Beauty is one of those song characteristics that is incredibly hard to define, but we seem to know it when we hear it. Not every great song is beautiful. That’s because as long as a song makes an emotional connection to the listener, it’s usually going to work. Therefore, whatever we might define as beauty becomes […]
For most songwriters, defining a hook is simple: it’s that catchy bit that makes up the main part of the chorus. It usually comes back over and over because that’s what choruses do — they reappear after every verse, and then again after the bridge. A hook is good if it has a melodic shape […]
I’m not a photographer (not a good one, anyway), but I’d rather see photos with people in them than without, no matter how exciting the landmark is that I’m shooting. The simple reason is that we make connections to people more so than to inanimate objects. There’s more to a song hook than meets the […]
When I’m watching a drama on network television, I know that I have to deal with constant stoppages in the action. It’s those commercial breaks that pay the bills, and so they’re important. Those commercial breaks probably make TV executives very nervous: it’s during the breaks that I’m most likely to switch stations and try […]
There are many songs that seem to show no particular relationship between the verse and the chorus, except for the fact that they both exist in the same song. Take a hit song like “Somebody That I Used to Know” (Gotye), and you’ll notice that the verse and chorus bear no obvious similarity. For the […]
How much of a connection should a listener hear between the verse and chorus? In other words, except for tempo, key and general feel, can a verse melody set up a chorus well if it bears little to no similarity to that chorus melody? Take the classic hit “Witchy Woman” (Don Henley, Bernie Leadon). Compare […]
