NEW: What songwriting techniques are today's hit songs using? How can you use them in your own songs? Check out my analysis of Taylor Swift's "You Belong With Me" and Matt Nathanson's "Come On Get Higher" on the STUDY THE HITS page and find out!
 

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Robin Frederick (author, Shortcuts to Hit Songwriting)

Let’s say you’ve just spent the afternoon writing a song and you feel you’ve got a good start on a first draft. The concept is strong, the structure feels right. Of course the lyric still needs work but you’re planning to go back and rewrite it. How about the melody? Will you go back and rewrite that, too? Or will you stick with what came to you on the first pass?

Many times, a songwriter who wouldn’t dream of settling for a rough draft of a lyric, accepts the first melody that comes along. Often these melodies are the result of old habits; they may sound dated and familiar. The writer may not even know that a melody can be rewritten, strengthened, and polished just like a lyric. To be fresh and current-sounding, give your melody the advantage of a solid rewrite.

=> Is your melody clearly conveying the song’s structure? 
Create plenty of contrast between sections–verse, chorus, and bridge–by using a change of note range (low vs. high), note pace (fast vs. slow, choppy vs. smooth), or melodic rhythm patterns (different patterns of long and short notes).

=> Do you have a good balance of repetition and variation?
Check to see if you’re repeating the same note phrases and the same phrase lengths too many times. Listeners do like repetition, but too much begins to feel predictable and boring. Repeating a line once (sing the line, then sing it again) can be fine, but repeating it yet another time can be flirting with disaster. Try varying the note pitches and phrase lengths, create a surprise for listeners that will keep them interested.

=> Are your phrases well organized?
This may seem like an odd question but one of the hallmarks of hit songs–songs that a lot of listeners really like–is good melodic organization. Many hit songs use the following layout in the chorus melody: Sing the first line or phrase, repeat that phrase (with a different lyric), go to a new phrase and repeat it, then return to the first phrase with some variation. This is just one idea. Check out a few hit song choruses to see if you can hear how their melodies are organized.

There are many more ways to rewrite, refine, and strengthen your melody. Your goal is to write a melody that appeals to you and your listeners while underscoring your lyric with plenty of emotion. Try some of the ideas in this tip. If you make a change in your melody that doesn’t work for you, just hit the “undo button” and go back to what you had before.

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Copyright 2009 Robin Frederick. All rights reserved.br>

“Shortcuts to Hit Songwriting” is available at Amazon.com

For daily song tips: Twitter/RobinFrederick

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by Robin Frederick, author “Shortcuts to Hit Songwriting”

The hottest outlets for original songs in today’s market are film and television. Shows like Grey’s Anatomy, One Tree Hill, House, Smallville, Hannah Montana, and daytime dramas like The Young and the Restless all need songs to add emotional impact to scenes. You can find lists of songs used by many of these shows at tvshowsongs.com 
 
Songs for film and TV require some special thought. Here are a few things to keep in mind as you write for this market:

=> Music supervisors and Music Libraries are looking for songs that focus on a single emotion. If a song switches emotions, loses emotional focus, or is unclear about the emotion at its heart, it will be a tough sell.

=> Music supervisors LOVE to hear songs that are in the style of today’s hits. If you’ve got a song that has the emotional intensity of hits by Daughtry or Nickelback, you’re in good shape. Be sure that your demo is well recorded with tight musical performances and a lead singer who handles the style well. Take a look at the charts and listen to what’s hot right now. (Go to Billboard.com and click on “Charts.” You can stream the songs you’re interested in.) Look for songs and artists you think sound similar to you. If you don’t have a sound that’s close to any of the artists in the top 20 to 30 spots, consider writing and recording a new song just for this purpose. I don’t mean that you should copy a hit artist, but try to capture the emotional essence of the sound and style.

=> Avoid using proper names, place names, and any references to specific years or time periods. As you can guess, this will limit the opportunities for placing your song. If the hook of your song is “Sarah, I Love You,” a Music Supervisor will have a hard time using it if there’s no character named Sarah in the scene! (It could work as “source music” — music that is playing on a radio in the scene, for instance — but there are fewer opportunities in this area.)

=> Music libraries are looking to get the most placements for the songs they sign. That means that even though there are times when a show might use 15 seconds of a song, there will be another show that needs a minute and a half. Make sure your entire song is well written and the track is broadcast quality — no out-of-tune guitar solos in the bridge, no pitchy vocals. A Music Supervisor or Music Library will not take the time to go through your song looking for the best bits!

=> Notice what works and what doesn’t by watching shows that use a lot of music. Try playing one of your own songs under a scene or two. Does it add to the emotional depth or detract? Try writing a song for a scene. Choose an emotion-filled scene then write a song to underscore it. Keep your demo simple and feature your vocal. Try doing this exercise a few times, then compare these songs with your others to see if there’s a difference in focus and tone.


Copyright 2009 Robin Frederick

“Shortcuts to Hit Songwriting” is available at Amazon.com

For daily song tips: Twitter/RobinFrederick

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by Robin Frederick, author of "Shortcuts to Hit Songwriting"


The title of a song is almost always a featured line in the song itself, often the first line or last line of the chorus, making it the line that listeners remember long after the song is over.

A good title is intriguing, evocative, and memorable. The best titles sum up the heart and soul of a song, recalling the whole experience for listeners, making them want to go back and listen again.


Keep it brief. Long titles can work but may be difficult for listeners to remember. These longer titles may be familiar phrases ("I Just Called to Say I Love You" "I Don't Want to Miss a Thing") which are easy to recall. To be safe, stick to five words or less.


Make a statement. One way to be memorable and catch listeners attention is to write a title that makes a strong statement. Nickelback's "Gotta Be Somebody" is a good example. There's a sense of urgency built into this phrase, giving the singer something to dig into emotionally.


Use an Intriguing phrase. Beyonce's recent hit "If I Were a Boy" does exactly that. Don't you want to know what Beyonce would do if she were a boy? Sure, you do! So the title makes you want to hear the song. Shinedown's "The Sound of Madness" also has an intriguing title. What does it mean? What does madness sound like? What is this song going to be about?


Try an evocative image. A song title like "Mud On the Tires" works because it's loaded with associations. The title of this Brad Paisley Country hit features an image that suggests off-roading fun, maybe a wild ride through the fields, or drive to a hidden fishing hole, all of which evoke fond memories and desires in this audience. If you choose a title like this, be aware of your listeners' expectations and keep them in mind when writing.


Action words add drama and energy. If your title feels like it's just sitting there, try phrasing it in a more active way. Instead of "I Love You," try something like "Throw My Arms Around You." Not only does it replace a familiar statement with an fresher one, it adds the energy of the word "throw." It also suggests questions that your lyric can answer: What's the situation? Why does the singer want to do this? How will it feel? How will the other person react?


As most songwriters know, there are many songs with the same (or very similar) titles. Make yours stand out from the crowd by using one of these techniques!


(c) 2009. Based on "Shortcuts to Hit Songwriting: 126 Proven Techniques for Writing Songs That Sell" by Robin Frederick. Available at Amazon.com.

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by Robin Frederick, author of "Shortcuts to Hit Songwriting"

Most hit songs demonstrate at least three or four techniques you can use to broaden the emotional impact and commercial appeal of your own songs. That's why it's a great idea for aspiring songwriters (and even successful pro's) to study recent hits!

It's important to study songs you admire, not the ones you can't stand! Look for those hit songs that move you, the ones that appeal most to you, and then ask yourself what that song is doing that draws you in. Of course there are times when I go through the Top 20 songs on the music charts and don't hear anything that particularly attracts me. In that case, I'll go back to songs from the previous year or so to look for ideas.

Keep a list of hit songs you like in the genre you're interested in. Country songs are different from R&B and Rock and Pop. You're going to hear different approaches to lyrics and melody in every genre. If you're not sure which genre you want to write in, spend some time exploring each of the four mainstream styles. You can find current music charts and stream the Top 20 songs for free at Billboard.com. Just click on "Charts" at the top of the page, then select the style you want.

In the Hot AC genre, I like Nickelback's "Gotta Be Somebody," a big hit in early 2009. Chad Kroeger really knows his craft and this song proves it. Lyrically, he states the theme in the opening lines of the first verse and every lyric line after that leads the listener toward a chorus that sums up the emotional message at the heart of this song. Melodically, this is also very strong. Notice in the pre-chorus how he uses four short phrases that echo each other rhythmically, building tension to the final phrase which he extends by a few extra syllables ("forever with"). This is a great way to build anticipation leading up to your chorus. Then check out how he creates forward momentum in the chorus melody by allowing only very short pauses, just long enough to grab a breath before roaring right into the next line.

In the Country genre, I like Montgomery Gentry's "One In Every Crowd," also a hit earlier this year. This is great example of a lyric with plenty of visual detail, a fresh take on the theme, and a powerful melody that builds dynamically through the verse and pre-chorus to a big emotional release. The "Hey y'all" secondary hook adds plenty of fun but don't mistake that for the chorus; it's just icing on the cake. It doesn't payoff the verses well enough to work as a stand-alone chorus. If you're interested in the Country genre, this is an excellent song to study.

For more ideas and analysis, check out the "Study the Hits" page on this web site. Just click on "Study the Hits"; you'll find a detailed look at many of today's most successful songs.

(c) 2009. Based on "Shortcuts to Hit Songwriting: 126 Proven Techniques for Writing Songs That Sell" by Robin Frederick. Available at Amazon.com.

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