You can spend a lot of time worrying about how to get a verse and a chorus to work well together, but don’t forget the other option: consider writing a song that doesn’t use a chorus at all. Sometimes the melody for that kind of song will end with a kind of repeating refrain, like […]
This blog article is a bit of a ramble, so I hope you’ll forgive me for letting my musical mind wander a bit! Sometimes when I look at a painting, I find myself wondering what I’m not seeing. It might be that the painting is a landscape — a winding river with a grassy hill […]
There are some songs, when you compare the start of the song to the end of it, make it obvious what we mean by musical energy. “Stairway to Heaven” is a great example: it starts very quietly, uses subdued acoustic guitar and recorders, with a nostalgic, mid-range vocal approach. The hook is probably the most […]
There’s no particular songwriting principle that says that there needs to be a noticeable connection between the various chord progressions within a song. If you’ve got a song that uses a verse-chorus design, you can use a completely different progression in each section, progressions that have absolutely no obvious similarity. Having said that, there is a benefit […]
In songwriting, the term contrast refers to providing opposite-sounding characteristics to any one song component: melodies that move higher, then lower; chords that are mainly minor, then major; instrumentation that’s at one point soft, then loud, and so on. It’s not important that every element within a song show a degree of contrast. For example, you can […]
One of the reasons that you might add a bridge to your song is that it can make it just a bit longer, if all you’ve got is a couple of verses. So if, by the time you’ve reached the end of your second go-through of the chorus, you feel that your song would sound […]
