I adore John Mayer. There, I’ve admitted it. It’s no secret. I would definitely attend one of his concerts if I could bear being surrounded by a multitude of screaming teenage girls. I’m not about to participate in a scene from Bye Bye Birdie, so apologies John, I’m unsure when I’ll be able to show my support. However, my affection for him isn’t about his captivating eyes or flawless hair. Oh no, no. It’s his talent for crafting a tune that truly impresses me. Not just writing, but crafting.
There’s a wealth of knowledge to be gained about composing songs simply by immersing ourselves in pop music. As you refine your musical ear through pop tunes, pay close attention to these three essential aspects. The next time you set out to create a song, it might just turn out to be something truly special.
Crafting Memorable Hooks for Jazz Music Songs
In the realm of pop songwriting, hooks are paramount. “Write a great hook” is their mantra. Yet, in the world of jazz composition, we seldom, if ever, discuss this crucial element.
Wikipedia offers a useful 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.”
Making a song appealing and captivating to the listener – shouldn’t these be goals for any composer, regardless of genre? So why do we often overlook the hook in Jazz Music Songs? In my own words, a hook is a melodic or rhythmic phrase, or part of a phrase, possessing a uniquely defined character that is easily aurally remembered by any listener.
Yes, any listener. People have more discerning ears than we often give them credit for. While someone untrained might not be able to identify intervals or chords, they can effortlessly sing along to parts of their favorite songs, recalling lyrics and melodies from memory.
It’s precisely because of this inherent human ability that the hook is so vital. If people weren’t capable of remembering and mentally reproducing melodic fragments, the memorability of a tune wouldn’t matter much.
To grasp the essence of a hook, let’s explore some examples in a pop context.
Consider Mayer in a live performance of Neon. Listen attentively 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 responds to the melodic hook of the tune. Without that hook, people wouldn’t have a point of identification, and there would be no enthusiastic screams for John. This melodic riff acts as the foundation for all subsequent hooks within the song, including the chorus – a section in pop music where a hook is absolutely indispensable.
Here’s another illustrative hook example from Mariah Carey in Touch my Body – complete with an amusing video for your enjoyment. She repeats a minor third interval between the 3rd and 5th of the major triad in a distinctive rhythm. The alternation between these two notes, combined with that specific rhythm, creates a unique phrase instantly recognizable by anyone. And there it is: a beautiful hook.
Notice how the chorus of Touch my Body still subtly implies the rhythm of the initial hook, but extends a portion of it. This is the first instance we hear a sustained note, and what does that accomplish? It stands out clearly in our minds as a unique, singable phrase, providing yet another excellent hook.
Furthermore, hooks are more than just motivic development. They are about the motif itself. They involve inventing a motif that listeners will latch onto, something they can sink their teeth into and crave to hear repeatedly. These motifs are often simple, yet possess a certain quality that transforms them into something extraordinary. This “specialness” is what defines a great hook in popular music and can be equally effective in jazz music songs.
Many exceptional jazz tunes also possess great hooks, although you might not have consciously identified them as such before, simply because in jazz, we don’t typically approach composition from this perspective. Miles Davis’ So What for instance, features multiple hooks intricately interwoven to create a profoundly memorable listening experience.
Here’s another example of crafting great hooks: Kurt Rosenwinkel from his album Star of Jupiter, which is replete with excellent hook examples throughout.
Begin thinking in terms of crafting compelling hooks in every jazz music song you write. This simple shift in perspective can dramatically transform your compositional approach and lead to more engaging jazz music songs.
Spend Time on the Arrangement and the Groove of Your Jazz Music Songs
Jazz composition often fixates heavily on harmony, frequently overshadowing other crucial elements necessary for creating truly exceptional jazz music songs. How often have you composed a tune by figuring out the chord progressions, then the melody, and then stopped completely? I confess to this practice countless times. “Oh, I’ll sort out the groove and feel later,” is a common internal monologue.
In pop music composition, emphasis is placed on constructing the groove and arrangement, often even before or concurrently with writing the melody and chords. The key takeaway is that pop songwriters prioritize and dedicate time to aspects beyond just melody and chords, recognizing that a song’s overall impact relies heavily on these elements. This principle is equally crucial for crafting compelling jazz music songs.
Watch this performance of Michael Jackson’s You Rock My World, featuring Chris Tucker for added entertainment. While enjoying the incredible dancing and comedic relief, pay close attention to how Jackson builds the groove and how all the background elements contribute to supporting that groove. When you consider the visual elements and choreography, the arrangement is quite elaborate and meticulously crafted.
This same level of care and attention to detail is transferable to the jazz idiom when creating jazz music songs. Listen to Kurt Rosenwinkel’s Zhivago. His meticulous attention to detail permeates every aspect of his music, including the groove and arrangement.
Even when performing or recording a standard, dedicate significant time to the arrangement. And by arrangement, I’m not solely referring to how two or three horn parts harmonically fit together. While harmonic voicing is part of arrangement, I’m advocating for a broader understanding of arrangement: how everything in the tune cohesively fits together. As previously stated, prioritize and invest time in elements beyond just melody and chords to enhance your jazz music songs.
In my opinion, this is an area where the jazz community, even the most accomplished players, often falls short. We become so accustomed to simply showing up and playing that we invest minimal effort in arranging standards to make them uniquely our own or more engaging for contemporary listeners of jazz music songs.
In pop music, the equivalent of a standard is a cover song. The most compelling and enjoyable covers rarely attempt to replicate the original exactly. Instead, they expand upon, subtract from, and remix the original, producing a version that is different and, in some rare instances, even improved. This approach to covers can inspire jazz musicians when working with standards for jazz music songs.
Here are a few pop covers to explore:
Jayme Dee covering Foster the People’s Pumped Up Kicks
http://www.youtube.com/watch?v=jlLU9_IGymg
Aloe Blacc covering Michael Jackson’s Billie Jean
Jacob Collier covers Stevie Wonder’s Don’t You Worry ‘Bout a Thing
And here are a couple of jazz musicians who consistently invest time and effort in arranging standards in their own distinct ways, creating fresh interpretations of jazz music songs:
Mulgrew Miller on I Hear a Rhapsody
Brad Mehldau on It Might as Well be Spring
Don’t merely write out chords and a melody and consider it complete. And avoid being a predictable cover band. Dedicate time and thought to the arrangement to elevate your jazz music songs.
Make Jazz Music Songs People Want to Listen To
A significant number of jazz compositions sound like mere exercises or sterile laboratory creations. I’ve personally written countless pieces that, upon completion, prompt the thought: “Wow, that’s not something I would actually want to listen to for pleasure.”
Compositions can become sterile when they aren’t conceived with the primary intention of creating something that people would genuinely want to listen to. I’m not advocating for pandering to the masses; rather, I’m suggesting aiming for something that you and others would find enjoyable to listen to in the realm of jazz music songs. Don’t you want your music to bring enjoyment to listeners? If not, that’s perfectly valid, but it’s a crucial consideration when bringing a new composition to life and aiming to create engaging jazz music songs.
In fact, momentarily disregard external audiences and simply ask yourself if you’re creating something that you personally want to listen to. In his concise yet insightful book, Steal Like An Artist, Austin Kleon advises to “write the book you want to read.” This principle naturally extends to music: compose, arrange, and play the jazz music songs you want to listen to.
In pop music, the overarching objective is undeniably to disseminate your tune to the widest possible audience. I won’t delve into the ethical implications or intricacies of the music industry. However, I want to emphasize the fundamental understanding that people listening to and enjoying your music is a positive outcome, especially when it comes to jazz music songs often perceived as niche.
The recent song Wake Me Up by Avicii (sung by Aloe Blacc and co-written by Mike Einziger of Incubus) ingeniously merges two of today’s most popular music genres: folk rock and EDM.
Whether you love it or loathe it, the song’s phenomenal success – reaching number one in 22 countries and the top 10 in six others – is understandable. It features several compelling hooks, a solid arrangement with clearly defined sections, and it effectively fuses sounds that a broad audience enjoys listening to. These are all valuable lessons applicable to crafting successful jazz music songs.
Think Like a Pop Songwriter When Creating Jazz Music Songs
Writing jazz tunes and arranging standards doesn’t have to be as dry and uninspired as it’s often perceived. In fact, it’s only dry and boring if you approach it with that mindset. When The Dream and Tricky Stewart penned Mariah Carey’s Touch my Body, they were actively thinking about crafting irresistible hooks, creating something that people would hum in the shower, and ensuring that listeners would remember something – a rhythm, a melody, anything – that they could carry with them into their own lives.
When this same songwriting duo created Umbrella for Rihanna, Single Ladies for Beyoncé, Me Against the Music for Britney Spears, and Baby for Justin Bieber (is it mere coincidence that they wrote all these hits? I think not), they meticulously considered every aspect of the arrangement. They focused on how each section would be clearly delineated and memorable for the listener, how the groove would feel, how the melody would interact with the drums and bass, and how the intro would seamlessly transition into the body of the song, and how the song would conclude.
And of course, when crafting all these chart-topping tunes, they were constantly thinking about creating something that people would genuinely want to listen to. Regardless of whether you have an aversion to pop music or find immense joy in it, there are invaluable lessons that we, as jazz musicians, can glean from pop songwriting techniques, particularly when aiming to create more accessible and engaging jazz music songs. By keeping these three key concepts – hooks, arrangement, and listener appeal – in mind when you’re composing, you’re sure to not only enjoy the creative process more but also create jazz music songs that you and others will genuinely love to listen to.
