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 its not what you know, its who you know and its 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 its just the music that transcends. So quite frankly if its 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 its losing a customer. So before the radio producer gives a song any airplay they have to be convinced its 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. 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! Lets 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 its just the vocal singing 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 youre 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 songwriters club and showcase your material. Feedback is key and it will help you progress from receiving the audiences 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.