ROBIN FREDERICK TAKES YOU INSIDE TODAY'S HIT SONGS.
Category:FILM & TV SONGS
Every year thousands of songs are used in film, TV series, and commercials. Find out how to write a song that will work with hundreds of scenes by studying these successful film and TV songs.
Recently three different songwriters have mentioned the name Zayde Wolf to me. Now, I am a true believer in the “Rule of Three,” and therefore I made sure to check him out. (Ron Fair, former president of A&M records and a top A&R exec, once told me that if three people — any three people — told him about a band or artist, he would be certain to take a look at them.)
So, I spent some time listening to Zayde Wolf and reading his bio, and I’m glad I did. Here’s a guy who has very rapidly garnered hundreds of Film, TV, Advertising, Trailer, and Video Game placements. Naturally, I began to wonder: Who is he? Where did he come from? How many years of dues-paying has he put in? Turns out none of these questions really apply.
Duos are hot right now, especially in the film & TV and college music markets: The Weepies, The Bird and the Bee, Angus & Julia Stone, and more. There are a lot of reasons to consider writing, recording, and performing with a partner. And you don’t have to give up your solo career!
Not your parents’ duets
These days, male/female duos are not necessarily singing duets in the traditional sense. The song may feature a vocal by one partner singing about a personal experience, with harmony provided by the other vocalist as in the song “World Spins Madly On” by The Weepies.
Or one partner may be the sole vocalist while the other is primarily a producer/arranger. You can hear a good example in this recordings by The Bird and The Bee called “Recreational Love.”
Or both partners may contribute to songwriting, playing, and producing as Angus and Julia Stone do.
No matter how the vocals, instrumental performance, and production are split up generally both members contribute to the songwriting and a distinctive, artistic sound. Here’s a good example by Chairlift, “I Belong In Your Arms.”
The Civil Wars came close to a classic duet in the haunted “Poison and Wine” in which the singers trade off riddling lines that paint a portrait of a pair of obsessed lovers. Not exactly Marvin Gaye and Tammi Terrell material, but right in line with today’s Indie Folk/Americana style.
Who should try it?
It’s a short hop from the popular singer-songwriter sound of John Mayer or Ingrid Michaelson to duos like The Weepies, The Bird and the Bee, Beach House, The Civil Wars, Little & Ashley, and Angus & Julia Stone.
If you’re a singer-songwriter, consider pairing up with someone else. It doesn’t have to be for the long term and it doesn’t need to be exclusive; you can keep your solo career going. But try stretching out a little. Maybe write and record a bare bones EP with four or five tracks in this style. Check out Ed Sheeran’s “Songs I Wrote With Amy” EP to hear this kind of project.
If your strength is production or instrumentals, think about writing with a vocalist. Work together to create a mood, a sound, and a lyric style you both like. Tailor your songs so that both of you get a chance to shine. A song like Chairlift’s “I Belong In Your Arms” shows off the production almost as much as the vocal.
If you’re a songwriter who doesn’t perform, look for a singer-songwriter to co-write with, someone whose voice inspires you. If you can record the tracks in your home studio, you’ll be in great shape. Depending on the style you write in, you can pitch to the film & TV market or to music publishers for established artists.
Being in a duo has advantages
Pick up your speed and output: A good collaboration can turn out material more quickly than a solo writer. Collaborators can keep each other focused on the work at hand. Knowing someone else is expecting you turn up with a new song idea or a chorus melody or a verse lyric is a great motivator.
Stretch out: Locked into a few old writing habits? Getting a little bored running around the same hamster-wheel? Share ideas with someone else. Let a co-writer finish a song of yours. Listen to their ideas. Try to hear things the way they do. Play your favorite artists for each other. Try writing a song together in a style you both like.
Record male and female vocals: In a duo you’re not limited to either/or. You can write, pitch, and place both male and female vocals. Try recording two versions of a song, one with a male vocal and one female vocal. Blending voices also creates a fresh sound, a female lead with male harmony or vice versa.
Cover your own songs: Try a new approach to some of your old songs. Go unplugged. Feature a different vocal style or gender. It’s a great way to recycle material.
Have fun blending styles: Many of today’s duos are influenced by the production and song styles of earlier eras. Beach House is a great example of a duo channeling some classic sounds into today’s indie Dream Pop genre (“Myth” by Beach House).
If you know the ’60s, ’70s, or ’80s like the back of your hand because you grew up listening to those songs, think about putting together a duo with someone whose tastes and musical knowledge are ultra-current, then blend your two styles into something unique.
Where to look for your other half
If you’re going to be performing together, an online collaboration with someone in a distant city could put a damper on things, so check out the local music scene first. If, on the other hand, you plan to write and record only (no performing), then online is fine.
LOCAL: Check out…
Clubs with live music
A local college or university music department
A chapter of a songwriting organization like NSAI
Anywhere a music scene is happening
ONLINE: Any online songwriting group you belong to can turn up a good partner. Check with friends and friends of friends to find out if they’ve heard anyone interesting. I also recommend the Collaboration Corner on the TAXI forum. You don’t have to be a TAXI member to join the forum but you can meet and write with folks who are. These songwriters are serious about their craft and they understand the various song markets. Go to the TAXI forum and scroll down to Collaboration Corner near the bottom.
What to do when you find a good duo prospect
The winning formula for getting together with a new writing and performing partner is: LISTEN. CONTACT. SHARE. TRY IT OUT.
LISTEN to their material.
CONTACT them if you like what you hear.
SHARE material you’ve each written plus artists and styles you’d like to aim for.
If you think it’s a fit…
TRY IT OUT. Write together to see what happens.
What makes a duo work
The most important things is to acknowledge your strengths and highlight them. If your partner is a great singer and you’re only so-so, hand over the vocal spotlight for a while and provide support. Mutual respect and a commitment to the best end result are the keys to turning out a steady stream of solid work. Sure you’ll have days when you don’t agree on things but once you find someone you want to work with, someone who has strengths and areas of knowledge that complement yours, then get to work and you’ll overcome the tough times.
Two is greater than one
When your voices blend, when the songs you write together turn out different – and maybe better – than the ones you write alone, when that special something happens, hang on to it, nurture it, and then share it with world. We’ll be waiting.
While the sights and sounds of the season are all around us, this is the time to write those holiday hits. Maybe you want to pitch to a Hallmark holiday special, approach a music publisher with a new Christmas classic, or just share a bit of seasonal cheer with friends and family.
If you’re like me, you’ve combed through YouTube looking for cool songs and videos to share in holiday emails. Don’t miss out on these listeners! Put a simple lyric video together and upload it to YouTube, Facebook, or Instagram.
There have been a few Christmas lyrics about getting home in time to celebrate with family and friends. There’s the classic “I’ll Be Home for Christmas” and songs like Chris Rea’s “Driving Home for Christmas,” but it’s a theme that still has plenty of room for creativity.
In this song, writers John Legend, Amy Wadge, and Daniel Lafrombe have given it a personal touch that makes you feel you’re listening in as Legend calls home to say he’ll be late.
In the chorus he lists all the things he might do to make it back by Christmas Eve: “I’m gonna walk, if I have to run, I’ll stand on the highway and stop someone. I’ll cross the deserts and oceans, a river that’s frozen…” Give this idea some thought: If you were stuck a thousand miles away, how would you try to make it back home in time for the holiday?
A NOTE ON THE MELODY: This is a slow ballad with a strong melody. There are a few pauses between song sections (and one pause in the chorus after “You can count on me”) but the rest of the melody rolls forward line after line, creating plenty of momentum. That’s one of the essential tricks of good ballad writing—the melody is always in motion. Also notice the pattern of long and short phrases that keep the melody interesting… and keep listeners listening.
I got a real kick out of this lyric! Although the title sounds like another “make it back home in time” song, it’s definitely not! Here, the question is: Will the singer and her boyfriend stay together until the big day? She says:”Don’t know what I’ll say to Dad when he sees the empty chair. Don’t want to hear my Mom say, “Told you so.” Listeners will stay tuned in to find out how it all turns out.
There are lots of Motown overtones in the arrangement that add a nostalgic flavor. In a holiday song, a little nostalgia is a good thing.The melody rolls forward without stopping, carrying listeners along. There’s a strong post-chorus filled with retro-Pop background vocals and a solid hook/title line.
Give the songwriter in your life the gift of knowledge!
Check out this revamping of Freddy Fender’s Tex-Mex classic complete with pumping bass and accordion frills that evoke the genre and locale. How about taking your Christmas song to someplace like Paris? Try a sidewalk café vibe or Edith Piaf-style chanson. (Now there’s a thought!)
Choose your favorite spot and imagine a holiday with local color and sound. This might limit your film and TV pitches to scenes that take place in that particular locale, but it could be a great YouTube lyric video with a few stock photos. YouTubers will love your new holiday classic.
This is an Urban AC tune with a cool Reggae vibe and plenty of warm Jamaican holiday wishes. The lyric is simple but keeps the Jamaican feel throughout—”Though we celebrate it different where I’m from / Joy we keep it strong.” The melody is catchy, with just the right amount of syncopation to get your body swaying.
In this lyric, writers Samantha Jade and Graeme Press chose a single object to represent the holiday season—a candle—and built their lyric around it. You can hear something similar in holiday classics lilke “Silver Bells” and “White Christmas.”
Instead of listing all the familiar sights and sounds of the holidays, choose just one and explore it.BONUS TIP: You can apply this idea to any holiday, from New Year’s to Hallowe’en. Choose one image and write a lyric around it, focusing on the feelings and meaning associated with it.
What kid hasn’t shouted “Finally!!! It’s Christmas!” as they rushed to the tree to tear open their presents? This song, written and performed by the Hanson brothers in 2017, is a wonderful rockin’ tribute to the excitement and anticipation in the build-up to the Big Holiday. I loved it for the fun and enthusiasm of the song, the performance, and the musical arrangement with it’s big nod to the Beach Boys and the Beatles. Check out the YouTube video just for the joy of it.
Writing holiday lyrics
The best way to get authenticity and emotion into your lyric is to put yourself into the situation you’re writing about. That’s why writing your holiday songs at this time of year is such a good idea.As you go through the holidays, be aware of your own emotions and those of the people around you. Or pick a stranger at random and imagine that person’s situation and what they’re feeling. Or watch a classic holiday movie and choose a scene that suggests a song idea.
Draw the listener into the situation with a lyric that features images, actions, and physical sensations. Express the emotion the singer is feeling in ways the listener can relate to. Use the physical senses to evoke sound, touch, smell, and taste. You’ll give your song a unique, believable vibe and guarantee that it won’t be just another holiday song by rote.
Try it now
Start, work on, rewrite, or finish a holiday song. You can write in just about any style from Contemporary Pop to Singer-Songwriter ballad to Reggae to 1950s Rock ‘n’ Roll. Choose a style that plays to your strengths. A simple guitar/vocal works great for the Singer-Songwriter, Folk, Reggae, and Americana styles. A piano/vocal is fine for Adult Contemporary ballads. You’ll need a more produced track for some of the Rock and orchestral styles.
If you don’t consider yourself the right singer for the song, call on a friend, a fellow songwriter, or someone in your family. Holiday songs are not about being polished and perfect; they’re all about a real feeling. Keep that in your mind and heart and you’ll do fine!
Learn how pro songwriters use imagery in their lyrics.
Using images in your lyrics is a quick and powerful way to connect with listeners. Let’s take a look at a couple of strong image-based song lyrics. To find them, we need look no further than today’s successful singer-songwriters. This style relies heavily on the use of images to express personal experiences and emotions.
Song #1 “Slow Dancing in a Burning Room Writer: John Mayer
THE TITLE IMAGE: The title of this song is an intensely powerful visual image. Who can resist picturing this couple and the destruction happening around them?
I think it’s safe to say there are more broken-hearted songs written every day than happy ones. For one thing, it’s easier to sound serious and deep (and cool) when you’re singing a thoughtful, angst-y, sad song than a happy, bright bit of fluff. And, of course, who wants to shut themselves up and work on a song when the good times are rolling.
The biggest problem, though, is how to avoid the kinds of generic, happy-face clichés that are the downfall of so many of these songs. Jason Mraz definitely has a knack for writing upbeat songs that don’t sound shallow. So, let’s take a look and see how he does it.
“I’m Yours” was a No. 1 Pop and Adult Contemporary hit that spent a record-breaking 76 weeks on Billboard’s Hot 100 music chart. It has a light reggae groove, a warm vocal, and lyrics that are seem both personal and universal. The catchy chorus has a sing-along vibe and, in fact, the final chorus on the recording features a gang vocal that adds a party vibe.
Upbeat songs have a lot of audience appeal. They not only work well for radio, they’re also sought after by TV series and advertisers. “I’m Yours” has been used in half a dozen TV series, two national TV commercials, and was nominated for a Grammy Award for Song of the Year.
SONG STRUCTURE
The song has an interesting song structure with a couple of tricks you might want to try. VERSE / SHORT CHORUS VERSE / FULL CHORUS BRIDGE / VERSE 3 / SHORT CHORUS / FULL CHORUS (with Verse 1)
VERSES: The verses convey the theme of the song – “Love is wonderful.” Verse 1 begins with the line “Well, you done done me and you bet I felt it.” The first line of Verse 2 is “Well, open up your mind and see like me.” Verse 3 begins “I’ve been spending way too long checking my tongue in the mirror.”
The melody in Verse 2 is different from Verse 1 and Verse 3 although the chords are the same and it’s still recognizable as a verse. It adds playfulness and variety to the song.
CHORUS: The chorus always begins with the line “I won’t hesitate no more, no more. It cannot wait.” and ends with the title, “I’m yours.” Putting the title in the last line of the chorus is a big plus because that’s a line that listeners can hold onto and remember in the midst of this wordy lyric.
The first time Mraz sings the chorus, about 45 seconds into the song, he only sings the first and last lines. It’s almost as if he’s dishing up the best parts as a kind of appetizer. The second chorus is longer, doubling the length by adding three more lines that aren’t in the chorus the first time we hear it and rearranging the lyric so it still ends with “I’m yours.”
The final chorus is sung by a group of people who sound like they’re having a good time while Mraz sings a verse over the chorus. It creates a happy sing-along ending with lots of good-time energy.
The chorus lyric doesn’t change. It adds lines the second time around but repeats the essential first and last lines. This maintains the repeated chorus effect that listeners like to hear while building and adding shape to this upbeat song, keeping it interesting. Try something like this is a song of your own.
BRIDGE: The bridge starts with a scat vocal – “Doo-ja-doo-doo-doo-ja” – just about two minutes into the song.
– TRY IT NOW –
Listen to the song and notice where each song section begins. See if you can identify the verses, chorus, and bridge. Watch for the chorus and notice how the length and complexity changes as the song moves forward.
