If one of your songwriting struggles is to get the verse and chorus melodies to sound like good musical partners, you may be surprised to find that the answer may not be to make them similar. Sometimes good verse-chorus partnerships happen when those two melodies have very different structural qualities. When it comes to making […]
We use the term harmonic rhythm to describe the rate that chords change when compared to the number of melody notes. So let’s say you’ve written a song where the melody is primarily a stream of 8th notes. If you’re not sure what that means, think of the verse (and that prominent intro bass line) of […]
Is putting chords and melodies together one of your biggest challenges as a songwriter? Every song is unique, and uniqueness can sometimes make it hard to understand how chords can and should be supporting the form of your songs, and the melody notes above them. If you like starting songs by working out chord progressions, […]
Recently I wrote about the musical power that comes from starting progressions on a chord other than the tonic chord. By avoiding the tonic, the listener subconsciously wants to hear it, and so it creates a very powerful sense of musical energy: the listener is willing to wait to hear the tonic eventually happen. Songwriters […]
Writing the chorus part of a song is usually a very different process than writing the verse part. With choruses, you’re usually coming up with a little package of music — some chords, a backing rhythm, a catchy melodic bit and then some lyrics. That musical package is what we call the chorus hook, and […]
Symphonies and operas are probably the longest complete works in our musical history. By the time you get to the end of the Romantic era (i.e., the end of the 19th century), a typical symphony (or symphony-like work) could be over an hour long. By contrast, songs in the pop genres (pop, country, rock, etc.) […]
