How To Write A №1 Hit Song… According To The Man Who’s Written 25 Of Them
Even if you are a musician, you would be forgiven if you didn’t know the name Max Martin. But he’s been behind 25 of the №1 US Music Hits over the past 10 years, and is arguably one of the most influential producers in contemporary music.
Max Martin (born Karl Martin Sandberg in 1971) is from Sweden, and has been revolutionising the music industry with his unique approach to songwriting, known as “Melodic Math.”
Martin has written and produced many of the biggest hits of the last two decades, including “Baby One More Time” by Britney Spears, “I Want It That Way” by the Backstreet Boys, “Since U Been Gone” by Kelly Clarkson, and “Roar” by Katy Perry.
In this article, we’ll take a closer look at Melodic Math and how you can apply it to your own songwriting.
Melodic Math
Melodic Math is a term coined by Max Martin to describe his method of combining mathematical precision with catchy melodies to create hit songs. He uses a formulaic approach to songwriting, breaking down each song into its individual parts and then recombining them in unique ways to create memorable and impactful hooks.
Of course, a kick arse signature sound comes as much from the instincts of the producer as it does from their process, but let’s take a look at some of the unique elements that make a ‘Max Martin’ song.
Melody
In Max Martin’s music, melody is king. He often writes his melodies first, with everything else coming later. He tries to keep his melodies simple, and fits the syllables of the lyrics to the notes of the melody.
The mantra is, lyrics are meant to serve the melody, so when the melody soars, so should the lyrics.
Repetition
One key aspect of Melodic Math is the use of repetition. Martin often repeats phrases, chords, or musical elements throughout a song, creating a sense of familiarity and making it easier for listeners to remember the song.
For example, in Britney Spears’ “Baby One More Time,” the chorus starts with the repeating line “Oh baby, baby.” This repetition not only makes the song memorable, but also serves to reinforce the central message of the song.
Rhythm
Another important aspect of Melodic Math is the use of rhythm. Martin’s songs are often built around strong beats and driving rhythms, making them feel upbeat and energetic. This is evident in the intro of “Since U Been Gone” by Kelly Clarkson, which starts with a fast-paced, driving beat that sets the tone for the rest of the song.
Tension & Release
In addition to repetition and rhythm, Martin also makes use of musical tension and release in his songs. This means building up a sense of anticipation in the listener, only to release it with a satisfying hook or chorus. For example, in “Roar” by Katy Perry, the verse builds up tension with its slow, measured rhythm, before the chorus releases this tension with a big, explosive hook.
Lyrics
The way Max Martin writes lyrics is very mathematical, a line has to have a certain number of syllables and the next line has to be it’s mirror image. This is one of the reasons why Martin’s songs are so catchy, and you feel like you know them the first time you hear them… you’ve heard the chorus echoed in the melodic arrangement of the song before you hear the lyrics, and your subconscious has already heard the melody, or a mirror version of the melody before you’re conscious mind engages with the chorus, making it stick.
He also makes sure that the chorus hits you before you’re 50 seconds into the song, so you’re getting an endorphin rush before he starts unveiling the other 3–4 melodic parts, which he introduces one at a time. This introduction of new melodic parts keeps you engaged in the song, subconsciously increasing the complexity of the song and building to the climax, where all the melodic elements are working together.
Arrangement & Mixing
It is also worth mentioning that Martin has a philosophy around the mix as well. He always strives for simplicity, trying to keep the sound stage from getting to busy. You can see he aspires for minimalism and clarity in the mix, even if he’s mixing a huge song.
This breakdown by the Martin produced track Into You by Ariana Grande is worth watching for anyone (particularly producers) obsessed by Martin. It gives you an insight into the obsession with structure, melody and layering of ideas to create seamless transitions in the music and propel you forward through the song with a sort of perpetual motion.
SIMPLICITY
When thinking about your own music, try to make sure that every sound used in the production has a distinct purpose. Keeping it simple means stripping the arrangement to it’s most basic elements and building it up from there. It’s often said that knowing what to leave out is almost as important as knowing what to put in.
ONE AT A TIME
At a party, it’s confusing to get introduced to 10 people at the same time. You’re likely to forget most if not all of their names. The same goes for musical instruments or layers. Try introducing things one at a time. Start slowly, and build as your listeners get a chance to assimilate and appreciate each melodic element.
LESS IS MORE
Work on making a song work with a smaller number of parts. Strip it down to its key elements and make sure those work to keep the song catchy and remove any distrations. Maximise the use of the melodic elements, and see if you can make a song sound great with just 3–4 elements, used to their full potential.
REUSE AND RECYCLE
No, this isn’t talking about your environmental footprint. Find ways to use melodic parts in different ways to create familiarity throughout the song. Echoing the chorus with a melodic element low in the mix throughout the verse, for instance, can make a listener like the chorus even more when it kicks in.
Of course, it’s important to find a balance between familiar and new melodic elements to keep the listener engaged.
CREATE CONTRAST
Create contrast between using shorter and longer notes, on and off beat, and creating tonal shifts between the verse and chorus. It’s important not to make everything dull or low fi, or bright, because if all the elements are one thing, then nothing really stands out.
“If you’ve got a verse with a lot of rhythm,” Max Martin said to American Songwriter, “you want to pair it with something that doesn’t,” going on to talk about creating contrast in the mix by using psychoacoustic principles, and tools like reverb, delay, EQ and compression.
STRANGE & FAMILIAR SOUNDS
Most pop songs use the same kinds of sounds to build a strong foundation. Snaps, claps, kicks, bass, pads, plucks and leads are some of the most widely used elements in mainstream pop music. Max Martin suggests to deploy a combination of familiar and unfamiliar elements to catch the attention of the listener.
CONCLUSION
Max Martin’s approach to songwriting has been hugely influential in the pop music industry, and his methods can be applied to many different genres of music.
If you’re a musician looking to incorporate Melodic Math into your own songwriting, here are a few tips to get you started:
- Start with a strong hook. Your hook should be the central focus of your song, and should be memorable and impactful.
- Use repetition to reinforce your hook. Repeat elements of your hook throughout the song to make it easier for listeners to remember.
- Pay attention to rhythm. Your song should have a strong beat and driving rhythm, making it feel upbeat and energetic.
- Create musical tension and release. Build up a sense of anticipation in your listeners, then release it with a satisfying hook or chorus.
- Experiment with different chord progressions and musical elements. Try combining different elements in unique ways to create memorable and impactful hooks.
The principles of Melodic Math are an important part of music production that every pop artist, a singer-songwriter, or a producer should at least be aware of… because even if you’re not setting out to write a №1 hit, you’ll at least know what’s making those hits stick in your head whether you want them to or not.
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