Hitmaker's Handbook: How To Write Pop Songs That Stick

I can’t overlook the success of Swedish composer Max Martin in the USA and Canada. However, he doesn’t address melismatic singing in this book, which is prevalent today, along with poor harmony and excessive percussion that even Homer wouldn’t include in the Iliad.

I remember in college, my composition professor would dedicate an entire class to analyzing just a single note in Brahms' score. In one class, we’d focus solely on structural analysis of a music played by jazz pianist Brad Mehldau, without even touching on harmony.

We even explored Fibonacci analysis with Tom Jobim. And then there’s Schenkerian analysis, which I find really biased and only effective for popular songs. Plus, the critical analyses by Edward Aldwell & Carl Schachter help us grasp how the weight of melody can shift in unexpected ways, impacting the listening experience.

Honestly, I’m over analyzing composers who excel at melody, harmony, and catchy rhythms, sometimes relying on tired AABA structures. These are top-tier composer-arrangers like Burt Bacharach, Tom Jobim, Cole Porter, George Gershwin, Irving Berlin, Baby Face, TOTO, Queen, Bernie Taupin and Elton John, BEATLES and Stevie Wonder.

Remember that a composer must be an arranger, but an excellent arranger is not always a composer, as is the case with the Dutch 'Ed. Star. Inc.' And lyricists don't even know how to compose melodies, as is the case with 'Bernie Taupen'. Here’s my advice: "Some poor arrangers can ruin music; there are only a few who can truly achieve greatness."

When we dive into writing lyrics, things get tricky. There’s so much to learn to grasp poetic structures, all the way to Mayakovsky’s free verse.

And then there’s the final touch from producers in the studio.

A prime example is the original, somewhat lackluster version of "Everytime You Go Away" by Hall & Oates—it barely made a splash. Then Paul Young came along and turned it into a global hit, thanks to his incredible vocal timbre, along with some savvy mixing and compression.

On YT, you’ll find tons of songs re-recorded by various artists that have become pop masterpieces, while the original singers have faded into obscurity.
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The book claims: "Lyrics must flirt with universality, skimming the surface of emotion without ever diving too deep." I disagree; that doesn’t hold for Cole Porter and Tom Jobim, who really dig deep into their lyrics.

It also states: "A song doesn't need to rival Shakespeare..."
Well, Shakespeare wrote practically all his works in iambic pentameter, which wouldn’t even sound right in music. Knowing this, you can position words with dramatic weight in certain spots of the melody, especially when they land on an appoggiatura.

I agree when he says: "They're crafted to lodge in the brain like slogans", because let’s face it, most people out there haven’t studied much. This is similar to what we learn in business about having a "TOP OF MIND" concept—basic ideas linger at the forefront of our thoughts, which is why he emphasizes HOOKS.

Studying structures like Bridges, Outros, and Climbing really enhances music.

I recall a great teacher once said: "A composer who can’t make variations isn’t a good composer." That’s stuck with me ever since.

Something fascinating I’ve noticed at Pop Music is that roughly every 7 years, a major summer hit emerges in the 'Plagal Mode' style, and then other composers scramble to replicate it, often without success.

After diving into the works of Schopenhauer, Hegel, Kant, Nietzsche, and Heidegger, I’ve concluded that defining emotion is nearly impossible. An uneducated listener hears things one way, while an intellectual hears them differently, mainly lyrics of the songs.

Today, those raking in cash in poorer countries are slum residents who’ve created new styles of funk, hip-hop, and trap, showing that your musical genre choice can lead to fortune.

In conclusion, the great composers I mentioned earlier often create a song a day without knowing what might hit. And those who possess a secret aren’t likely to share it; they won’t teach it on YouTube or write a book. Just make one song each day, and only a handful will resonate. If you’re seeking a secret, you might need to take drastic measures.
---------------------------- If you want a secret, kill one. -------------------

Invest a few hundred thousand dollars to secure an interview on the most-watched TV show. It doesn’t matter what genre of music you produce; the more accessible and simplistic, the better.

Explore platforms like TikTok and YouTube, be willing to embarrass yourself for Spotify, and hope for something to go viral. A little deception can be beneficial, or, in desperation, you might find yourself signing a questionable contract with 'Tony Motolla.' And if you’re an attractive woman, be prepared for the possibility of having to share his bed.

Competing as a talented musician against an estimated 7 million rivals worldwide is no easy feat, as the market simply doesn’t have room for everyone. Failure is likely, especially if you’re based in a remote area—consider yourself at a disadvantage. However, if you are truly gifted, approach the industry with humility, entering through the back door without arrogance. You just might find success.

If you doubt my words, take a look at how many successful artists are solely represented in the American media—just check the 'Billboard Hot 100.' You might be surprised by how few there are compared to the vast number eager to join the Hall of Fame.

Algorithm is not the enemy, it’s the new landscape. Playlist is your stage.

Memorable lyrics, let’s be honest, don’t have to be profound.

Pop music has become obsessed with mid-tempo beats of 100 to 115 BPM

After all, who wants a song that forces people to think? No, no, your audience wants to hum along effortlessly, thank you very much.

And let’s not forget chord progressions – the trusty four-chord loop that powers so many hit songs.

A common pattern in pop music: I–V–vi–IV

Folk music thrives on storytelling, but it usually doesn’t chart.

Making music is like painting vivid pictures. The rule is not to write a novel, but to create a striking snapshot.

The beginning should grab attention, use the hook at the beginning and grab the listener’s attention. The middle is where you create tension, draw your listener in.

Remember, in a hit song, the images aren’t meant to be complicated. They’re meant to be clear, and most of all, they’re meant to be instant.

The Spice Girls’ song “Wannabe” didn’t require the lyricists to have an English degree.

Economy of words: saying a lot with a little.

The goal is to transform a set of words into feelings and emotions that resonate with 13-year-olds and office workers.

You need to do this immediately. The moment those words are spoken, they need to stick in your ears.

The hit songs of the past summer don’t feature complex narratives, but rather a few key lines that stick in your mind.

Pop lyrics are meant to be direct and immediate, capturing the essence of a feeling in a few words, like squeezing the juice from an orange. If you can do that, you’re on the right track.

Drop them into the chorus or chorus and watch the crowd go wild.

The brain, so easily manipulated, loves repetition and rhythm, and if you want to create a hit song, you need to understand this basic brain flaw.

Success is about hooking the listener in the first 30 seconds, and that's the best. There's no room for unnecessary intros or complicated verses. The trick is to introduce a catchy theme right at the beginning, something that repeats and sticks.

Repetition is powerful, the human brain loves it, especially on the radio, because it helps to stick to messages. However, it's important not to overdo it.

Don't overcomplicate it: "A good melody doesn't have to be complex; less is more." That's the 21st century phrase, since no one reads it anymore.

The "Wow" factor: Somewhere in the melody, you need that hook - a moment where the music does something unexpected, just vocalises.

The bridge of a song creates contrast and a change of energy, giving the listener a moment of surprise and a different melody before returning to the chorus.

Experiment with unexpected melodic combinations, play with intervals and rhythms, and don’t be afraid to be original, because the best and most iconic pop songs usually start with a moment of madness.

Songs that you can’t stop singing. They are the ones with two or three notes repeating themselves.

The secret weapon of the successful songwriter is repetition. It is the key to musical success, provoking emotions and engagement by making the listener anticipate parts of the song.

A melody that knows how to use space wisely creates an emotional landscape.

The last piece of wisdom: Let the melody shine, avoiding unnecessary arrangements and flourishes; clarity is essential for people to appreciate it.

Harmonic choices, don’t reinvent the wheel, the models that drive harmony are all there, and they are in the public domain, there is even music with just one chord.

Explore musical dynamics, varying volume, rhythm and tempo. Start soft and increase the intensity, allowing the harmonic tension to build until a final explosion.

Successful songs don’t depend on notes alone; They depend on highs and lows, the most used signal in sheet music is volume.

Production is essential in music, because the mix of old and new is what gives beauty to modern music.

The synthesizer, a powerful chameleon: your secret weapon since the 70's, especilly 80's to the 21st century. The synthesizer has revolutionized pop music, surpassing many pop stars in their careers.

Live drums: the pulse of humanity.

The Humble Acoustic Guitar: The Unexpected Hero.

The bass: deep and delicious. Make the bass sound like it's always there, but never too loud, driving the groove.

Percussion: The Spice of Life. Percussion is the unsung hero of modern production.

Vocals: The centerpiece. Army of angels? Most of the world doesn't have a pleasant timbre. So choose who will sing carefully. But the tools are there, Autotune, etc.

Mixing is the art of balancing individual sounds to create a harmonious soundscape where each instrument has its place, reflecting the trend in modern pop music of blending organic and synthetic elements.

The bridge is like the breath before the final push, a moment.