THE HIT-MAKERS - Part 1

Articles In This Section:

· THE HIT-MAKERS - Part 1

· THE HIT-MAKERS - Part 2

· THE HIT-MAKERS - Part 3

· THE HIT-MAKERS - Part 4

· THE HIT-MAKERS - Part 5

· THE HIT-MAKERS - Part 6

DESPITE THE RESTRICTIONS OF FORM, STRUCTURE, PATTERN and range, songwriting is a highly individualistic profession. While it is a fairly simple matter to lay down definite rule^ and regulations, and to generalize about the best methods of writing successful songs, the truth of the matter is that it is almost impossible to say "do thus and thus and you will have a best-seller." The proper ingredients can be described, but it depends entirely upon the individual how these ingredients are to be mixed and used, and on what the end result will be.

Successful songwriting, in other words, depends upon not only following the rules, but also on having the proper amount of natural talent, good taste, good sense, and experience. One of the reasons that the seasoned professional composer can turn out successful songs at a fairly rapid rate is not necessarily that he has more talent than a non-professional, but simply that through trial and error he has finally hit upon an approach and working procedure that is best suited to his own ability.

This does not mean that he will use the same melody over and over again, but it may mean that he has found that he is particularly adept at turning out a certain type of song, or that he works best with a collaborator, or that he prefers to write the lyric first, or the tune first, or that his melody ideas are most successful when he uses certain harmonies, or certain patterns. The point is that this working procedure is something that the individual songwriter must evolve for himself.

Among the professional songwriters, these working habits are so pronounced and so highly individual that it is often possible to spot the composer or lyric writer by the style of the composition. Cole Porter songs, for instance, are, for the most part, extremely stylized both an lyrics and melody. The trick rhyme schemes, the humor and imagination shown in the lyric provide a definite Cole Porter signature. This individual style is also evident in his music, particularly in some of his older songs which had a fairly strong melody line.

If you should play in succession such songs as Night and Day, Begin the Beguine₃ I’ve Got You Under My Skin, and At Long Last Love, you will find a strong similarity in the main melodic themes. This is no indication that Porter is lacking in creative ability or imagination. The fact that he has written many other successful songs which are definitely original is sufficient indication of his creative scope. Porter merely hit upon a combination of note patterns (using the chromatic scale) which struck his fancy. The tendency to use this progression over again was probably entirely unconscious and had merely become part of his particular style. The fact that all of these songs were hits is sufficient evidence that his hunch was a good one.

Porter's style is especially suited to the production-type of song. The sophistications, tricky lyrics and quick wit shown in his songs requires the footlights to put the song over in proper style.

Irving Berlin, in sharp contrast to Porter, has no definite signature to his music and is equally adept at writing straight ballads or smart show numbers. Berlin, who is admittedly, one of the finest songwriters in the history of Tin Pan Alley, is heartily admired and liked by his fellows in the trade. His talent, through the years, has matured and expanded, constantly developing new facets, constantly staying in touch with the times. His older songs such as Always, What’ll I Do?, Remember? A Beautiful Girl Is Like a Melody did have a definite Berlin signature. But Berlin refused to permit his numbers to be stylized. His beautiful God Bless America, his show numbers from "This Is The Army" and his outstanding ballad White Christmas are only a few examples of his facile ability.