zero-alpha escribió:
En la música actual la estructura es:
Estribillo, estribillo, estribillo y estribillo.
Eso es fruto del track&hook, hay una gente produciendo tracks que son enviados a otros, los topliners, para que ideen hooks vocales que funcionen. Luego todo se remonta en el estudio en plan copy&paste. Los que montan tracks además se preocupan de meter hooks instrumentales y sonoros (fx, chuminadas varias, etc).
Alguien escribió:
The track-and-hook method of songwriting is at the basis of a lot of these changes -- a track is almost a canvas with some background painted into it, and different people add hooks and a bridge and a chorus and slowly it becomes a song, rather than springing fully formed from the imagination of Burt Bacharach, sitting at the piano.
https://www.billboard.com/articles/news/6738318/why-solo-songwriters-are-no-longer-todays-hitmakers
Havana oh-na-na! ya tienes un hook... y mira si ha dado de sí
Sia escribió:
But can you take me through that mindset of writing a song with the intention of having it sung by someone else?
Sure. I probably get 20 or 30 tracks a week from my producer friends who are hoping that I'll write lyrics and melody on top of them. I write over them in my house, and I record demos of them, in my house. I have an engineer come over. If I know Rihanna is looking for a single, I'll actually choose tracks that sound like a Rihanna-like jam, and then I'll start the writing process over it. That will come first with melody, and then I'll chose lyrical content from a list of concepts I have in my phone, and whenever I think of one, I write it down.
So I'll just scroll through all of my notes and look for concepts that feel like that particular artist. I might have something called "Bubble Gum," and I'll think, "Yeah, that's not Rihanna, that's more for a younger artist." Or I might have something like "Liquor," and with that as a concept, I can imagine that she would sing something about someone not being able to hold their liquor. Melody comes first, and you have to feel like she can sing it, and then I have to choose lyrical content that also feels aligned to that particular artist. That's kind of how I do it. I'm often wrong, and then the song ends up in a different home, and sometimes it ends up in the trash.
It's really just hit or miss, and I think the reason I'm pretty successful is actually because I'm really productive, not necessarily that I'm a great songwriter. I think I'm a good curator, so I know how to choose tracks that feel like they're anthemic, or that seem to have an uplifting quality in the chorus. It really seems like the general public responds well to songs about salvation or overcoming something, or that everything’s going to be OK, or that things are fun. So yeah, I think that my skill is more upbeat curating, as in choosing the right tracks and then sort of trying to understand the will or nature of popular culture.
https://www.rollingstone.com/music/features/sias-reject-opus-songwriter-on-reclaiming-adele-rihannas-unwanted-hits-20151203#ixzz41Db5jpOL
Esa es otra técnica habitual: tomar notas (muchos topliners lo hacen con el móvil), de revistas de moda, de novelas, frases de películas, etc... y tiene cierta lógica porque aunque luego hay que ligarlo todo la canción tendrá el zeigeist del momento. Muchos de estos topliners no sólo tienen un oído estupendo (y roban a saco del canon del pop) si no que además son capaces de captar las modas también en las letras.
Os copio y pego los consejos de Steven Lindsey que he puesto en el hilo de los productores superventas:
Steve Lindsey escribió:
- Hoy por hoy el negocio de la música aun gira alrededor de la radio... ese es el embudo por el que hay que pasar.
- El objetivo de escribir canciones es hacer que la gente sienta que no están solos. No es escribir tu diario íntimo.
- Contar historias (storytelling) es la clave. Saber quién le canta a quién, dónde y porqué.
- Hay básicamente 2 tipos de canciones: las Danzas de la Fertilidad (cualquier canción de amor) y el Canto de Guerra (diferente ritmo, hace que los machos se engorilen y puedan conquistar a la otra tribu colina arriba).
- Bruno Mars quería hacer algo retro... y Steve le dijo: puedes hacerlo, pero asegúrate de que la letra y el lenguage es actual.
- Hacer música es como hacer una película. Necesitas: 1) un buen guión, una gran canción 2) un buen director, un gran productor que le de vida a la canción con todas sus partes móviles y 3)una estrella de cine, tu artista, el cantante.
- Escucha tu toma vocal. Si no funciona sola no va a ser un éxito.
-Cada vez que conozco a alguien le mando una nota manuscrita de agradecimiento. Es personal y me diferencia. Abre puertas.
Así está el patio al menos en el Billboard.