Constructing songs so that we hear verses, choruses, bridges, and so on, is a good and easy way to ensure that your music incorporates contrast. Even before hearing a particular song, we know that the chorus is likely to be higher in pitch, that the chorus chords will probably be stronger and shorter than the verse, […]
We know that creating contrast is an important principle in the structure of good songwriting. Contrast is naturally sought by listeners, and they’re not usually aware that they’re seeking it. When melodies are low, we assume they’ll move higher. When music is soft, we expect that something louder is going to happen. If you listen […]
Back when I was a composition student at university, there was always pressure to write. I had weekly sessions with my composition prof, and the whole point of that hour-long session was to show what I had been up to for the week previous. This part won’t surprise you: some weeks the writing happened easily, […]
When you take a cursory glance at verses and bridges in most pop songs, you see certain similarities: Verse and bridge melodies often display a more wandering quality than a chorus melody. Chorus melodies tend to be rather “hooky” in quality, repeating a concise idea rather than going on a musical journey. Verses and bridges tend to be more elaborate, […]
Songwriters are correct to think a lot about how to start the songwriting process. How you start often has a strong influence on where things end up. But songwriters typically worry, not so much that they’re starting the wrong way, but more that they’re possibly missing out on a better way. You need to look […]
The term “poor man’s copyright” refers to the practice of mailing a copy of your song — or any other work that you’ve created — to yourself via registered mail, leaving the envelope unopened. Since registered mail displays the date of mailing, it’s believed that it can serve to support the assertion that you are the author of […]
