1. One upon a time there was a broke musician sitting with a guitar writing a song. The next day he is
number one on the radio with a sell-out tour world-wide, and he already selling a million records. If only it
was that simple!
In any industry of Music jobs, it takes a long time and massive In the music industry there is an
expression ‘it’s not what you know, it’s who you know’ and it’s true to the core. Without the right contacts
in this business helping you climb the ladder to the stars, it is a long, lonely and hard journey. The
network of songwriter, publisher, record label, distributor, retailer, venue and tour management, plugger,
radio and DJs, film and TV management, media, PR, artist management, lawyers and accountants are all
tightly merged together, working towards one goal; the launch of the artist (existing or new).
The artist brings the song written for or by them to life. In order for that artist to be able to do that they
need; a distinguished voice and vocal range, star quality as a performer, a hit song, a ‘yes I can do this’
attitude, and a management team working towards the number 1 spot on the radio and charts.
The song is what is heard on the radio. Radio is just a medium for a listener. There is no pretty face, no
immaculate image or fab abs – it’s just the music that transcends. So quite frankly if it’s not a great song
that the listener hears for the first time he or she is simply going to turn the radio off or change channels.
This is the last thing any radio station wants to know is that a certain song made them change stations or
switch off, for them it’s losing a customer. So before the radio producer gives a song any airplay – they
have to be convinced it’s going to keep the listener listening and singing along to it. The combination of
the voice, melody and instruments all mixed together has to be special, enticing, addictive and catchy.
The part of a song that makes it addictive is normally the chorus. Songwriters today are urged to hit the
chorus within thirty seconds of the start of the track. Thirty seconds is also the standard industry guideline
for listening time of how long an A&R executive will let a demo song play before he presses forward to the
next song or even worse ejects the demo CD. That is how effective a song has to be – within thirty
seconds the song needs to arrive, deliver and conquer! As mentioned the part of the song you need to
reach in order to conquer the listener is the chorus – also classed in musicians’ terms as the ‘hook’.

2. The hook is made up of words, melody and harmony. It seems familiar as it is easy to sing along to and it
sticks in your head for days on end, playing over and over. The hook is the most memorable part of the
song. The lyrics of the hook are also words that we use in everyday life, like; "All I Wanna Do" by Sheryl
Crow, "Sometimes Love Just Ain't Enough" by Patty Smyth and Don Henley, "Just Dance" by Lady Gaga,
"I Just Called to Say I Love You" by Stevie Wonder, "Are You Lonesome Tonight?" by Elvis Presley, "If
You Leave Me Now" by Chicago. In each of these song titles are the main parts of the song, which you
remember and naturally start singing to. Parts of the chorus may have repetitious melody lines, like lines
one and two – it needs to ease into the brain without thinking about processing it. The instruments need
to blend harmonically together, building dynamics into the chorus to create mood and compliment the
voice. After the repetition parts incorporate a melody line, which builds and leads into the final part of the
chorus. Also try incorporating the title of the song into the chorus. The more you reiterate the hook, the
easier it is for the listener to remember the song and go out and buy your record; and yes, as a songwriter
you do need to think with a business head!
Let’s take a look at the number selling song ‘Rolling in the Deep’ by female singer Adele, written by Paul
Epworth and Adele.
00:00-00:04 Instrumental introduction; plain guitar riff along with slight cymbal beat
00:05-00:23 Verse 1; vocal and lyric comes in guitar riff and cymbal, the melody lines 1 and 2 are
repeated in lines 3 and 4
00:24-00:41 Verse 2; same structure as verse, but to add more power the drum kick and bass are added
and the first two lyrical lines are verse 1 are repeated in lines 3 and 4
00:42-00:59 Pre-chorus 1; piano chords added to instruments these chords follow by landing after each
part of the vocal line, melody lines 1 and 2 of this section are also repeated
01:00-01:17 Chorus 1; lead vocal line holds long notes whilst backing vocals form a rhythmical staccato
section in conjunction with the instruments playing harmonically together but as a drum-beat, whilst the
full kit has also fills where necessary
01:18-01:36 Verse 3; repeat of verse 2 using same instruments but adding piano chords and change of
lyrics to further deepen the story being told
01:37-01:53 Pre-chorus 2; repeats pre-chorus 1 and the top backing harmonies from chorus 1 start here
instead of in the chorus
01:54-02:13 Chorus 2; repeat of chorus 1 but louder
02:14-02:31 Chorus 3; chord change into the repeat of chorus and backing harmonies omitted, last lyrical
line altered to emphasize the pain of this heart-broken soul
02:32-02:50 Verse 4; dynamics come down in volume so there the voice is prominent with the
instruments forming a beating drum including a clapping sound filling in on the off-beat, the backing
vocals are those of a choir but not overcrowding the lead vocal (see how each element supports the other
working to create a unified sound)
02:50-03:06 Pre-chorus 2; the lead vocal drops out and sings the hook of the song ‘we could have had it
all’ repeating this line 5 times and then leading straight into the chorus with this lyrical line, all instruments
come down in volume except piano, then rebuild as arriving into the chorus
03:07-03:25 Chorus 4; repeat of chorus 3 but at full volume
03:26-03:39 Chorus 5; repeat of chorus 4 with another line of backing vocals following and mirroring the
lead line
03:39-03:49 Outtro; all backing harmonies fall out and the lead vocal repeats the last lyrical line ‘but you
played it’ four times and at 03:45 leading into ‘to the beat’ where all the instruments stop playing on the
‘beat’ and it’s just the vocal singing

3. Technically, ‘Rolling in the Deep’ is not the current way of song-writing in the Twenty-first century.
Industry standards require upbeat, fluffy music that arrives at the chorus after thirty seconds and is no
longer than 03:20 minutes to be fitting for radio. However, this song is written in the traditional way of
songwriting and after just two album releases, Adele is breaking every record of being a top-seller
including beating the Beatles, which has not even been matched by Madonna. The relevance of showing
you this is to demonstrate how to write a hit song. Look at the constant repetition – repeating that hook,
the lyrical content of a scorned lover – the words have imagery, the vocal is raspy yet clear mirroring the
lyrics – her mind is made up even if torn and cuts through with the airy high-pitched notes emphasizing
hysteria of heart-ache, using words from everyday life, how the rhythm fuses with the lyrics of ‘playing to
the beat’ with a constant drumming beat chanting, the backing vocals say what the lead vocal do not say
‘you’re gonna wish you never have met me, tears are gonna fall’ whilst the lead vocal still reminisces ‘we
could have had it all’.
As each element gently comes in when it is meant to, the songs builds and the listener is drawn into it,
because they have enough time and space to absorb the message. When writing, a musician for
musician jobs should always pretend they are performing at the moment for the audience – can you
hear the thunder of clapping and wooohoos hollered at you? Best way to test this is to play at a
songwriter’s club and showcase your material. Feedback is key and it will help you progress from
receiving the audience’s reaction. Work on your delivery, be prepared, know your music and lyrics,
introduce and say thank you clearly and positively and be humble. You never know who may be listening,
you never know who that person may be and how they could help your career – always be on your best
behavior.
If you have a hit song and do not know what to do with it, please read Songwriting Hits – Part I and
Songwriting Hits – Part II. Remember a song unheard is lost – deliver, deliver, deliver.