In the long run, it’s probably more important to know why a song fails than why a song succeeds. When a song is great, your most important job is to move on and get the next tune happening. But when a song fails, you could be doomed to repeat that failure — if it’s failing […]
For most songs, if you speak of the hook, you’re talking about the chorus, and most likely the start of the chorus. Sometimes the hooky bit might be the end of the chorus, like Jimmy Gilmer and the Fireballs’ 1963 hit “Sugar Shack”. For pop songs, the hook has been a perennially essential ingredient. Because […]
As you know, an earworm melody is one which gets stuck in the mind of the listener which, even with great effort, won’t easily relinquish its grip. When we’re experiencing a melody as an earworm, we don’t usually describe it as a pleasant experience. There’s an interesting recent study on earworm melodies, “Dissecting an Earworm: […]
We typically talk about a song’s hook as if there is just one. But in fact, most songs have several hook-like elements, all working to make the song attractive to listeners. While one of those hooks tends to stand out as the main one, songwriting success comes from having several of them on the go, […]
“Fix Your Songwriting Problems – NOW!” puts the spotlight on seven of the most common errors songwriters typically make, and then offers some quick solutions you can try. Without really knowing it, most people know that verses will be structured differently than choruses. It’s interesting, because if you asked people to describe the differences they’d […]
I write a lot on this blog about song melodies and their so-called climactic high point. That’s a term that refers (usually) to the highest notes of a song. I say usually because sometimes the climactic moment in a song isn’t necessarily it’s highest note. For example, choruses will often sound more climactic — more exciting […]
