened theater.
Effective television commercials can achieve this level of audience absorption if they are written
to maximize the dramatic aspects of moving images and storytelling. Television copywriters
have two primary tools: their audio and visual toolkits.
33
136) Briefly explain the targeting function of a headline.
Answer: A good headline will attract only those who are prospects; there is no sense in
attracting people who are not in the market. The headline should tightly target the right audience.
137) Briefly explain why a headline should move readers from the process of scanning to
reading.
Answer: The headline should pull readers into the body copy of a print ad, attracting enough
attention to make readers stop the scanning process and start concentrating on the brand
information delivered in the body copy.
138) A magazine ad for Aveeno moisturizing lotion states, "Get healthy skin for life." Identify
and describe the type of headline this illustrates.
Answer: This is an example of a direct-action headline known as assertion. An assertion is a
headline that states a claim or a promise that will motivate someone to try the product.
139) A magazine ad for Geico car insurance asks, "How Could You Save Over $200 on car
insurance?" with a subhead of "The answer is @ your fingertips." The ad then goes on to explain
how in just minutes you can get an accurate price quote when you visit Geico's website. Identify
and describe the type of headline this illustrates.
Answer: This is an example of a direct-action headline that is best described as a how-to head.
With a how-to head, people are rewarded for investigating a product when the message tells
them how to use it or how to solve a problem. However, an argument can be made that this is
also an example of an assertion headline, which is one that states a claim or a promise that will
motivate someone to try the product.
140) What is an advantage of magazine advertising?

Answer: Magazines offer better-quality ad production, which is important for brand image and
high-fashion brand communication.
34
141) What kind of writing should a copywriter use when creating an ad that will be placed in a
directory?
Answer: For directory advertising, it's advisable to use a headline that focuses on the service or
store personality unless the store's name is a descriptive phrase. Complicated explanations don't
work well because there is little space. It is not wise to include information that is subject to
change because the directory is published only once a year.
142) Describe the purpose of collateral materials.

Answer: Collateral materials are used in support of an advertising campaign. Brochures and
pamphlets and other materials provide details about a product, company, or event. Typically,
product literature is a heavy-copy format, or at least a format that provides room for explanatory
details along with visuals; the body copy may dominate the piece.
143) Bob is a sales representative for a local radio station, but he also helps advertisers with the
copy for their ads. What are the main tools available to Bob when developing copy for radio
commercials? How are they used?
Answer: In radio advertising, the tools are the audio elements: voice, music, and sound effects.
The most important element is voices. Music can be used behind the dialogue to create a mood
or establish a setting. Sound effects are described in the radio script and are important in making
a commercial attention-getting and memorable.
144) What are some of the guidelines for writing effective radio commercials?
Answer: The guidelines discussed in the text are:
(1) Keep it personal.
(2) Speak to listeners' interests.
(3) Wake up the inattentive.
(4) Make it memorable.
(5) Include call to action.
(6) Create image transfer.
35
145) How can TV commercials effectively use the tool of storytelling?
Answer: Most of the programming on television is narrative, so commercials use storytelling to
take advantage of the medium's strength. Television can dramatize the situation in which a
product is used and the type of people using it. Stories can be riveting if they are well told, but
they must be imaginative to hold their own against the programming that surrounds them.
146) How are banner ads similar to outdoor advertising?

Answer: Like outdoor ads, banner ads must quickly grab the audience's attention (in this case,
surfers or visitors). Both types of advertising are frequently used for brand reminder information.
They tend to use visuals and limited copy.
147) Rob has been writing copy for magazine ads for many years, but now he wants to venture
into writing copy for web ads. Explain how writing for the web is going to be different for Rob.
Answer: The web is more interactive than any other medium. Not only does the viewer initiate
the contact, but viewers can send email on many, if not most, websites. This makes web
advertising more like two-way (or multiple-way) communication, and that's a major point of
difference from other advertising forms.
148) One copy element of a print ad featuring a beautiful young woman's face explained the
effect a brand of soap had on her skin structure, which is what allows skin to feel so soft after
using this soap. An arrow was used to connect the explanation to the skin on her cheek. What
type of copy element does this represent, and why is it used?
Answer: Call-outs are sentences that float around the visual (i.e., the young woman's face),
usually with a line or arrow pointing to some specific element (i.e., her skin) in the visual that
they name and explain.
149) Why is it important to consider the user experience when writing for a website?
Answer: A good user experience translates to higher conversation rates and more sustained
engagement with the website, and thus with the brand. Web pages should be simple and visually
appealing so that users can easily navigate to find what they are looking for. If they can't easily
find what they are looking for, they will likely leave the site.
36
150) Discuss potential problems advertisers face when translating copy into another language.
How can these problems be addressed?
Answer: Headlines in any language often rely on a play on words, themes that are relevant to
one country, or slang. Because these verbal techniques don't cross borders well, copywriters
must remove them from the advertising unless the meaning or intent can be re-created in other
languages. For this reason, international campaigns are not literally translated. A back translation
of the ad copy from the foreign language into the domestic one is always a good idea, but it
never conveys a complete cultural interpretation.
37
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and violinists could not play two or more notes with ‘one bow.’
Neither did they endeavor to conquer the technical difficulties of
playing on the G string. They made practically no use of the fourth
string until the end of the century. In addition, the instruments were
badly constructed, equipped with strings of inferior quality and tuned
in a low pitch, all of which militated strongly against purity and
accuracy of intonation. Hans Gerle (a flute player of Nuremberg), in
his 'Musica Teutsch, auf die Instrument der grossen und kleinen
Geigen’ (1532), advised that intonation marks be placed on the
fingerboard, and this naïve advice was in use as late as the middle of
the eighteenth century.[45]
The same writer points out that instrumentalists in improvising their

parts were prone to vie with each other in demonstrating their ability
as contrapuntists, a perfectly comprehensible habit, which must have
affected instrumental music in the sixteenth century as badly as the
vagaries of coloratura singers affected operatic music in the
eighteenth.
Gerle’s book, incidentally, contained a number of German, Welsh,

and French songs, and a fugue for four violins. Among other early
books on the violin mention may be made of these:
S. Virdung: Musica getuscht, 1511.
Judenkönig: A truly artistic instruction * * * of learning upon

the lute and violin, 1523. (Contains 25 numbers for violin and
flute.)
Agricola: Musica Instrumentalis, 1528. (Here the author refers

to the vibrato as a device that ‘makes the playing more
sweet.’)
La Franco: Scintille di Musica, 1533.
Silvestro Ganassi: Regola Rubertina che insegna suon di

Viola d’arco, 1543.
Ludovico Zacconi: Prattica di Musica, 1592 (Zacconi stated
here that the compass of the violin was g-ciii).
M. Prätorius: Syntagma Musicum, 1619.
Touching upon the use of the violin in the sixteenth century there is
extant a wealth of historical references. From one of these, for
example, we gather that at a public festival in 1520 viols were used
to accompany songs. We may assume their popularity in England
from the fact that they were used in the family of Sir Thomas More
(1530), an ardent music lover, and that during the reign of Edward VI
the royal musical establishment increased the number of its viols to
eight. Violins were used at public performances in Rouen in 1558; at
a fête in Bayonne for dance music in 1565, and in a performance of a
Mass at Verona in 1580. In the year 1572 Charles XI of France
purchased violins from Cremona and a little later ordered the famous
twenty-four violins from Andrea Amati. In 1579, at the marriage of the
Duke of Joyeuse, violins were used to play for dances, and
Montaigne in his Journal (1580) refers to a marriage ceremony in
Bavaria, where ‘as a newly married couple went out of church, the
violinists accompanied them.’ From this passage of Montaigne we
may infer that, in Germany at least, the popularity of violin music was
not confined to the upper classes. It must be remembered, however,
that the terms ‘viola,’ ‘violin,’ ‘viol,’ etc., were often applied
indifferently to stringed instruments of various kinds, and in view of
this inaccurate nomenclature historical references must be accepted
with a certain amount of reserve.
We know little of the music that was played on the violin before the
last decade of the sixteenth century. Violins, we are aware, were
employed in ensembles, in orchestras, and in unison with voices, and
in looking for violin music we have not necessarily to consider
compositions written especially for violin. By way of illustration we
may cite a collection of French Dances (1617), published for
‘instruments,’ presumably for all kinds of instruments, and a
collection of ‘Songs’ edited in Venice (1539) bearing the remark ‘to
sing and play,’ and indicating no special instruments. Probably much
of this sort of music was played by violin. Among examples of
specific writing for the violin there has come down to us previous to
1539 a Fugue (Fugato rather) for four violins, composed by Gerle. It
is in four parts: Discant (first violin), Alto (second violin), Tenor (viola)
and Bass ('cello), perhaps the earliest specimen of a composition for
string quartet. The style is purely vocal, as we may see from the
theme:
There is no suggestion of the violin idiom in the piece and it throws

no light on the development of violin music. Cortecci and Striggio in
1565 scored their intermezzi for two gravecembali, violins, flutes,
cornets, trombones, and several other instruments. D’Etrée, an oboe
player, wrote down the common lively tunes which had been
previously learned by ear and published them in 1564. As a practical
musician he undoubtedly considered also the violin. In the
performance of Beaulieu’s Circe (1581) ten bands were used and in
the first act ten violin players in costumes appeared. The famous
violinist, Beaujoyeaulx (an Italian in the service of Henry III whose
real name was Baltasarini), wrote ballets (1584), dances, festival
music, and other compositions, which were very successful at the
court. Doubtless he played them himself. Castiglione in his
Cortigiano mentions a composition as being written for 'quattro viole
da arco’ which almost seems to indicate another specimen of early
string quartet. Toward the end of the century we meet with the Balletti
of Gastoldi and of Thomas Morley, some of which are printed without
words and may have been intended for instrumental performances.
Still, they are vocal in character and do not exceed the compass of
the human voice. Besides these, there are other compositions and
collections of dances, etc., that may be considered musical material
for violinists of the time. Most of them, however, deserve no detailed
notice.
Up to 1587 the leading instrument of the orchestra was the Cornetto

(German ‘Zinke,’ an instrument of wood, not of metal). The earliest
instance where the Cornetto alternates with the violins in taking the
lead and where a part was inserted especially for violino is to be
found in Concerto di Andrea e Giovanni Gabrieli—per voci e
strumenti musicali, 1587. Some of G. Gabrieli’s compositions,
however, are still in vocal style, but some are decidedly instrumental
in character, as we may see from the following illustrations.
and
From a Sonata à 3 (1615).
and
(Note the last example, where the intentional contrast between piano
and forte is distinctly indicated.)
In 1593 Florentino Maschera, one of the celebrated organists of his

time, published a book of ‘Songs to play’ (Canzoni a sonar). The
work consisted of seventy-one pieces which had family names for
their titles, a custom that was often repeated in the first half of the
sixteenth century. It is important to note that these pieces were
printed in separate parts, so that they may be considered as the first
specimens of independent though not direct writing for the violin.
These canzoni were vocal in character and there was little that
suggested instrumental technique. The style was that of the vocal
compositions of the time—contrapuntal.
A genuine and daring innovator in the field of violin music was

Claudio Monteverdi (1567-1643), who in some violin passages went
up as high as the fifth position. Besides broadening the technique of
the left hand, he demanded tremolos for dramatic effects in
accompanying recitative:
This passage from Combattimento di Tanceredi e Clorinda (1624)

offered so many difficulties to the musicians that at first they refused
to play it. As we shall see presently, however, Monteverdi was not the
first to introduce this effect (cf. p. 381). Another of his new effects
was the introduction of the pizzicato, which he marked thus: Qui si
lascia l’arco, e si strappano le chorde con duo diti, and afterwards
Qui si ripiglia l’arco. That Monteverdi expected violins to produce a
crescendo with the bow is apparent with the instruction Questa ultima
note va in arcato morendo. ‘Monteverdi with his two violins “alla
Francese” in the score of Orfeo (the first printed reference to the
violin as an orchestral instrument in the modern sense), probably
meant nothing more than that the violins were to be in the fashion of
the French, but in place of accompanying a dance, the character
indicated in the opera was accompanied by two violins in a particular
part of its music.’[46] In other violin pieces by Monteverdi, as in his
Scherzi musicali and Ritornelle (1607), we see his superiority to his
contemporaries, just as in his Sonata sopra Sancta Maria detratta,
etc. (1610), he showed plainly his desire to improve violin music.
III
The first attempt at independent violin composition was made by
Biagio Marini (1590-1660), maestro di cappella in Santa Eufemia in
Brescia and a court concert-master in Germany, who may be
regarded as the first professional composer-violinist. In his early
compositions the violin parts were not difficult for the players. There
were mostly half and quarter notes in slow tempi, displaying the
quality of vocal compositions, and without much use of the G string.
Witness the following example from his Martinenga Corrente (1622):
A passage from his Il Priulino Balletto e Corrente (marked canto

primo, secondo, and basso)
is more instrumental in quality, though the second part of the Balletto

reveals again the character of vocal music. The whole may be played
on the A and E strings. More violinistic passages are to be found in
his sinfonia La Gardana; for example:
Marini’s dance compositions are characteristic of all dance music at

the beginning of the seventeenth century. Among them, however, is
one that possesses particular interest for us from the fact that it is the
first extant composition marked distinctly ‘for violin solo.’ It is entitled
La Romanesca per Violino Solo e Basso (ad libitum), and has four
sections, each consisting of two parts. The first section, Parte prima,
has six measures in the first and second part; the second section has
five measures in the first part and six in the second. The form of the
third section is not so clear as that of the previous ones, although, as
we may see from the basses, the composer endeavored to give
clear-cut melodies. The same may be said of the fourth section,
where the figures are in the bass. The third section—terza parte in
altro modo—with new melodic and rhythmic material, has the
character of a dance. The violin part moves in figures of eight, and
there are sustained notes in the bass. The first few measures of each
section will serve as illustration.
Section I
Section II
Section III
Section IV
In his technique Marini does not go beyond the first position;
consequently the fluency of the melody suffers many a break, for
when he reaches the limit of the first position, he continues the
melody an octave lower. Yet he is responsible for several technical
innovations for the violin. He was the first to mark the bowing (legato
playing) and to introduce—seven years before Monteverdi’s
Combattimento—the coloring effect of the tremolo, thus:
Tremolo con arco.
Other innovations are to be found in his Sonate e Sinfonie Canzoni

(1629) where in a Capriccio ‘two violins play four parts’ (due violini
sonano quattro parti), thus:
and a ‘Capriccio to be played on the violin solo with three strings

after the manner of a lyre’ (Capriccio per sonare il Violino solo con tre
corde a modo di Lyra).
Besides Marini there were others who seriously endeavored to write

in a distinctive violin idiom. Before considering them we may mention
here Paolo Quagliati, who in his Sfera armoniosa (1623) made the
violin accompany the voices and used it also as a solo instrument
with the accompaniment of the theorbo in a toccata of the same
opus. The violin part usually consisted of sustained tones that were
to be embellished by the players according to the custom of the time.
Quagliati himself was not a violinist and this fact serves to explain the
simple technique of his violin parts.
Four years later Carlo Farina, a Saxon chamber virtuoso and concert
master, who may be termed the founder of the race of violin
virtuosos, published a composition for the violin, called Capriccio
stravagante. Here he strove toward new and unusual violinistic
effects. The very title, ‘an extravagant caprice,’ explains his object.
While the piece shows little improvement in form, the technique is
noticeably advanced. Farina goes to the third position and points out
how the change of position should be executed. Besides broadening
violin technique Farina was among the first to venture into the field of
realistic ‘tone painting.’ For he tried to imitate the whistling of a
soldier, the barking of a dog, the calling of a hen, the crying of a cat,
the sound of a clarinet and the trumpet. Farina’s experiments in tone-
painting were, however, rather the product of a desire for sensational
novelty than of a legitimate seeking after artistic expression. He lacks
the genuine qualities of a true artist.
Although Farina did not use the G string, and did not go further than
the third position, he recognized the power of expression latent in the
violin. Besides rapid figures of sixteenth notes and considerable
variety in bowing there are double stops:
and a series of consecutive chords with the instruction that it should

be executed with the stick of the bow:
It was also his idea—not at all a bad one—to mark double stops with
figures:
The fact that he found it necessary to give instruction for the

execution of double stops and tremolos, and the production of the
required effects in his imitations indicates that these devices were
entirely new in violin playing.
According to Gerber he published besides the Capriccio, a collection

of 'Sonatas’ and 'Pavanes’ (1628), which, if they existed at all, are
entirely lost. Of his other compositions (Dances, Arias) we possess
the first violin parts containing the melody. He used the G clef and
the term ‘violino.’
The compositions of Marini, Quagliati and Farina represent the

beginnings of independent violin solo music. The first to write
sonatas for violin solo was the violinist-composer Giovanni Battista
Fontana (1630). His works, compared with the sonatas of Gabrieli,
show a marked improvement in violin technique; they are
characterized by the same polyphonic style, but they are not so
conclusively vocal in character. The following selections will show the
great improvement in violin technique; they virtually comprise the first
‘runs’ composed for the violin:
From a Sonata for Violin Solo.
or
or
or
Fontana strove toward a broader form and in doing so he took a part

in the evolution of the later sonata. But he was not capable of fluent
and even expression, hence the effect of his works on the whole is
stiff and dry. We should not forget, however, that he lived during the
period of transition from the old tonal systems to the new, and that,
while he endeavored to write in the new style, the old one had not
lost its hold upon him. The result was awkwardness in modulation
and a general vagueness and uncertainty.
About the same time (1629) another composer, Bartolomeo Mont’

Albano, published his Sinfonie for one and two violins (and
trombones, with the accompaniment of the organ). These pieces are
incoherent and lack inspiration and power. Their value is far below
that of Fontana’s compositions. Mont’ Albano is only worthy of
mention as showing that Fontana was not absolutely alone in his
attempts to improve violin music. It may be noticed that he called his
compositions Sinfonie, meaning nothing more nor less than Fontana
meant in his sonatas—a proof that the technical terms at that time
were not yet strictly defined.
Great improvement in technique is obvious in the works of Tarquinno
Merula (1633). He used the G string freely, demanded skips from the
G to the E string, also tremolos, changes of position:
and octave passages:
Mont’ Albano’s music was thought out rather than invented and it
would give little pleasure to the modern ear. In the history of the
development of violin music these early compositions should be
considered simply as efforts or studies to advance violin technique
and musical form.
While Merula helped the progress of left hand technique, Marco

Ucellini (1669) made more demands on the bow, writing rapid thirty-
second notes for certain tremolo effects in his sinfonia entitled La
gran Bataglia.
A more pleasing musical quality is to be found in the sonatas of

Massimiliano Neri, who was the first to make a distinction between
the Sonata da chiesa and the Sonata da camera. In his Sonate e
Canzoni a quattro and in his Sonate da suonarsi con vari strumenti,
Neri followed the path of Gabrieli in writing for as many as twelve
instruments. The frequent change of time and the restless rhythm are
also reminiscent of Gabrieli’s peculiarities. Although Neri’s structure
of phrases and periods is more normal, his modulation more fluent,
and his music on the whole more agreeable to the modern ear than
that of Fontana and Merula, his works still belong to the practical
experiments of violin music, and are without great intrinsic merits.
The same may be said of the sonatas of Biagio Marini whom we
have already discussed. He may be termed one of the originators of
the cyclical form of the modern sonata, since his sonatas were in four
movements. The first, usually in slow tempo, was followed by an
Allegro, this by a longer or shorter piece that led to the last
movement (Allegro). While his style was still distinctly polyphonic, the
development of his motives was considerably more pleasing.
Improvement in harmony and modulation is found in the Sonate da
chiesa and Sonate da camera of Giovanni Legrenzi (1655), who did
not otherwise accomplish much in forwarding solo violin music.
Turning to Germany, it is to be regretted that the works, which, to

judge by their titles, might have shed some light on the development
of early violin music, are irretrievably lost to us. They are
Auserlesene Violinen Exercitium aus verschiedener Sonaten nebst
ihre Arien, Balladen, Sarabanden, etc., and Musicalische
Tafelbedienung von fünf Instrumenten, als zwei Violinen, zwei Violen,
nebst den General Bass, by Wilhelm Furcheim (1674), concert-
master at Dresden. The most important figure, among the earliest
German composers for the violin from the standpoint of technical
advance, is evidently Jacob Walter. His twelve Scherzi da violino solo
are in the style of the Sonate da Camera (Suite) or in the form of
variations. Eight of them are called sonatas, and contain three or four
movements, mostly in the same key but in a variety of tempi. From a
musical point of view most of Walter’s compositions are unattractive,
as the form is stiff, the rhythm awkward, modulation poor, and the
melody heavy and clumsy. His importance lies exclusively in the
advanced claims his writings make upon execution, for he ascends
as far as and writes many difficult double stops, chords, and
arpeggios. Walter was also fond of imitating other instruments, birds,
echoes, and so forth. In a set of variations we meet with imitations of
the guitar by playing pizzicato, of the pipes by going up high on the E
string, of fanfares by playing on the G string. In another composition
the imitation of the call of the cuckoo was his chief purpose; but we
would hardly recognize the cuckoo’s call, had he not in every case
taken the pains to mark the imitation. In another instance, in Hortulus
Chelicus, he endeavored to imitate the voice of some other bird. This
work as a piece of art is more valuable, since here he attempted to
write a duet for one violin. Another composition that is characteristic
of Walter’s musical ideas is a Capriccio, where the C major scale is
used as basso ostinato in forty-nine variations, as though the
composer wanted to give as many kinds of motions and figures as he
could.
Stradivarius at Work: Antonio Stradivari.
Walter was not an innovator in the art of tone painting, for Farina had
tried the same devices seventy years before. Still he cannot be
dubbed a mere imitator of Farina, though he was without doubt
strongly influenced by the latter. Walter’s technique is much more
advanced than that of Farina, but at the same time he shows little
improvement in a purely musical way.
IV
There is an obvious advance in musical value in the Correnti e
balletti da camera a due violini, 1666; Balletti, Sonate, 1667, 1669;
Correnti e capricci per camera a due violini e violone, 1683, and
other instrumental pieces by Giovanni Battista Vitali, 'sonatore di
Violino di brazzo’ in the orchestra of Bologna. Vitali’s melodies
contain much more pleasing qualities than those of his
contemporaries. In regard to form, his sonatas, in which rapid
changes from quick to slow movements mark the various sections,
show the transition from the suite to the sonata da camera. Vitali was
one of those early inspired composers, whose greatest merit lies in
their striving toward invention and toward the ideal of pure absolute
music. In technique Vitali does not show any material progress.
Of particular importance is Tommaso Antonio Vitali, a famous

violinist of his time. Of his works, Sonate a tre, due violini e
violoncello, 1693; Sonate a due violini, col basso per l’organo, 1693,
and Concerto di sonate a violino, violoncello e cembalo, 1701, the
most famous and most valuable is his Ciaccona, which is very often
played on the concert stage by present-day violinists. The Ciaccona
is full of poetic moods and its short, pregnant theme shows deep
feeling and genuine inspiration, qualities which we find here for the
first time. The whole is a set of variations upon a short theme,
constituting a series of contrasting pictures. Noteworthy are the
harmony and the advanced treatment of modulation. The ornamental
figures, too, are derived from the logical development of the theme,
hence do not serve the sole purpose of providing the virtuoso with an
opportunity to display his technical skill.
The first representative virtuoso-composer was Giuseppe Torelli

(1658-1708), to whom is ascribed the invention of the concerto, that
is, the application of the sonata form of his time to concerted music.
In Torelli’s concertos the solo-violins were accompanied not only by a
bass as in the sonatas, but by a stringed band, to which sometimes
a lute or organ was added. The solo-violins in his ‘Concerti grossi’
(1686) usually played together, though not always. That he had the
virtuoso in mind when he wrote may be gathered from the following
examples:
In his concertos Torelli was the direct precursor of Corelli, Vivaldi,
and Handel. His influence, however, was not so intense as that of
Giovanni Battista Bassani (1657-1716), whose music had more unity
and definiteness and on the whole ranked very much higher
artistically. This, added to the fact that he was Corelli’s teacher, gives
him a prominent place in the history of violin music. While the single
movements of Bassani’s sonatas on the whole show little
improvement in form, the composer established a higher standard in
the evenness and uniformity of his figures, in the smoothness of his
modulation and chromatics, in rhythms that were far superior to
those of earlier composers, in phrasing that was clear, especially in
slow movements, and in the almost complete abandonment of the
‘fugal’ treatment. His influence upon Corelli is so evident that one
could hardly distinguish one of his later compositions from an early
sonata of his famous pupil.
A few examples of Bassani’s writing may be of interest:
Grave. From a Sonata for two Violins and Bass.

Largo. From a Baletto e Corrente.
Gige
Sarabande. Presto
Before closing our account of the seventeenth century, reference

should be made to the prominent Antonio Veracini, the uncle and
teacher of Francesco Maria Veracini, whose sonatas are still played
by violinists today. Antonio Veracini’s sonatas, composed in the form
of the sonata da chiesa, do not lack a certain amount of beauty,
inspiration, and repose; they show, moreover, clearness, fluency and
roundness. His melodies are original, his modulations and
contrapuntal combinations good. While his Allegro movements show
no improvement in comparison with Bassani’s works, the Adagios
and Largos are of more independent finish.
There were numerous contemporaries, followers, and pupils of the

composers already discussed. Their works, however, were
academic, lacked individuality, and contained little that was worthy of
special consideration. The list of these minor composers includes
Laurenti, Borri, Mazzolini, Bononcini, Buoni, Bernardi, d’Albergati,
Mazzaferrata, Tonini, Grossi, Ruggeri, Vinacesi, Zanata, and others.
V
The first German composer of violin music of æsthetic value was
Heinrich Ignaz Franz von Biber (born 1638), a very prominent
violinist and composer of his time. Although frequently his form is
vague and his ideas often dry, some of his sonatas contain
movements that not only exhibit well-defined forms, but also contain
fine and deeply felt ideas and a style which, though closely related to
that of the best Italians of his time, has something characteristically
German in its grave and pathetic severity. His sonatas on the whole
are of a much higher artistic quality than those of his
contemporaries. His sixth sonata, in C minor, published in 1687, is a
genuinely artistic piece of work. ‘It consists of five movements in
alternately slow and quick time. The first is an introductory largo of
contrapuntal character, with clear and consistent treatment in the
fugally imitative manner. The second is a passacaglia, which
answers roughly to a continuous string of variations on a short, well-
marked period; the third is a rhapsodical movement consisting of
interspersed portions of poco lento, presto, and adagio, leading into
a Gavotte; and the last is a further rhapsodical movement alternating
adagio and allegro. The work is essentially a violin sonata with
accompaniment and the violin parts point to the extraordinary rapid
advances toward mastery. The writing for the instrument is decidedly
elaborate and difficult, especially in the double stops and
contrapuntal passages. In the structure of the movements the fugal
influences are most apparent and there are very few signs of the
systematic repetition of keys which in later times became
indispensable.’[47] It was characteristic of Biber that his ambition was
to create something original and that his works always showed
individuality. He was fond of variations and this form was not lacking
in any of his eight sonatas. Besides the variation form he frequently
used the form of gavotte and giga, which he began and ended with

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1) What is the most important word selection in marketing communication?

2) Letters with a hard edge, such as T and K, suggest ________.

9) Which of the following is an example of a corporate publication?

29) The text of the ad is known as the ________.

37) Headlines can be grouped into which two general categories?

39) Which of the following is a type of direct-action headline?

41) Which of the following is a type of indirect-action headline?

49) Which of the following media rely most heavily on visuals?

52) What is the purpose of the closing paragraph in body copy?

57) Which of the following is a tool of radio advertising?

59) Commercials in song are known as ________.

63) Which of the following is NOT a technique used in television copy?

73) What is the most common form of online advertising?

Refer to the following scenario to answer the questions below.

91) Parallel construction involves the repetition of sounds.

99) Only grammatically correct sentences should be used in advertising copy.

104) A command headline politely tells the reader to do something.

111) Slang is usually effective in radio advertising.

119) The storyboard is the visual plan or layout of the commercial.

Refer to the passage below to answer the following questions.

133) Compare and contrast display copy and body copy.

140) What is an advantage of magazine advertising?

142) Describe the purpose of collateral materials.

146) How are banner ads similar to outdoor advertising?

The same writer points out that instrumentalists in improvising their

Gerle’s book, incidentally, contained a number of German, Welsh,

S. Virdung: Musica getuscht, 1511.

Judenkönig: A truly artistic instruction * * * of learning upon

Agricola: Musica Instrumentalis, 1528. (Here the author refers

La Franco: Scintille di Musica, 1533.

Silvestro Ganassi: Regola Rubertina che insegna suon di

M. Prätorius: Syntagma Musicum, 1619.

There is no suggestion of the violin idiom in the piece and it throws

Up to 1587 the leading instrument of the orchestra was the Cornetto

From a Sonata à 3 (1615).

In 1593 Florentino Maschera, one of the celebrated organists of his

A genuine and daring innovator in the field of violin music was

This passage from Combattimento di Tanceredi e Clorinda (1624)

A passage from his Il Priulino Balletto e Corrente (marked canto

is more instrumental in quality, though the second part of the Balletto

Marini’s dance compositions are characteristic of all dance music at

Tremolo con arco.

Other innovations are to be found in his Sonate e Sinfonie Canzoni

and a ‘Capriccio to be played on the violin solo with three strings

Besides Marini there were others who seriously endeavored to write

and a series of consecutive chords with the instruction that it should

The fact that he found it necessary to give instruction for the

According to Gerber he published besides the Capriccio, a collection

The compositions of Marini, Quagliati and Farina represent the

From a Sonata for Violin Solo.

Fontana strove toward a broader form and in doing so he took a part

About the same time (1629) another composer, Bartolomeo Mont’

and octave passages:

While Merula helped the progress of left hand technique, Marco