How to Give a Song Chorus a Shot of Energy

Song choruses that sound boring will almost always relate to a problem with melodic range. Here’s what to do about that.

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You may have noticed from time to time a problem that keeps happening in your songwriting: the verses sound fine, but the chorus seems to lack energy and drive. It may be hard to put your finger on the cause of the issue, but almost all of the time the problem relates to some aspect of melodic range.

That lack of energy translates to listener boredom. The good news is that the solution is usually relatively easy. Here are the main points you want to consider when you feel that your chorus needs a bit more life:

1. Compare verse and chorus range. On a piece of paper, write down the lowest note and highest note of your verse. Then do the same for your chorus. You should see a distinct difference. Your chorus melody should be noticeably higher than your verse melody. (This problem is probably the most common one for failing song choruses.) Listen to Adele’s “Someone Like You” for a great demonstration of this principle. There are some curious exceptions to this, such as Sufjan Stevens’ “For the Widows in Paradise”, where the chorus melody actually moves lower. But he chooses that moment to add backing vocals which sit above the main melody and contribute to song energy.
2. Move melodies generally higher. As a song progresses, you get a nice build if melodies move higher, and you hear this beautifully in Ingrid Michaelson’s “Over You.”
3. Find the climactic moment. All sections of a song will have a climactic moment – a highest note, usually – that gets the most attention. But the climactic moment in a chorus should (usually) be the highest note of the song. Occasionally, the highest note of a bridge will be even higher, but certainly, as a stand-alone song section, the chorus climactic moment should give considerable musical satisfaction. That climactic note may be subtle, such as in U2’s “Elevation,” or more obvious, as in The Eagles’ “I Can’t Tell You Why.”

Dealing with those three issues alone should solve most boredom problems in your songwriting. Because every principle has exceptions, you shouldn’t try to diagnose a problem that doesn’t actually exist. I only mention that because amongst songwriters that love to study their craft, there is a tendency to try to “fix” songs that don’t follow convention. But sometimes, exceptions to rules will create beautiful music.

So how do you know if you’ve got something that needs to be addressed? Your ears will be — and should be — your only guide. A song with problems will be immediately obvious. That takes a certain amount of confidence as a writer, and also taking note of your audience’s reaction to your music. In other words, if you love your song, but notice that there’s no obvious climactic moment in the melody, don’t worry to the point where you try to add one. Let good songs be good, and get writing your next one!

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Written by Gary Ewer. Follow on Twitter.

“The Essential Secrets of Songwriting” 6-eBook Bundle looks at songwriting from every angle, and has been used by thousands of songwriters. How to use chords, write melodies, and craft winning lyrics. $95.70 $37.00 (and you’ll receive a FREE copy of “From Amateur to Ace: Writing Songs Like a Pro.“)