When we talk about “making connections within a song”, we’re usually talking about finding ways to have, let’s say, some characteristics of your verse show up in other sections of your song — your chorus, or perhaps pre-chorus or bridge. For example, there is a noticeable connection between the initial verse idea and the start […]
Many songs will use the same chord progression in both the verse and the chorus, and of course it’s completely fine to do that. A classic example is America’s “A Horse With No Name”, which toggles back and forth between the two chords Em and D6-add9/F# for both verse and chorus. “Smells Like Teen Spirit” […]
There’s more to a song hook than meets the ear… a lot more. “Hooks and Riffs: How They Grab Attention, Make Songs Memorable, and Build Your Fan Base” is a vital manual for any serious songwriter. American indie rock group Moon Taxi’s 2015 single “All Day, All Night” is a good reminder that you can […]
This post contains some additional thoughts on my previous post about motifs. As you know, a motif is a repeating figure (melodic, rhythmic, or any other musical fragment) that adds strength to the structure of a song. But it begs the question: is it possible for a song to feature too many repeating things? When is […]
Writing melodies may not be the part of songwriting you find easy at all. You may find it easy to create chord progressions that you like, and you may even be a decent lyricist. But if you’re finding that your melodies sound like aimless wandering — a disorganized collection of notes — that’s a problem […]
It used to be that “repeat-and-fade” was the most common way to end a pop song. There was something nice about it — a sense of “riding off into the sunset” that had the effect of making you feel that the song was still out there somewhere. These days, repeat-and-fade is a lot less common. […]
