What constitutes a hook? Any element of a song that grabs a listener\u2019s attention and \u201chooks\u201d them in. With there being so much competition for our listeners\u2019 attention, including multiple hooks throughout our songs has become more important than ever.<\/p>\n
According to an article in\u00a0The Atlantic<\/em>\u00a0magazine, \u201cA short-attention-span culture demands short-attention-span songs. The writers of Tin Pan Alley and Motown had to write only one killer hook to get a hit.\u00a0Now you need a new high every seven seconds\u2014the average length of time a listener will give a radio station before changing the channel.\u201d In that same article, Jay Brown, co-founder of Jay Z\u2019s Roc Nation label, was quoted as saying, \u201cIt\u2019s not enough to have one hook anymore. You\u2019ve got to have a hook in the intro, a hook in the pre, a hook in the chorus, and a hook in the bridge, too.\u201d Mega-hit songwriter\/producer Ester Dean, with hits by artists including Rihanna, Selena Gomez, Nicki Minaj, Katy Perry, Kelly Clarkson, echoed this sentiment almost word for word.<\/p>\n Note that some people refer to a song\u2019s chorus as its hook, using the word \u201cchorus\u201d and \u201chook\u201d interchangeably. But hooks can be in any section of a song. Let\u2019s take a look at some of the various types of hooks we can incorporate into our songs.<\/p>\n Instrumental Hooks<\/strong><\/p>\n Including musical hooks\u2014catchy melodic phrases that repeat throughout our songs and do not include lyrics\u2014can help keep our listeners engaged. In some instances, such as those listed below, an instrumental lick serves as the heartbeat of the song.<\/p>\n It would be hard to find a more iconic musical hook than the one that is the basis of the Rolling Stone\u2019s seminal hit \u201cSatisfaction<\/a>\u201d (written by Mick Jagger and Keith Richards). Keith Richards\u2019 driving guitar lick is every bit as memorable as the melodies Mick Jagger sings.<\/p>\n \u201cLayla<\/a>\u201d (recorded by Derek and the Dominos and written by Eric Clapton and James Beck Gordon) is fueled by Clapton\u2019s iconic lick. This musical motif is heard during the song\u2019s intro and repeatedly throughout the chorus. It is interesting to note that the song ends with an entirely different instrumental segment.<\/p>\n Notice the use of multiple instrumental hooks in Vanessa Carlton\u2019s self-penned hit \u201cA Thousand Miles<\/a>.\u201d The song opens with an instantly identifiable musical phrase played on piano. It also features a piano interlude between the lines sung in the verses, as well as an additional hook (played by strings) in the pre-chorus.<\/p>\n A strong case could be made that in the aforementioned songs, the instrumental hooks are the songs\u2019 most memorable and important components.<\/p>\n Signature Licks<\/strong><\/p>\n In many cases the musical hook is introduced at the onset of the song. In these cases, they can also be considered\u00a0signature licks<\/em>. In my article for BMI\u2019s\u00a0The Weekly<\/a>\u00a0I defined a\u00a0signature lick<\/em>\u00a0as a memorable melodic motif\u2014an instantly recognizable musical phrase\u2014that is heard at the beginning of the song. It is also sometimes heard throughout the song, especially during the\u00a0turnaround<\/em>, the musical interlude between the end of the first chorus and the subsequent verse.<\/p>\n Unique Instrumentation<\/strong><\/p>\n The instruments chosen to perform a riff or a lick can make a major contribution to the song sounding hooky and differentiating itself from the competition. The Beach Boys\u2019 \u201cGood Vibrations<\/a>\u201d is a prime example. It features a catchy lick paired with the sound of an electro-theremin to create a hook that played a big role in propelling the song to countless critics\u2019 \u201cGreatest Songs of All Time\u201d lists.<\/p>\n An excellent example of a musical hook made more memorable by the sound of the instruments playing it can be heard in Little Big Town\u2019s first #1 single and CMA Country Song of the Year, \u201cPontoon<\/a>\u201d (written by Barry Dean, Natalie Hemby, and Luke Laird). The catchy lick, played by a mandolin and mellotron synthesizer, is heard during the song\u2019s introduction, throughout the verses, and in the song\u2019s turnaround.<\/p>\n In Phillip Phillips\u2019 \u201cHome<\/a>\u201d (written by Phillips with Drew Pearson and Greg Holden) an instrumental section essentially takes the place of a chorus and is the most unforgettable part of the song. It is interesting to note that the melody of this section is performed primarily by vocals singing the syllables \u201cooh\u201d and \u201cahh\u201d and includes no other lyrics.<\/p>\n \u201cWipe Out<\/a>\u201d (written by Bob Berryhill, Pat Connolly, Jim Fuller, and Ron Wilson, and performed by the Surfaris and covered by the Ventures), one of the most recognizable songs from the sixties, was probably most famous for its use of a drum pattern as a hook.<\/p>\n Another instantly identifiable drum pattern serves as an exceptionally effective hook in Imagine Dragons\u2019 \u201cBeliever<\/a>\u201d (written by Daniel Reynolds, Justin Tranter, Benjamin Arthur McKee, Daniel Wayne Sermon, Robin Lennard Fredriksson, and Mattias Per Larsson). This pattern provides a melodic hook throughout the entire song, except for the breakdown section.<\/p>\n Non-Lyric Vocal Hooks<\/strong><\/p>\n Sounds such as \u201cah,\u201d \u201coh,\u201d \u201cooh,\u201d \u201chey,\u201d and \u201cI\u201d can create powerful hooks when sung to memorable melodies. One of the most memorable elements in the Bee Gees\u2019 disco classic \u201cStayin\u2019 Alive<\/a>\u201d (written by Maurice, Barry, and Robin Gibb) comes each time they sing the phrase \u201cah ah, ah ah,\u201d followed by the title.<\/p>\n Nonsense syllables, such as \u201crah rah, ah-ah-ah, ro mah ro-mah-mah,\u201d and \u201cGaga oh-la-la,\u201d are sung by Lady Gaga to establish an utterly unique hook that burns into listeners\u2019 brains in her massive #1 hit \u201cBad Romance<\/a>\u201d (written by Lady Gaga and Nadir \u201cRedOne\u201d Khayat).<\/p>\n And there is no overestimating the contribution of \u201cyeah, yeah, yeah\u201d to the Beatles\u2019 \u201cShe Loves You<\/a>\u201d (written by John Lennon and Paul McCartney).<\/p>\n Catchy Rhythms<\/strong><\/p>\n Listen to the songs referenced below and you\u2019ll hear how unique rhythms can become a song\u2019s most hooky element. The syncopated rhythms heard throughout Jason Mraz\u2019s breakthrough single \u201cThe Remedy (I Won\u2019t Worry)<\/a>\u201d (written by Mraz with Lauren Fownes, Scott Spock, and Graham Edwards) create a hook in and of themselves.<\/p>\n The catchiest, most memorable moment in the Supremes\u2019 iconic hit, \u201cStop! In the Name of Love<\/a>\u201d (written by Lamont Dozier, Brian Holland, and Eddie Holland) is the pause after the word \u201cstop.\u201d<\/p>\n A \u201cMoney Note\u201d<\/strong><\/p>\n An unexpected, ear-grabbing note can serve as a powerful hook. The \u201cmoney note,\u201d as it is sometimes called, refers to that \u201cwow\u201d note that can be largely attributed to a song\u2019s success. It can be a high or low note, as long as it demands attention. For a great example, listen to the low note that accompanies the word \u201clow\u201d in Garth Brooks\u2019 \u201cI\u2019ve Got Friends in Low Places<\/a>\u201d (written by Dewayne Blackwell and Earl Bud Lee).<\/p>\n Lyric Hooks<\/strong><\/p>\n While most people associate hooks with melodic elements, lyrics can be hooky, too. A compelling story that keeps a listener waiting to learn what happens can keep our audience hooked in. Great examples of story songs include \u201cOl\u2019 Red<\/a>,\u201d recorded by George Jones, Blake Shelton, Kenny Rogers, and written by Don Goodman, Mark Sherrill, and James Bohan) and \u201cLola<\/a>\u201d (recorded by The Kinks and written by Ray Davies).<\/p>\n A unique title or a phrase within the lyric can also serve as a hook. Listen to Sugarland\u2019s clever \u201cIt Happens<\/a>\u201d (written by Kristian Bush, Bobby Pinson, and Jennifer Nettles) to hear an exceptional example of a lyric hook.<\/p>\n Summary<\/strong><\/p>\n Note that in all of the referenced songs the hooks are heard repeatedly. While we want to serve up multiple hooks, we also want those hooks to repeat throughout the song, so they become familiar to the listeners.<\/p>\n Whether your hooks are comprised of memorable instrumental phrases, unique sounds, nonsense syllables, unexpected rhythms, attention-grabbing titles, money notes, they are the tools you can use to hook in your listeners\u2014and keep them on the line.<\/p>\n