[THREAD] [1] I got an email the other day from a follower who asked an interesting question: “[Do you think] that the choices of melodic intervals that an artist uses in their melodies are a strong way to convey one’s identity in pop music?”

[2] My gut response was “probably not”.

I mean, if you want to stay reasonably within the genre, there’s only so much you can do with melodic intervals to try to achieve a truly unique identity, and most of it has already been done.

[3] But it led me to thinking more broadly about using theoretical concepts in this way.

[4] The way I see it, a theoretical concept *could* be a seed for musical identity. BUT, in order for it to transcend the theory and become a meaningful part of the artist’s musical soul, it HAS to be woven creatively into the larger context and...

[5] ...work with other important aspects of the music (production, lyrics, general message, vocal delivery, etc.).

[6] In other words, musical elements infuse meaning into each other, and that fusion is just as important as the concept itself. In most cases, each element on its own is meaningless.

[7] And even if the concept is used throughout an album or a large body of work, it should always serve the songs and not the other way around.

[8] In fact, without throwing anyone under the bus, I can think of quite a few songs that didn’t maximize their potential because the concept was used to rigidly and overpowered the song.

[9] Now, I know there are people reading this and thinking to themselves “but what about Max Martin and his ‘melodic math’ concept?”

[10] And it’s true that Max and his collaborators relied on melodic math (and to a lesser extent, still do) in writing numerous hit songs, and they have a reputation for being very strict about this concept.

[11] BUT I would actually attribute much of their success to their willingness to ‘bend the math’ in service of the song, even in their ‘strictest’ phase (~2008-2014).

[12] The main takeaway for me is this: Theoretical concepts can be used effectively. They can help draw inspiration when starting a new song. They can help to make the song more cohesive. But...

[13] ...the concept should always play second fiddle to the song itself. If your concept tells you one thing and your creative instincts tell you something else, always go with your instincts. /END