- Article and interview by Frank Ward O’Malley (1875-1932)
- Originally published in ‘The American Magazine’, Volume 90, October 1920
- Transcribed by Joe Bennett from the Google Books version, January 2020
JB comment: This semester, I’m very pleased to be teaching one of Berklee’s ‘survey’ classes – History of Rock. As part of the ‘prehistory’ session we look at commercial songwriting in the early part of the 20th century, and during my prep for the class, a helpful musicologist colleague directed me to a 1920 interview with Irving Berlin, in which he provides his ‘Nine Rules’. Although these rules have been quoted and summarized in several books about Berlin’s life, the full text of the original interview was not available online. However, the original magazine from 1920 has been digitized by Google, so I spent some time today manually transcribing it for posterity.
The full article is around 3000 words in length, so for those who just want to read the Nine Rules, I’ve pasted them up front in this blog post, after which you can read the whole piece, with the Rules at the end. In blog form, we have the added benefit of Spotify embeds, so you can hear and download the song he describes “My Wife’s Gone to the Country” (the song and the sheet music are now helpfully out of copyright).
The big question, of course, for any songwriter or musicologist reading this is: do Berlin’s Nine Rules still apply today? I’m sure he would have been pleased to know that 100 years after he gave that interview, songwriters of the 2020s were considering his rules while listening to the popular songs of the day.
Irving Berlin Gives Nine Rules for Writing Popular Songs
- First – The melody must musically be within the range of the average voice of the average public singer. The over-voice professional singer is the song writer’s salesman, the average-voice public his customers. The salesman-singer cannot do justice to a song containing notes too high, too low, or otherwise difficult to sing; and the customer will not buy it.
- Second – The title, which must be simple and easily remembered, must be “planted” effectively in the song. It must be emphasized, accented again and again, throughout verses and chorus. The public buys songs, not because it knows the song, but because it knows and likes the title idea. Therefore sacrifice lines you are proud of, even sacrifice rhyme and reason if necessary, in order to accentuate the title line effectively.
- Third – A popular song should be sexless, that is, the ideas and the wording must be of a kind that can be logically voiced by either a male or a female singer. Strive for the happy medium in thought and words so that both sexes will want to buy and sing it.
- Fourth – The song should contain heart interest, even if it is a comic song. Remember, there is an element of heart-longing in the most wildly syncopated “Ah’m goin’ back to Dixie” darky “rag” ever written.
- Fifth – The song must be original in idea, words, and music, Success is not achieved, as so many song writers mistakenly believe, by trying to imitate the general idea of the great song hit of the moment.
- Sixth – Your lyric must have to do with ideas, emotions, or objects known to everyone. Stick to nature – not nature in a visionary, abstract way, but nature as demonstrated in homely, concrete, everyday manifestations.
- Seventh – The lyric must be euphonious – written in easily singable words and phrases in which there are many open vowels.
- Eighth – Your song must be perfectly simple. Simplicity is achieved only after much hard work, but you must attain it.
- Ninth – The song writer must look upon his work as a business, that is, to make a success of it he must work and work, and then WORK.