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Creating The Perfect Structure For Your Song
Do you know what they say about the law? Actually, they talk a lot about the law, but here are two – the law is made to break, and you must know what the law is before you can break it. While Judge Dredd may disagree with the first, the second is certainly true and never goes beyond writing songs.
Song structure may not be the first thing you think of when you start writing. You might be working on a verse or chorus, or maybe you have a good riff that you want to expand into a song. So you understand that down and then you start thinking about the other part – instructions, how many verses, middle Eight Do you want a tool, the finish …
Some types of songs have a strict format, some are flexible, and you need to know where you can bend the rules and why you might not want to do that to make your song stand out from the crowd. Take a look at the parts you will find in most songs and the parts they play in building a song.
Introduction. Yes, this brings you into the song. It can be two, four or eight bars longer or longer. Some songs have no intro at all. The introduction to a pop song is often reminiscent of a chorus or chorus. In Club Music, it is a good idea to have eight beats to help the DJ mix and match your songs. They say that music publishers usually only listen to the first 20 seconds of a song before deciding whether to reject it, so if you are sending material to a publisher, keep a brief introduction and get into the track. Song as fast as possible. Save 5 minutes instructions for the CD version.
B. This is the prefix of the chorus. It really sets the scene, and as the scripture progresses, they often tell a story or retell a passage from a situation, even if it does not make sense. They are usually eight or sixteen bars long and are usually not as strong as the chorus, although again that is not the main way. However, it often seems like the songwriter has lost his mind when writing the verse. One of the strengths of The Beatles songs is that the verses and chorus are equally powerful, and most people can hum or sing their way through most Beatles hits. Not so with many songs where the verse is less than complete to get you to the chorus.
Chorus. This is something everyone remembers whistling and singing along to. It should be the strongest part of the song and generally have or have hooks. It is usually eight or sixteen in length.
Middle eight. As the song progresses, there is a risk of boredom for the listener. The middle eight gives them a break and usually occurs after a few verses and choruses. Some people think it’s a substitute verse, and that’s one way to look at it. It often modifies to a different key or introduces a new chord process, and it usually does not include the song title. However, often it is just an excuse for waffling on a few bars. Although it is called half-eight, it can be four or sixteen in length.
Bridges. Many people use the words ‘middle eight’ and ‘bridge’ synonymous, and the most popular is this use, which would be inconsistent. However, among those who like to notice the difference, the bridge is a short section used to bridge the gap between verse and chorus. It can be only two or four bars long, and it is often used when verses and chords are so different from each other that the phrase ‘join’ helps bring them together.
Musical instruments. This is the part of the song without any sound. Yes, that’s fine. Often it is an instrumental version of a verse or chorus, it could be an improvised variation on one of these songs, or it could be a completely different melody and set of chords together. Sometimes it fits the song that the middle eight voices will go.
Break / Break. The term is particularly evident from songs from the early 1900s, when it was common to cut the instrument or stop it altogether while a dancer would hit his or her instrument. The word ‘rest’ is sometimes still used to refer to the instrument section. ‘Breakdown’ is now most commonly used in dance music for sections where the percussion is broken or reduced, and it may be the dance equivalent of the eighth half.
Outro / Finish. There was a time when songs had a definite ending, but the mid-1950s were broadcast in an era of ambiguity, and songwriters thought they would never have to write an ending again. However, the loneliness has become such a thing to the point that the release means closure, so the songwriter starts writing the ending again. With that in mind, you can do whatever you want and consider that the ending of most songs is spoken or cut short by a radio DJ and mixed by a DJ club. You are the only one who has to answer. Some songs work well with ambiguity, but listen to songs in your chosen genre to see how other composers reach the end. But whatever you do, avoid such a catastrophe that ends all three time tags.
Hooks. Hook is not a musical part like that. It is a term used to describe parts of a song that people remember and sing. It’s what they buy records for. It is usually a chorus, although it does not need to be an entire chorus, but just a two- or four-bar phrase. It could be a ringtone like in Whiter Shade of Pale or Smoke on the Water or a modified sound like in Cher’s Believe.
All together now
Having described the parts of the song, let’s look at how they are generally arranged. The most popular arrangements by far are simple b-chorus and repeat. Here are two variations on the topic:
You get the picture. However, these are conventions rather than rules, so you can adapt, change or ignore them as you see fit. But they made it for a reason, and that was to make the song as engaging as possible. Yes.
Listen to some of the stock, Aitken, and Waterman songs of the 80’s (it’s not compelling if you really can not stand it) and you will find that most follow the simplest form that is guaranteed to cleanse the brain. Head the listener with repeated repetitions. Hook as much as possible. They tend to be:
Intro (similar to the chorus)
Note that the hook is immediately there in the introduction, there is only one verse in front of the chorus, so you get to it faster and the chorus tends to go again at the end to capture the hook firmly in your mind. .
There are obvious exceptions to these forms. Sensual atmosphere, cool music and more are the real candidates. With these, you can start from the beginning and work until the end, creating a music form that evolves without any clear b / chord structure. Genres like trance tend to form crescendos multiple times throughout the track. However, even this type of song often has a hook or two where the listener can hang a hat.
Remembering that the purpose of a song is to get your listeners to listen and not let them get bored, you need a difference in the song. Just playing the guitar and singing b / chorus / ch / chorus will not cut your beard unless you are in a popular club. The usual approach is to start with a simple arrangement and add to it as the song progresses.
So the first verse could have light drums, bass and rhythm guitar. As you move to the second verse, you can add strings or synthetic panels. Completing the drums takes you into a chorus that will include busier drums, perhaps some extra percussion, complete string arrangements, and perhaps lead strings. When you go back to the verse, you go back to a simpler arrangement.
The middle eight is usually a lighter setup than the chorus and gives you the opportunity to use different instruments if you wish. When you hit the second chorus, add the support and lead voices. The last chorus is the last of the songs, and you can add more vocals, more percussion, and strings. Extra lead.
Listen to the style of the song you are writing and analyze their profile to see if a number of other expos are stuck or out of the traditional format. Once you are familiar with the rules or conventions they use, you can experiment by breaking them down.
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