In a way, it’s hard to speak of “errors” in songwriting, because that implies that there are rules that have been broken. Songwriting isn’t guided by rules in the traditional sense of that word. If rules governed the creative process, writing music would hold little if any interest for us. Instead of rules, we are […]
In pop songwriting, the word hook is often used synonymously with chorus. “I’ve just written a hook” usually means that you’ve got the main part of your chorus done. But in fact, that concept we call the hook is more complex, and overlaps with other elements we typically call riffs, motifs, maybe even loops and other types of repetitive patterns. […]
Constructing songs so that we hear verses, choruses, bridges, and so on, is a good and easy way to ensure that your music incorporates contrast. Even before hearing a particular song, we know that the chorus is likely to be higher in pitch, that the chorus chords will probably be stronger and shorter than the verse, […]
We know that creating contrast is an important principle in the structure of good songwriting. Contrast is naturally sought by listeners, and they’re not usually aware that they’re seeking it. When melodies are low, we assume they’ll move higher. When music is soft, we expect that something louder is going to happen. If you listen […]
Songwriters are correct to think a lot about how to start the songwriting process. How you start often has a strong influence on where things end up. But songwriters typically worry, not so much that they’re starting the wrong way, but more that they’re possibly missing out on a better way. You need to look […]
The term “poor man’s copyright” refers to the practice of mailing a copy of your song — or any other work that you’ve created — to yourself via registered mail, leaving the envelope unopened. Since registered mail displays the date of mailing, it’s believed that it can serve to support the assertion that you are the author of […]
