You really know what they say about rules? Actually they say lots of things about rules but here’s two – rules were made to be broken, and you have to really know what the rules are before you break them. While Judge Dredd may well not agree with the first, the second is certainly true and nevermore so than in writing a song. wolves
The song structure might not exactly be the initial thing you think about when you start writing. It is likely you work on the verse or chorus, or maybe you have a good riff that you might want to expand into a tune. So you get that down and then you commence to think about the other parts – the intro, how many passages, middle eight, do you need an instrumental, the ending…
A lot of song genres have a fairly rigid format, others are more flexible, and you have to know where you can bend the guidelines and why you might not exactly wish to accomplish so in order to make your music stand out from the others. Let’s go through the portions you’ll find in most songs and the part they play in tune construction.
Release. Yes, this leads you into the song. This may be two, four or eight bars long or longer. Some tunes have no intro at all. A pop song release will often be similar to the chorus or the hook. In a club song, it has been a good idea to have eight pubs of rhythm to ensure that the DJ to mix match your tune. They say that music publishers typically only hear to the first 20 seconds of your song before deciding whether to decline it so if if you’re sending material to a publisher, keep the introduction short and get into the song as quickly as possible. Save the 5 minute intros for the CD version.
Passage. This is the preamble to the chorus. That sets the scene, certainly lyrically, as the poems progress they frequently tell a story or recount symptoms from a situation although that’s by no means essential. They may be typically 8-10 or sixteen bars long and melodically not usually as strong as the chorus although, again, which by no means essential. However, it often seems as if the composer ran out of ideas when writing the passage. One of the strong points of The Beatles’ music is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where poems are little more than fillers to get you to the chorus.
Refrain. This the small amount everyone remembers, whistles and sings along to. It must be the strongest part of the song and generally is or provides the hook. It’s usually 8-10 or sixteen bars long.
Middle eight. As a song progresses, there’s a danger of boredom environment for the listener. The middle eight offers them a break and typically uses a couple of verses and choruses. Several people think of it as an alternative passage and that’s one way to look at it. Attempting to modulates to a different key or introduces a new blend progression and it usually doesn’t include the music title. Yet , all too often it’s simply a reason for waffling on for some bars. Although really called the middle ten it could be four or sixteen bars long.
Bridge. Many people use the conditions ‘middle eight’ and ‘bridge’ synonymously and thus popular is this use that this would be churlish to disagree. However, among those who prefer to note the, a link is a shorter section used to bridge the distance between verse and refrain. It may be two or four bars long and it’s often used when the verse and chorus are so different from the other person a ‘joining’ phrase helps take them together.
Instrumental. This is portion of the song without the oral. Yeah, okay. It’s often an instrumental version of the verse or refrain, it can be an improvised variant on one of the, or it could be an totally different tune and set of chords altogether. Sometimes it matches a song where a vocal middle 8 would otherwise go.