The 6 Rules Of Commercial Music Success
In the past I’ve had many conversations with performers about commercial music, which usually leads to them disclosing their disdain and hatred than it. Some talk about Pop music (“Pop,” like what’s popular now) as commercial music.
Others think about any situation that is receiving heavy rotation on radio as commercial music. Whatever their definition, a very important factor is usually overlooked: commercial music will be the heart from the music business which pumps the blood that keeps it alive.
Exactly why then a large number of music artists and bands resistant against making commercial music? The solution that we are often given is because don’t want to “sell-out” their creative integrity by conforming for some industry form of what’s popular (i.e. what’s selling at this time). It is very obvious if you ask me the concern is not commercial music, but the perception and concise explaination it.
The misunderstanding is the music business created this superficial concise explaination commercial music to remove the artistry and true identity of artists when it comes to making money; forcing artist to make songs the “masses” will relish. That fallacy is usually perpetuated by artists who’re usually incapable (not unwilling) of making commercially viable songs. The simple truth is the public, not a, dictates what exactly is commercial, and for decades they have gravitated towards, embraced, and purchased songs that follow a commercial music format.
If commercial music could be the rule for fulfillment and sales from the music business, you’ll find inevitably going to be some exceptions to it, but unfortunately, the tendency is for music artists to get to be the exception, rather than observing the rules and why they exist.
The bottomline is: the principles of commercial music success have not, and does not change. Not in your own life time or your children’s lifetime. They exist because it’s human instinct to reject the unfamiliar; inside the music industry, similarity could be the cornerstone of acceptance. This is why numerous popular songs sound similar and contain familiar elements.
It’s actually a rule that is certainly prevalent in each and every genre, and so on every continent. You will find those artists who a masterful job of observing their particular artistic values while delicately balancing the demands for commercial music by industry professionals. Artists like Prince, Sting and Bjork, have pushed the envelope of creativity for a long time. But artists of these caliber who possess such sublime talent and vision are rare.
In the interests of clarification and argument, I am going to offer my explanation and industry definition of what commercial music is; determined by 25 years of listening to recordings being a music lover, music industry professional, and music critic. They’re songs that have the following:
1.) A solid HOOK/MEMORABLE CHORUS.
If no one knows what your song is known as, they can not request it whenever they read it for the radio. More importantly, they can not get it at retail…or track it down on the web to illegally download a duplicate of it.
2.) GOOD MELODY.
Commercial music is seen as good melodies (i.e. verses, choruses, and quite often bridges that get stuck in your mind thus making you need to sing-along). Exactly what do the most notable selling hip-hop acts with the last Decade (Tupac, Notorious B.I.G., Jay-Z, Eminem, and 50 Cent) attribute their success to? Good melodies (not cool beats) that increase the commercial valuation on their music.
Coming from an R&B background where producers are a pivotal section of commercial music success, I didn’t realize until I came to be a specialist that lots of rock bands don’t utilize, nor value producers like R&B music acts. Perhaps they must because the record company often assigns top-notch producers to boost the caliber of songs (through their musical expertise) and enrich the records (through their experience and proficiency from the recording process), ultimately driving them to more pleasurable to listen to and, you got it right…more commercial!
4.) APPEALING LYRICS.
The lyrics doesn’t have to be profound; people simply have to be capable of emotionally connect with and mentally correspond with them. When you have a means of saying common things in a uncommon way, your lyrics may have a benefit over the songwriter whose song is one of the same topic. Write about what’s nearest to your heart for credibility and sincerity, yet others should be able to relate with your songs — especially if it’s over a subject theme they know or have
5.) KEEP IT SHORT.
Keep your amount of your songs right down to at the most four minutes. Jazz and World Music are exceptions. An audio lesson that is well-written makes people wish to listen to it again, and again, and again. The more the song is, the more unlikely that can happen. Don’t believe me? Confirm the length of your selected songs.
Most outstanding vocalists in many cases are amazed at how low this rule is on the list. In fact there are more mediocre songs done by outstanding vocalists, than there are mediocre vocalists performing outstanding songs. An excellent song which is well-performed accounts for a good edge, but if the song is lacking, each of the yelling and vocal acrobatics that singers tend to use to pay for this is not going to transform it into a better song…although it might help the singer to draw in better songwriters to use. If you lack talent and it is a really good song, someone more talented can (and will) sing the song and earn it better.
You now be aware of 6 rules of economic music success, hopefully it is possible to make use of this info to your great advantage and make songs that will improve your likelihood of success in your professional music endeavors…or you can ignore them and strive to wonder why no-one (other than your friends and relations — which pay attention to commercial music) much like your songs.