It’s an important principle in songwriting that all elements of a song — lyrics, chords, melodies, even instrumentation — act as partners within a song. In other words, lyrics, for example, will be at their best when the chords seem to communicate the mood and meaning of the words. Similarly, the melodies will bring the […]
Songwriters spend a lot of time thinking about what their next song is going to be about. They certainly spend more time thinking about a song’s topic than listeners do. There is a good reason for that. Audiences take in the entire sonic experience when they listen to a song. The actual topic is but […]
It’s a common technique for songwriters to write a verse that sits mainly in a minor key, and then switch to a major key for the chorus. The main reason for this kind of minor-to-major relationship working so well is that it considerably brightens the sound of a song. If you think of the verse […]
Many songwriters will find the chorus to be easier to write than the verse. That’s because a chorus design is typically simpler than that of a verse. In particular: A chorus melody features repetitive hook-like cells that are easy to sing and easy to remember. A chorus chord progression targets the tonic chord (i.e., they’re […]
It may seem illogical to save bits of songs that you’ve determined are failures. After all, if you’re trying to write a song and it’s not working out, surely that means that the ideas you’re creating are simply bad ones, and you should toss them and try new ideas. It really depends on what you […]
As you likely know, it’s not unusual for songwriters to create songs where the verse is in a minor key or mode (often aeolian mode), and then switch to a major key (usually the relative major) for the chorus. A classic example is Carol King’s “You’ve Got a Friend“, the verse of which is in […]
