Hooks et parties - concepts

Paul Whalley
Paul Whalley

Lesson time: (1min 40sec)

Paul Whalley décortique les hooks au-delà de la ligne vocale, et explique pourquoi chaque section devrait en compter au moins trois auxquels l'auditeur puisse s'accrocher : mélodique, percussif et sonore.

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This lesson is part of the course Produis un morceau pop qui déchire
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Lesson transcript:

Introduction to Hooks in Instrumentals

Hi guys,

Welcome to the first part of this course. In this session, we're going to break down the idea of hooks within your instrumentals and productions.

The Role of Hooks

Now, let's clarify, this is about taking away the vocals of your track because those are obviously the kings of your whole song and should always be the major hook.

My Philosophy on Hooks

For a long time now, I've believed that your production should have at least three distinct hooks in each section that you can remember. These can include:

  • Melodic parts
  • Percussive elements
  • Distinct sounds and sonics

These hooks are incredibly useful because you can reference them in all sections to help glue the whole thing together.

Historical Context

This concept has been tried and tested since back in the 60s and 70s. I personally discovered it while watching an ABBA documentary about six years ago. Since I started applying this method, it has consistently worked for me.

Benefits of Using Hooks

When you present your tracks to A&R guys, artists, or even just play them for your friends, they sound:

  • A lot more thought out
  • Very polished and finished

Using hooks helps everything glue together very concisely.

Practical Example

In this section, I'm going to take apart a song that I have and show you the distinct hooks within it, along with the parts that complement and enhance those hooks. This will help glue your track together effectively.

Stay tuned!

About the instructor

Paul Whalley
Paul Whalley

Paul Whalley est multi-instrumentiste, producteur et auteur-compositeur au son délibérément large. Il a passé des années sur la route comme musicien de studio en tournée avec des artistes tels que Mumford & Sons et Ellie Goulding. De formation classique, il est titulaire d'une licence en interprétation instrumentale et d'un Master en composition de la Guildhall School of Music. Depuis qu'il est passé de la tournée à la production et à l'écriture, il a travaillé avec des artistes comme NAO, Wretch 32 et Nina Nesbitt, et a joué sur des disques classés dans le top 40 partout dans le monde, dont 'Shout Out to My Ex' de Little Mix. Il est installé aux Tileyard Studios, dans le nord de Londres, où il écrit et produit pour de grands labels britanniques et développe de nouveaux artistes. Sur MusicGurus, lui et Emmi Green décortiquent un disque de pop à partir de zéro — chaque choix d'arrangement et de production mis à nu — pour les auteurs-compositeurs et les producteurs qui veulent entendre comment les tubes sont réellement construits. read more

What's included?

26 lessons (1h 42m)
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