Innovation in pop songwriting is a tricky balancing act: you want your songs to be enough like other songs out there that you don’t scare your audience a way. But at the same time, you want your songs to move off into new and unpredictable directions, to excite your audience. Being successfully innovative is also […]
When songwriters and other musicians use the term “formula” as it pertains to pop music, they’re usually talking about certain noticeable features of songs that keep appearing over and over. In most cases, it’s a situation where the writer thinks, “Because I’ve done this thing in my song, the next step is to do that thing…” […]
Writing a song that’s mainly a set of verses, each one ending with a pay-off line, has a simplicity that really works well. The pay-off line– a refrain — often sneaks into the song at first, without it being obvious that it’s operating as a powerful closer that’s going to keep coming back. Bruce Springsteen’s “All That […]
It might be over simplistic to say, but one of the main jobs of a song verse, particularly in the pop genres, is to get the listener to the chorus. That’s certainly not to say that a verse is unimportant. A good verse does several important things: Through the lyric, it sets the scene and describes […]
When we talk about form in songwriting, we might be referring to the various sections of a song: verse, chorus, bridge, etc. Or we might be talking about something like the rhyme scheme of the lyrics: ABAB, for example. Or we might be talking about some aspect of the design of the melody… ascending figures contrasting with […]
The great thing about various possible song designs is that they usually work for any genre. It shouldn’t matter if you’re writing pop, rock, country, folk… the principles that make a formal design (verse-chorus-bridge, for example) work apply to any and all genres. And not just genres… you find them used in practically any era as well. That means that […]
