How To Make Hit Song?

How To Make Hit Song
The songwriter creates a song that is memorable, interesting, and suitable for commercial release. This demonstrates that the music is skillfully constructed, that it is relatable to a large number of people, and that it moves the listener to take some kind of action.

How are songs made?

A standard song structure consists of an intro, verse, chorus, verse, chorus, bridge, chorus, and outro. This structure is broken down as follows: intro, verse, chorus, verse, chorus, bridge, chorus, and outro. This type of form is known as an ABABCB structure, in which A represents the verse, B represents the chorus, and C represents the bridge.

What is the pop song formula?

Why do so many people travel to Glastonbury every year? No, this is not a question meant to be answered by itself. After eliminating activities such as partying, camping, having sexual encounters, using illegal substances, eating fast food, crystal healing, herbal remedies, face painting, and sunburning or mudsliding (all of which can be accomplished elsewhere for less than £215), we have no choice but to at least consider the possibility that they are drawn to the music.

And by music we mean the pop tunes that are performed at Glastonbury.
Pop songs (typically) stay in the same key throughout their entirety, are written in the time signature of 4/4, have a duration of between three and five minutes, are broken up into sections of four or eight bars, feature a chorus that is repeated anywhere from two to four times, have the song’s title sung at least three times, and include brief melodic fragments that are repeated a lot so that listeners can easily remember them.

When you see a large group of people in a mosh pit or field having a communal experience, it’s usually because they’re experiencing just this – the pop song formula. Of course, there is a lot of great popular music in the world that breaks these rules, but the majority of the time, this is what they’re experiencing.

Although the formula had been silently developing through a process that resembled Darwinian natural selection for listeners for a few hundred years prior to then, its final form did not appear until the middle to late 1960s.
And if Glastonbury 2014 is any indication, it will continue to be the most popular song species there.

Let’s put this statement to the test by taking a look at the songs that have the most listens on Spotify that were performed by the acts that headlined the Pyramid Stage at Glastonbury. Therefore, we may define the “favorite” songs that were performed at Glastonbury in 2014 as the songs that had the highest amount of plays on Spotify and were performed by the top three headlining acts that appeared on the Pyramid Stage for each of the three nights.

Arcade Fire/Elbow/Lily Allen, Metallica/Jack White/Robert Plant, and Kasabian/The Black Keys/Ed Sheeran are their respective names. Because I believe that these high-profile classics are likely to be a large part of the appeal for fans, I have modified the songs that are considered to be White and Plant’s top songs so that they take into account the fact that their previous respective bands have received more plays than their more recent solo work.

Although there is a case to be made for removing Sheeran’s Hobbit-formed ” I See Fire,” I have chosen not to do so since it is hard to determine how the presence of a song in several formats would affect its overall popularity. According to this data set, the nine songs that were the most popular at Glastonbury in 2014 are as follows: “Reflektor,” “One Day Like This,” “Not Fair,” “Enter Sandman,” “Seven Nation Army,” “Stairway to Heaven,” “Fire,” “Lonely Boy,” and “I See Fire.” These songs are all in 4/4 time, and they remain in the same key throughout the whole song.

The song “Lonely Boy” clocks in at 3 minutes and 13 seconds, while “Stairway to Heaven” goes on for 7 minutes and 58 seconds; the group’s median average is 4 minutes and 23 seconds.
Every one of them has the title repeated many times, with the exception of “Seven Nation Army,” which only has the title sung once, in the first verse, and “Enter Sandman,” which does not include the title at all.

Seven out of the nine songs include a chorus that repeats and includes the title. They are all phrases with four bars. The majority of them consist of a melodic riff that is repeated and ranges in duration from one to four bars. Does the fact that every hit song follows the same formula imply that they all sound the same? It is quite clear that this is not the case, and during the course of this coming weekend, there will be plenty of songs performed at the festival that defy one or more of these stereotypes.

The historical need that songs be radio-friendly may be starting to reduce as internet streaming overtakes downloads and retail sales.
This has led to some fascinating current challenges to classic song genres, even in the mainstream.
But as a musicologist (and, yes, as a fan), I’m interested in the fact that we appreciate popular music just as much for its commonalities as it does for its differences.

Songs that are able to fit within recognized constraints are able to provide us with an unlimited supply of entertainment, and we only require tiny deviations from the conventional in order to create something unique or intriguing (indeed, the law demands such variation, the lower threshold of songwriting creativity being defined by an absence of plagiarism).

You may find these formulaic traits in practically any US/UK corpus of mainstream popular song from the past 50 years that you choose to investigate.
These songs are popular in both countries.
There are a large number of great songs that adhere to all of the conventions, but even within those boundaries, good composers and musicians may attain a level of inventiveness that captivates and mesmerizes listeners.