FIRST DRAFT

First draft

Every song lyric begins with an idea. The first draft does not have to be the perfect and final version. When starting a lyric, the first draft is NOT the time to etch everything in stone—think in pencil instead. While perfectionism has its place, it can ruin the flow in the beginning. It is far more important to get the idea started and written down in rough form. There will be lines you’ll probably keep and some that you may wish to tweak or change when you come back to the song later, but don’t worry about that in the beginning. It’s better to have too much than to have nothing at all. So be free and enjoy your own creativity. Wallow in it, celebrate it and have fun with the whole process.

Strict perfectionism can freeze the artist’s creativity and cause writer’s block. Avoid it. Write down whatever seems to fit and what your imagination is running with as it comes to you. Nobody’s going to swoop down and judge you—so do not judge yourself at this stage. Let the ideas flow unedited, keeping your personal judge at bay for as long as possible. We all have that internal self-critical overseer, but tell him or her to take a break while you are letting your artistic voice run wild.

After you have completed this first stage, set the lyric aside for a day or two. Even if you aren’t thinking consciously about it, the subconscious often continues to work on the task. When you return to your lyric, you may find that you have a new idea or two. You will probably find better and more concise ways to say what you originally wrote. Then again—sometimes you get lucky with the first impulse. The point is to let things settle and then come back and see if you see your work a bit more objectively.  

OVERVIEW OF LYRICS

 

What Is A Lyric?

A lyric is a set of words that is meant to be sung. A poem is meant to be read. Lyrics follow melody lines, most poems do not. Lyrics rhyme—most modern poetry does not. While lyrics may use poetic devices like metaphor and alliteration, modern popular lyrics need to convey ideas in a conversational and accessible way.

What Is A Lyric?

Start with a strong opening line. The goal is to grab a listener’s attention and make him/her want to hear what is coming next. The first line—examples:

I got the call today, I didn’t want to hear, but I knew that it would come

I once had a girl—or should I say she once had me

I get a constant busy signal—when I call you on the phone

I met my old lover on the street last night

Well I woke up Sunday morning, with no way to hold my head that didn’t hurt

Your cheatin’ heart will make you weep

You never close your eyes anymore, when I kiss your lips

Is there anybody gonna listen to my story—all about the girl that came to stay

Last thing I remember is the freezing cold

Just take off your clothes, and I’ll drive you home, I said

I’ve dealt with my ghosts and I’ve faced all my demons

As I walk through the valley of the shadow of death…

Perfect and imperfect/slant/near rhyme

Perfect rhyme:

Buy/try/fly/cry/die/sigh/

Pace/face/embrace/lace/

Sun/begun/fun/

Imperfect or “slant” rhyme:

Embrace/taste/praise

Love/enough/brush

Internal sounds rather than ending sounds

Scope and focus: How large or small is your story? Remember, a song does not need to cover an entire lifetime, though it could. Just as easily it could cover a week, a day or a few minutes. It can be one experience, or a story that evolves over time. It can be linear or it can jump around in time, depending on how the story needs to be told. Like a novel, it may begin in present time but reach back into the past for important details.

It may focus on a single place and a single moment in time, and many of the best songs do just that. Rather than trying to put the totality of human experience in a song, the point of view narrows to one small slice—one story out of many.

Write ONE idea

Each line points to, or relates to the title of the song or theme. (proving a title). Attempt to separate the essence of the idea from all the possible side roads that the idea could follow. Again, get a focus.

The object is to find the focus of your story and to ask what is needed to tell it. Picture the event or scene in your mind and build the story around a central idea. Ask yourself what is important about what you desire to communicate and focus on that one thing. Narrow the idea down until it stands alone.

If one is writing a love song, focus on the one object of your desire, Don’t wander into the six other relationships you had in detail. It just confuses the listener. Put the emphasis on the love you have now.

Decide what the story is about before you write a word. 

Personal and Universal—At first, these two terms may seem to be mutually exclusive, but if a song is written the right way, the personal becomes the universal. The key lies in finding the universal feelings within the personal story.

Every human being has loved and lost—had relationships. Every person has followed dreams, attempted to be noble, to face adversity, to be a friend. Certain human experiences—hunger, love, sex, honor, shame, struggle, guilt, friendship, death, loss, joy,  celebration, ambivalence, raising a family, idealism, etc—are universal emotions or feelings. A good lyric is all about how the particulars of your experience are framed in regard to the universal human experiences. 

Writing a letter to somebody, as if it was written to someone close to you. Having a conversation at a table with a trusted friend.  Writing as if you are talking to yourself. By focusing on how you feel, you can tap into the feelings that everybody feels in life.

There are only so many human experiences. Within those, however, there are a thousand particular stories that reflect those human experiences. As a songwriter, you become a mirror, reflecting those universal stories back to others through your particular experiences and truths.

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Lyrical functions of verse, pre-chorus, chorus and bridge: Telling a story, unfolding it in stages.

Verse—The details of the story, the expansion of the idea, the bit by bit revealing of the idea. First verse begins with a line that opens up the story and, hopefully, draws in the listener’s curiosity to hear what comes next. We can keep the listener’s attention by revealing the story a piece at a time, setting up a situation or tension that seeks resolution. (kind of like the news hooks us with “story at eleven” or “coming up next.”)

The verse should also lead logically into the chorus, so that when we hear the title in the chorus it answers or completes the thought at the end of the verse.

The second verse expands and reveals more of the story.

Care should be taken not to give away too much too soon. If everything has been said in the first verse, where do you go from there?

Pre-chorus, build, lift or climb (four terms for the same thing). Acts as a build toward the chorus—adding a different shape to the verse—adding a rising tension or as a “bridge” to the actual chorus. It helps to “set up” the chorus—especially the title. This component is actually not used very often and is not a mandatory piece of a verse. When it is used, the climb melody is usually a bit higher than the verse, but not as high as the chorus.  

Chorus—the synopsis—the condensed expression of the idea. The simplification of the theme. We don’t want (generally) new details—we want a capsule expression of the whole idea of the song. The chorus melody is almost always the highest melody section. Could it also be the lowest? Yes. What we want is contrast. We want enough change to keep things interesting for the listener.

On certain occasions, a chorus can have alterations to its lines, when it is advantageous to move a story along in time or to add slight variations for the sake of keeping it interesting. (See ‘The Heart Of The Matter.” ) Despite the alterations, we want to keep the overall construction of the chorus intact. (See “Half Of My Heart”. )

Bridge—The bridge provides contrast, variation, a philosophical view—possibly from a different POV from the rest of the song. It can provide a boiling down—an “in other words” or a comment on the whole theme from a different perspective. It may also be a final conclusion or a wrapping up or summing up of the songs idea.

Questions.

Length of verses and chorus. There is no pre-set formula for the number of lines for a verse or chorus. General options would include the four or 8 line verse, or the four line verse with a two or four line pre-chorus. Remember the old axiom: don’t bore us—get to the chorus!

A concise chorus would be four lines, but could easily be eight lines.

Remember: we live in an era of the short attention span. The quicker we can get to a chorus and the faster we can complete that chorus and get on to the next verse, the more likelihood there is of keeping the listeners attention as the song moves along. 

Songs with long verses and choruses tend to “want” to be ABAB songs. When you have a shorter verse or chorus, time opens up to add a bridge.

Where to put the title—One device is to place the title at the end of the verse and then, place it in the first line of the chorus and again at the end of the chorus. (See “Poor Poor Pitiful Me. V1”) While this method can work, it can also introduce a redundancy and water down the title to a degree.

Another very effective placement is to reserve the title for the chorus only, placing it in the first line. A third method is to “bookend” the title, placing it in the first line and the last line of the chorus. I prefer this method, but I also like putting the title in the first line or the last line.

Another effective technique at times is to repeat the title ONLY in the chorus, with no other supporting lyrics. Some songs use only the title. Makes for an easy chorus write in the right kind of song.

Consider that the title is a hook. The more times the listener hears the title, the better the chance is that they will remember the title after they hear the song.

If the title ends in a difficult rhyme, it can be placed the line BEFORE the last. This is often effective. (The Moon’s A Harsh Mistress)

Tense—refers to the time the tale is told in.  The past? (Before The Deluge) The present? (Boys Of Summer).  The future?

A song can begin in past tense, viewing the past—and then move into the present if the story has a present time component—as in “now, here is what is happening today.” (Roland The Headless Thompson Gunner.” “Still Crazy After All These Years”)

The key here is to not confuse the listener in regard to time. If it is a tale told in a past time, make the past tense clear to the listener. Don’t jump around in time without a strong purpose. If it is present tense, the story is told in the “now”.  A song can explore the past and the present, but generally it will flow logically from one to the other. Avoid sudden shifts back and forth between the past and the present because such shifts introduce confusion.

Tense—

Past—I was playing guitar

Present-I am playing guitar

Future—I will be playing guitar

While a song does not need to adhere strictly to tense, it is good practice to maintain tense section to section and not jump back and forth. Follow tense like you would in a conversation:

Virgil Kane is my name

And I rode on the Danville train

Till Stoneman’s calvary came and tore up the tracks again

In the winter of sixty five

We were hungry—just barely alive

By May the 10^th,. Richman had fell

It’s a time I remember oh so well

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Point Of View—The point of view that the story is told and seen by. As in literature, there are several points of view.

1. First person singular. Told from the limited personal view of the singer, from his/her own vantage point in life.  First person plural—“we”.
2. Second person—singing to the “you” or sung to a particular person—as if you are talking to them. Can be a general or specific “you.” Careful not to preach. Just the Way You Look Tonight.
3. Third person—he, she, they and the collective “we”.

In general, its good practice to stick to the point of view you start with to avoid confusion on the part of the listener. If it is beneficial to change the point of view, do it consistently. In “Lyin’ Eyes” by the Eagles, the verses are all in third person but the choruses are written in second person. 

Coolio’s “Gangsta’s Paradise” shifts from first person in the verses to first person plural and alternately, third person in the choruses.

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Keys and Chord Theory for Songwriters

There are twelve keys in modern music: C, Db, D, Eb, E, F, F#, G, Ab, A, Bb, B.  My goal here is to sidestep as much technical music theory as possible, and get down to a list of chord choices in these keys. Every key works in the same way, it’s just that the chord families are relatively lower or higher in pitch, depending on the key.

For example: Playing C, Am, F and G has the same sound as playing G, Em, C and D. The difference is only one of relative pitch. Try it and see. Or, if you play guitar, play the first progression in C and then put a capo on your guitar and play the exact same thing. All that has changed is the relative pitch.

So, basically, if you can understand how chords work in one key, you can understand how they work in every other key too.

The fundamental chords in a key are derived from the major scale of that key. In the key of C, the notes of a C major scale are:

C, D, E, F, G, A, B

SEE THAT THERE ARE SEVEN NOTES. Each chord shares three of the notes from the major scale. That will give us seven chords that we can categorize by number. In the Nashville number system, which is a convenient way of charting out chord changes, each chord gets a Roman numeral. Without diving into the theoretical “why”, let’s list these chords.  (m=minor)

I   IIm   IIIm   IV   V   VIm   VII

C  Dm   Em    F     G   Am  G7

For simplicity’s sake, we can forget the VII chord for now and wind up with:

I   IIm   IIIm   IV   V   VIm  

C  Dm   Em    F     G   Am 

This gives us three major chords and three minor chords (m).

The I  is called the tonic, the IV is called the subdominant and the V is called the dominant. There have been hundreds of thousands of songs written with only the  I, IV and V--C, F and G in the key of C.

If we shift our thinking to minor, we can superimpose the same relationship (I, IV, V) using the VI, IIm, and the III, which is now major rather than minor. The VI becomes the tonic, IIm chord becomes the subdominant and the III chord becomes the dominant. 

In either case, all of the other chords can also be used to create a progression.  For example, here is a chord progression using the I as the tonic:

C-G-Am-F

C-G-F-C-Dm-C

Here is a chord progression using the VI as the “tonic”, yet still technically in the key of C. This is common in songs that are in minor keys.

Am-F-G-Am

Dm-Am-E7-Am

Just about every minor song is based around the VIm chord. It becomes the tonal “center”, so in C, the Am would be assigned the status of “tonic”, even if just for conceptual purposes. In each key, the VI chord is also known as the relative minor. In C, the root of the  VIm chord (A) can be found by moving a step and a half down from the C note, which is the root of the major scale in C.

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A lot can be done with just those six chords, but there are more possibilities besides those major and minor chords, even if we stick to the same six basic chords for now. The first option we have is to alter the IIm, IIIm and VIm chords. We can choose to make any one or even all of them major if we choose and if it fits the musical purpose of our song melody.  For example, we could make all the chords major and end up with this:

C-A-D-G-C

Or

C-E-A-D-G-C

We can choose to keep some of the original minor chords minor and just change one or two to major chords. For example:

C-E-Am-C

F-A-Dm-G

Still sticking with the same six chords, we can also make the IV (subdominant) and the V (dominant) minor if we so desire. For example:

C-Dm-Fm- C   Or

C-Gm-C7-F

Fm-C-D-G

We could also make the IIm and IIIm into a major chord and get this:

Am-D-Am-E7-Am

Starting with our six chords, we have added five variations, giving us eleven possible chords in the key of C, using major and minor possibilities. And we haven’t even looked at that VII chord we have ignored so far.

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While most popular music organizes itself around these basic six chords, there are still a lot of variations and options that we have to look at. These chords fall outside the notes of the major scale but are commonly used. Let’s look at three useful ones right now. They are the bVII, the bIII and the #V.  All get a lot of use, especially in rock, but also in genres as diverse as bluegrass and hip hop. Music, regardless of style, still uses the same elements, so this information will serve you in creating music in the style you want to write in.

Let’s look at the first one—the bVII. In C, it would be a Bb chord—one whole step down from the C, or tonic. A common progression using the bVII would be something like:

C-Bb-F-C

We’ve all heard that a million times.

The next is the bIII. In the key of C it would be an Eb chord.  A common progression would look like this:

C-Eb-F-C

It is often used along with the bVII chord, giving us chord progressions like these:

C-Eb-Bb-F  or C-Bb-Eb-F

Ok. So let’s look at the #V, which is a half step up from the normal V dominant chord. It will be a G# in the key of C. It often functions as a chord that is moving toward the V, but it can also stand on its own as a part of a general chord progression. As a chord moving toward the dominant, it might be used like this:

C-Am-G#-G-C  or F-Dm-G#-G-C

Without resolving to the V chord, it could be used like this:

G#-Eb-Bb-F-C or Fm-Bb-Eb-G#-C#-G-C

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Now, we have 14 different chord possibilities built around the basic key of C. So what about this VII chord that we have avoided like the plague? Well, it has its uses at times. As an extension of a V7 chord, it can become a diminished chord with the root of B. Like this:

C-Bdim-Dm7-C

It can also be used as VIIm to move your progression to a VIm chord via a III chord. Lennon/McCartney did this in “Yesterday”:

C-Bm7-E7-Am

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While this discussion certainly leaves out some odd changes, it covers almost everything a songwriter needs to create good chord progressions with movement, surprise and continual interest. I have purposely left off the concept of modulation into different keys for now. Still, this information offers a multitude of possibilities to create interesting chord changes to build songs and melodies around.

Last, I would like to list all these chords in the common keys as a reference. Experiment with using different combinations. Listen to the “color” of each chord. Feel the particular tension each chord exhibits and note where it wants to move harmonically to your ear. All these chords want to eventually get back to the I chord—the tonic chord of the key you are in. Each has a sort of personality and tension as it seeks where it wants to move harmonically.

In the following list, remember that the minor chords can also be turned into major chords. The IV and V chords can be converted to minor.

I    IIm   IIIm   IV   V   VIm   VII  bVIII   bIII  #V

C   Dm   Em     F     G   Am    G7   Bb       Eb     G# (Ab)

D   Em    F#m   G    A    Bm    A7   C         F       Bb

E    F#m G#m  A    B    C#m  B7   D         G      C

F    Gm   Am   Bb   C    Dm    C7   Eb       Ab    Db (C#)

G    Am   Bm    C    D    Em    D7   F         Bb     Eb   

A    Bm    C#m   D   E    F#m   E7   G        C       F

B    C#m   D#m   E  F#   G#m   F#7 A        D      G

An introduction to lyrics—Every song needs a strong idea and a lyric that conveys the essence of that strong idea. 

SONG FORMS

 

INTRODUCTION and SONG FORMS

Conventions—Everything I have to share can be considered to be “conventional wisdom” rather than hard and fast “rules.” These ideas have been used, and continue to be used, over and over by songwriters worldwide. Every rule can be broken, but I believe that knowing the templates, tendencies, forms and structures gives the songwriter a deeper understanding when going against the rules seems to be a good choice.

When I offer a “rule”, I am telling you that it is a technique that works 95% of the time, but could occasionally be done differently. Writing a song is part craft and part art. Most of what can be taught or shown falls under the category of craft.

Writing Hit Songs is what we will focus on. We are going to explore how to craft a song that is memorable, easily understood, enjoyable to listen to and that garners the approval and agreement of the listening public (or at least the intended demographic).

The essence of writing commercially viable songs is to make every word count and make every element of the song memorable. We need to “prove” the idea we are writing and show, by example, what we are communicating. We have all listened to music and we know, at least empirically, what all the basics are—even if we have never analyzed the nuts and bolts. Songs can hit people mentally, physically and emotionally. Hitting all three areas is desirable—head, heart and body. Regardless, you better hit at least one. Make someone think, feel or want to tap their feet!

We need to create “hooks” that burrow into the minds of our listeners. If we can make our songs easy to remember, we are halfway home.  

Disclaimer: Though I do occasionally attempt to connect to today’s songs, my affinity for the styles I cut my teeth on will show. The key here lies in understanding that the forms I put up for scrutiny are still valid. Styles and sounds change regularly, but the underlying structures tend to remain the same. A seasoned songwriter should be aware of all of them. 

Definition of a song=melody+lyric (+chord changes+rhythm)

There are several different song forms. Each has its own template and each can be very useful. 

 

The AAA Song Form

• every section is the same musically—melody and meter mirror from section to section

• the title can appear at the beginning of every section, at the end of each section, or on occasion, elsewhere. In “Wreck Of the Edmund Fitzgerald”, the title is placed randomly. In “By The Time I Get To Phoenix” the title is used once—in the first verse.

AAA song examples:

Tangled Up In Blue—Bob Dylan

Smoking Gun—Robert Cray

Black Magic Woman—Santana, Fleetwood Mac

The Wreck Of The Edmund Fitzgerald—Gordon Lightfoot

The Times They Are a Changin’—Bob Dylan

I Love A Good Woman—Johnny Bassett

By The Time I Get To Phoenix—Jimmy Webb

Notes on the AAA form

The strength of AAA is telling a story, section to section. It is also the staple of the 12 bar blues. Few hit songs are AAA these days. Too bad—it is a viable musical form.

The AABA Song Form

• uses two identical musical “A” sections and then goes to a “B” section, then back to   another “A”

• may repeat the pattern

• may use an instrumental “A” section within the song

• almost always places the song title in the first and last “A” section

• the title is usually placed at the beginning or at the end of the “A” section

• generally, the title is NOT used in the “B” section—(reserved for “A” section only)

• sometimes the title is used in EVERY “A” section, but just as often it is not.

• early versions of the AABA form also had an intro section, called a “verse”. It was a completely different musical and lyrical form that set up the full AABA form that followed it.

AABA Song examples:

Georgia On My Mind—Ray Charles

Yesterday—The Beatles

Something—The Beatles

Don’t Know Why—Norah Jones

Somewhere Over the Rainbow—Judy Garland and many others

The Way You Look Tonight—Frank Sinatra

Timber, I’m Falling In Love—Patty Loveless

Notes on the AABA Form

This form is still alive in pop, blues, country and jazz vocal music. Its strength lies in its association to the thousands of classic songs written in this form. It also provides a distinct departure from the dominant verse-chorus—bridge form that our ears have become so used to hearing. It can sound fresh in contrast to the common forms that are used today.

The A sections “mirror” in meter and melody. The B section acts like a bridge—taking the song away from the predictability of the previous A sections. It uses a different melody and almost (almost! lol!) never uses the title. Remember, rules DO get broken from time to time.

The ABAB Form

This is commonly known as the “verse-chorus” form.

• the verse provides the detail and forward progress of the song’s story

• the chorus generally repeats in “rubber stamp” fashion—no variation in lyric

• the chorus is the condensed summation of the songs central idea

• The title falls in the chorus only. Sometimes in the first line, sometimes in the first and the last line. The chorus can also consist of nothing but the title.

• this form often uses a “vamp” section at the end—a slight variation or repetition of another part of the song.

• this song form does not use a bridge

Notes On The ABAB Form

This is still a strong and viable song form. It is best when dealing with long verses and a long chorus—8 line sections. With long verses and choruses, using a bridge often makes the song too long for radio. Long verses and choruses are perfect for this form, and many classic songs have used this form.

Sometimes, an instrumental section—usually an A (verse) section will be used in this form.

ABAB Song Examples

Take It Easy—The Eagles

I Can’t Make You Love Me—Bonnie Raitt

Werewolves of London—Warren Zevon

God Blessed The Broken Road—Rascal Flatts

You Shook Me All Night Long—AC-DC

Sir Duke—Stevie Wonder

The ABABCB Song Form (also ABABCAB)

•the structure consists of a verse (A), chorus (B) repeat of A and B, then a Bridge section (C)

• the verse and chorus provide the same functions as the ABAB song form.

• in addition we add a bridge (C section).

• the Bridge acts as a departure musically. It is a third section—different from the A and B section. It provides musical contrast when compared with the rest of the song.   

• lyrically, the bridge provides contrast, variation, a philosophical view—possibly from a different POV from the rest of the song. It can provide a boiling down—an “in other words” or a comment on the whole theme from a different perspective. It may also be a final conclusion or a wrapping up or summing up of the songs idea.

Notes On The ABABCB Form

This is the front and center dominant form in popular music today. Probably 75% of the hits we hear are written in this format. It is defined by short verses and short choruses, lots of repetition and “hooks” in terms of melodies. Each section is different—verse, chorus and bridge. The main idea is to have contrast between sections. Avoid making sections sound the same. What we want is musical and lyrical variation.

Like the ABAB form, the common practice is to have the verse melody lower than the chorus melody. The bridge melody generally is higher than the verse melody—sometimes even higher than the chorus melody, but sometimes somewhere in between the verse and chorus. It is a song to song decision.

ABABCB Song Examples:

She Will Be Loved—Maroon Five

Three Wooden Crosses—Randy Travis

Here Without You—3 Doors Down

Girl—The Beatles

Umbrella—Rihanna

Hey Soul Sister—Train

When Men Grow Old--Babyface

The ABCABCDC Song Form

This song form uses what is called a build, lift, climb or ‘pre-chorus”. It is like the ABABCB form, except there is an added section to the verse, which moves the verse toward the chorus. The build functions as an extension of the verse as it builds the idea of the verse statement and makes it flow naturally into the chorus.

• this form is not as prevalent as the ABABCB form, but it can be magic with an idea that demands depth in the verses as well as the chorus and bridge.

• use when you have a lot to say—a lot of ground to cover.

• the verses and choruses follow the same basic rules as the verse-chorus song. The verse provides detail and story and the chorus provides a summing up—a capsule statement of the song idea.

ABCABCDC Song Examples

You’ve Lost That Lovin’ Feeling—Righteous Brothers

The Heart Of The Matter—Don Henley

Exceptions to the Rule

Not every song falls within these common popular forms.

• Every Breath You Take by the Police (Sting) is basically an AABA song, but Sting adds a third section—a separate “C” section to take the song to another level.

• Bohemian Rhapsody by Queen has many sections that do not repeat. This song does not fall within the above conventional song structures.

• Prisoner In Disguise by Linda Ronstandt (J.D. Souther) is written basically in what is called “through composed” format. In this style, each section is a new musical idea. It is very rare in popular music. Great for artistic expressions but not really suitable for mainstream hit song writing.

Pick a lyric to examine for each song form (AAA, AABA, ABAB, ABABCB, ABCABC)

Welcome To Songwriter Land

I was teaching songwriting classes here in Detroit for a couple of years. In the process, I developed a pile of materials that I would like to share here. This blog will be all about songwriting nuts and bolts, as well as the many topics that connect to songs, music, publishing, etc. While I don't claim to know ever aspect of songwriting, I've learned a lot in 40 years. In fact, I am still learning. It is not an exact art, yet it does have many conventional ideas that get used daily by the best. I hope that what I have to share can help others bring great music into the world.

The best way to go through the materials is to start at the bottom and work your way up through the posts. I will be adding to the core articles as time permits. Thanks for stopping by!