I adore John Mayer. There, I’ve admitted it. My secret is out in the open. If I weren’t concerned about being surrounded by throngs of screaming teenage girls, I would absolutely attend one of his concerts. However, I’m not ready for a “Bye Bye Birdie” experience just yet, so apologies John, my support might have to wait. But my admiration isn’t for his captivating eyes or immaculate hair. No, no, no. It’s his talent for crafting a song. Not just writing, but truly crafting.
There are significant lessons to be learned about creating compelling tunes simply by listening to popular music. As you refine your musical ear with pop songs, pay close attention to these three crucial aspects. The next time you set out to write Jazz Songs, you might just create a masterpiece.
The Power of the Hook in Jazz Songs
In the realm of pop songwriting, the concept of “hooks” is paramount. “Write a great hook” is their mantra. Yet, within the jazz composition world, we seldom, if ever, discuss this critical element.
Wikipedia offers a concise and effective definition:
“A hook is a musical idea, often a short riff, passage, or phrase, that is used in popular music to make a song appealing and to catch the ear of the listener. The term generally applies to popular music, especially rock music, R&B, hip hop, dance music, and pop. In these genres, the hook is often found in, or consists of, the chorus. A hook can be either melodic or rhythmic, and often incorporates the main motif for a piece of music.”
To make a song appealing and capture the listener’s attention. Aren’t these objectives that every composer, regardless of genre, should strive for? So, why dismiss the hook in jazz songs? In my own words, a hook is a melodic or rhythmic phrase, or a fragment of a phrase, possessing a distinct character that is easilyAudibly memorable to any listener.
Yes, any listener. People possess a more refined ear than we often give them credit for. While the untrained ear might not identify intervals or chords by name, they can effortlessly sing along to parts of their favorite jazz songs and pop hits, reproducing lyrics and melodies from memory.
It’s precisely because of this innate human ability to recall and reproduce melodic fragments that the hook is so vital. If listeners weren’t capable of remembering and mentally replaying melodic snippets, the memorability of a tune would be far less significant.
To grasp the essence of a hook, let’s examine some examples in a pop music context:
Consider Mayer in a live rendition of Neon. Listen closely at 2:24 when the audience erupts in screams. As he transitions from an improvised introduction into the main body of the song, the audience clearly recognizes and resonates with the melodic hook of the tune. Without this hook, there would be no point of recognition, and consequently, no enthusiastic screams for John. This melodic riff acts as the foundation for all subsequent hooks throughout the song, including the chorus, a section in pop music where a hook is absolutely indispensable.
Here’s another illustration of a hook from Mariah Carey’s Touch my Body (bonus points for the amusing video). She repeats a minor third interval between the 3rd and 5th of the major triad in a specific rhythm. This alternation between these two notes, combined with the distinctive rhythm, creates a unique phrase instantly identifiable by anyone. And there you have it: a beautiful hook.
Notice how the chorus of Touch my Body still implies the underlying rhythm of the initial hook but elongates a portion of it. This is the first instance of a sustained note, and its effect? It stands out distinctly in our minds as a unique, singable phrase, providing yet another powerful hook.
Furthermore, hooks transcend mere motivic development. They are about the motif itself. They involve crafting a motif so compelling that listeners latch onto it, eager to hear it again and again. These motifs are typically simple, yet possess a certain quality that elevates them to something extraordinary. This “specialness” is what constitutes a truly great hook in jazz songs and beyond.
Many exceptional jazz songs also feature remarkable hooks, although you may not have consciously identified them as such before, primarily because in jazz, we don’t naturally approach composition from this “hook-centric” perspective.
Miles Davis’s iconic “jazz songs” album So What masterfully interweaves multiple hooks to create an unforgettable listening experience.
For another example of crafting compelling hooks in jazz songs, explore Kurt Rosenwinkel’s album Star of Jupiter, which is replete with excellent examples of hooks throughout.
Listen to Kurt Rosenwinkel – Star of Jupiter examples of jazz song hooks
Begin thinking in terms of crafting memorable hooks in every jazz song you compose. This simple shift in mindset can profoundly transform your approach to songwriting and elevate your jazz songs.
Arrangement and Groove: Essential for Engaging Jazz Songs
Jazz composition often places such a strong emphasis on harmony that we sometimes overlook other crucial elements necessary to create truly exceptional jazz songs. How often have you composed a tune by working out the chord progressions, then perhaps a melody, and then stopped, considering it complete? I confess, I’ve been guilty of this countless times. “Oh, I’ll figure out the groove and arrangement later.”
In pop music composition, however, building the groove and arrangement often takes precedence, happening even before or in conjunction with writing the melody and chords. The key takeaway is that they prioritize and dedicate time to more than just melody and chords. This approach can be incredibly beneficial for crafting engaging jazz songs as well.
Watch this performance of Michael Jackson’s You Rock My World. This particular version, featuring Chris Tucker, is especially entertaining. While enjoying the incredible dancing and comedic moments, pay attention to how Jackson constructs the groove and how all the background elements contribute to supporting that groove. When you consider the video and choreography, it’s a truly elaborate and effective arrangement.
This same level of meticulous care and attention to detail can be applied to the jazz idiom to create captivating jazz songs. Listen to Kurt Rosenwinkel’s Zhivago again. His dedication to detail is evident in every aspect of his music.
Even when performing or recording a jazz standard, invest time in the arrangement. And by arrangement, I’m not solely referring to how two or three horn parts harmonically intertwine. While that is a component of arrangement, I’m envisioning arrangement in a broader sense: how everything in the tune cohesively fits together. As mentioned earlier, prioritize and dedicate time to elements beyond just melody and chords when crafting jazz songs.
In my opinion, this is an area where the jazz community, even many of the best players today, often falls short. We develop a habit of simply showing up and playing, investing minimal effort into the arrangement of standards, which can make jazz songs sound less engaging.
In pop music, the equivalent of a standard is a cover song. The most compelling and enjoyable covers don’t simply replicate the original verbatim. They expand upon it, add elements, subtract others, and remix it, resulting in a different and, in some rare instances, even improved version. This innovative approach to covers can inspire jazz musicians to reimagine standards and breathe new life into jazz songs.
Here are some pop covers to explore:
And here are a couple of jazz musicians who consistently dedicate time and effort to arranging standards in their unique styles, creating fresh and exciting jazz songs:
Mulgrew Miller on I Hear a Rhapsody – Jazz Arrangement Example
Brad Mehldau on It Might as Well be Spring – Jazz Arrangement Example
Don’t merely write out chords and a melody and consider it a finished jazz song. And avoid becoming a predictable cover band. Dedicate time and thought to the arrangement to make your jazz songs stand out.
Create Jazz Songs People Want to Listen To
Many jazz songs sound more like technical exercises or lab-assembled projects. I’ve composed countless pieces myself that, upon completion, leave me thinking, “Wow, that’s not something I’d actually want to listen to again.”
Compositions can feel sterile when they are not crafted with the deliberate intention of creating something genuinely enjoyable for listeners. I’m not advocating for pandering to the masses; rather, I’m suggesting aiming to create jazz songs that you and others would genuinely want to listen to. Don’t you want people to derive pleasure from your music? If not, that’s perfectly acceptable, but it’s a crucial consideration when bringing a new composition to life and crafting compelling jazz songs.
In fact, for a moment, remove external expectations and simply ask yourself if you are creating jazz songs that you genuinely want to listen to. In his insightful book, Steal Like An Artist, Austin Kleon advises you to “write the book you want to read.” This principle naturally extends to music: compose, arrange, and play the jazz songs you want to listen to.
In pop music, the objective is often to share your tune with the widest possible audience. I won’t delve into the ethical implications or the intricacies of the music industry here. My intention is for you to grasp the understanding that having people listen to and enjoy your jazz songs is a positive outcome.
The recent hit song Wake Me Up by Avicii (sung by Aloe Blacc and co-written by Mike Einziger of Incubus) creatively and musically blends two of today’s most popular genres: folk rock and EDM. This fusion resulted in a track that resonates with a broad audience, demonstrating the power of combining familiar and appealing musical elements in jazz songs as well.
Whether you love it or hate it, it’s understandable why this song reached number one in 22 countries and the top 10 in six others. It features multiple catchy hooks, a solid arrangement with distinct sections, and it merges sounds that a vast audience enjoys listening to. These are valuable lessons to consider when aiming to broaden the appeal of jazz songs.
Think Like a Pop Songwriter for Better Jazz Songs
Writing jazz songs and arranging standards doesn’t have to be a dry and uninspired process. In fact, it’s only dull and boring if you approach it as such. When The Dream and Tricky Stewart penned Mariah Carey’s Touch my Body, they were focused on crafting irresistible hooks, creating something people would sing in the shower, and ensuring listeners would remember something – anything – a rhythm, a melody, something they could take away and integrate into their own lives. This intentionality can significantly enhance the memorability and impact of jazz songs.
When this same songwriting duo wrote Umbrella for Rihanna, Single Ladies for Beyoncé, Me Against the Music for Britney Spears, and Baby for Justin Bieber (is it a coincidence they wrote all these hits? I think not), they meticulously considered every aspect of the arrangement. They thought about how each section would be clearly defined and memorable for the listener, how the groove would feel, how the melody would interact with the drums and bass, how the intro would seamlessly lead into the song, and how the song would conclude. This holistic approach to songwriting can be equally transformative for creating compelling jazz songs.
And, of course, when crafting all these chart-topping tunes, they were consciously aiming to create something that people would genuinely want to listen to. Regardless of your personal feelings about pop music, there are valuable lessons that we, as jazz musicians, can glean from the writers of pop music. By keeping these three core concepts in mind – hooks, arrangement, and listener engagement – when you’re writing jazz songs, you’re sure to not only enjoy the creative process more but also create compositions that you, and hopefully many others, will love to listen to.
