The 6 Rules Of Commercial Music Success

Over the years I've had many conversations with music artists about commercial music, which often results in them disclosing their disdain and hatred of computer. Some reference Pop music ("Pop," like what's popular now) as commercial music.

Others think about any situation that gets heavy rotation on radio as commercial music. Whatever their definition, something is usually overlooked: commercial music will be the heart from the record companies which pumps the blood that keeps it alive.
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So just why then are so many music artists proof against making commercial music? The solution that i am often given is because they don't want to "sell-out" their creative integrity by conforming with a industry type of what's popular (i.e. what's selling at the moment). It becomes very obvious to me how the problem is not commercial music, but instead the perception and definition of it.
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The misunderstanding would be that the music business created this superficial definition of commercial music to remove the artistry and true identity of artists for the purpose of earning money; forcing artist to produce songs that the "masses" will like. That fallacy is frequently perpetuated by music artists that are usually incapable (not unwilling) of making commercially viable songs. The simple truth is the public, not the industry, dictates what is commercial, as well as for decades they have gravitated towards, embraced, and purchased songs that adhere to a commercial music format.

If commercial music could be the rule for fulfillment and purchasers in the music industry, you will find inevitably gonna be some exceptions with it, unfortunately, the tendency is good for performers to try and end up being the exception, rather than observing the guidelines and why they exist.

The bottomline is: the principles of economic music success have not, will not change. Not in your own life time or your children's lifetime. They exist because it is man's instinct to reject the unfamiliar; from the record companies, similarity may be the cornerstone of acceptance. This is the reason countless popular songs sound similar and contain familiar elements.

It's a rule which is prevalent in every single genre, and on every continent. You'll find those artists who do a masterful job of observing their particular artistic values while delicately balancing the demands for commercial music by industry professionals. Artists like Prince, Sting and Bjork, have pushed the envelope of creativity for decades. But artists of these caliber who possess such sublime talent and vision are rare.

In the interest of clarification and argument, Let me offer my explanation and industry meaning of what commercial music is; depending on Two-and-a-half decades of paying attention to recordings like a music lover, record companies professional, and music critic. They are songs that have the next:

1.) A STRONG HOOK/MEMORABLE CHORUS.

If no one knows what your song is known as, they can not request it after they read it for the radio. More importantly, they cannot get it at retail...or track it down on the net to illegally download a replica from it.

2.) GOOD MELODY.

Commercial music is characterized by good melodies (i.e. verses, choruses, and frequently bridges that will get stuck in your mind therefore making you need to sing-along). Exactly what can the top selling hip-hop acts from the last 10 years (Tupac, Notorious B.I.G., Jay-Z, Eminem, and 50 Cent) attribute their success to? Good melodies (not cool beats) that improve the commercial price of their music.

3.) WELL-PRODUCED.

Coming from an R&B background where producers can be a pivotal part of commercial music success, I didn't realize until I came to be an advisor that numerous rock bands don't utilize, nor value producers like R&B music acts. Perhaps they must because the record company often assigns top-notch producers to improve the standard of songs (through their musical expertise) and enrich the records (through their experience and proficiency within the recording process), ultimately which makes them more pleasurable to hear and, you got it right...more commercial!

4.) APPEALING LYRICS.

The lyrics needn't be profound; people simply have to be capable of emotionally connect with and mentally correspond with them. For those who have a means of saying common things in the uncommon way, your lyrics will have a benefit on the songwriter whose song is one of the same topic. Come up with what's closest to your heart for credibility and sincerity, while others will be able to correspond with your songs - especially if it's with a subject theme that they know and have
experienced.

5.) Ensure that it stays SHORT.

Maintain the amount of your songs into a maximum of four minutes. Jazz and World Music are exceptions. An audio lesson that is well-written makes people need to read it again, and again, and again. The more time the song is, the not as likely that can happen. Do not think me? Confirm the period of your chosen songs.

6.) TALENT/WELL-PERFORMED.

Most eminent vocalists will often be surprised at how low this rule is on the list. The truth is there are more mediocre songs completed by outstanding vocalists, than there are mediocre vocalists performing outstanding songs. A good song that is well-performed makes a benefit, if the song is lacking, all the yelling and vocal acrobatics that singers tend to use to make up correctly is not going to turn it into a better song...though it may help the singer to attract better songwriters to utilize. In case you lack talent and a really good song, someone more talented can (and definately will) sing the song and earn it better.

Now that you have in mind the 6 rules of business music success, hopefully you will be able to work with this information to your benefit and build songs which will raise your likelihood of success inside your professional music endeavors...additionally, you can ignore them and attempt to wonder why no-one (aside from your friends and relatives - all of these pay attention to commercial music) such as your songs.

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