– SUSAN HYATT How to Write a TV Theme Song

hile many artists have had original songs placed on film and TV 6. Make It Catchy As A Nursery Rhyme soundtracks, composing a show’s theme song is a whole ’nother The melody should be as catchy as a nursery rhyme—get your Mother Wdiscipline. In the following exclusive article, singer/songwriter–– Goose books out and review. A child should be able to sing your melody and TV theme composer––Susan Hyatt lays it all out for you. the first time they hear it. I’ve had fans tweet that their newborns wiggle their toes and smile when they hear my songs. Whoa’s and Oh’s as 1. First, Build Your Resume background vocals grab the attention of the audience when cutting in Email your resume, with links to samples of your work, to production and out from commercials. A signature guitar lick or unique keyboard companies that produce TV shows. A theme song is a big placement; sound act as important sub-hooks. Shows often break down various in the TV world it can be comparable to having a radio hit. Before you instrumental mixes of the theme and use them throughout the show. embark on pitching a theme song, build your resume with easier place- ments, such as background music, or local/regional commercials. You 7. Find The Right Singer may have to license your music for free at first (you will still collect PRO If you are not a singer, you need to find one with the right style and sound royalties) and build up to earning licensing fees. Subscribe to industry to fit the show’s criteria. A singer with attitude, flavor and personality will be trade publications like Music Connection, Hollywood Reporter, Variety; chosen over a generic session singer. they often publish news about shows seeking songs. The performance must be memorable.

2. Follow the Pitch Requirements 8. Have An Agreement In Place If a company believes in you and sends you a pitch for a show, read the Make sure you have an agreement in pitch requirements carefully and follow the instructions. Do not take any place that states the rights and shares liberties. If they want a song that sounds like Katy Perry or Daft Punk, of the performers before you submit make sure your song sounds that way. Some artists may think of this as your song to a show. Remember the selling out, but instead think of it as Rembrandts song “I’ll Be There For You” “selling in.” Since the beginning of time, aka the theme? Not only was composers have been commissioned this a successful TV theme song, it also by Courts and Kings to create music. became a pop hit. But guess what? The If you can create great commissioned Rembrandts didn’t actually write the music then you are a true musician. original song. The Rembrandts wrote Always remember you are in the “busi- additional verses and earned a piece of ness of music” not just working in the the writer’s share of the royalties. Smart! music business. “A child should be 9. Choose the Appropriate Perform- 3. The Show, The Stars and The able to sing your ing Rights Organization (PRO) Sound––Do Your Research You may have already signed up with If you are sending your music to a pro- melody the first time a PRO. But here’s what you may not duction company that is creating a new know. ASCAP, BMI and SESAC do not TV pilot, first listen to the songs that pay the same rates for all types of music this company has chosen before and they hear it.” royalties. They have negotiated radically see what the songs have in common. different rates for radio and domestic Is the BPM always the same? Do the TV performances with vocals. Make songs have a specific sound? Do they sure to choose the right organization for have a quick shout-out chorus? Is the your specialty. You could potentially lose hook melody sustained or legato? Is thousands of dollars if you have joined there a pre-chorus or bridge? The right a PRO that pays less for what it is that arrangement, lyrics, hook, beat and you do. Terminating your PRO contract BPM are key to getting your song licensed. It is also helpful to get familiar is not easy and your show could be off the air by the time you are able to with the show you are pitching and its characters. switch to the paying PRO. There are strict dates for termination and If you are writing for a , you need to think of the host as your some of your catalog will not be able to follow you to your new PRO. new BFF. What kind of music do they like? Who’s their favorite recording artist? Study published interviews and write lyrics in their voice so that 10. Know The Terminology: Jingles & Works Made for Hire the host feels personally connected to your song. A “work made for hire” is a song that you have specifically written for a particular show. You get paid a fee for delivering the song to the production 4. Know Your Audience company, and now they own it. Owning it means they are in control of the Who will watch the show? Men? Women? What is the age range? This master and they receive all the publishing royalties (50% of the total royal- information will help you write the lyrics and message of your song. Most ties). You retain your writer’s share of the royalty and will be paid by your talk shows, reality shows and sitcoms use upbeat mid-tempo songs that PRO (ASCAP, BMI, SESAC) every time the show plays your song. Theme have an uplifting message. Women mostly watch daytime talk shows, songs for talk shows are normally commissioned as works made for hire. so female empowerment songs are always a good bet when pitching for Radio and TV jingles are also “works made for hire.” They are the songs them. This is the polar opposite for shows on HBO or Showtime that go you hear with the product name in them and that you never hear outside of for dark, edgy and artsy songs. Create a song that embodies the mood the commercial. If you are looking to get into the jingle business you need and vibe of the show without being too obvious. For example, using the to send your work to jingle houses, or create your own music production word “vampire” for a show based on vampires is NOT a good idea. Great company and connect with advertising agencies directly. lyrics use relatable metaphors. For a Directory of Film/TV Music Supervisors and 1,000s of other 5. Always Start With A Title Industry Contacts, go to http://musicconnection.com Your song will be centered around the title and the beat. Your title can be used as a marketing tool and vehicle for the show. For title ideas, re- SUSAN HYATT is the singer/songwriter of “Calling All My Girls,” the theme song for search titles of old films and books for inspiration. Take out an old-school on FOX TV. Hyatt‘s cover of Olivia Newton-John’s “Magic” was the theme song for Macy’s “Find dictionary and flip through the pages and see which words pop. Your Magic” national TV and radio ads. She has coached artists Gina Gershon, international superstar Dev (“Like a G6”) and Youngblood Hawke (“We Come Running”). Hyatt’s current band debut album, Sirens of Soho, is on Music (Warner Bros.). She is the author Tip: You can use titles and chord progressions from the past, but do not of the upcoming book Never Mind The Rules - How To Rock at Love. For songwriting and vocal use melodies or “riffs” or “hooks” from other songs. coaching, visit http://susanhyatt.net or email [email protected].

70 June 2014 musicconnection.com