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HOW TO WRITE A KILLER SONG - THE ULTIMATE SONGWRITING HANDBOOK (INDUSTRY SAMPLE)

The ultimate songwriting handbook | Teaches the key knowledge using real songs | Practical tips to improve your writing | 75 easy-to-understand modules | www.howtowriteakillersong.com The ultimate songwriting handbook | Teaches the key knowledge using real songs | Practical tips to improve your writing | 75 easy-to-understand modules | www.howtowriteakillersong.com

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THE ULTIMATE SONGWRITING HANDBOOK

IMPRINT

Third Edition | Self-published

Tim Kuhnert | Schoenhauser Allee 70 E | 10437 Berlin

Printing and Binding: druckterminal.de | KDD | Leopoldstr. 68 | 90439 Nuremberg

ISBN 978-3-00-057337-8

Layout: Anja Soechting | Notation: Miloš Tadic

Editing: Jon Kean | Translation: Loki Lillistone

www.howtowriteakillersong.com

CONTENTS

Biography 1

Foreword 3

A Short Introduction 4

Writing a Strong Vocal Melody 6

Chord-Based Songwriting 18

Matching Words to Melody 28

Matching Chords to Your Topline 34

Song Sections and Their Function 42

Song Structure 44

Unconventional Song Structures 50

Intros 58

Easy Chord Progressions 62

Writing Over a Common Chord Progression 72

Using a Pre-Chorus 78

Working With a Middle 8 86

Writing Progressions from a Palette of Chords 92

The Three-Chord Variation 102

Riffs 110

Changing Mood with Topline, Not Chords 116

Experimenting with Chord Lengths 120

Using Different Chord Types 136

Chord Inversions 146

Descending Fifth Sequences 152

Using More Advanced Scales 158

Hooks 162

Saving a Vocal Hook for the Pay-Off 190

Using Different Guitar Tunings 196

Reverse Polarity 202

Modal Interchange 210

The bII, bIII, bVI and bVII Chords 214

Writing a Ballad over Major Chords 220

Modulation 222

Writing Over Distinctive Rhythm 242

Writing over a Bassline 244

Using the Relative Major/Minor 250

Time Signatures 254

Fusing Different Genres 258

Vocal Harmonies 264

Making Your Chorus Stand Out 268

Re-Harmonizing with Alternative Chords 346

Re-Using Chord Progressions 348

Chord Progressions Based on Seconds 354

Building Chord Progressions with Thirds 358

Toplines with Extreme Intervals 364

Melodic Starting Points 366

Pedal Points 368

Writing over a Blues Cadence 370

Prosody 374

Incorporating a Coda 378

Staying Creative 382

Arrangements 384

Covering a Song 388

Effects 390

Writing Good Lyrics 394

Lyric-Based Songwriting 416

Finding the Right Tempo 424

Mood-Based Songwriting 426

Using Modal Scales 428

The Hit-Formula! 438

Writing Toplines around the Root Note

and the Supertonic 464

The Song-DNA 470

Changing Instrument 482

Finding the Right Key 482

Using a Capo 483

Starting with the Chorus 483

Writing in a Popular Key 484

Keeping Track of Ideas 484

Keeping a Daily Rhythm 485

Finishing Songs 485

Shoehorning Songs into Different Styles 486

Finding a Good Ending 486

Keeping the Guide Track 486

Production Sheets 487

Sharing Vocals 487

Co-Writing 488

Working with a Rhyming Dictionary 488

Online Dictionaries 489

The Song-Checklist 490

Songlist 492

Glossary 500

In Closing 502

Tim Kuhnert, b. 1976, is a

professionally-trained musician,

singer and songwriter. After studying

songwriting at the music academy

BIMM Bristol, he released a solo album

and founded the label Made for TV.

The author lives in Berlin, is an active

musician and gives workshops on

songwriting and music production.

FOREWORD

I’ve been dealing with songwriting for many years now and have always found it hard to get my hands

on a book that conveys the basics clearly and concisely. Some books are slightly irrelevant, based more on

jazz than the themes of popular music, while others become lost in general theory and dry, intellectual

analysis.

The role of this book, then, is to provide a brief guide with practical tips and examples that help you find

the ways and means to enhance your creativity throughout your daily struggle with your muse. Reach for

this when finding yourself, once again, desperately sitting on the edge of your bed, or standing with your

band in the rehearsal room, looking for the next idea.

TIP

Since this book is primarily based on song examples that illustrate each lesson’s content, it is helpful

to have a streaming service on hand such as Spotify, Deezer or YouTube. In fact, you‘ll find a playlist

on Spotify entitled: ’How To Write A Killer Song’.

A SHORT INTRODUCTION

Before you start writing a song you should know what kind of song you're about to write.

Altogether you can say there are four types of song:

• topline-based songs

• chord/riff-based songs

• lyric-based songs

• mood-based songs

Topline-based songs can often be found in the charts. Here the 'topline' (a combination of vocal

melody and lyrics) primarily carries the song. This is by far the most popular way of writing commercial

songs.

In Chord/riff-based songs, a chord progression or distinctive riff carries the song. The vocal melody

doesn't need to be in the foreground. Songs of this kind are often found in alternative music, especially

rock and punk.

Lyric-based songs are very popular with singer/songwriters. As a rule, the lyrics are written first, which

are then set to music. Here, the vocal melody often derives from the natural rhythm of the words.

Mood-based songs cover a wide range of genres. With such songs, the focus is on the shaping and

combining of sounds, whether to be impactful - as in techno, drum & bass and house - or subtle, as in

trip-hop, lounge or film soundtracks. This type of song is predominantly arranged instrumentally and

would more likely use ‘vocal samples’ rather than a classic vocal melody.

Of course there are always combinations of these song types; the boundaries are fluid here.

In the following chapters, this book will mainly deal with topline-based and chord/riff-based songwriting,

but we will also touch on the others.

#1 WRITING A STRONG VOCAL MELODY

The most important part of a song is probably its melody. A common error among fledgling bands, in

fact, is letting the chord progression dictate the melody, instead of the other way around. The whole

thing often ends up with a vocal melody that sounds improvised and forgettable, more an afterthought

than the drive behind the song's idea.

A song that demonstrates the importance of a vocal melody very well is Hide And Seek by Imogen Heap.

The song is, in essence, comprised solely of vocal melodies (using a Harmonizer 1 effect) showing that if

the topline is strong, the instrumentation is of secondary importance.

Imogen Heap - Hide and Seek

(excerpt)

Where are we? What the hell is goq=

& # # #

Verse

A E F#m sus2 D

˙ œ œ

œ j ‰ Œ Ó

˙ œ j œ ˙

‰

œ œ j

& # # # A E F#msus2 D maj7/9

˙ œ œ j ‰ Œ Œ

œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ

- ing on? The dust has on - ly just

& # # # A E F#m D

Œ œ œ ˙ Œ

œ œ

œ ˙

œ œ j œ œ œ

be- gun

to form crop circ - les in the car

& # #

A E F#m Dmaj7/9

œ ˙

˙ œ

& # # # A E F#msus2 D maj7/9

˙ œ œ j ‰ Œ Œ

œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ

Where are we? What the hell is go-

Continued: Imogen Heap - Hide and Seek

- ing on? The dust has on - ly just

& # # # A E F#m D

œ œ ˙ Œ

œ œ

œ ˙

œ œ j œ œ œ

be- gun

to form crop circ - les in the car

& # #

A E F#m Dmaj7/9

- pet

sin - king, fee - ling

Chorus

& # # #

A/C# E/D# F#m 7

˙ ˙ ˙

Hide and seek

& # # # Dmaj7/9 D F#m 3

œ œ r œ j

˙ œ œ œ

œ j ˙

trains and sew - ing mach - ines.

Music/Lyrics: Imogen Heap

Another example of a song with a strong vocal melody is Jeff Buckley's version of Leonard Cohen's

Hallelujah. The entire song is played on only an electric guitar and still holds the listener’s attention for

almost seven minutes.

Jeff Buckley - Hallelujah

(excerpt)

q.= 71

12 8 &‹ b b b b b

Verse

œ r œ œ œ œ œ œ j œ œ œ Œ

I heard there was a sec - ret chord

‹

b b b b b

‹

b b b b b

≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

that Da - vid played and it pleased the Lord

Gb Ab Db Ab

‰ œ œ œ œ œ nœ

œ œ bœ

j œ œ j œ œ j œ Œ Œ œ œ

but you don't real-ly

care for mu - sic, do you? And it

‹

b b b b b

‹

b b b b b

Db Gb Ab Bm Gb

œ œ j œ œ j œ œ J

œ ‰ ≈ œ œ œ œ œ œ œ œ œ œ Œ ≈ œ R

goes like this: the fourth, the fifth, the mi nor fall and the ma jor lift the

Ab F Bm

œ œ œ œ œ œ œ œ nœ

J J J

baf

- fled king com -po

- sing hal - le - lu - jah

bœ

œ œ œ Œ Œ

‹

b b b b b

Gb Ab Db Ab

Continued: Jeff but Buckley you don't - Hallelujah real-ly

care for mu - sic, do you? And it

‹

b b b b b

‹

b b b b b

‰ œ œ œ œ œ nœ

œ œ bœ

j œ œ j œ œ j œ Œ Œ œ œ

Db Gb Ab Bm Gb

œ œ j œ œ j œ œ J

œ ‰ ≈ œ œ œ œ œ œ œ œ œ œ Œ ≈ œ R

goes like this: the fourth, the fifth, the mi nor fall and the ma jor lift the

Ab F Bm

œ œ œ œ œ œ œ œ nœ

J J J

baf

- fled king com -po

- sing hal - le - lu - jah

bœ

œ œ œ Œ Œ

12 8 &‹ b b b b b

Hal

Chorus

- le - lu - jah,

hal - le - lu - jah

hal - le -

œ œ j œ œ J

œ Œ œ œ j œ j œ œ Œ

œ j

‹

b b b b b

Gb Db Ab Db Bm

œ œ œ Œ œ œ J J

œ j œ œ œ œ œ œ bœ

j œ j œ œ

lu - jah, hal - le - lu - - jah

Music/Lyrics: Leonard Cohen

A strong topline should therefore always feel complete when accompanied by just one instrument, or

even sang a capella (vocal only).

Another important point is that the vocal melodies of each section must complement each other. Many

new songwriters get stuck because they have a strong melodic idea in one section, but the following

parts, or the transitions between them, fall short.

Two songs that succeed at having strong, well-matched melodies are Happy by Pharrell Williams and Lou

Reed's Walk On The Wild Side.

Happy is a danceable, upbeat song that combines elements from neo-soul and funk, and uses a highly

syncopated melody, while Walk On The Wild Side creates a relaxed yet suggestive atmosphere. Regardless

of their distinct musical styles, each song’s parts fit together neatly and maintain a consistent vibe.

Pharrell Williams - Happy

(excerpt)

q= 160

& b 4

‹

Verse

F 7 Fm Bb C

Œ ‰ œ œ œ œ œ

J J J œ œ œ bœ

œ œ ˙

It might seem cra - zy what I'm 'bout to say

Bb 7

∑

‹

F 7 Fm Bb C Bb 7

bœ

œ œ œ œ

J J

œ œ bœ

œ œ œ

J Ó Ó ¿ ¿

Sun-shine

she's here, you can take a break - a.

I'm a

‹

F 7

œ œ œ œ œ bœ

œ œ œ œ

hot air bal - loon that could go to space. With the air,

Bb C Bb 7

∑

‰ bœ

œ œ

& b <b> œ

‹

F 7 Fm Bb C Bb 7

‰ œ J bœ

J œ œ J

like I don't care,

œ œ bœ

œ œ œ œ œ œ œ œ œ Ó Ó Ó

ba -by,

by the way

Continued: Pharrell Williams - Happy

& b 4

‹

Chorus

Be - cause I'm hap - py

œ j œ bœ

‰ Ó

Db maj7 Cm 7

œ j œ

œ bœ

œ j

J œ

œ j œ ˙

b œ œ œ bœ

œ œ

Clap a-long

if you feel like a room with-out

a roof

F Db maj7 Cm 7

‹

Be - cause I'm hap-

Œ œ j œ bœ

∑

œ j œ

œ bœ

œ j

œœ

J bœ

j ˙

J œ œ

œ bœ

œ œ œ

Clap a-long

if you feel like hap-pi-ness

is the truth

‹

F Db maj7 Cm 7

Be - cause I'm hap-

œ j œ œ œ œ œ j œ

Œ œ j œ bœ

∑

œbœ

œ œ œ J œ œ

œ j ˙

Clap a-long

if you know what hap-pi-ness

is to you

bœ

œ bœ

œ œ œ œ

F Db maj7 Cm 7

‹

Be - cause I'm hap-

∑ Œ œ j œ bœ

œ j œ

œ bœ

œ j

œœ

J bœ

j ˙

J œ œ

œ œ bœ

œ œ œ

Clap a-long

if you feel like that's what you wan-na

‹

Be - cause I'm hap-

Œ œ j œ bœ

∑

œ j œ

œ bœ

œ j

œœ

J bœ

j ˙

J œ œ

œ bœ

œ œ œ

Continued: Pharrell Williams - Happy Clap a-long

if you feel like hap-pi-ness

is the truth

‹

F Db maj7 Cm 7

Be - cause I'm hap-

œ j œ œ œ œ œ j œ

Œ œ j œ bœ

∑

œbœ

œ œ œ J œ œ

œ j ˙

Clap a-long

if you know what hap-pi-ness

is to you

bœ

œ bœ

œ œ œ œ

F Db maj7 Cm 7

‹

Be - cause I'm hap-

∑ Œ œ j œ bœ

œ j œ

œ bœ

œ j

œœ

J bœ

j ˙

J œ œ

œ œ bœ

œ œ œ

Clap a-long

if you feel like that's what you wan-na

Music/Lyrics: Pharrell Williams

Lou Reed - Walk On The Wild Side

(excerpt)

q= 104

‹

Verse

œ œ œ œ œ œ œ œ bœ

œ œ œ

Hol - ly came from Mi - a - mi, F - L - A

& œ œ # œ œ œ œ œ œ bœ

œ ‹ œ œ

hitch-hiked

her way a - cross the U. - S. - A.

C D F D

& œ œ œ œ œ œ œ œ œ œ œ j ‰ ‹ œ œ œ œ œ œ œ œ œ œ œ œ j ‰

‹

plucked her eye brows on the way, shaved her legs and then she was a he

Chorus

œ œ œ j œ

She said: hey babe, take a walk on the wild side. She said:

& ¿ ¿ ¿ ‹

Œ ‰

‰ ‰

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

hey ho - ney,

take a walk on the wild side

Œ Œ ≈ ¿ ¿

Music/Lyrics: Lou Reed

In conclusion, the vocal melody together with the text and the accompanying chords form the basis

of each song.

Here are a few principles to a working topline.

A good melody should:

• be able to stand alone

• feel familiar, but with unexpected turns

• use ‘tension and release’

• have the right amount of repetition

The effect of a topline can also be enhanced by the following components:

delivery

harmony

key/octave

arrangement

production

You are often influenced by the rhythm of the chords when looking for a melody. In order to avoid this

and be more open-minded, here are a few tips:

TIP

• Stop the accompaniment as soon as you hit the chorus, but continue singing. This will allow you to

create your all-important chorus topline more freely.

• Instead of chords, try simply playing the bass notes in the chorus on the first beat. This will color the

song during the early writing stages and allow you to make more deliberate decisions.

• Alternatively, use a rhythmless ‘pad’ sound on a keyboard (e.g. organ). This will usually help you to

have broader ideas rhythmically.

• Try to sing in a higher register while working out melodies; you will be able to hear the intervals

more clearly and get a better feel for what you’re writing.

Beware the lollipop of mediocrity; lick it once and you’ll suck forever.

(Brian Wilson)

#2 CHORD-BASED SONGWRITING

Of course you can also go in the opposite direction and let the chords dictate the melody. In these cases,

however, you should be sure that you have a riff or instrumental part that stands out and the chord

progressions themselves are not too predictable.

Here are two examples:

Green Day - Basket Case

(excerpt)

Do you have the time to list-en

to me whine a - bout no-thing

and evq=

168

& b b b 4

‹

Verse

Eb Bb Cm Gm Ab

œ œ j œ j œ œ J

œ Œ Œ œ œ œ œ J

œ œ J

œ Œ Œ œ œ œ œ J

œ œ J

‹

b b b

∑

J œ œ œ œ œ œ œ Ó œ œ j œ j œ œ œ Œ Œ œ

- ery-thing

all at once. I am one of those me -

‹

b b b

Cm Gm Ab Eb Bb

œ œ œ J

œ œ J

œ Œ Œ œ œ œ œ J

œ œ J

œ J

œ œ œ œ œ

lo -dra-ma-tic

fools neu - ro - tic to the bone no doubt a-bout

∑

Continued: Green Day - Basket Case

Chorus

& b b Ab

b 4 Œ ‰ œ j œ œ œ œ

J J J

œ œ œ œ œ œ Ó J ‹

Some-times

I give my - self the creeps,

∑

‹

b b b

‹

b b b

‹

b b b

Ab Bb Eb

Œ ‰ œ j œ J

œ œ J

œ J

œ œ œ œ J

œ œ Ó Ó Œ ‰ œ

some-times

my mind plays tricks on me. It

Ab Bb Eb Db Cm

œ œ œ J

œ œ J

œ Œ ‰ œ œ œ œ J

all keeps ad-ding

up I think I'm crack-ing

up am

Ab Bb Eb

œ j œ œ J

œ ‰ œ œ œ J

I just pa - ra - noid

or am I just stoned?

œ œ J

œ J

œ ‰ ‰ œ

œ œ J

œ Œ Ó

Music/Lyrics: Billie Joe Armstrong, Mike Dirnt, Frank Wright

Cherry Glazerr - Lucid Dreams

(excerpt)

q= 113

& b b b b b b 4

‹

Verse

Ó Œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ Œ Ó

Ebm Cb Bb Cb

Ó œ œ œ œ ‰ j œ œ œ œ œ œ Œ œ œœ œ j ‰ ‰ j œ œ œ œ

Lu-cid

dreams, my fa-vorite

co lor seems to be en-ve-lo-ping

œ Œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ

me. Right there let it loose I felt no-thing,

lu-cid

dream-ing

Chorus

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Fuck your fan - cy mes - sa - ges. I wish I knew that I was dream-

ing,

œ œ œ œ œ œ œ œ œ œ œ œ ˙

wish I knew that I was dream- ing, wish that I knew,

Ó œ œ ˙ Œ œ œ ˙ Œ œ œ w

I knew, I knew, dream ing,

‹

b b b b b b Ebm Cb Bb Cb

& b b b b Ebm

b b 4

‹

b b b b b b Bb

‹

b b b b b b Bbm Abm Gb Abm

‹

b b b b b b Bbm Abm Gb Abm

I knew, I knew that I was dream -ing

& b b b b Bbm Abm Gb Abm

b b Ó œ œ ˙ Œ œ œ ˙ Œ œ œ w

‹

Continued: Cherry Glazerr - Lucid Dreams

I knew, I knew, dream ing,

& b b b b Bbm Abm Gb Abm

b b Ó Œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ Œ Ó

‹

I knew, I knew that I was dream -ing

& b b b b b b 4

‹

Bridge

Ebm Ebm/Db Ebm/C Cb

Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

‰œ œ œ œ œ ‰

I tried not towake up,sud-den-ly

I'mmak-ing

up my moves and I can't lose.

& b b Ebm Ebm/Db Ebm/C Cb

b b b b Ó œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ Ó Œ ‰ J œ j œ j ‰ œ j ‰

‹

Time to be a la-dies'

man, time to knock out Pe-ter

Pan. It felt so

& b b Ebm Ebm/Db Ebm/C

b b b b œ j ‰ Œ œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ

œ j

‹

real,

rea -dy

for the take-off

flight, rea -dy

to get in a fight.

& b b Cb Ebm Ebm/Db Ebm/C Cb

b b b b Œ œ j œ j œ œ j ˙ Œ ‰ œ j ˙ ‰ œ j œ œ ˙ w

‹

It end-ed

too soon, too soon, to soon

Music/Lyrics: Clementine Creevy

Two other good examples of chord-based songwriting are The Cure's Jumping Someone Else's Train, which

focuses almost entirely on the verse, and Corinne by Metronomy, who use the same chord progression

for both the verse and chorus. This demonstrates how you can use repetition to your advantage, avoiding

the need to find a different chord progression for each song section.

The Cure - Jumping Someone Else’s Train

(excerpt)

q= 183

# & # 4

‹

Verse

Bm C#m F#m

Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ

Don't say what you mean you might spoil your face If you walk in a crowd

& # œ œ œ œ œ # œ œ Œ ‰ œ œ œ œ œ

J ‹

you won't leave a - ny trace It's al - ways the same

C#m F#m D

& # œ œ œ J

œ œ œ J J

œ œ

œ œ ˙

‹

you're

jump -ing

some - one el - se's

train

Continued: The Cure - Jumping Someone Else’s Train

# & # 4

‹

Bridge

D E C#/E# F#m

œ œ œ Œ œ œ œ J œ ‰ Œ ‰ œ J

œ œ œ œ œ Ó Œ ‰ œ j

If you pick up on it quick you can say you were there A-

D E C#/E# F#m D

& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ w

‹

gain and a-gain

and a - gain you're jump - ing some - one el - se's train

Music/Lyrics: Robert Smith

Metronomy - Corinne

(excerpt)

q= 140

# & #

# ## #

‹

Oh,

Verse

C# D#m E#° C ‹ °

œ j œ œ Œ Ó Ó Ó œ œ œ œ œ œ œ

Œ Ó

Cor-inne

I've got a pain in my heart

C# D#m

& #

# ## # C# G#m A# B Ó Œ œ j œ œ œ œ œ œ ∑ Ó Œ œ j

‹

think it's be-cause

of you 'cause

& #

# ## # E#° C ‹ °

B C# G#m A#

œ œ œ œ œ œ œ œ œ Ó Ó Œ œ j œ œ œ œ œ œ

‹

they kicked me out of the for ces When I laid a hand on you

Continued: Metronomy - Corinne

# & #

# ## #

‹

# # 2

& # ## #

‹

Chorus

C# D#m

œ œ œ œ œ œ ‰

œ œ œ 2

œ œ œ J 4 4

œ œ œ œ Œ

I've got my heart tied up Now with the boom and the bang I'm not gon-na

& #

# ## # E#° C ‹ °

œ œ œ œ J œ œ œ œ œ œ

‹

fire you a - gain I've got my heart tied up Now with the

œ œ œ 4

œ Œ

C# G#m A#

boom and the bang I'm not gon - na fire you a - gain

‰

œ œ œ œ œ œ œ œ J ‰ Œ

Music/Lyrics: Joseph Mount

Chord Progressions

Verse Chorus Bridge

Green Day Basket Case Eb Bb Cm Ab Eb Bb

Ab Bb Eb Eb (2x) Ab

Bb Eb Db Cm Ab

Bb Eb

Cherry Glazerr Lucid Dreams Ebm Cb Bb Cb

Ebm Cb Bb Cb

Gm Abm Gb Abm

(2x)

Ebm Ebm/Db

Ebm/C Cb (4x)

The Cure

Jumping Someone

Else’s Train

Bm C#m F#m A D

C#m F#m D

D E C#/E# F#m

(2x) D

Metronomy

Corinne

B C# D#m E# 07

Cx 07* Bb C#

G#m A#

B C# D#m E# 07

Cx 07 Bb C#

G#m A#

*C##dim7

TIP

This type of songwriting is ideal if you want to write higher-tempo songs, but still feel unconfident

about letting your topline do the work over a more limited number of chords.

What comes first? The melody, always.

(Björk)

#3 MATCHING WORDS TO MELODY

Just as important as writing a catchy melody is finding suitable lyrics. We call this combination topline,

and it’s the all-important difference between songwriting and traditional poetry. In the latter, we examine

only text, rhyme and meter, while in songwriting we match these to a vocal melody too.

Here we have two examples that illustrate the honing of a topline quite well. The first song Native Son by

U2 is in fact an earlier incarnation of the later released hit-single Vertigo. It was brought to the band by

guitarist, The Edge, in 2002, two years before its eventual release. During that time, the title, topline and

arrangement were changed repeatedly, with more than 75 versions being recorded. Some working titles

included: Hard Metal Jacket, Viva La Ramone, Shark Soup and Native Son.

In terms of subject matter, the first made a political statement, singing about Native American activist

Leonard Peltier, while the second talks about love, using simple, memorable phrases. Melodically, these

new phrases follow a greater level of repetition while leaving satisfying space and contrasting well with

the instrumentation.

The final version of the song is, on both a thematic and musical level, more commercially viable than

its predecessor - confirmed by Vertigo’s twenty weeks in the Billboard Charts and its digital download

success.

U2 - Native Son

(excerpt)

Chorus

q= 140

E D G

# & #

# #

4 œ œ œ œ

J J ‰ œ œ œ œ œ nœœ œ ‰ œ œ œ œ

J œ œ œ œ œ œ œ

‹

(On the run) Of-fi-cer

put down the gun, (na -tive

son) I ne-ver

wan-ted

to own

A E D

& #

# # œ œ œ

‰ œ œ œ œ J J ‰ œ œ œ œ nœ

œ J

nœ

œ œ œ œ

‹

one

is it so hard for a

(na -tive

son) Both of us want to be someone (it's so hard)

G A D E D E D E A Ab G

# #

& # # œ

J œ œ œ œ œ œ œ J

œ œ œ œ œ œ J œ ‰ Œ ‰ ‰ ‰ Ó ‰ Œ

‹

na-tive

son to be free?

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

U2 - Vertigo

(excerpt)

q= 140

# # & # #

‹

Chorus

D G A

Œ œ œ œ œ J

n ˙

œ œ œ œ

‰ ¿ ¿ ¿ ¿ œ œ nœ

J J J J J J ¿ ¿ ¿

Hel- lo, hel lo (ho - la, ho - la) I'm at a place called ver - ti- go (dond'es - ta?)

E D G

# #

& # # ‰ œ j œ œ œ œ œ œ nœ

œ œ J ‰ œ j œ œ œ Œ œ J

nœ

‹

It's eve-ry-thing

I wish I did-n't

know ex-cept

you give me some

A D E D E D E A Ab G D E D E D E A Ab G

& #

# # œ

J œ ‰ ‰ œ J œ œ œ J œ ‰ Œ ‰ ‰ ‰ Ó ‰ ‰ œ œ

J J œ œ œ J J ‰ ‰ ‰ ‰ Ó ‰ Œ

‹

- thing I can feel, feel.

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

Another example is Death Cab For Cutie's We Looked Like Giants. Here, the final ‘pay-off’ section on the

album version uses an entirely different topline melody and chord sequence, having much better flow

than the first one.

Death Cab For Cutie - We Looked Like Giants (Demo Version)

(excerpt)

q= 166

# & # 4

‹

Verse

And from this floor I can see through your win-dow

next door,

he's strum-ming

a tune on a toy gui - tar I gave to you. You throw your

head back, so o - ver-come

with laugh-

ter.

Ó œ œ œ œ Œ œ œ œ œ œ œ J

œ œ œ œ J

& # œ œ œ œ œ ˙ Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

A G

& # ˙ œ œ Œ œ œ œ œ œ œ œ w J ‹

∑

Music/Lyrics: Ben Gibbard, Nick Harmer, Jason McGerr, Chris Walla

Death Cab For Cutie - We Looked Like Giants (Albumversion)

(excerpt)

q= 176

# & # 4

‹

Verse

Ó ‰ œ œ J

œ J

œ œ J ˙ Œ œ J œ œ œ J

œ œ J

œ œ œ œ œJ œ œ J

And to - ge-ther

there, in a shroud of frost, the moun-tain

air be-gan

‹

# #

w œ ‰ œ J

œ J

œ œ J

œ œ œ J

œ œ J

œ œ œ J

œ J

œ œ œ

pass

through eve-ry

pane of weath-ered

glass. And I held you clo - ser

& # Œ ‰ œ J œ J œ œ œ J

œ œ œ œ w J J J

‹

∑

than a -ny- one would ev-er

get.

Music/Lyrics: Ben Gibbard, Nick Harmer, Jason McGerr, Chris Walla

Chord Progressions

Verse

Chorus

Native Son

(Unreleased Version)

Vertigo

(Album Version)

– E D G A (2x) D E D E

D E A Ab G

– E D G A (2x) D E D E D E

A Ab G (2x)

Death Cab For Cutie

We Looked Like Giants

(Demo Version)

G G A A (3x) G G F#

–

Death Cab For Cutie

We Looked Like Giants

(Album Version)

Bm Bm G G A A (2x)

Bm Bm G G A A F# F#

–

TIP

When writing vocal melodies, it can be helpful to either hum ideas or sing natural-feeling vowels until

you find the right words, thus allowing you to deal with the melody first and foremost.

#4 MATCHING CHORDS TO YOUR TOPLINE

You can always find more than one chord progression that fits your topline, with different combinations

having different effects. Generally, songs with few chords have more intensity than songs with more

complex progressions, especially when written in A minor key. Chords in major, however, can be catchier

and have more of a sing-along feel. The lengths of your chords are also important. In most songs, each

new chord starts in on the first and/or third beat of the bar.

Here are a few tips for getting to grips with harmonizing a topline using chords:

TIP

• Reduce the topline to its main notes before looking for chords that fit

• Use standard triad chords, in their root positions

• Try a well-known chord progression in your chosen key

To illustrate that more than one chord sequence fits a melody, here is an example:

Bob Dylan - All Along The Watchtower

(excerpt)

q= 128

# # & # #

‹

Verse

C#m B A B C#m B

‰ œ J

œ œ œ J

œ œ J œ J

œ ‰ Œ Œ ‰ œ œ œ œ œ J

œ œ J

"There must be some way out of here", said the jo-ker

to the thief

A B C#m B

& #

# # œ

‰ Œ Œ Œ ‰ œ œ œ œ œ

J J J

‹

- sion

I can get no re - lief

there's too much con - fu -

A B C#m B A B

& #

# # œ

J œ ‰ Œ Œ ‰

œ j œ œ œ J

œ œ œ Œ Œ Œ

J ‹

Continued: Bob Dylan - All Along The Watchtower

# & #

# #

‹

Chorus

C#m B A B

‰

œ œ œ œ œ œ œ œ Œ Œ

All a - long the watch - tow - er

C#m B A B

& #

# # ‰ œ œ œ J J

œ œ ˙ J

Œ Œ

‹

Prin

- ces kept the view

C#m B A B

# #

& # # ‰ œ œ œ œ œ ‰ œ œ J J

œ œ Œ Œ

‹

While all the wo - men came and went

C#m B A B

# #

& # # ‰ œ œ œ

J J œ œ ˙ Œ Œ

J ‹

Bare

- foot ser - vants too

Music/Lyrics: Bob Dylan

Both the verse and chorus are based on the chord progression: C#m - B - A - B. The B major chord in this

case acts as a connecting chord that gives the song an upbeat feel. For the purposes of this exercise, we

can simplify the progress to its core of C#m and A.

Therefore some chord sequences that would also fit the topline are:

Alternative Chord Sequences

Verse Chorus Verse Chorus

C#m C#m A C#m B F# E C#m B F# E

C#m C#m B A F# C#m C#m F# F# C#m B F# E

C#m B A F# C#m B A F# C#m A (3x) F# A C#m A (3x) F# A

C#m A B F# C#m A B F# E E A A E E A A

C#m E C#m B F# E E E A A E E B A

Bob Dylan - All Along The Watchtower

(excerpt)

q= 128

# # & # #

‹

Verse

"There must be some way out of here", said the jo-ker

to the thief

‰ œ œ œ œ œ œ J J J œ œ ‰ Œ Œ ‰ œ œ œ œ œ œ œ J J J

# #

& # # œ ‰ Œ Œ Œ ‰ œ œ œ œ œ

J J J

‹

& #

# # œ

J œ ‰ Œ Œ ‰

œ j œ œ œ J

œ œ œ Œ Œ Œ

J ‹

- sion

I can get no re - lief

there's too much con - fu -

Continued: Bob Dylan - All Along The Watchtower

Chorus

# & #

# #

4 ‰

œ œ œ œ

œ œ œ œ œ Œ Œ

‹

All a - long the watch - tow - er

& #

# # ‰ œ œ œ œ œ ˙ J J J

Œ Œ

‹

Prin - ces kept the view

& #

# # ‰ œ œ œ œ œ J

‰ œ œ J

œ œ Œ Œ

‹

While all the wo - men came and went

& #

# # ‰ œ œ œ

J J œ œ ˙ J

Œ Œ

‹

Bare

Music/Lyrics: Bob Dylan

- foot ser - vants too

TIP

In general, you should try to find the appropriate chords to your melody by playing by feel without

overthinking.

You can also choose a new chord from a previous one, i.e. certain chords fit together better than others.

Below is a table that shows which chords work best together.

Chord References

Starting Chord Fitting Chords Example (C major)

I any chord C = Dm, Em, F, G, Am, b 0

ii IV, V, vii 0 Dm = F, G, b 0

iii ii, IV, vi Em = Dm, F, Am

IV I, iii, V, vii 0 F = C, Em, G, b 0

V I G = C

vi ii, IV, V, I Am = Dm, F, G, C

vii 0 I, iii b 0 = C, Em

TIP

Once you've found a suitable chord progression for your topline, try changing chords on half and/or

unstressed beats, rather than always on full ones. For example, changing chord on the fourth offbeat

('four and') sounds very different to changing on beat one.

Art without meaning is just decoration.

(Rick Rubin)

#5 SONG SECTIONS AND THEIR FUNCTION

Each song is made up of a variety of parts, all of which come together to create the overall song structure.

Here is a brief overview, showing the features and functions of each part:

Intro

Verse

Pre-Chorus

Chorus

Refrain

Definition

The opening section of

a song

The recurring, yet usually

more narrative / less

‘catchy’ section of a song

Connects the verse to the

chorus

A memorable section which

appears multiple times within

the song

A memorable, recurring line

used in place of a chorus

Function

Sets the tone, tempo and mood and/or

grabs the listener’s attention

Introduces the topic, sets the scene

and/or starts a narrative

Leads the verse toward a melodic climax,

often through building tension

Summarizes the theme of the song and

typically includes the biggest ‘hook’

Provides a similar function to the classic

chorus it sums up the theme of the song

but keeps more focus on narrative verses

Middle 8

(Bridge)

Solo

Interlude

Definition

A new and distinct section, traditionally

eight bars but lengths vary.

Most commonly comes after the

second chorus

An instrumental part which most often

comes after the second chorus,

adding interest while also giving the

listener a break from the vocals. A

solo is a good alternative to a middle

8 for some genres, although both

can of course be used

A distinct melodic or

rhythmic section sitting

between the main song parts

Function

Re-engages the listener’s attention by

breaking the repetition of a song once the

main structure has been well-established.

Disrupts the song’s flow in a natural way,

allowing you to include a thematic or

melodic twist

Adds interest while also giving the

listener a break from the vocals, giving

them greater impact when they return

Creates variety and space between

the main song parts, often breaking up

a double verse

Outro The closing section of a song Signposts the end of a song.

Coda

A distinct closing section

which has not been played

before

Provides a pay-off or emotional peak,

while introducing a new theme

Pay-Off

A catchy section which

rewards the listener near

the end of a song

Adds a hook, release or emotional peak

to more subtle songs. Can be a chorus

(or second chorus), outro, riff section or

similar

#6 SONG STRUCTURE

Generally, we can say there are two main song structures used in popular music: Verse-only (AAA) with

its single flowing section and Classic (ABAB), which features alternating verses and choruses, although

both come with countless variations. The AAA structure, for example, often incorporates a bridge, embellishing

it to AABA, while the most common ABAB structure often includes a pre-chorus (making it

ABCABC) or a middle 8 (then ABABCB). The key thing to remember is that most songwriters will start

with one of these two structures and build upon them.

The Verse-Only Structure

This is most likely the oldest song structure ever used, dating back to the times of Medieval minstrels.

It’s rarely used in commercial music these days, though it is known within the folk and singersongwriter

genres. This AAA song structure is ideal if you have strong, personal lyrics in a narrative

form. A popular variation on this way of working is to include a refrain; a recurring line which finalizes

each verse and summarizes the theme in a memorable way.

Examples:

Sandy Denny Matty Groves Verse 19x

Spoon

The Black Keys

The Two Sides Of

Monsieur Valentine

(refrain)

Tighten Up

Verse - Verse - Interlude - Verse

Intro - Verse - Verse - Interlude - Verse - Verse

-Interlude - Bridge

A song that shows that verse-only structures can work with faster tempos as well as slower ones is

Tighten Up by The Black Keys. Its main structure consists of four verses, with an instrumental interlude

between each one, before closing with a bridge.

The Black Keys - Tighten Up

(excerpt)

q= 109

# & #

‹

Verse

F#m A maj7 Bm C# 7

œ œ J

œ ‰

œ J

œ J œ œ J

œ ‰ œ J

œ œ œ œ œ Œ ‰ œ J

œ œ œ œ œ Ó

want-ed

love I need-ed

love most of all, most of all

& #

# F#m Amaj7 Bm C#

œ œ œ œ œ œ 7

J J J œ œ J

‰ œ œ œ œ œ œ œ œ œ Œ ‰ œ J

œ œ j œ ‰ Ó

‹

Some-one

said true love was dead andI'm bound to fall, bound to fall

Guitar 1

q= 109

& # # #

Interlude

F#m

œ œ œ œ œ œ maj7

œ œ œ œ œ œ œ œ

Guitar 2

¢ & # # #

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Bm C# 7

& # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ

# #

Guitar 1

Guitar 2

¢ & # # #

4 œ œ œ œ œ

Continued: The Black Keys - Tighten Up œ œ œ œ œ œ œ œ œ

Bm C# 7

& # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ

¢ & # # # œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ # œ

Bridge

q= 98

F#m

C#m F#m C#m

# #

& # 4 œ # œ œ œ # œ œ œ J

nœ

‰ œ # œ œ œ # œ œ œ ‰

J ‹

Liv-ing

just to keep go - ing, go -ing

just to be sane,

F#m C#m A B

# #

& # œ # œ œ # œ œ # œ œ œ Œ ‰ œ J

œ œ œ œ ‹

all the while not know -ing

Such a shame

Music/Lyrics: Dan Auerbach, Patrick Carney

The Classic Structure

This is by far the most well-known structure and can be found in most hit songs. Its repeated use of

a chorus helps the song have a more immediate impact on the listener and thus forms an important

part of the basis of popular songwriting.

Examples:

Incubus

IAMX

Love Hurts

Volatile Times

Intro - Verse - Pre-Chorus - Chorus - Verse - Pre-Chorus - Chorus -

Solo - Chorus

Intro - Verse - Chorus - Intro - Verse - Chorus - M8 -

Chorus - Outro

Breathe

Intro - Verse - Pre-Chorus - Chorus - Verse - Pre-Chorus - Chorus -

Interlude - Solo - Pre-Chorus - Chorus - Outro

Popular Song Structures

A A A

A A B A

A B A B

A B A B C B

A B C A B C

A B C A B C D B

Verse - Verse - Verse

Verse - Verse - Bridge - Verse

Verse - Chorus - Verse - Chorus

Verse - Chorus - Verse - Chorus - Bridge - Chorus

Verse - Pre-Chorus - Chorus - Verse - Pre-Chorus - Chorus

Verse - Pre-Chorus - Chorus - Verse - Pre-Chorus - Chorus -

Bridge - Chorus

TIP

Songs written in the verse-only structure also have hit potential, with examples being The Cure’s

'Lullaby' and 'West End Girls' by Pet Shop Boys. Both songs were number one in the charts at the time.

It’s very helpful to start with something that’s true.

If you start with something that’s false, you’re always covering your tracks.

(Paul Simon)

#7 UNCONVENTIONAL SONG STRUCTURES

You can, of course, consciously change these well-used song structures to something entirely different,

matching a more avant-garde songwriting approach. A popular example of this is Queen's Bohemian

Rhapsody. However, new bands like Alt-J also play with unconventional song structures as in their song

Breezeblocks.

Alt-J

Breezeblocks

Verse - Verse - Chorus - Verse - Verse - Chorus - Verse -

Bridge - Outro

Alt-J - Breezeblocks

(excerpt)

q= 76

& b 4

‹

Verse

≈ œ bœ

œ œ œ nœ

œ œ bœ

œ œ œ œ œ

She may con - tain the urge to run a - way but hold her

‹

œ œ bœ

œ œ

œ œ œ œ œ

down with sog - gy clothes and breeze - blocks.

≈

‹

Cit

‰ œ œ œ œ œ œ œ bœ

œ œ œ œ

- re - zene your fe - ver's gripped me a - gain Ne - ver

& b œ œ bœ

œ œ

œ œ œ œ œ

œ œ œ œ

‹

œ œ bœ

œ œ

œ œ œ œ œ

Continued: down Alt-J with- Breezeblocks

sog - gy clothes and breeze - blocks.

& b ‰ œ œ œ œ œ œ œ bœ

œ œ œ œ

‹

Cit - re - zene your fe - ver's gripped me a - gain Ne - ver

& b œ œ bœ

œ j

œ œ œ œ

œ œ œ œ œ œ œ

‹

kis - ses, all you e - ver send are full - stops la la la la

Chorus

F Am Dm F

& b 4 ≈ j œ bœ

œ œ œ œ œ

nœ

œ œ œ œ ≈ ≈ œ œ œ œ œ œ œ œ œ ‹ œ œ j ‰

Mus-cle

to mus-cle

and toe to toe The fear has gripped me but here I go

F Am Dm F

& b ≈ œ œ œ œ œ

œ œ œ œ œ ≈ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

My heart sinks as I jump up Your hand grips hand as my eyes shut and

F Am Dm F F Am Dm F

& b œ œ j œ œ j œ œ j œ r ≈ ‰ Œ œ œ j œ œ j œ

œ œ œ r ≈ ‰ r œ ≈ ‰

‹

Ahh Ahh Ahh Ah

≈

Continued: Alt-J - Breezeblocks

Bridge

F Dm F Bb Bb/A

& b 4

œ nœ

œ œ œ œ œ œ œ œ œ r 4 œ œ Ó Ó Œ Œ

œ œ

‹

Please don't go, I love you so my love - ly.

Dm F Bb Bb/A

& b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ

‹

Please don't go, please don't go, I love you so, I love you so.

Dm F Bb Bb/A

& b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ

‹

Please don't go, please don't go, I love you so, I love you so Please break my heart

Outro

F Am Dm F

& b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹ œ œ

Please don't go, I'll eat you whole, I love you so, I love you so, I love you so

F Am Dm F

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹ œ œ

Please don't go, I'll eat you whole, I love you so, I love you so, I love you so

Music/Lyrics: Charles Andrew, Thom Green, Gus Unger-Hamilton, Joe Newman, Gwil Sainsbury

Another well-known example of an unconventional song structure is Sweet Dreams (Are Made Of This)

by Eurhytmics. Here, the choruses act almost as verses (likely owing to its roots in dance music), split in

various ways, with riff sections and interludes between them, before introducing pre-choruses, multiple

solos and a breakdown chorus* later in the song.

Eurythmics

Sweet Dreams

Intro - Interlude - Chorus 1 - Chorus 2 - Interlude - Intro -

Chorus 1 - Interlude - Bridge - Solo - Chorus 2 -

Interlude - Bridge - Solo - Intro - Interlude

Eurythmics - Sweet Dreams (Are Made of This)

(excerpt)

{

Synthesizer

q= 125

&b b b 4 Œ

? b b b

Intro

Cm Ab Gm Cm Ab Gm

œ œ ‰ œ j ‰ œ

j Œ

œ œ Œ œ œ Œ

œ œ ‰ œ j ‰ œ

j Œ

œ œ Œ œ œ

œœœ j ‰ œ

œ J

‰ œ j ‰ œœ ‰ œ j œœœ j ‰ œœœ j ‰ œ

‰ œ j ‰ œœ ‰ œ j œœœ j ‰

* A version of the chorus that uses a simplified arrangement to create different mood, while maintaining the same

topline and chord progression.

Continued: Eurythmics - Sweet Dreams (Are Made of This)

Interlude

Ab/G G Cm Fm Ab G 3

& bb b 4 Ó Œ ≈ œ œœœ œ œœœ œ œ œœœœ

Ó bœ

œ j

œ œ œ œ# œnœ

œ œ ≈

Hey Huh ha Oh

& bb b 4

& bb b

Chorus 1

Sweet dreams are made of this Who am I to dis - a - gree I've

Cm Ab G Cm Ab G

trav Interlude -elled

the world and the sev-en

sees Eve-ry-bo

-dy's

loo-king

for some-thing

Ab/G G Cm Fm Ab G

Cm Ab G Cm Ab G

4 Ó Œ Œ Ó Ó Ó Ó

Chorus 2

&b b

& bb b

b œ œ œ œ œ œ œ j Ó

&b b b 4 œ œ œ œ œ œ œ j Ó

& bb b

Ab G Cm Ab G

œ j œ

j œ œ œ ‰ œ j

œ œ œ œ œ j œ œ j œ Œ œ œ œ

j œ œ

œ œ œ

j œ œ œ œ j œ œ j œ Œ œ œ

j œ œ œ œ œ œ œ j œ ‰

œ œ œ œ œ œ œ œ œ œ œ œ Œ

Ab G Cm Ab G

Some of them want to use you Some of them want to get used by you

Cm Some of them want to use Ab you G Some Cmof them want to get used Ab by G you

œ œ œ œ œ œ œ œ j œ

œ œ œ œ œ œ œ œ œ œ œ œ Œ 5

œ œ œ œ œ œ œ

œ j œ œ œ Œ

Some of them want to a- buse you Some of them want to be a - bused

Continued: Eurythmics - Sweet Dreams (Are Made of This)

(excerpt)

& bb b 4

Bridge

œ œ œ œ ‰ Ó

Hold your head up Keep your head up, mov - in' on

œ œ œ œ ‰

œ œ œ œ j ‰

& bb b

œ œ œ œ ‰

Hold your head up,

œ œ œ œ ‰

Hold your head up,

œ œ œ œ j ‰

mov- in' on Keep your head up, mov- in' on

œ œ œ œ j ‰

œ œ œ œ ‰

œ œ œ œ j ‰

mov- in' on Keep your head up, mov- in' on

& bb b

œ œ œ œ ‰

œ œ œ œ j ‰

Hold your head up, mov - in' on Keep your head up

œ œ œ œ ‰ Ó

Continued: Eurythmics - Sweet Dreams (Are Made of This)

(excerpt)

Synthesizer

&b b b 4

œ œ œ œ œ œ

Solo

Ab G Cm

œ œ j œ œ œ w

&b b b

Ab G Cm Ab G Cm Ab G

˙ œ œ œ œ w ˙ # œ nœ

œ œ w ˙ ˙

Music/Lyrics: Annie Lennox, Dave Stewart

TIP

Don’t dogmatically cling to popular song structures for the sake of it. A variety of song structures can

help to keep the listener's attention, particularly when working on a group of songs for an album.

Creativity takes courage.

(Henri Matisse)

#8 INTROS

Writing a catchy intro can take a song to a whole new level. A well-known example of a song being lifted

through the addition of an intro is The Byrds’ cover of Bob Dylan's Mr. Tambourine Man.

Other popular examples of guitar intros include Metallica's Nothing Else Matters or Under The Bridge by

Red Hot Chili Peppers, while Will You Smile Again For Me by ...And You Will Know Us By The Trail Of

Dead features one with two drum kits, making for huge results.

Here is a brief list of some popular songs with intros. Note that some are based on a recurring riff while

others consist of unique, separate song parts.

Popular Songs with Intros

Chuck Berry

Jimi Hendrix

Deep Purple

AC/DC

The Beatles

Guns N’ Roses

Metallica

Red Hot Chili Peppers

Nirvana

Smashing Pumpkins

Johnny B. Goode

Little Wing

Smoke On The Water (Riff)

Hells Bells (Riff)

A Hard Day‘s Night

Sweet Child of Mine

Nothing Else Matters

Under The Bridge

Smells Like Teen Spirit (Riff)

Today (Riff)

The Byrds - Mr. Tambourine Man

(excerpt)

Guitar 1

q= = 104

& # # 4

Intro

œ œ œ œ œ œ J œ œ œ œ J

Guitar 2

& # # 4

œ œ j œ œ j œ œ œ œ

Music/Lyrics: Bob Dylan

Red Hot Chili Peppers - Under The Bridge

(excerpt)

Guitar

q= 60

& # # 4

Intro

D F#

˙ œ œ œ œ j

œ œ ‰ œ

œ œ œ# œ œ œ # œ œ Œ

œ œ œ œ œ œ

& # #

œ n

œ œ œ œ œ œ œ œ œ Œ

J ‰ Œ œ

# œ œ

‰

œ j œ # œ œ œ œ

Œ œ œ œ œ

Music/Lyrics: Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith

...And You Will Know Us By The Trail Of Dead - Will You Smile Again For Me

(excerpt)

Guitar

q= 200

Intro

&b b b b 4 œ j œ

œ j œ œ œ

œ j œ

œ j œ œ œ

Drums

¿¿ +

œJ

œ ¿ ¿

J œ ¿ œ ¿ œ

Music/Lyrics: Kevin Allen, Conrad Keely, Jason Reece

¿¿ +

œJ

œ ¿ ¿

J œ ¿ œ ¿ œ

Of course you can also consciously omit the intro, for an explosive or even intimate effect. On faster,

heavier tracks the urgency is amplified, while on slower, quieter ones the lyrics are given more weight.

Here are a few examples:

Popular Songs without Intros

Green Day

Weezer

The Beatles

Cake

Death Cab For Cutie

Silversun Pickups

Basket Case

Buddy Holly

Can’t Buy Me Love

The Distance

Information Travels Faster

Future Foe Scenarios

TIP

Keep the intro concise but memorable. This is the part of the song where you can be really creative,

because the vocal melody is not yet the priority. Seize the opportunity and remain open, even to which

instrument you want to use.

TIP

In addition, it is also helpful to write the intro after you have the broader arrangement decided; this

way you can more elegantly incorporate the parts.

#9 EASY CHORD PROGRESSIONS

Most songs use three to six chords, with a pitfall often suffered by new songwriters being the use of too

many altogether. Unfortunately, this can lead to a weaker vocal melody, where it’s often tempting to get

bogged down in complex progressions while neglecting the topline itself. Try first to manage with as few

chords as possible, adding them later only if truly needed. Three good examples of one-chord songs that

were very successful commercially are P!nk’s Get The Party Started, Kylie Minogue’s Slow and Music by

Madonna.

P!nk - Get The Party Started

(excerpt)

q= 120

& # # 4

& # #

& # # 4

œ j œ œ œ œ œ œ œ œ œ œ œ œ

Get this par - ty start - ed on a Sat - ur - day night,

Œ ‰

œ j œ œ œ œ œ j œ œ j œ œ œ œ

ev - ery - bo - dy's wai - ting for me to ar - rive.

Chorus

I'm

Music/Lyrics: Linda Perry

Verse

com-ing

out, so you bet-ter

get this par-ty

star-

ted

Kylie Minogue - Slow (excerpt)

Verse

q= 115

& b b Bbm

b b b 4 œ œ œ œ œ œ œ œ œ ≈ Œ œ œ œ

‹

Knew you'd be here to - night

so I put

& b b b b b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ

‹

my best dress on Boy I was so right

Chorus

& b b Bbm

b b b 4 œ œ œ œ œ œ ˙ ‰ œ Ó œ ∑

J J

‹

Come on and dance with me Yeah, slow

Ó ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ Ó œ ∑

J J

‹

b b b b b

Skip a beat and move with my body Yeah, slow

Music/Lyrics: Ian Marsh, Kylie Minogue, Emiliana Torrini, Martyn Ware

Madonna - Music

(excerpt)

q= 120

& bb 4

Verse

œ œ œ œ œ j œ œ œ œ œ œ œ œ

œ j œ

œ j

Hey mis - ter D - J, put a re - cord on I wan - na

& bb

‰

œ œ œ œ œ œ œ ˙

œ j œ œ

dance with my ba - by

And when the

&b b

‰

œ j œ œ œ œ œ j

œ j j

œ œ œ œ œ œ œ œ œ

mus - ic starts I nev - er wan - na stop It's gon - na

&b b Ó

œ j œ œ œ j œ œ ˙

drive me cra - zy

Continued: Madonna - Music

& bb 4

Chorus

œ œ œ j ‰ Œ œ œ œ œ œ Œ œ œ œ œ œ Ó

∑

Mu - sic makes the people come to - geth-

& bb

œ œ œ j ‰ Œ

œ œ œ j œ œ

jœ œ œ œ œ œ ˙ Œ

∑

Mu - sic

mix the bour-geoi

- sie and the reb - el

Music/Lyrics: Mirwais Ahmadzaï, Madonna Ciccone, Janice Johnson, Perry Kibble

Chord Progressions

Verse

Chorus

P!nk Get The Party Started Bm Bm

Kylie Minogue Slow Bbm Bbm

Madonna Music Gm Gm

Other Songs Based on One Chord

Beastie Boys Sabotage Ab

The Temptations Papa Was A Rolling Stone Bbm

Bob Marley Get Up Stand Up Cm

Creedance Clearwater Revival Run Through The Jungle Dm

Beck Loser D

One chord is fine. Two chords are pushing it.

Three chords and you’re into jazz.

(Lou Reed)

An example of a catchy song using just a few chords is U2's Bullet The Blue Sky, which is carried mainly

by the bassline while actually being based on just Eb minor and Db major.

If you reduce the guitar riff to its basic chords, Next Girl by The Black Keys uses just C# minor and E major,

using rhythmic variation to separate the verses from the chorus.

U2 - Bullet The Blue Sky

q= 76

& 4

‹

Verse

Eb Tuning

D Em D

≈ œ œ œ œ œ œ Œ ≈ œ œ œ œ œ œ

Chorus

(excerpt)

the how-ling

wind come - s stin-ging

rain

& 4 œ œ œ œ œ nœ

œ œ œ œ Œ

‹

Em D Em D

œ œ œ œ œ nœ

œ œ œ œ Œ

Bul-let

the blue sky bul-let

the blue

œ œ œ œ

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

The Black Keys - Next Girl

(excerpt)

q= 86

# & #

# #

‹

Verse

B C#m

B E

≈ œ œ ‰ ‰ ≈ œ œ œ œ œ œ ≈ œ œ ‰ ‰ ‰ ≈ œ œ œ œ œ œ œ œ

Well, the look of the cake, it ain't, it ain't al-ways

the taste.

B C#m B E

& #

# #

3 3

‰ ‰ ≈ œ œ œ # œ œ œ œ ≈ ‰ ‰ ‰ œ œ œ œ œ œ ‹ œ

My ex - girl, she had such such a beau-ti

- ful face

# & #

# #

‹

Oh, my next girl will be noth-ing

like my ex - girl,

Music/Lyrics: Dan Auerbach, Patrick Carney

Chorus

B C#m E C#m B C#m E C#m

≈ œ œ œ œ ‰ ‰ Ó ‰ ≈ œ R

œ œ œ œ œ œ œ œ

B C#m F#m E B C#m E C#m

& #

# # ‰ ‰ ≈ œ œ œ œ œ œ ‰ ≈ J œ œ œ œ œ œ œ ‹ œ r ≈ ‰ Œ

I made mis-takes

back then, I'll ne-ver

do it a-

gain.

Chord Progressions

Verse

Chorus

Bullet The Blue Sky

(Eb Tuning)

Em D

The Black Keys The Next Girl B C#m B E

B C#m E C#m (2x)

B C#m F#m E

B C#m E C#m

Known chord progressions for songs based on two chords are:

Example: C major

I V I IV I II VI V IV VI

C G C F C Dm Am G F Am

Other Songs Based on Two Chords

Taylor Swift You Need To Calm Down D G

Robin Thicke Blurred Lines G D

Mark Ronson Uptown Funk Dm7 G7

Bruce Springsteen Born in the USA B E

The Doors Break On Through (To The Other Side) Em D

America Horse With No Name Em D6add9/F#

Nirvana Something In The Way Fm Db

Sneaker Pimps 6 Underground F#m A

Led Zeppelin Whole Lotta Love E D

The Beatles Tomorrow Never Knows C Bb/C

TIP

As well as the total number of chords, pay attention also to the intervals between them. Chord progressions

that use fourths and fifths are more effective than those using seconds and thirds.

#10 WRITING OVER A COMMON CHORD PROGRESSION

An easy way to start a new song is to write over a popular chord progression, with one of the most popular

being: I - V - vi - IV. These Roman numerals refer to the positions of the chords in relation to the root.

In C major, for example, the exact chords would be: C - G - Am – F.

I V vi IV

C G Am F

This relative sequence has already been used in countless hit songs, including:

The Beatles

Bob Marley

Alphaville

Jack Johnson

Let It Be

No Woman No Cry

Forever Young

With or Without You

Taylor

Bob Marley - No Woman No Cry

(excerpt)

Chorus

q= 92

‹

G Am F

˙ œ œ œ œ œ Œ Ó

No wo - man, no cry.

C F C

˙ œ œ

œ œ

‹

No wo - man, no cry.

∑

Music/Lyrics: Vincent Ford

Jack Johnson - Taylor

(excerpt)

q= 80

& b 4

‹

Verse

œ œ œ œ œ œ œ j

œ œ

They say Tay - lor was a good girl, ne - ver one to be late,

G/B

‹

com

œ j œ œ œ œ

œ j

œ œ œ œ œ œ

- plain, ex - press i - de - as in her brain.

Music/Lyrics: Jack Johnson

A similar and extremely popular progression is: vi - IV - I - V (in C major: Am - F - C - G).

Here, we start on the sixth step of the scale rather than the first.

vi IV I V

Am F C G

Some songs based on such chords are:

The Cranberries

Avril Lavigne

Linkin Park

MGMT

Lady Gaga

Zombie

Complicated

Crawling

Kids

Poker Face

MGMT - Kids

(excerpt)

q= 123

# & #

‹

Chorus

F#m

D A E/G#

Œ ‰ j œ œ œ œ J

‰ Œ œ œ œ œ œ œ j ˙ œ œ J œ Œ

Con-trol

your-self,

take on-ly

what you need from it.

Music/Lyrics: Ben Goldwasser, Andrew VanWyngarden

∑

Lady Gaga - Poker Face

(excerpt)

q= 112

& # # # # # 4

Chorus

G#m

‰ œ J

œ j œ œ J

œ œ œ œ œ œ œ œ œ

Can't read my, can't read my, no he can't re - ad my

& # # # B F#

# #

œ œ œ œ œ Œ

œ œ œ œ œ œ œ

- ker face. (she's got me like no - bo - dy)

Music/Lyrics: Stefani Germanotta, Nadir Khayat

Chord Progressions

Bob Marley No Woman, No Cry C G Am F

Jack Johnson Taylor C G/B Am F

MGMT Kids F#m D A E/G#

Lady Gaga Poker Face G#m E B F#

TIPP

Eine ähnlich wirksame und zugleich häufiger angewandte Methode ist eine begleitende Hookline zu

verwenden, wie in Lektion 22 beschrieben.

Other variations of this popular chord progression that also work very well are:

I IV VI V

C F Am G

VI V I IV

Am G F C

VI I V IV

Am C G F

I V IV VI

C G F Am

TIP

Google a song with a chord progression you like. There are many sites available that can provide you

with the chords used, such as Ultimate Guitar or ChordsWorld. Furthermore, you will often find video

tutorials on YouTube, especially if the song has a prominent intro or riff. Popular channels here are:

Marty Music, Justin Guitar and Rick Beato.

TIP

Alternatively, you can also use the onine app Chordify, where you can upload or link to songs and music

videos, with the chords then displayed in real-time. It’s not always 100% accurate, but is a good starting

point!

Other popular chord progressions in pop/rock are:

Chord Progression

Example: C major

Chord Progression

Example: C major

I - IV

C - F

vi - V - IV - III

Am - G - F - E

I - V

C - G

vi - I - ii - IV

Am - C - Dm - F

vi - V

Am - G

I - vi - IV - V

C - Am - F - G

V - IV - I

G - F - C

vi - I - V - IV

Am - C - G - F

ii - IV - V

Dm - F - G

vi - V - ii - IV

Am - G - Dm - F

ii - V - I

Dm - G - C

ii - I - V - V - IV

Dm - C - G - F

I - V - vi - IV

C - G - Am - F

I - IV - I - V

C - F - C - G

vi - IV - I - V

Am - F - C - G

I - ii - IV - V

C - Dm - F - G

Alternatively the fifth chord (V/G major) can be replaced by a dominant seventh chord (V7/G7 major).

TIP

If using this, the most popular chord progression of the past 40 years, avoid using it in multiple songs.

The Beatles only used it once out of their 27 number-one hits, namely with 'Let It Be', while Max

Martin did so only with Taylor Swift's 'Bad Blood', out his 22 number ones.

#11 USING A PRE-CHORUS

Another important and often underestimated part of a song is the pre-chorus.

2 There are generally two types of pre-chorus:

• topline-based

• topline- and chord-based

With the topline-based pre-chorus, the verse, pre-chorus and chorus chord progressions are practically

identical, as in Carly Rae Jepsen's I Really Like You, where only the vocal melody changes to separate the song

sections and create a feeling of development.

Carly Rae Jepsen - I Really Like You

(excerpt)

q= 122

& 4

Verse

œ j œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ

real - ly wan-na

stop but I just got the taste for it I feel like I could

G Am F

œ j ‰ œ œ œ œ œ œ œ j ‰ ‰

œ j œ œ œ œ

fly with the ball on the moon So hon-ey

hold my hand you like mak-ing

me wait

C G Am

œ œ ‰ œ j œ œ œ œ œ j ‰ œ œ œ œ œ œ œ

for it I feel like I could die wak-ing

up to the room, oh yeah

œ j ‰ œ œ œ œ œ œ

‰

œ j Œ

Continued: Carly Rae Jepsen - I Really Like You

fly with the ball on the moon So hon-ey

hold my hand you like mak-ing

me wait

G Am F

œ j ‰ œ œ œ œ œ œ œ j ‰ ‰ œ j œ œ œ œ œ j ‰ œ œ œ œ œ œ

C G Am

œ œ ‰ œ j œ œ œ œ œ j ‰ œ œ œ œ œ œ œ

for it I feel like I could die wak-ing

up to the room, oh yeah

‰

œ j Œ

& 4

Pre-Chorus

F C G Am

œ œ œ œ

Late night watch-ing

te - le - vi - sion Buthow'd we get in this po - si - tion? It's

F C G

œ œ œ œ œ œ j œ œ œ j w

œ œj œ œ j ‰ œ j œ œ œ œ

œ œ œ œ œ ‰ œ j

≈

œ œ œ œ œ œ œ œ

way too soon, I know this is - n't love But I need to tell you some-thing

& 4

Chorus

‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I real - ly real - ly real - ly real - ly real - ly real - ly like you

Œ ‰

œ œ œ

‰

œ œ œ œ

And I want you, do you want me, do you want me too?

‰

œ œ œ œ œ

Music/Lyrics: Jacob Hindlin, Carly Jepsen, Peter Svensson

One of the most popular types of pre-chorus changes both the chords and the topline. Here, you have

2 two ways to create the desired mood change or tension, which is easier than doing so with the perfect

topline alone. You can even use one progression for the rest of the song, such as in Don't Start Now by

Dua Lipa.

Dua Lipa - Don’t Start Now

(excerpt)

q= 124

& # # 4

Verse

Œ œ œ œ œ

Em Bm G D

œ œ Œ

œ œ

Did a full one-eigh

- ty, cra - zy Think- ing 'bout the way I was

œ œ œ œ œ œ ‰ œ j œ j ‰ Œ Ó

& # # 4

Pre-Chorus

Bm D Em G

œ œ

œ œ œ œ

If you don't wan-na

see me danc-ing

with some - bo - dy

œ œ

œ œ œ Ó

∑

& # # Bm D Em G Œ

∑

œ œ œ

œ œ œ œ

œ œ œ œ œ œ Ó

If you wan - na be - lieve that a - ny-thing

could stop me

Continued: Dua Lipa - Don’t Start Now

& # # 4

& # #

Chorus

Don't show up, don't come out Don't start car -ing

a - bout me

now Walk a - way, you knowhow Don't start car-ing

a - bout me now

‰ œ œ œ Œ ‰ œ œ œ Œ ‰ œ œ œ œ œ ‰ œ œ

D A Em Bm G D

œ Œ ‰ œ œ œ Œ ‰ œ œ œ Œ ‰ œ

Music/Lyrics: Caroline Ailin, Ian Kirkpatrick, Dua Lipa, Emily Warren

œ œ œœ ‰ œ œ œ Œ Ó

It's worth considering that pre-choruses are becoming less common in commercial songwriting these

days, where attention spans are shortening. This has also brought about half-length, or even one-line

pre-choruses.

A good example of the latter is Poor Lenore by Wavves, showing there's no need to use the traditional

eight bars.

Wavves - Poor Lenore

(excerpt)

q= 110

# & #

# #

‹

Verse

G C E G C E G C E

Œ ‰ ‰ nœ

œ œ œ J œ ˙ œ nœ

œ Œ œ nœ

œ nœ

The world's a li

- ar

fool-ish

of me

Œ Œ ‰

G C E G C E

& #

# # ‰ œ n œ œ œ œ ˙ œ n œ œ Œ J

œ nœ

‰ Œ ‰ ‰ œ œ nœ

œ J ‹

œ œ

Mis-for-tune

fi - res

I'll on -ly

bleed a-no-ther

bur den

G C E G C E

# #

& # # œ œ œ œ ‰ nœ

œ œ œ œ nœ

œ œ

J J J J

nœ

˙ œ ‰ nœ

œ œ œ

J J œ

‹

A-no-ther

me-mo

ry Just keep my mouth shut

# & #

# #

‹

Pre-Chorus

n J

nœ

œ œ œ œ

I won't say a thing

# # & # #

‹

nœ

Chorus

A G A G

n˙

œ œ J œ w n˙

œ nœ

J œ w J

For my poor Le - nore

poor Le - nore

Music/Lyrics: Nathan Williams

Another example for using a shortened pre-chorus is Dua Lipa’s Physical.

Dua Lipa - Physical

(excerpt)

q= 147

& 4

Verse

œ œ œ œ œ J

œ œ J

œ j œ Ó œ œ œ œ œ œ œ œ

Com-mon

love is - n't for us We cre - a - ted some-thing

phe-

nom

œ œ œ œ œ œ œ ˙ Œ

- e - nal Don't you a - gree,

Ó œ œ œ œ ˙ Œ

don't you a - gree?

∑

Pre-Chorus

& 4

œ œ œ œ œ J

œ œ J

œ œ œ œ œ J

œ ‰

Who needs to go to sleep when I got you next to me

Continued: Dua Lipa - Physical

& 4 Œ œ œ ‰

Chorus

œ j œ œ œ œ Œ

All night, I'll ri - ot with you I know you got my back and you

know I got you So come on (come on), come on (come on), Come on

œ œ œ œ œ œ œ œ œ

œ œ œ j œ œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ

Œ œ œ Ó œ œ œ œ œ Œ œ œ Œ œ œ œ œ Œ œ j

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ Œ œ œ Œ œ œ

(come on), let's get phy-si-cal

Lights out, folo-low

the noise Ba-

- by keep on dan- cin' like you ain't got a choice So come on (come on), come on

Œ œ œ Œ œ œ w œ œ œ œ œ

(come on), Come on, let's get phy - si - cal

Music/Lyrics: Clarence Coffee, Jason Evigan, Sarah Hudson, Dua Lipa

Chord Progressions

Verse Pre-Chorus Chorus

Carly Rae Jepsen I Really Like You F C G Am F C G Am F C G G F C G G

Dua Lipa Don’t Start Now Em Bm G D Bm D Em G

Em Bm G D A

Em Bm G D

Wavves Poor Lenore G C E G C A G A G

Dua Lipa Physical Am F C G (Am) Am F C G

TIP

To try using a half-length pre-chorus, take just the second half of your eight-bar version and see how

it sounds.

#12 WORKING WITH A MIDDLE 8

Although the middle 8 is a powerful section to use, it is definitely optional. Whereas some very commercial

songs leave it out these days, it can be a good opportunity to bring in a new idea and also make

the song feel more complete. The most typical place to include a middle 8 (or bridge) is after the second

chorus and before the final one, with the writer deciding whether to maintain the high level of energy

or to contrast it.

There are generally three types of middle 8s:

Runaway

The 'Runaway' middle 8 keeps a good flow through the three sections (e.g. chorus two, middle 8 and

final chorus), and either maintains or increases the energy, which typically takes the listener to the end

of the song.

Relief

A 'Relief' middle 8 provides dynamic contrast before the final section(s) of the song, by dropping the

energy and/or volume.

Building

This middle 8 crescendos as the the final part of the song approaches, allowing you explode into the

final chorus, for example.

Here are three examples showing the different types of the middle 8:

Silversun Pickups - Dots and Dashes

Weezer - Beverly Hills

Taking Back Sunday - Spin

Silversun Pickups keep the energy of the preceding chorus as they enter the middle 8 on Dots and Dashes,

also using 2/4 timing for a subtle lift.

TIP

Another popular option is to incorporate a completely different rhythm or musical style, for instance

switching to a 2/4 or half-time feel, or even jumping into a far-off genre, from indie rock to reggae for

example. Vast amounts of modern pop songs take this approach when they incorporate a few rapped

bars, usually from a guest artist.

Silversun Pickups - Dots and Dashes (Enough Already)

(excerpt)

q= 135

& 4

‹

Chorus

Eb Tuning

œ j œ œ œ œ œ ‰

œ j œ œ œ œ

I'm al - rea - dy born I'm al - rea - dy wise I'm al - rea - dy worn

# Bm/D

& œ ‰

‹

œ j œ œ œ œ œ œ bœ

J œ œ nœ

I'm al - rea - dy won - dering what am I

# Am

& Œ

œ j œ œ œ œ œ ‰ œ j œ œ œ œ œ ‰ œ j œ œ œ bœ

œ j œ j œ œ œ nœ

‹

# Am

& Œ

‹

I'm al-rea-dy

rough I'm al-rea-dy

lean I'm al-rea-dy

wan - ting to be ob-scene

# Em

& Œ

Bm/D

œ j œ œ œ œ œ ‰ j œ œ œ œ œ œ ‰ j œ œ œ œ œ œ œ J

bœ

œ œnœ

‹

I'm al-rea-dy

cursed I'm al-rea-dy

dry I'm al-rea-dy

won - dering whatam I

œ j œ œ œ œ œ ‰ œ j œ j œ œ j œ ‰ j œ œ j œ bœ

I've al-rea-dy

learned a bit of sin E-nough

al - rea - dy, let me in

œ j œ œ œ j nœ

Continued: Silversun Pickups - Dots and Dashes (Enough Already)

Middle 8

# 2

& 4 Ó Œ œ œ œ œ œ œ œ œ j œ Œ Œ œ œ œ œ œ œ œ œ j œ

‹

We sig

- nal in a moon - beam

I beg you to fol-low

# C Bm D

& œ Œ Œ œ œ œ œ œ œ œ œ œ Œ ‰ œ j œ œ œ œ œ œ œ œ

‹

me You say that I'll be surprised At the codes in the sun -

# C Bm D

& œ Œ ‰ ‹ œ j œ œ œ J

œ œ j œ œ œ Œ ‰ œ œ œ œ J J

œ œ œ

rise But if I don't like what I see And my grip starts loo-sen

# C Bm D

& œ j œ Œ Œ œ œ œ j œ œ j œ œ œ œ Œ ‰ œ j œ œ œ œ œ œ œ œ œ

‹

ing The edge of the big re -veal

Could be the end of the sto - ry

Music/Lyrics: Brian Aubert, Christopher Guanlao, Joe Lester, Nikki Monninger

Weezer use a classic middle 8 in Beverly Hills by pulling the dynamics back while keeping the verse chords.

Weezer - Beverly Hills

(excerpt)

4 q= 90

& b 4

‹

Chorus

F Bb C Bb F Bb C E

œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ œ œ

Be-ver-ly

Hills, that's where I want to be liv-ing

in Bev-er-ly

Hills

‹

F Bb C Bb F Bb C E

œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ œ œ

Be-ver-ly

Hills, rol-ling

like a cel-eb-ri

- ty

liv-ing

in Bev-er-ly

Hills

Middle 8

F Bb F Bb

& 4 ‰ ¿ r ¿ ¿ Ó ¿ ¿ ¿ ¿ ¿ ¿ Œ ‰ ¿ r

‹

The truth is, I don't stand a chance. It's

F Bb B° Bb

& ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ‰ ‰ ¿ r ¿ ¿ ¿ ¿ ¿ ¿ Œ

‹

b# œ œ œ

some-thing

that you're born in - to

and I just don't be- long. No, I don't

‹

F Bb F Bb

œ œ œ œ œ œ œ œ œ j ≈ œ

r œ œ œ œ œ œ œ

I'm just a no class beat down fool and I will al - ways be that

F Bb C E

F Bb B° Bb

& ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ‰ ‰ ¿ r ¿ ¿ ¿ ¿ ¿ ¿ Œ b# œ œ œ

‹

Continued: some-thing

Weezer that you're - Beverly bornHills

in - to

and I just don't be- long. No, I don't

‹

F Bb F Bb

œ œ œ œ œ œ œ œ œ j ≈ œ

r œ œ œ œ œ œ œ

I'm just a no class beat down fool and I will al - ways be that

‹

F Bb C E

œ j ≈ œ

r œ œ œ œ œ œ œ œ œ œ œ œ œ

way. I might as well en - joy my life and watch the stars play

Music/Lyrics: Rivers Cuomo

TIP

If you’ve kept the verse and chorus chord progressions quite simple, the middle 8 can be a good place

to break the mold and try something new. Similarly to the intro, it’s a part in which you can be very

creative and thus emphasize the middle 8’s function even more.

A good example of an ascending middle 8, where the whole arrangement drops and builds slowly

towards the final chorus, is Spin by Taking Back Sunday. Here, the chorus chords are used.

Taking Back Sunday - Spin

(excerpt)

& b b b b b b 4

‹

Chorus

Ebm

Db/F Gb Cb

œ œ œ œ œ œ œ œ œ œ œ

You had your chance (you had your chance), o - pen arms

Ebm Db/F Gb Cb

& b b b b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

reach out to soo-thing

hands (arms reach out to soo - thing hands)

Middle 8

q= 96

& b b b b Ebm

b b 4 œ j œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ

‹

Don't act like you're the first one trea - ted like dis - ease. Sure, it's

& b b b b Ebm Cb Bb Bb/Gb Ebm Db/F

b b œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ j œ œ œ œ œ œœ œ ‰ J ‹

rough a-round

the ed -ges,

it's the on-ly

thing you see. Don't act like you can't see me,

& b b b b Gb Cb Ebm Db/F Gb Cb

b b œ œ œ ‰ œ œ œ œ J œ

œ œ œ œ œ œ ‰ J

œ œ œ ‰ œ œ œ ‰ J J ‹

dar- ling, co ming, don't act like you can't see me, dar ling, co - ming

Music/Lyrics: Adam Lazarra, Fred Mascherino, Mark O’Connell, Eddie Reyes, Matt Rubano

Chord Progressions

Chorus Middle 8

Silversun Pickups

Dots and Dashes

Em Em Bm/D Bm/D

Am Am C C

C C Bm D

Weezer Beverly Hills F Bb C Bb F Bb C E

F Bb (3x) B° Bb

F Bb (3x) C E

Taking Back

Sunday

Spin Ebm Db/F Gb Cb Ebm Db/F Gb Cb

TIP

Be open about which chords to use in the middle 8. You may find a completely new chord sequence

works well, or instead simply repeating a progression you’ve already used.

#13 WRITING PROGRESSIONS FROM A PALETTE OF CHORDS

One popular trick is to vary the order of your chosen chords to create new progressions without making

things sound tangential or meandering, as adding new chords often does. In this way you can achieve a

surprising amount of variety without using many chords in total - as in Disarm by The Smashing Pumpkins,

which is based on only four throughout.

The Smashing Pumpkins - Disarm

(excerpt)

q= 120

& 4

‹

Dis

Verse

Em 7

C add9 G D/F#

œ j œ œ œ J

œ œ J

œ Œ Œ ‰ œ

j œ J

œ œ œ œ J

œ J

œ œ J

œ J

œ ‰

- arm you with a smile and cut you like you want me to

# Em7 C add9 G D/F#

& œ œ œ J œ œ j œ Œ Œ ‰ œ j œ J œ œ œ œ œ

J J œ œ œ œ œ J J J

‹

Cut that

lit -tle

child in - side of me and such a part of you

‹

# C Pre-Chorus∑

∑

Continued: The Smashing Pumpkins - Disarm

Chorus

& 4 Œ ‰ œ J œ œ œ œ œ œ œ œ œ J J

‹

Em 7 D C

œ Œ Œ œ œ Œ Œ œ J

œ œ

jœ J

œ J œ Ó

I used to be a litt-le

boy, so old in my shoes.

# C Em7 D

& Œ ‰ œ œ œ œ œ œ œ œ J J J J

œ œ Œ œ œ œ œ J

‰ œ œ œ

J œ

‹

And what I choose is my choice what's a boy sup-posed

to do

Bridge

D Em D C

# Em

& Œ ‰ ≈ Ó Œ ‰ ≈ Ó

‹

∑

Music/Lyrics: Billy Corgan

Another example is Santigold's Disparate Youth. The arrangement is based on only three chords in the

verse, pre-chorus and chorus, varied just in the middle 8. The only element which truly changes throughout

the entire song is the topline, yet it still manages to take the listener through each section in distinct

and memorable ways.

Santigold - Disparate Youth

(excerpt)

q= 72

& bb b b 4

Verse

Don't look

Bbm

Œ ≈ œ œ œ œ œ œ œ œ œ J

‰ Œ Ó

a - head, there's stor - my wea - ther,

& bb b b Db Bbm Fm Œ ≈ œ œ œ œ œ œ œ œ ∑

& bb b b 4

Oh, we

- oth - er road - block in our way.

Pre-Chorus

Bbm

œ œ œ œ œ œ œ

œ œ œ ‰ ≈ œ œ œ œ œ œ œ œ Ó

said our dreams will car-ry

us, and if they don't fly we will run.

Continued: Santigold - Disparate Youth

&b b b b 4

Chorus

Bbm

œ œ J

‰ ≈ œ œ Œ ‰ œ œ œ œ œ œ œ Œ ≈ œ

Oh ah, oh ah, we know now we want more. Oh

&b b b

Db Bbm Fm

‰ ≈ œ œ Œ ‰ œ œ œ œ œ œ œ Ó

ah, oh ah, a life worth fight-ing

for.

Middle 8

& bb b b

4 œ œ œ œ œ œ œ œ œ œ œ œ Ó

In their heads hed-ging

their bets, in their eyes it shows.

Bbm

Music/Lyrics: Ricardo Johnson, Santi White, Nick Zinner

In her song, Miss Americana & The Heartbreak Prince, Taylor Swift uses a total of just three chords (B

minor, G major and A major), with her simply changing the order to distinguish the four sections. This

keeps the song harmonically interesting, yet familiar.

Taylor Swift - Miss Americana & The Heartbreak Prince

(excerpt)

You know I a - dore you, I'm cra - zi - er for you than I was at sixq=

150

& # # 4

& # # A

& # # G

- teen, lost in a film scene Wav - ing home -com

ing queens,

Verse

œ j œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ ‰ œ j œ œ œ œ

œ œ œ œ œ œ

march-ing

band play - ing I'm lost in the lights

œ œ œ œ

‰

j œ œ œ œ œ j ‰ Œ Ó

Continued: Taylor Swift - Miss Americana & The Heartbreak Prince

& # # 4

Pre-Chorus

Œ ‰ œ

j œ œ œ

Œ ‰

œ j œ œ œ

No ca-meras

catch my pa-geant

smile I count-ed

days,

Œ ‰ œ

j œ œ œ

& # # A

Œ ‰

œ j œ

œ œ

Œ ‰

œ j œ œ œ œ

Œ ‰

œ j œ œ œ œ

I count-ed

miles to see you there, to see you there

& # # 4

Chorus

‰

œ j œ œ œ œ Œ

It's you and me, that's my whole world They

& # # A

œ œ œ œ œ œ œ œ œ œ œ œ ¿ ¿ Œ Ó

whis-per

in the hall- way"She's a bad, bad girl" (O - kay!)

œ œ œ œ œ ‰

œ j

Continued: Taylor Swift - Miss Americana & The Heartbreak Prince

& # # 4

Middle 8

Œ œ œ œ

œ œ œ

And I don't want you to (Go), I don't real - ly wan - na

& # # Bm

œ œ œ œ œ œ

œ œ œ œ

œ ˙

(Fight)'Cause no - bo -dy's

gon - na (Win), I think you should come home

Music/Lyrics: Joel Little, Taylor Swift

100

Chord Progressions

Verse Pre-Chorus Chorus Bridge/Middle 8

The Smashing

Pumpkins

Disarm

Em7 Cadd9 G

D/F#

C (2x)

C (2x) Em7

D C (2x)

Em D Em

D C (4x)

Santigold Disparate Youth Db Bbm Fm Db Bbm Fm Db Bbm Fm Fm Bbm Db

Miss Americana

Taylor Swift

& The

Heartbreak

Bm Bm A A

G G A A

G G Bm A

G G

G Bm A A

Prince

TIP

If your topline ends early and you’re looking for a ‘connecting’ chord to complete the section, try to

use one that’s been used already, rather than reaching for a new one unnecessarily.

101

#14 THE THREE-CHORD VARIATION

It is very popular and effective to write using a total of three chords, as in U2's I Still Haven’t Found What

I'm Looking For. In the verse, the I IV (D, G) chord sequence runs throughout, with the chorus changing

simply to: V IV I (A, G, D).

U2 - I Still Haven‘t Found What I‘m Looking For

(excerpt)

q= 100

# & # 4

‹

‰ œ œ

Verse

Eb Tuning

œ j

‰ œ œ J

œ œ ‰ ‰

œ j œ œ

œ œ j

J œ ‰ ‰

œ œ J

I have climbed high-est

moun-tains,

I have run through the

G D

& # œ Œ

œ œ œ œ œ œ œ ‰

œ œ œ œ œ œ œ J Œ Ó

‹

fields

on - ly to be with you, on - ly to be with you.

# & # 4

‹

Chorus

J œ œ ˙ œ œ œ œ œ Œ ‰ œ œ œ œ œ ˙

But I still ha-ven't

found what I'm look - ing for.

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

102

Another example of clever three-chord variation is Drinking in L.A. from Canadian DJ project Bran Van

3000. Similarly the I, IV (Bb, Eb) sequence is used in the verse, with a chorus of III, IV (Dm, Eb).

Bran Van 3000 - Drinking in L.A.

(excerpt)

q= 90

Verse

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

I woke up a - gain this mor-ning

with the sun in my eyes when Mike

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰

came o - ver with a script sur - prise.

b b

103

Continued: Bran Van 3000 - Drinking in L.A.

Chorus

& bb 4 œ œ œ œ œ j ‰ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ ‰ Ó

What the hell am I

Ó ‰

do ing drin-king

in L. - A. at twen-ty

six?

œ j œ œ œ œ œ œ œ œ œ œ œ œ

I know that life is for the tak - ing so I bet - ter

Eb Dm Eb

& bb ‰

∑

œ œ œ œ j œ œ œ œ

‰ Ó œ œ

wise up and take it quick

Music/Lyrics: Duane Larson, James Di Salvio, Haig Vartzbedian

104

A third example is Change by Deftones, who work with I IV (Cm, Fm) during the verse, changing in the

chorus to I VI (Cm, Ab).

Deftones - Change (In The House of Flies) (excerpt)

q= 70

& b b b 4

‹

& b b b 4

‹

Verse

∑

Chorus

Fm Cm Fm Cm Fm

¿ j ¿ j ¿ œ J

I watched you change

˙ œ J ‰ Œ Ó ¿ ¿ ¿ œ œ œ Œ

œ œ œ œ ˙

in-to

a fly.

Œ œ œ

I watched a change in you.

∑

‹

b b b

Cm Ab Cm

œ œ Œ ≈ œ œ œ # œ n˙

œ J ¿

It's like you ne

- ver had wings.

œ œ Ó

Music/Lyrics: Stephen Carpenter, Chi Cheng, Abe Cunningham, Chino Moreno

105

In their song Sunburn Muse change in the verse from the chord progression I, IV and VI (Em, Amadd9,

C) to I and IV (Em, Am) in the chorus.

Muse - Sunburn

q= 94

& 4

‹

Verse

(excerpt)

Em Am add9 C Am add9

‰

œ j œ œ

œ œ œ œ Œ œ œ œ

Come waste your mil - lions here Sec - ret - ly

# Em Amadd9 C

& œ œ ˙

‹

Am add9

∑

she

sneers

& 4

‹

Chorus

Am Em Am Em

Œ ‰ œ j ˙ œ œ J

œ J œ œ œ œ œ j œ œ œ œ ˙

She burns like the sun And I can't look a - way

‹

Am Em Am Em

J ‰ ≈ œ

˙ œ œ J œ œ œ œ œ œ ‰ œ œ œ œ œ J

œ œ Œ

And she'll burn our ho-ri

- zons make no mis-take

Music/Lyrics: Matthew Bellamy

106

In Gotye’s Somebody That I Used To Know he switches from a I VII sequence (Dm, C) in the verse to an I

VII VI VII sequence (Dm, C, Bb, C) in the chorus but also stays in the bridge only on C-major.

Gotye - Somebody That I Used To Know

(excerpt)

q= 129

& b 4

‹

Verse

Dm C Dm C Dm C

Œ œ œ œ œ œ œ œ œ œ œ œ ˙

Now and then I think of when we were to - geth - er

& b 4

‹

Chorus

Music/Lyrics: Steven Smith

C Bb C Dm C

œ œ œ œ œ œ

œ œ J

But you did - n't have to cut me off Make out like it nev - er

œ œ œ œ œ œ œ œ œ

Bb C Dm C

hap-pened

and that we were noth - ing And I don't e - ven

Bb C Dm C Bb C

œ œ J

need your love But you treat me like a strang -er

and that feels so rough

œ œ œ œ œ

‰ œ J

œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

107

Chord Progressions

Verse

Chorus

U2 Still Haven’t Found What I’m Looking For D G A G D

Bran Van 3000 Drinking in L.A. Bb Eb Dm Eb

Deftones Change (In The House of Flies) Cm Fm Cm Ab

Muse

Sunburn

Em Amadd9 C

Amadd9

Am Em

Gotye Somebody That I Used To Know Dm C Dm C Bb C

TIP

This kind of variation works best when used for the verse and chorus.

108

The only competition that counts is with yourself.

(Rick Rubin)

109

#15 RIFFS

A riff can be described as a short, melodically and rhythmically concise motif that usually lasts two to four

bars. A good riff can even carry a whole song, with a famous example being Seven Nation Army by The

White Stripes.

The White Stripes - Seven Nation Army (excerpt)

q= 124

Riff

Em C B

œ œ j œ r ‰ œ

r ‰

r ≈

˙ œ

Music/Lyrics: Jack White

Although a riff can make songs sound catchier in general, it is especially helpful if holding each chord

in your progression for a long time, where it’s even more valuable to add interest. A great example is

Lazy Eye by Silversun Pickups. Here, the riff is played over four consecutive bars, all of which hold only

E major.

Silversun Pickups - Lazy Eye

(excerpt)

Riff

q= 126

?# #

# # 4

œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ

œ j œ œ œ œ œ œ

œ œ œ œ œ J

œ œ

Music/Lyrics: Brian Aubert, Christopher Guanlao, Joe Lester, Nikki Monninger

110

There are two basic types of riffs:

Interval-based riffs

Chord-based riffs

Interval-based riffs

Most frequently, riffs are based on select palette of intervals, played in varying combinations and with

further notes only added to decorate or fill dead space. A good example is Aerosmith's Walk This Way,

where one of the most memorable riffs of all time consists essentially of three intervals (four notes) combined

in different ways, with only subtle additions.

Aerosmith - Walk This Way

(excerpt)

q= 109

& # 4

Riff

œ# œ œ œ ≈ nœ# œ œ œ .

œ.

& # œ # œ œ œ ≈ nœ

# œ œ œ .

œ.

Music/Lyrics: Joe Perry, Steven Tyler

œ# œ œ œ ≈ nœ# œ œ œ . œ j ‰

œ œ

œ # œ œ œ ≈ nœ

# œ œ œj . nœ A

111

Jimi Hendrix

Smashing Pumpkins

Beck

Purple Haze

Today

Loser

Jimi Hendrix - Purple Haze

(excerpt)

q= 96

& # # #

Riff

# œ

j # œ

œ œ nœ

nœ

˙ nœ

œ œ œ j œ ˙

Music/Lyrics: Jimi Hendrix

Smashing Pumpkins - Today

(excerpt)

q= 82

&b b b 4

Riff

Eb Bb Ab

œ œ

œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ

Music/Lyrics: Billy Corgan

112

Beck - Loser (excerpt)

q= 85

& # #

Riff

Drop D Tuning

œ œ œ

œ œ œ œ

A D A

##œ

# œ

œ œ œ

# œ œ œ œ

##œ

# œ

Music/Lyrics: Beck Hansen

TIP

When trying to write interval-based riffs, it helps to identify your most essential interval and play

around it in a way that emphasizes it.

Chord-based riffs

Sometimes a set of chords can be distinctive and catchy enough to become, or at least be the basis

for, a great riff. The key here is to use a distinct rhythm or combination of chords to create something

memorable. From there, you can take things further by filling gaps with lead guitar licks or arpeggiating

(plucking) your chosen chords.

Chord-Based Riffs

AC/DC

Back in Black

Blur Song 2

Sunday Bloody Sunday

113

AC/DC - Back In Black

(excerpt)

q= 92

& # # 4

Riff

Em D A

œ j ‰ ‰

‰ ‰

œ œ œ j ‰ Œ ≈ œ œ œ œ œ bœ

œ œ œ

œ œ

& # #

Em D A

œ j ‰ ‰

‰ ‰

œ œ

œ j ‰

œ # œ œ œ œ# œ œ œ œ

Music/Lyrics: Brian Johnson, Angus Young, Malcolm Young

Blur - Song 2

(excerpt)

q= 131

&b b b b 4

Riff

Fm Eb Ab Cm

‰ œ j œ ¿ œ œ œ ¿ œœ œ œ œ œ œ œ œ J

Music/Lyrics: Damon Albarn, Graham Coxon, Alex James, Dave Rowntree

114

U2 - Sunday, Bloody Sunday

(excerpt)

q= 92

& # # 4

Riff

Eb Tuning

Bm D G

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

TIP

When trying to write a riff with an interesting rhythm, it’s helpful to play along to something - whether

with your actual band when working on a pre-existing song, or at home with drum samples and a

computer.

115

#16 CHANGING MOOD WITH TOPLINE, NOT CHORDS

When moving from one song section to another, it is not necessary to automatically change your chord

sequence. In fact, by keeping it the same, it usually forces you to reach for a stronger topline melody.

For example, Taylor Swift's Shake It Off uses the exact same progression from start to finish, while U2's

Breathe uses the same one in the verse and pre-chorus.

Taylor Swift - Shake It Off

(excerpt)

q= 162

& # 4

& # G

& # 4

& #

Verse

œ œ œ œ œ j œ Œ Ó Œ ‰ j œ œ œ

œ œ œ j œ Œ Ó Ó œ œ œ œ

I stay up too late, got no-thing

in my brain, that's what peo-ple

j œ œ œ Œ

œ j œ œ Œ œ œ j

œ œ œ œ œ œ Œ

œ j œ œ Œ Ó

say mm - mm, that's what peo-ple

say mm - mm.

Pre-Chorus

j œ œ œ œ j œ œ j Œ

œ œ œ j œ œ œ œ j œ œ j ‰ j

œ œ

But I keep crui - sing, can't stop won't stop mov - ing, it's

œ œ j œ œ œ œ j œ œ j œ Œ œ œ œ œ œ œ œ œ œ œ j œ œ j

like I got this mu - sic in my mind say-ing

it's gon na be al-

right.

116

& # 4

Continued: Taylor Swift - Shake It Off

But I keep crui - sing, can't stop won't stop mov - ing, it's

& # 4

Chorus

Pre-Chorus

œ j œ œ œ œ j œ œ j œ

œ œ œ œ œ œ œ

œ j œ œ

œ j œ œ œ œ œ

Cause the play - ers gon - na play play play play play, and the

& # C

œ œ œ œ œ œ

jœ œ j œ œ œ œ œ œ

Œ œ œ j œ œ œ œ j œ œ j œ

like I got this mu - sic in my mind say-ing

it's gon na be al-

right.

œ œ œ œ

œ œ

jœ

‰ œ

& # œ œ j œ œ œ œ j œ œ j œ Œ œ œ œ œ œ œ œ œ œ œ j œ œ j

hat - ers gon - na hate hate hate hate hate, ba - by I'm just gon - na shake shake

& #

œ œ

œ œ œ

Œ œ œ œ ‰ œ j œ œ œ Œ Ó

shake shake shake, shake it off, I shake it off.

Music/Lyrics: Martin Sandberg, Karl Schuster, Taylor Swift

117

U2 - Breathe

(excerpt)

Verse

q.= 64

12 / 8

‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Com-ing

from a long line of trav - el - ing sales peo - ple on my

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿

mot-her's

side, I was - n't gon - na buy just a - ny -one's

cock - a -

¿ j ‰ ‰ ‰ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j

too. So whywould I in - vite a com-plete

stran -

Bm 3

¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿ Œ

- ger in - to my home, would you?

118

Continued: U2 - Breathe

12 8 &‹

# #

Pre-Chorus

D A Bm

œ j œ œ œ œ œ ‰ ‰ œ J

œ œ œ œ œ œ œ ‰ œ

2 2

These days are bet-ter

than that, these

D A Bm

& # œ j œ

‰ J

œ œ œ œ œ œ œ œ œ œ J œ ˙

‹

days are bet - ter than that

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

Chord Progressions

Verse Pre-Chorus Bridge Chorus

Taylor Swift Shake It Off Am Am C C G Am Am C C G - Am Am C C G

U2 Breathe D A Bm - D A Bm -

TIP

If you’re stuck in the habit of relying on contrasting chord sequences, try singing the entire topline of

a song you’re working on over just one chord progression.

119

#17 EXPERIMENTING WITH CHORD LENGTHS

In many songs, the chords will change on each or every other bar. One way to create contrast between

sections, however, is to deliberately experiment with the chord lengths you’re using.

Even small changes to typical chord lengths within a progression can have a big impact.

In Kurt Vile's Pretty Pimpin, he switches from using a single chord per bar in the first half of the main

progressions, to two chords per bar in the second half.

Kurt Vile - Pretty Pimpin

(excerpt)

q= 91

& b b b b 4

‹

b b b

mir

Verse

Bbm 7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I woke up this mor - ning, did-n't

re - cog -nize

the man in the

Fm Ab Db Eb

œ œ ‰ œ œ œ œ œ œ œ

≈ ‰

œ j œ œ œ ‰

œ j œ œ ≈

- ror I laughed and I said, "Oh sil - ly me, that's just me"

Music/Lyrics: Kurt Vile

120

Coldplay use a similar trick in Clocks, holding a Bbm for two whole bars in the middle of the main progression,

with more typical one-bar chords at the beginning and end.

Coldplay - Clocks

(excerpt)

q= 131

& b b b 4

‹

Verse

Eb Bbm Fm

œ œ œ œ œ bœ

œ J œ Œ bœ

œ œ œ ‰ œJ œ J

œ œ Œ

Lights go out and I can't be saved, tides that I tried to swim a -gainst

Music/Lyrics: Guy Berryman, Jonny Buckland, Will Champion, Chris Martin

121

Using different chord lengths

In Well Thought Out Twinkles Silversun Pickups use a variety of chord lengths throughout the song’s

sections.

Silversun Pickups - Well Thought Out Twinkles

(excerpt)

Verse 1

q= 122

C#m B A E

# & #

# #

‹

œ œ Œ œ œ œ Œ œ J

œ œ J

œ J

œ œ œ œ œ œ Œ Œ œ J

And what was that scar si - tu - a - ted from a - far?

And

C#m B A E

# #

& # # œ Œ œ œ œ Œ œ œ œ œ J J J

œ œ œ œ J œ Œ Ó

‹

what was that light in - te - gra - ted in your mind?

122

Continued: Silversun Pickups - Well Thought Out Twinkles

Bridge

# & #

# #

‹

C#m

4x 4x

∑

C#m

Œ ‰ œ j

œ œ œ œ

Now here we are re

& #

# 3

œ œ œ Œ Œ ‰ œ j œ œ œ œ œ œ œ j œ œ œ

jœ

‹

- si - ting

a time a place a whole in - dus - try, well

& #

# #

œ Œ Ó Ó œ œ œ œ

œ j œ œ j œ ˙ ‹ œ Œ Ó

pro-mise

we'll be lea - ving soon

123

Continued: Silversun Pickups - Well Thought Out Twinkles

Verse 3

C#m B A

# & #

# # œ maj7

4 Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ

‹

Wait for that sign spil -ling

o - ver and o - ver and o -

‹

# #

œ œ œ œ œ œ ‰ œ J

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ J

- ver and o - ver, o - ver and o - ver and o - ver and o - ver o -

# #

& # # maj7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ nœ

‹

- ver and o - ver and o - ver and o - ver o -

# #

& # # add#5 B 6

n œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

‹

& # # # #

- ver and o - ver and o - ver and o - ver and o - ver and o - ver

Outro

C#m

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Music/Lyrics: Brian Aubert, Christopher Guanlao, Joe Lester, Nikki Monninger

124

Chord progressions

Verse 1

Silversun Pickups Well Thought Out Twinkles C#m B A E

Bridge Verse 3 Outro

C#m (4x) B B A A

C#m B Amaj7 Amaj7 E E

Amaj7 Amaj7 Cadd#5 B6

C#m (8x)

125

You can even hold one chord to bridge the gap between two song sections, such as in Death Cab For

Cutie’s Black Sun, where the final chord of the chorus is also the first one of the verse.

Death Cab For Cutie - Black Sun

(excerpt)

# & # 4

‹

q= 84

# & # 4

‹

Verse

Chorus

G maj7

D maj7 /F# A add9 Bm

œ œ Œ Œ œ œ Œ Œ œ œ Œ ‰ œ j œ œ œ œ

Œ œ

How could some-thing

so fair be so cruel? When

& # maj7 D maj7 /F# A add9 Bm

œ Œ Œ œ œ Œ Œ œ œ Œ ‰ œ j œ œ

œ ‹ œ

this black sun re - volved a-round

you.

A add6 3

Œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó

There is an an - swer in a ques - tion

# 7

& # ‰

‹

Music/Lyrics: Ben Gibbard

œ r œ œ œ œ œ œ œ œ œ œ j ‰ Œ Ó

and there is hope within des - pair.

126

A song that also works very elegantly with unusual chord lengths is Thread by Now, Now. Looking at the

2 verse, not only do they start and end the chord prgression with the same chord (D major) and hold this

second D major for an unusual length of four bars, but they also add one extra bar in the middle of the

entire sequence. It can be most easily understood as a standard four-bar chord progression, followed by

an inserted bar of A major, followed by another normal four bars, and repeat. Later, they even start the

chorus on D major, linking it seamlessly with the end of the verse.

Now, Now - Thread

(excerpt)

q= 152

& # # #

Verse

D maj7

˙ ˙ ˙ œ œ w

Find a thread to pull And we can watch it un - ra - vel

∑

a ghost of

Bm A D maj7

'cause we've been wait - ing with

& # # # Bm A Dmaj7 Œ

∑

œ œ œ œ œ œ œ œ œ œ ˙ w

some-where

from two years a - go

œ œ œ œ œ œ ˙ ˙ ˙ w

œ ˙ ˙ ˙ œ œ w

127

Continued: Now, Now - Thread

& # # #

Chorus

D F#m E

œ œ œ œ ˙ ˙ ˙ ˙ w Œ

œ œ œ œ œ œ œ œ

A hint of light in the dark On -ly

e - nough to keep from

& # # # D Bm A

œ œ ˙ w œ œ œ œ œ ˙ ˙ ˙ ˙ w

giv-ing

up If I could go back to the start

& # # # E D

œ œ œ œ œ œ œ œ œ œ ˙ w

To break the

pat - tern form-ing

be -tween

∑

Music/Lyrics: Cacie Dalager, Bradley Hale

128

Chord Progressions

Verse

Chorus

Kurt Vile

Pretty Pimpin

Bbm7 Db

Fm Ab Db Eb

–

Coldplay Clocks Eb Bbm Bbm Fm –

Death Cab For Cutie Black Sun Bm Bm Aadd6 E7 Gmaj7 Dmaj7/F# Aadd9 Bm

Now, Now

Thread

D (3x) Bm A

D (4x)

D (3x) Bm A

D D

D D F#m F#m E E D D

Bm Bm A A E E D D

TIP

If you find your chorus topline is not standing out as much as you would like, using deliberately longer

chord lengths can add emphasis, particularly at the beginning of your vocal phrases.

129

Longer chord progressions

Although a great number of popular songs use chords sparingly, resulting in simple four-bar patterns, you

can use more if you’re looking to create an unexpected effect. A good example of this is Bliss by Muse,

in which both the verse and the chorus have more complex eight-bar patterns.

Muse - Bliss

(excerpt)

q= 120

& b b b 4

‹

Verse

Bb Fm Cm

Œ œ œ œ œ œ j œ œ j

œ œ œ œ œ œ J

œ j œ œ œ œ ˙ Œ œ œ

Eve-ry-thing

ab - out you is how I'd wan - na be, your

‹

b b b

Bb Fm Cm

œ j œ œ œ œ ˙ œ œ ˙ Ó

free - dom comes na - tural-

ly.

∑

& b b b 4

‹

b b b

Chorus

∑

C/G

n˙

˙ w œ ‰ nœ

œ œ J

Give me all the

C Am E

˙ œ œ œ nœ

œ nœ

peace and joy in your mind

# œ J n˙

˙ Ó

Music/Lyrics: Matthew Bellamy

130

In their single, Heat Waves, Glass Animals also use a longer, eight-chord progression, this time throughout

both the verse and chorus.

Glass Animals - Heat Waves

(excerpt)

q= 81

# & #

# ##

‹

Verse

C#m

B G#m F#

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Usu-al-ly

I put some-thing

on T - V So we nev-er

think a-bout

you and me

E B C#m F# C#m

# #

& # ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R

≈œ œ œ œ œ œ j

‹

But to-day

I see our re-flec-tionclear-ly

in Hol-ly- wood, lay-in'

on the screen

Chorus

C#m

B G#m F#

# & #

# ##

4 ‰ œ j œ œ œ œ œ œ œ œ œ j œ ‰ œ j œ œ œ œ œ œ œ œ j œ

J J ‹

Some-times

all I think a-bout

is you Late nights in the mid-dle

of June

E B C#m F#

& #

# ## œ

R ≈ œ j œ œ œ œ œ œ œ œ j œ ‰ œ j œ œ œ œ œ œ œ œ

J J ‹

Heat waves been fak-in'

me out Can't make you hap-pi

- er now

Music/Lyrics: Dave Bayley

131

Chord Progressions

Verse

Chorus

Muse Bliss Cm Bb Fm Cm Bb Fm Cm Cm C Am C/G C/G C Am E E

Glass Animals Heat Waves C#m B G# F# E B C#m F# C#m B G# F# E B C#m F#

TIP

Similarly to our lesson talking about how long to hold each chord, try to remain open toward different

chord patterns so as not to cling too tightly to classic four-chord progressions.

132

Extending chord progressions

2 Typically, each song section will have its own chord progression, which does not change. One way to add

a sense of ‘travel’ to a song, however, is to add variation at a key time. Often the most effective way to

use this trick is to extend one or some of your choruses with alternate chords. An example of this is U2's

Do You Feel Loved, in which in the second and third choruses extend the original progression of Dm - C

- F - G by adding a further F and G.

U2 - Do You Feel Loved

(excerpt)

q= 114

& b 4

‹

Chorus 1

œ j œ œ ˙ œ j œ œ j ˙

C F G

‰ œ

œ œ œ j œ Ó Ó ‰ œ

œ œ

Do you feel loved? Do you feel loved? Do you feel

‹

Dm C F G

˙ œ j œ œ j ˙

‰ œ

j œ œ œ j œ œ j ˙ ˙

loved? do you feel lo - ved

133

Continued: U2 - Do You Feel Loved

& b 4

‹

Chorus 2

Dm C F

œ œ ˙ œ J

œ œ J

˙ ‰

Do you feel loved? Do you feel loved?

œ œ œ J

‹

G Dm C

Ó ‰ œ J

œ œ ˙ œ J

œ œ J

˙ ‰ œ J

œ œ

Do you feel loved? And it looks

F G F G

œ œ œ œ ˙ ‰ œ J

œ œ œ œ œ œ ˙ Ó

like the sun, but it feels like the rain.

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

Chord Progressions

Chorus

Extension

U2 Do You Feel Loved Dm C F G (2x) F G (2x)

TIP

Simply varying the chords can be a good alternative to the classic whole-tone step-up modulation

when it comes to boosting your final chorus.

134

Songwriting is as much a craft as a talent.

(Tom T. Hall)

135

#18 USING DIFFERENT CHORD TYPES

The classic triad chord consists of three notes: the root, third and fifth, with there being four types. Most

common are the major triad, consisting of the root note, major third and fifth, and the minor triad, which

uses the root, minor third and fifth. Less common are the diminished triad, using the root with two

stacked minor thirds (i.e. A minor third and a ‘lowered’ fifth) and the augmented triad, which stacks two

major thirds on the root (i.e. a major third and a ‘raised’ fifth).

w b

bbw

# w

C Cm C° C+

bbw

# w

You can add additional notes to these triads to create even more chord types, usually by adding thirds.

The resulting four- or five-note chords are most common in jazz, but are also used in pop and rock. They

are ideal for creating variety and for breathing color into a composition. A simple trick for finding chords

to embellish a sequence, is to use ‘shared’ notes: taking a note from your starting chord and adding it to

your next one. This allows one to blend into the other fluidly.

Here is a brief listing of the most popular chord types in C:

b w

C C7 Cmaj7 Cadd9 C7/9

136

b bw

w b

Abbreviation Description Notes

C major C - E - G

b w

C7 dominant seventh chord C - E - G - Bb

Cmaj7, C7+ major chord with a major seven C - E - G - B

Cadd9

C7/9, C9

major chord with an added

ninth

dominant seventh chord

with an added ninth (C7/9)

C - E - G - D

C - E - G - Bb - D

w b

b bw

b w b

Cm Cm7 Cm7b5 Cm7/9

Abbreviation Description Notes

Cm minor C - Eb - G

Cm7 minor seventh chord C - Eb - G - Bb

Cm7b5

Cm7/9, Cm9

minor seventh chord with

a diminished fifth

bbw

# w

minor seventh chord with

an added ninth

C - Eb - G - B

C - Eb - G - Bb - D

137

ww w

bw b

# w

C5 Csus2 Csus4 C° C+

Abbreviation Description Notes

C5 power chord C - G

Csus2

Csus4, Csus

major chord with a

suspended second

major chord with a

suspended second

C - D - G

C - F - G

C°, Cmb5, Cdim diminished triad C - Eb - Gb

C+, (C#5, Caug) augmented triad C - E - G#

138

Voicings primarily have three functions:

• bringing color and interest to the composition

• creating more chord changes from a smaller palette of chords

• creating a riff through arpeggiation or strumming patterns

A good example of the color that a certain type of chord can bring is Drive by Incubus, in which the use

of seventh chords truly defines the song’s sound.

Incubus - Drive

(excerpt)

q= 91

# 2

& 4

‹

Chorus

Em Em 7/9 C maj7 A 7sus2

Œ ‰ œ J

œ œ œ œ œ œ œ œ ‰ œ J

œ œ

What

- ev - er to - mor - row brings I'll be

# Em Em7/9 C maj7 A 7sus2

œ œ œ ‰

œ r œ œ œ œ œ œ œ œ œ œ œ

‹

there with o - pen arms and o - pen eyes, yeah

Music/Lyrics: Brandon Boyd, Mike Einziger, Alex Katunich, Chris Kilmore, José Pasillas

139

An example showing the great effect you can achieve, simply with chord variation, is Tom Petty's Into

The Great Wide Open.

Tom Petty - Into The Great Wide Open

(excerpt)

q= 82

& 4

‹

Verse

Em maj7 Em 7 Em #6

Œ œ œ œ œ œ œ œ œ œ œ Ó

- die wait - ed 'til he fin - ished high-

school.

# Em Emmaj7 Em 7 Em #6

& ‰ œ œ œ J

œ œ œ œ œ œ œ

‹

He went to Hol - ly - wood, got a tat - too

Music/Lyrics: Jeff Lynne, Tom Petty

An example of using chord voicings as the basis for a riff would be The Police’s Message In A Bottle.

The Police - Message In A Bottle

(excerpt)

Guitar

q= 151

& # # # #

Riff

C#m add9 A add9 B add9 F#m

œ j

œ j œ œ

140

Music/Lyrics: Gordon Sumner

& # # # # C#madd9 A add9 B add9 F#m

œ J œ

œ œ j œ

œ J

œ j œ œ

Power chords often occur in chord- or riff-based songs with simple arrangements, such as Green Day’s

When I Come Around.

Green Day - When I Come Around

(excerpt)

q= 98

# # & # ## #

‹

Verse

F# 5

C# 5 D# 5 B 5

Œ ≈ œ

œ œ œ œ œ œ œ ‰ ‰ Ó

Well I heard you cry - ing loud

& #

# ## # F#5 C# 5 D# 5 B 5

Œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ Ó

‹

all the way a - cross town

# & #

# ## #

‹

Chorus

G# 5

‰ œ

No time to search theworld a

found When I come a-

round

B 5 G# 5

œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ

- round Cause you knowwhere I'll be

& #

# ## # B5 F# 5 C# 5 D# 5 B 5

˙ œ œ œ œ j œ œ œ ‰ Ó Œ ‰ Ó

‹

Music/Lyrics: Billy Armstrong, Michael Pritchard, Frank Wright

141

In pop music, the sus2 and sus4 chords are often used. Here ‘sus’ stands for suspension and means that

the third is substituted by a second or fourth.

A good example for using suspended chords is U2’s Bad.

U2 - Bad

(excerpt)

q= 98

# & #

‹

Verse

A sus4

A A sus4 A D add9 D D add9 D

œ œ Œ œ œ Œ œ œ J œ Œ Œ Œ Œ

If you twist and turn a -way

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jnr.

TIP

Supsended chords work well if you want to add color or tension to your song without the need for a

complicated chord progression.

142

Different voicings and chord types can aid you greatly in limiting the number of main chords used. A song

that shows this well is Eleanor Rigby by the Beatles:

The Beatles - Eleanor Rigby

(excerpt)

q= = 136

& 4

‹

Intro

˙ œ œ œ œ œ J

œ œ œ œ J

œ œ Œ Ó

Ah, look at all the lone - ly peo - ple.

∑

Verse

& 4 œ œ œ J œ œ j Œ œ œ œ œ # œ œ œ

J ‹

- lea - nor Rig - by

picks up the rice in the church

‹

<#> œ œ œ j œ œ œ œ ∑ œ œ œ œ œ Œ J J

where a wed - ding has been, lives in a dream.

Chorus

Em# 6 C/E Em

& 4 œ œ j œ œ œ j œ œ Œ Œ œ œ œ # œ

j nœ

œ œ j

‹

All the lone - ly peo - ple, where do they all come from?

∑

Music/Lyrics: John Lennon, Paul McCartney

143

Basic Progression

Amended Progression

Incubus Drive Em Em C A Em Em7/9 Cmaj7 A7sus2

Tom Petty Into The Great Wide Open Em Em Em Em Em Emmaj7 Em7 Em#6

The Police Message In A Bottle C#m A B F#m

C#madd9 Aadd9 Badd9

F#m

Green Day When I Come Around F# C# D#m B F#5 C#5 D#5 B5

U2 Bad A A D D

Asus4 A Asus4 A

Dadd9 D Dadd9 D

The Beatles Eleanor Rigby Em Em C Em Em7 Em#6 C/E Em

TIP

When choosing more complex chords, it’s helpful to think about which notes may be shared by the

next (or previous) chord in your progression, as this provides a ‘blended’ feeling.

TIP

One modified standard chord is usually enough to change the feel of a song.

144

Even at your best, the creative moments are still kind of fleeting.

(Rivers Cuomo)

145

#19 CHORD INVERSIONS

Each basic chord is comprised of three notes, namely the root, third and fifth. When playing a basic chord

on your guitar across six strings, remember that these extra notes will only ever be re-voicings of those

three in the ‘triad’. When we talk about chord inversions, we simply mean rearranging these until we

have three distinct chord positions: basic, first inversion (with the third as the bass) and second inversion

(with the fifth as the bass).

For a C major chord, the inversions are as follows:

& w w w

C C/E C/G

The principle also applies to more complex chords with extra notes, such as seventh chords, where we

could use the fourth note to create a third inversion accordingly.

Through inversions, you can make the chords of a song sound more varied and exciting. They’re

especially popular with songs written on the guitar (often using parts of the bassline) and automatically

bring more diversity to the arrangement.

146

An example of this is Weezer's Thank God For Girls. The chord progression of the entire song is: Am - G -

Dsus2/F# - F. Instead of using D major in the basic position, they play the first inversion of the chord (also

suspended), resulting in Dsus2/F#. This makes the entire chord progression sound much more interesting.

Weezer - Thank God For Girls

(excerpt)

q= 95

‹

Chorus

D/F# F Am G D/F# F

‰ œ J

œ œ œ œ ˙

Œ œ œ œ J

œ ‰ Ó

and that's why I thank God for girls

Music/Lyrics: Bruce Balzer, Craig Balzer, Rivers Cuomo, Alex Goose, Bill Petti

Another good example of using inversions within a song is Expo '86 by Death Cab For Cutie. Here, the

verse consists only of two basic chords, implied using guitar riffs that work around the following inversions:

E A/C# E/G# A/C#

Here you can see that, instead of simply using the root positions of E major and A major, he works in the

first inversion of both chords.

147

Death Cab For Cutie - Expo ’86

(excerpt)

Verse

q= 100

E A/C# E/G# A/C#

# 2

& #

# #

4 œ j œ œ œ œ œ œ œ œ œ ‰

œ j œ œ œ œ

‹

Some - times I think this cy - cle ne - ver ends. We slide from top to

# 2

& #

# #

4 j ˙ ˙

‹ œ

œ œ J

œ ˙

œ œ J

E A/C# E/G# A/C#

# #

& # # œ œ œ œ œ œ œ œ œ Œ ∑

‹

bot - tom and we turn and climb a - gain.

# #

& # # ˙

‹

œ œ J

‰

Music/Lyrics: Ben Gibbard, Chris Walla

148

Another song which famously uses inversions is Jimi Hendrix's The Wind Cries Mary. In this case they form

part of a repeating melodic motif.

Jimi Hendrix - The Wind Cries Mary (excerpt)

q= 80

& b 4

‹

Chorus

G Bb Eb E F Eb/G E/G# F/A

œ œ œ œ ‰ œ j œ Œ œ

œ j # œ

j œ ‰ Ó ‰ Œ ‰ Ó

And the wind, it cries: "Ma - ry".

Music/Lyrics: Jimi Hendrix

Through inversions you can also highlight parts of the vocal melody. This is especially helpful in the

chorus as a method for helping the topline to stand out; as in Sia's Chandelier, where the first vocal note

in key word 'chandelier' is matched by the new bass note of the inverted chord.

Sia - Chandelier (excerpt)

q= 88

& b b b b b 4

‹

Chorus

Gb Ab Db/F Gb

˙ ‰ œ œ ˙ œ œ œ j œ œ œ nœ

œ ˙ ‰ œ œ œ œ ˙ œ

J ‰

I'm

gon-na

swing from a chan-de-li- er, a chan-de

li-

Music/Lyrics: Sia Furler, Jesse Shatkin

149

A natural way to incorporate inversions in a song is to work with descending basslines. A band that have

often used this method in their songs is Led Zeppelin, as in Stairway To Heaven and Baby, I'm Gonna

Leave You.

Another example of this kind of composition is Harry Chapin's Cats In The Cradle, a song heard on the

radio again in the 90s, owing to a cover by Ugly Kid Joe.

Harry Chapin - Cats In The Cradle

(excerpt)

q= 80

& b 4

‹

And he was talk - in' 'fore I knew it and as he grew, he said:

"I'm

œ œ œ

Pre-Chorus

Eb Eb/D Cm Eb/Bb

œ œ œ œ œ œ ≈ œ

œ œ bœ

œ ≈ œ œ ≈

Ab Cm/G F Ab Cm/G F

œ bœ

œ œ œ œ œ œ œ œ j ≈ r œ bœ

œ œ œ œ œ ˙

gon-na

be like you, dad. You know I'm gon-na

be like you."

Music/Lyrics: Harry Chapin, Sandra Chapin

150

Chord Progression

with Inversions

Weezer Thank God For Girls Am G D F Am G D/F# F

Death Cab For Cutie Expo ’86 E A E A E A/C# E/G# A/C#

Jimi Hendrix The Wind Cries Mary Eb E F Eb/G E/G# F/A

Sia Chandelier Gb Ab Db Gb Gb Ab Db/F Gb

Harry Chapin

Cats In The Cradle

Eb Eb Cm Eb Ab Cm F

Ab Cm F

Eb Eb/D Cm Eb/Bb Ab

Cm/G F

TIP

Take one of your songs and play the chord progression in all possible inversions and see where the

new arrangement leads you. Usually, using only one inversion in a chord progression is enough to give

it a different touch.

151

#20 DESCENDING FIFTHS SEQUENCES

Sometimes when developing a chord progression, you may feel unsure about where to take it next. One

easy method is to work with descending fifths to find either the next chord, or even sequence of chords.

To apply this, simply move from the current chord a fifth lower (or a fourth higher, it’s the same thing)

and repeat as much as needed. A couple of songs that are based heavily on descending fifths and which

illustrate how effective it can be are Frank Sinatra's Fly Me To The Moon and Gloria Gaynor's' 70s classic

I Will Survive.

Frank Sinatra - Fly Me To The Moon

(excerpt)

q= 116

shuffle

‹

Verse

Am 7 Dm 7 G 7 C maj7

œ œ œ œ œ œ ‰ œ J

œ œ

Fly me to the moon, let me play a - mong the stars.

F maj7 B ø7 E 7 Am 7

& œ œ œ œ œ j œ œ œ Ó # œ œ œ œ œ

‹ j

Let me see what spring is like on Ju - pi - ter and Mars

œ œ œ

œ# œ ˙

Music/Lyrics: Bart Howard

152

Jimi Hendrix - Hey Joe

(excerpt)

q= 83

& 4

‹

Verse

C G D A E

Œ ≈ œ œ œ œ Œ Ó œ œ œ œ œ œ r ≈ ‰ œ œ œ

j ¿

‰ Ó

Hey Joe, where you go-in'

with that gun in your hand?

Music/Lyrics: William Roberts

Gloria Gaynor - I Will Survive

(excerpt)

q= 96

& 4

Verse

œ j œ œ œ œ œ Œ œ œ œ œ œ Œ ‰ œ j œ œ ‰

At first I was a - fraid, I was pet - ri -fied.

Kept think-ing

C maj7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ ‰

œ j œ œ

could ne -ver

live without you by my side. But then I

F maj7 B°

œ œ œ œ œ œ j ‰

spent so

œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ

ma-ny

nights think-ing

how you did me wrong. I grew

E sus4

& œ j ‰ Œ ‰

œ œ œ œ

strong and I learned how to get a - long

# œ œ œ œ œ œ j ‰ Œ

153

Continued: I could Gloria ne -ver

Gaynor live- I Will withSurvive

- out you by my side. But then I

spent so

C maj7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ ‰

F maj7 B°

œ œ œ œ œ œ j ‰

œ j œ œ

œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ

ma-ny

nights think-ing

how you did me wrong. I grew

E sus4

& œ j ‰ Œ ‰

œ œ œ œ

strong and I learned how to get a - long

# œ œ œ œ œ œ j ‰ Œ

Music/Lyrics: Dino Fekaris, Freddie Perren

The Beatles - You Never Give Me Your Money

(excerpt)

Verse

q= 88

Am 7 Dm 7 G C

‹

‰ œ J œ œ œ œ œ œ œ J ˙ ‰ œ J

œ œ œ œ œ œ œ œ œ

j œ ‰

You ne-ver

give me your mo - ney You on-ly

give me your fun -ny

pa - per

F maj7 B° E Am Am 7

& ‰ œ œ œ œ œ œ œ œ œ J J

œ œ j ‰ # œ

j œ œ ˙ J

∑

‹

And in the mid-dle

of ne - go - ti - a - tions You break down

Music/Lyrics: John Lennon/Paul McCartney

154

Chord Progressions

Verse

Frank Sinatra Fly Me To The Moon Am7 Dm7 G7 Cmaj7 Fmaj7 B7b5 E7

Jimi Hendrix Hey Joe C G D A E

Gloria Gaynor I Will Survive Am Dm G Cmaj7 Fmaj7 B E

The Beatles

You Never Give Me Your

Money

Am7 Dm7 G C Fmaj7 B 0 Am Am7

TIP

Be aware that following the cycle of fifths will usually feel unresolved and that you will need to end

on a different chord if a resolved feel is what you are looking for.

155

The Cycle of Fifths

Major

Minor

B m

E m

C m

G m

D m

156

Great songs aren’t written, they’re rewritten.

(R.C. Bannon)

157

#21 USING MORE ADVANCED SCALES

In The Cure’s Killing An Arab a unique, 12-tone scale is being used, mixing the harmonic minor and 'gypsy'

or Arabic minor scales in E. The former is a variation on the natural minor scale, in which the seven is

raised by a semitone (in this example, D becomes D#). In the Arabic minor scale, the fourth and the seven

are simply raised by a semitone. In this case, A turns to A# and D to D#.

Since these two scales have one and two augmented seconds respectively, the resulting jump of three

semitones creates a distinct, Eastern sound which emphasizes the lyrical theme of the song. The lyrics

point to Albert Camus' nihilistic novel The Stranger, in which the French-Algerian protagonist apathetically

takes the life of another man.

The Cure - Killing An Arab

(excerpt)

q= 168

& # 4

Motif

# œ œ œ

œ œ œ œ œ œ œ œ œ œ

# œ œ œ

& # Em F

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Michael Dempsey, Robert Smith, Laurence Tolhurst

158

On Gold On The Ceiling, the Black Keys use the blues scale, while the song itself is in G major. The song is

therefore in the G blues scale, with the following notes used: G, Bb, C, Db, D and F. The blue notes* (in this

case Bb, Db and F) give the blues scale its unique feel. This blues vibe emphasizes the song’s melancholic

lyrics and forms part of the Black Keys’ musical style.

E minor

# w w w w w w œ

E harmonic minor

# w w w w w # w œ

E Arabic minor

# w w # w w w # w œ

*The tones unique to a blues scale which give it its distinctive sound. These are the minor third (b3), minor seventh (b7) and

diminished fifth (b5).

159

The blues scale

The blues scale derives from the minor pentatonic scale, simply adding a tritone* calculated from the

root (in this case G). As a result, the originally five-tone scale now becomes a scale of six tones and thus

sounds even more ‘blues’.

G minor pentatonic

& w bw

w w w

G blues scale

& w bw

w # w w w

*An interval consisting of three whole tones. This could also be described as stacking an augmented fourth or a diminished

fifth above the root of the chord.

160

The Black Keys - Gold On The Ceiling

(excerpt)

Intro

q= q e= = 130

& # 4

œ.

œ œ

nœ

œ j œ

nœ

& # Bb C Bb G

œ j

bœ

nœ

œ œ œ œ œ œ

& # 4

Solo

G F C C/Bb G

œ œ

œ œ œbœ

œ œ

œ œ œ œ œ œ œ bœ

œbœ

œ œ J

nœœœ

Music/Lyrics: Dan Auerbach, Brian Burton, Patrick Carney

œbœ

œ œ œnœ

œ œ œ œ œ œ œ œ b

œnœ # œ

j nœ

bœ

œ œ

The Cure Killing An Arab gypsy minor and harmonic minor scales

Key

The Black Keys Gold On The Ceiling blues scale

TIP

The easiest way to start this kind of composition is often to play a riff in one of these more advanced

scales.

161

#22 HOOKS

A hook is a musical or textual phrase which is both memorable and repeated throughout a song or section.

Where a riff is limited to being instrumental and may be less central, a hook can be almost anything

and is usually key to the song’s recognizability.

There are four types of hook:

• Vocal Hooks

• Instrumental Hooks

• Rhythm-/Groove-based Hooks

• Production Hooks

Vocal hooks are placed in the topline and are most important in the chorus, where most recognizability

occurs.

Vocal Hooks

Hook

Rihanna

Umbrella

’under my umbrella, el-la, el-la,

ay, ay, ay’

The Jackson 5 ABC ’A-B-C easy as 1-2-3’

Outkast Hey Ya! ’Hey Ya!’

162

Rihanna - Umbrella

(excerpt)

q= 76

& bb b b b 4

Chorus

Bbm

œ œ œ œ œ œ œ œ œ œ j ‰

œ œ

œ œ œ œ œ œ œ

You can stand un-der

my um - b - rel - la, you can stand un-der

my um - b-rel

& bb b b b

œ j ‰

‰ ‰

œ œ œ œ

œ j ‰ œ j ‰ œ j ‰ œ œ œ œ œ œ

la, el - la, el - la, ay, ay, ay, un - der my um - b - rel-

Music/Lyrics: Shawn Carter, Thaddis Harrell, Terius Nash, Christopher Stewart

The Jackson 5 - ABC

(excerpt)

q= 95

& b b b b 4

‹

Chorus

Bbm Ab/C

œ œ œ J ≈ ≈ ‰ ≈

Db Ab/C Db Ab

A B C ea - sy as do

Bbm Ab/C

& b b b b .

œ œ œ J ≈ ≈ ≈

‹

Db Ab/C Db Ab

re mi oh, simp - le as do

Bbm Ab/C

& b b b b .

œ œ œ J ≈

‹

œ œ œ.

J ≈

Db Eb Bbm/F

bœ

œ œ œ R œ

bœ

œ œ œ œ œ œ

re mi, A B C, one

163

A B C ea - sy as do

Bbm Ab/C

& b b b b .

œ œ œ J ≈ ≈ ≈

‹

Continued: The Jackson 5 - ABC

re mi oh, simp - le as do

Db Eb Bbm/F Ab

Bbm Ab/C

& b b b b .

œ œ œ J ≈

‹

Db Ab/C Db Ab

œ œ œ.

J ≈

re mi, A B C, one

Eb/G Fm Bbm/Db

& b b b b œ œ œ.

œ œ œ œ œ œ œ œ

‹

two three ba - by you and me, girl

Music/Lyrics: Berry Gordy Jr., Alphonso Mizell, Frederick Perren, Deke Richards

bœ

œ œ œ œ œ œ

C/Eb

Outkast - Hey Ya!

(excerpt)

q= 160

& 4

‹

Chorus

C D E

˙ œ œ œ w w ˙

# w w

4 4

Hey ya Hey ya

Music/Lyrics: Andre Benjamin

TIP

The key aspect of a hook is repetition. This can be employed more easily through the use of short

words, or even breaking up longer ones into syllables, such as in Rihanna’s ‘Umbrella’ (ella, ella). How

you stress each word is also important, with ‘hooky’ vocal lines often lingering on the last vowel of a

chosen word to make it more memorable, like in ‘Hey Ya!’ by Outkast.

164

Instrumental hooks are typically catchy melodies played on one instrument. When talking about these,

it’s important to distinguish between main hooks, which take the listener’s focus at any point in which

they are played and subtler accompanying hooks, which serve more to support a larger one. The

strength of many successful songs is their ability to incorporate both.

Main Hooks

Hook

Lenny Kravitz Are You Gonna Go My Way guitar riff

Van Halen Jump keyboard riff

The Kinks You Really Got Me guitar riff

Lenny Kravitz - Are You Gonna Go My Way

(excerpt)

Voice

Guitar

q= 129

Verse

& 4 Œ œ œ ˙

Œ œ œ œ Œ

‹

I was born long a - go

& # 4 œ # œ nœ

œ œ œ j œ j œ # œ nœ

œ œ œ j œ

œ œ

& # œ œ œ œ

‰ J

œ œ œ œ Œ Ó

165

Guitar

& # 4

‹

‰

œ # œ nœ

œ œ œ j œ

I am the cho - sen, I'm the one

œ # œ nœ

Continued: Lenny Kravitz - Are You Gonna Go My Way

œ œ

œ j œ

œ œ œ œ œ œ œ Œ Ó

& #

œ # œ nœ

œ œ œ j œ

œ # œ nœ

œ œ œ j œ

Music/Lyrics: Lenny Kravitz, Craig Ross

The Kinks - You Really Got Me

(excerpt)

Voice

Guitar

Chorus

q= 137

C D C D C D C D C D C D

& 4 œ œ œ œ œ J Œ ‰ œ œ œ œ œ J Œ ‰ œ œ œ œ œ J Ó

‹

You real-ly

got me You real-ly

got me You really got me

& # œ j 4 œ œ œœ j œ œ

œ œœ œ œ œœ j œ

œ œ

œ œœ œ

œœ j œ œ œJ

œ Music/Lyrics: Ray Davies

166

Van Halen - Jump

(excerpt)

Voice

q= 129

‹

œ œ œ œ œ Œ

Chorus

Might as well jump (jump!) Might as well

œ œ œ

{

Synthesizer

& 4

Œ Œ Œ œ J

‰ ‰ œJ Œ œ j ‰ ‰ œ j ‰ œ J

‰ œJ

F G sus2 C

œ œ ¿

& œ Œ Ó ‰ Œ ‰ Œ œ œ œ œ Œ

‹

jump

Go a-head

and jump (jump!)

J ‰ ‰ œ j ‰ œ j

œ j œ

œœ œ j ˙˙ ˙

Œ œ J

‰ ‰ œ J

œ j œ œ

œ j ˙

œ œ œ œ œ œ œ Œ

G sus2

∑

167

Continued: Van Halen - Jump

œ j œ œ

œ j ˙

‹

œ œ œ œ œ œ œ Œ

G sus2

∑

Go a-head

a-and

jump

{

œ j ‰ ‰ œ j ‰ œJ ‰ œ J

J ‰ ‰ œ J

‰ œ j

œ j œ œ œj ˙˙ ˙

œ j œ œ œ j ˙

Music/Lyrics: David Roth, Alex Van Halen, Eddie Van Halen

TIP

If the main hook is an instrumental one, it should still take centre stage, even over a vocal melody if

needed.

168

Accompanying Hooks

Hook

Bob Dylan Like A Rolling Stone organ riff (in the chorus)

The Killers Smile Like You Mean it keyboard riff (in the intro and chorus)

U2 With Or Without You guitar riff (in the pre-chorus and chorus)

Bob Dylan - Like A Rolling Stone

(excerpt)

Voice

Organ

Riff

q= 96

C D G C D

& 4 œ œ œ œ œœ œ ‰ Ó Ó œ œ œ œ œœ œ ‰ Ó ∑

‹

How does it feel? How does it feel?

& # ˙

4 Œ Œ

œ œ œ œ w ˙ œ œ œ œ w

Music/Lyrics: Bob Dylan

169

The Killers - Smile Like You Mean It

(excerpt)

Voice

Synthesizer

Chorus

q= 137

& b b b b b b

Gb/Bb Cb Gb

4 ˙ œ œ œ œ j œ Ó

‹

Smile like you mean it

& bb b b b b &b b b b b b 4 ∑ Œ

˙ œ œ œ œ j œ Ó

Smile like you mean it

‹

b b b b b b Gb/Bb Cb Gb ∑

∑

Gb/F

œ œ œ œ œ

œ œ œ J

œ ˙

Gb/F

w œ œ œ œ œ œ

œ œ œ J

œ ˙

∑

Music/Lyrics: Brandon Flowers, Dave Keuning, Mark Stoermer, Ronnie Vanucci Jr.

170

U2 - With or Without You

(excerpt)

Voice

Chorus

q= 110

# & # 4 Ó œ œ œ œ œ œ

‹

With or with out you with or with

Ó Ó œ J

œ œ J

Guitar

& # # 4

‰ œ J

œ œ

œ œ œ

œ œ œ œ O J

O O J

O J

œ œ œ œ œ œ œ œ œ

Bm G D

# œ

& # J œ œ œ œ ˙ œ œ œ w

J J J

‹

& # #

- out you oh - oh

I can't live

œ O œ

œ œ

œ œ œ

œ œ œ œ O œ

A Bm G

& # Ó œ œ œ J J

œ œ œ ˙ Ó

‹

with or without

you

& # #

J œ J

œ œ

œ œ œ

œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ œ œ

171

& # #

- out you oh - oh

I can't live

œ O œ

Continued: U2 - With or Without You

œ œ

œ œ œ

œ œ œ œ O œ

A Bm G

& # Ó œ œ œ J J

œ œ œ ˙ Ó

‹

with or without

you

& # #

J œ J

œ œ

œ œ œ

œ œ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

TIP

Try to work with more than one type of hook, as Pixies do on their song ‘Where Is My Mind?‘, in which

you can hear both an instrumental hook (the guitar line) and a vocal hook (the ‘ooh’ backing vocals).

172

Pixies - Where Is My Mind?

(excerpt)

Voice

q= 84

# & #

# #

‹

Riff

E C#m G# A

Œ œ ˙ ˙ Ó

Ooh,

ooh

Guitar

& # # # #

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

Music/Lyrics: Charles Thompson

TIP

An accompanying hook should always leave enough space for the main hook or topline, employed

best by working around the main hook, often in a ‘call and response’ fashion.

173

In contrast rhythm-/groove-based hooks are based on a distinctive rhythm or groove 2 which often

serves as the foundation for an entire song.

Rhythm-/Groove-based Hooks

Hook

Beyoncé Crazy in Love bass, drums, brass (groove)

Queen We Will Rock You stomping and clapping (rhythm)

Stevie Wonder Superstition Hohner Clavinet 3 , bass, drums (groove)

TIP

A groove-based hook should be short and repeatable. What's more, the underlying chord progression

should use as few chords as possible, so as to leave room for both the groove itself and a memorable

accompanying bassline.

174

Beyoncé - Crazy In Love

(excerpt)

Trumpets 1, 2

Trumpets 3, 4

Drums

Bass

q= 100

Intro

& b 4

˙ œ œ œ ≈ R ≈ œ œ

≈ ˙ œ œ œ ≈ R ≈ œ œ

≈

¢ & b #

4 ˙ œ œ ≈ œ ≈ œ R

œ ≈ ˙ œ œ ≈ œ r ≈

œ œ# œ œ œ

œ ≈

/ 4

¿ ¿

œ œ œ œ

¿ ¿

œ œ œ œ

¿ ¿

œ œ œ œ

? b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Shawn Carter, Rich Harrison, Beyoncé Knowles, Eugene Record

175

Queen - We Will Rock You

(excerpt)

Voice

Percussion

q= 81

Chorus

# 2

& 4 œ œ œ œ œ œ œ œ Œ Ó

‹

Sing-in'

we will, we will rock you

‰ ¿ ¿

¿ j ‰ ¿ ¿

¿ j ‰

‹

œ œ œ œ œ œ Œ Ó

we will, we will rock you

¿ ¿

¿ j ‰ ¿ ¿

¿ j ‰

Music/Lyrics: Brian May

176

Stevie Wonder - Superstition

(excerpt)

Voice

q= 99

Verse

Ebm 7

& b b b b b b 4

œ œ œ œ œ œ œ œ Ó Ó œ œ œ œ œ

‹

Ve -ry

su-per

sti - tious,

wri-ting's

on the wall

{

Clavinet

&b b b b b b 4 Œ Œ ‰

œœœ j . œœœ . œ

œ œœœ . œ

? b b b b b b 4 Œ Œ . . .

. . . .

œ œ œ œ œ R ≈≈œ R ‰ œ œ œ œ œ œ œ R ≈≈œ R ≈≈œ œ

Bass

Drum set

? b b b b b b 4

Œ Œ

œ. œ. œ. œ. œnœ

œ. œ. œ.

œ œbœ

Œ Œ œ ¿ ¿ œ

œ ¿ ¿ œœ

œ ¿ œ ¿ œ ¿ ¿ œ

œ ¿ ¿ œœ

œ ¿ œ œ¿ œ ¿

nœ

& b b b b b b Ebm7

˙ Ó Ó œ œ œ œ œ

‹

b b b b ‰ j

Ve - ry su - per-sti-

177

Schlagzeug

œ œ œœ œ œ œ œœ œ

Continued: Stevie Wonder - Superstition

& b b b b b b Ebm7

˙ Ó Ó œ œ œ œ œ

‹

‰ œœ

j œœœ œœ

Ve - ry su - per-sti-

&b b b b b b

{

. . . . . . . . . . . . . . .

œœœ

? b b b b b b . . .

. . . .

œ œ œ œ œ R ≈ ≈ œ ‰ œ œ R œ œ œ œ œ R ≈ ≈ œ ≈ œ œ R

œœœ

œœœ œœ

œœ

œœœ

? b b b b b b

œ. œ. œ. œ. œ. œ. œ œ

œ.

œnœ

¿ ¿

œ ¿ ¿ ¿ ¿ œ ¿ œ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ œ œ œ œ

œ œ œ œ œ œ¿ œ ¿

178

Continued: Stevie Wonder - Superstition

‹

b b b b b b Ebm7

- tious

lad der's 'bout to fall

œ œ œ Ó Ó œ œ œ œ œ

‰ œ œj œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ

? b b b b b b . . .

. . . .

œ œ œ œ œ R ≈ ≈ œ ‰ œ œ R œ œ œ œ œ R ≈ ≈ œ ≈ ≈ œ œ R

? b b b b b b

œ. œ. œ. œ. bœnœ

œ. œ. œ œ

œ bœnœ

¿ ¿

/ œ œ

œ ¿ ¿ ¿ ¿ œ œ

œ ¿ œ ¿ œ ¿ ¿ œ

¿ ¿ œ

œ ¿ ¿ œ ¿ œ

¿ œ ¿ œ œ¿ œ ¿

& b b b b b b Ebm7

˙ Ó

∑

‹

&b b b b b b ‰ œ œj œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ

& bb b b b b

{

. . . . . . . . . . . . . . .

179

œ œ œ œ œ œ œ œ œ œ

Continued: Stevie Wonder - Superstition

& b b b b b b Ebm7

‹

∑

‰ œ œj œœ œ œœ œ

& bb b b b b

{

. . . . . . . . . . . . . . .

œœ œ

? b b b b b b . . .

. . . .

œ œ œ œ œ R ≈ ≈ œ ‰ œ œ R œ œ œ œ œ R ≈ ≈ œ ≈ œ œ R

œœ œ

œœ œ œœ œ œœ œ œœ œ

œœ œ

? b b b b b b

œ. œ. œ. œ. œ. œ. œ œ

œ.

œnœ

¿ ¿

œ œ

¿ ¿ œ ¿ œ

¿ œ ¿ œ ¿ œ ¿ ¿ œ

¿ ¿ œ

¿ ¿ œ ¿ œ

¿ œ ¿ ¿ œ œ¿ œ ¿

Music/Lyrics: Stevie Wonder

180

Pop is porn. It’s there to get you off.

(Billy Corgan)

181

Production hooks are arrangement ideas that can, often subliminally, give a song its instant recognizability,

usually coming in the form of samples, exotic instruments or unique sounds. They can even point

deliberately to the lyrics. For instance, Money by Pink Floyd, in which a cash register sound can be heard

in the intro, or the heartbeat-like drums in The Beginning Is The End Is The Beginning by the Smashing

Pumpkins, which opens with the words: Send a heartbeat to the void that cries through you.

Lyrics: Billy Corgan (excerpt).

We could even say that the guitar tone on Incubus' The Warmth is a production hook. Here Mike Einziger

uses a combination of delay, phaser, overdrive and wah-wah pedal to create an instantly-recognizable

sound.

Another example is Lou Reed's Walk On The Wild Side. Here, instead of simply using an electric bass

guitar, a corresponding bassline is also played on a double bass. The riff forms the song’s main hook,

however the instrument chosen makes for a great production hook, where it’s such an atypical choice

within the genre. Here we can see that only one idea may be enough to give a song its distinctive sound.

In a similar way, one production idea makes a huge difference to With Or Without You by U2. Here, they

use a glockenspiel sample, played subtly throughout the song, but it is very prominent in the intro and

verses. Adding this in fills out this slow song with much-needed texture and interest.

Another example of a very distinctive production hook is the 30s jazz sample in Your Woman by White

Town, where the unique tone and feel of the recording add more than the melody alone ever could.

182

The key to a memorable production hook is to include something unusual, such as the tongue-clicking

in the Pharrell Williams-produced Drop It Like It's Hot by Snoop Dogg, or the sitar melody and combined

cymbal and snare sound on If Only Tonight We Could Sleep by The Cure.

You can, of course, use multiple production hooks in one song, such as the wah-wah effect and scratched

solo technique employed by Tom Morello on Rage Against The Machine’s Bulls On Parade. Morello’s

unique guitar-playing helped form the band’s signature sound across this and many other tracks.

Multiple production hooks can be frequently heard in electronic dance music, like in Kavinsky’s Night

Call, from the Drive movie soundtrack. Not only can you hear the main hook, a robot-like vocoder effect

on a male vocal, but also a distinctive vintage keyboard sound and multiple samples which set the song’s

mood and atmosphere.

183

Incubus

The Warmth

Hook

guitar effects: delay, phaser, overdrive

and wah-wah pedals

Lou Reed Walk On The Wild Side double bass riff

U2 With or Without You glockenspiel

White Town

The Cure

Rage Against The

Machine

Your Woman

If Only Tonight we Could

Sleep

Bulls On Parade

sample from My Woman by Lew Stone & The

Monseigneur Band feat. Al Bowlly

sitar, open snare sound, partly

deadened with a small cymbal

wah-wah 4 sound, ‘scratching’ guitar

solo through white noise 5 while using a

kill-switch 6

Kavinsky

Nightcall

70s keyboard sound, layered whispering/

vocoder 7 vocals, a wolf howl, crickets and

telephone box sounds

184

You can’t knock on opportunity’s door and not be ready.

(Bruno Mars)

185

A band that built many production hooks into their songs, particularly in their psychedelic and later

albums, were The Beatles. This was mainly down to their producer George Martin who, in addition to

the regular use of strings and brass, also experimented with exotic instruments and very modern recording

techniques for his time. Such inventive approaches ranged from combining four- and eight-track

recordings to sampling methods using tape loops. This type of production is well-used on their albums

Revolver (1966) Sgt. Pepper's Lonely Hearts Club Band (1967), Magical Mystery Tour (1967) and Abbey

Road (1969).

Hook

Come Together

vocal sample with echo

and hand-clapping on the bass drum

Strawberry Fields Forever Mellotron 8

I Am The Walrus

Lucy In The Sky With Diamonds

When I’m Sixty Four

Tomorrow Never Knows

double-tracking with delay on the vocals,

Pianet 9 , multiple samples (choral vocals, other

sounds)

Tambura 10 , electric organ

clarinette

tape loops 11 , Tambura, reversed

guitar solo

186

A style of music that works almost exclusively with production hooks is hip hop, through its heavy use

of samples. Interestingly, this has mainly to do with its historical background. When hip hop first came

about in the late 70s, budding artists (coming primarily from poor areas) took samples from existing funk

and soul records, where they simply could not afford professional studio time with a live band.

However, samples are also used in pop and rock. Despite coming out in the 60s, The Beatles’ All You

Need Is Love sampled parts from five different well-known songs, including their own.

Trip hop, a musical style which skilfully combines elements of hip hop and pop in an off-kilter way, utilizes

programmed beats and samples alongside melancholic vocals and eerie melodies. Popular bands from

within the genre are: Portishead, Massive Attack, Morcheeba and Sneaker Pimps.

187

Here a few examples of sample-based songs:

Mobb Deep

(Hip-Hop)

Shook Ones Part II

Samples:

Herbie Hancock - Jessica (hook/riff)

Quincy Jones - Kitty With The Bent Frame (hook/riff)

Daly-Wilson Big Band - Dirty Feet (drum loop)

Mobb Deep - Shook Ones Part I (vocal/lyrics)

Bran Van 3000

(Pop)

Drinking in L.A.

Samples:

Snoop Dogg feat. Daz Dillinger Gin and Juice (vocal/lyrics)

ASAP Productions The Track (vocal/lyrics)

Carlos Bess Smoke (drum loop)

Portishead

(Trip-Hop)

Sour Times

Samples:

Lalo Schifrin - Danube Incident (multiple sample)

Smokey Brooks - Spin-It Jig (drum loop)

TIP

Production hooks serve also to break the monotony within a song. Especially if working with few

chords, you can make a song more interesting by emphasizing the individual sections differently.

A good way to get started is by experimenting with effects units, for example ‘delay’ for a vocal or

‘distortion’ for a guitar or bass.

188

Difference between a Lick, Riff and Hook

Lick

Riff

A lick is the smallest component of these three, namely a short collection of notes

that may form part of a riff, solo or hook. These can be useful for breaking down

larger melodic ideas, as most musicians think in licks strung together, rather than in

single notes. They’re mainly played by one musician in a band set-up, but can also

be short improvisations by a solo artist.

A riff is a repetitive, rhythm and/or melody-based, instrumental phrase which can

contain several licks and run over multiple bars. It can emphasize a certain section or

even form the basis for the entire song by giving it its unique character. Unlike a lick,

it’s common for a riff to be played by multiple band members in unison.

Hook

A hook is a riff with high recognizability.

TIP

Another approach is to work with samples. To get a feel for what kind of samples you can use and how,

most popular songs have been indexed at whosampled.com, where you can see the original tracks

used. If you don’t want to search all the record stores in the world to find unique, unknown samples,

you could try working with a vinyl DJ.

189

#23 SAVING A VOCAL HOOK FOR THE PAY-OFF

If you’ve written a chorus melody which is not elevating the song as much as you would like, or perhaps

have a catchy one that is disrupting flow, you can place your melodic focus at the end of the song. A good

2 example of this approach is Coldplay’s Talk, which employs, in a sense, two different choruses, a subtler

which flows well within the song, then a second, anthemic one which fits best at the end.

Coldplay - Talk

(excerpt)

Chorus 1

q= 60

& b b Eb Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ œ œ œ j œ œ ‰ Ó ‰ ‰ ‰

‹

You can take a pic-ture

of some-thing

you see.

œ œ œ œ œ œ œ œ œ

j ‰ Ó ‰ ‰ œ œ

Eb Gm Bb Eb Gm Bb

In the fu - ture where will I be? You can

œ œ œ œ œ œ œ œ œ

j ‰ Ó ‰ ‰ ≈ œ R

Eb Gm Bb Eb Gm Bb

climb a

lad - der up to the sun. Or

‹

œ œ œ œ œ œ œ

Eb Gm Bb

write a song no - bo - dy had sung, or do

190

& b b Eb

‹

some

œ œ œ œ œ œ œ œ

- thing that's ne - ver been done.

‹

Continued: climbColdplay a lad - der Talk up to the sun. Or

‹

œ œ œ œ œ œ œ œ œ

j ‰ Ó ‰ ‰ ≈ œ R

Eb Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ

Eb Gm Bb

write a song no - bo - dy had sung, or do

& b b Eb

‹

œ œ œ œ œ œ œ œ

some

- thing that's ne - ver been done.

& b b 4

‹

So you don'tknowwhere you're go -ing,

but you wan-na

talk. And you

feel like you're go-ing

where you've been be - fore.

You tell

Chorus 2

- ny-one

who'll lis - ten but you feel ig - nored.

Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Ó ‰ ‰ œ œ

Eb Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ œ œ œ œ J ‰ Ó ‰ ‰ œ œ

Eb Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Ó ‰ ‰ ‰

‹

Eb Gm Bb

œ œ œ œ œ œ œ œ œ

œ œ œ

No - thing's real - ly ma - king a - ny sense at all. Let's

Eb F Eb F Gm

191

‹

Continued: Coldplay - Talk

a - ny-one

who'll lis - ten but you feel ig - nored.

‹

Eb Gm Bb Eb Gm Bb

œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Ó ‰ ‰ ‰

œ œ œ œ œ œ œ œ œ

Eb Gm Bb

œ œ œ

No - thing's real - ly ma - king a - ny sense at all. Let's

‹

b Eb F Eb F Gm

‰ œ J

œ œ œ œ œ œ œ ‰ œ J

talk, let's talk. Let's talk, let's talk.

œ œ œ œ œ œ œ Œ Ó

Music/Lyrics: Karl Bartos, Guy Berryman, Jonny Buckland, Will Champion, Ralf Hütter, Chris Martin, Emil Schult

Another Coldplay song that uses this technique is Low, also found on their album X & Y. Whereas the

above example uses the same chord progression for both ‘choruses’, Low is based on an entirely new

chord progression, which the new vocal hook sits above.

Coldplay - Low

(excerpt)

q= 132

# & # 4

‹

Chorus 1

Ó œ œ œ œ œ œ nœ

œ œ Œ nœ

œ œ œ

All you ev

- er wan - ted was love, but you nev - er

Em A

& # nœ

˙ œ œ œ ‰ œ j œ œ œ œ œ J œ œ j œ œ j ˙

‹

looked hard e- nough, it's nev-er

gon-na

give it - self up.

192

Continued: Coldplay - Low

Chorus 2

h= 66

# 4 &‹ # 2 Ó Œ œ œ ˙ œ w

G A 7 /G

Cause I feel low,

G A 7 /G

& # Ó Œ œ œ ˙ œ w œ œ œ œ œ

J Œ

‹

# ˙

& #

‹

# w

sus4

& #

‹

'cause I feel low, ooh,

Œ œ J

œ ˙ œ w

yeah I feel low, oh no,

∑ ∑ Œ ˙ w

oh.

Music/Lyrics: Guy Berryman, Jonny Buckland, Will Champion, Chris Martin

∑

Œ ˙

∑

193

A similar song is Supervixen by Garbage. Again, we have two choruses, with the song’s memorable intro

section being used as the final chorus, deviating significantly from the first chorus in terms of topline.

Garbage - Supervixen

(excerpt)

q= 84

& # # # # # 4

Chorus 1

Eb Tuning

A E G

œ œ nœ

œ œ œ

Make a whole new re - li - gio - on,

& # # # B A E G

# # ‰

œ j œ

œ œ œ œ œ œ j nœ

œ j œ œ œ œ

a fal - ling star that you can not live with - out.

Chorus 2

& # # # F# C#m E A F# C#m E

# # 4 œ œ œ œ œ ˙ Ó œ œ œ œ œ nœ

˙ Ó

Bow down to me. Bow down to me.

Music/Lyrics: Duke Erikson, Shirley Manson, Steve Marker, Butch Vig

194

Chord Progressions

Chorus 1 Chorus 2

Coldplay Talk Eb Gm Bb (7x) Eb F Eb F Gm Eb Gm Bb (7x) Eb F Eb F Gm

Coldplay Low C C Am Am Em Em A G A7/G G A7/G G C Asus4 Asus4 G

Garbage Supervixen B A E G (2x) F# C#m E A F# C#m E

TIP

This technique works best when you want to connect several different chord progressions.

195

#24 USING DIFFERENT GUITAR TUNINGS

Different voicings 12 can create different sounds and moods when using string instruments, with one way

of doing so being the use of different tunings. Popular tunings on the guitar include Eb, where each

string of the guitar is tuned down a semitone and drop D, which simply lowers the low E-string a whole

tone to become a D. The main difference between these two tunings is that in Eb (as with any other keybased

tuning) the topline will need to change along with the new key. In drop-D however, the topline

remains unaffected, since generally only the voicing, that’s to say the sound of the chords, changes.

A band who write many of their songs in the Eb-tuning is U2. This can be a simple method for varying the

sounds in your repertoire, while at the same time avoiding the use of awkward barre chords, which are

both harder to play and lack the satisfying tone of open strings. As a result, it is mainly used for typical

guitar keys such as: D major / D minor, A major / A minor and E major / E minor. Another advantage of

this tuning is that it can be easier for the vocalist on the higher notes, where the arrangement is typically

one semitone lower than it would be in standard tuning.

196

U2 songs that use Eb tuning are:

Song

Sunday Bloody Sunday

New Year‘s Day

Still Haven‘t Found What I‘m Looking For

Stay (Faraway, So Close!)

City Of Blinding Lights

Key

Bbm

Abm

A popular example of drop D tuning is Killing In The Name by Rage Against The Machine. Here the

lowered E string supports the already thick guitar sound which carries the aggressive lyrics further still.

Rage Against The Machine - Killing In The Name

(excerpt)

q= 80

& b 4

Riff

Drop D Tuning

œ œ œ ¿ ¿

# œ# œ œ

œ <n>

n œ <n> œ œ œ œ œ ¿ ¿

# œ# œ œ

œ <n>

n œ <n> œ œ œ

Music/Lyrics: Tim Commerford, Tom Morello, Zack de la Rocha, Brad Wilk

197

A song that uses Eb tuning in drop-D is Something In The Way by Nirvana.

Nirvana - Something In The Way

(excerpt)

Voice

Guitar

Verse

Eb Tuning, Drop D

q= 106

& # # # F# 5 D F# 5 D

4 œ j œ œ œ œ œ Œ Ó œ j œ œ œ œ j œ Œ œ œ Œ

Un-der-neath

the bridge tarp has sprung a leak And the

& # # #

4 ˙ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ

˙ œ œ œ ˙˙

œ œ œ & # # # F#5 D F# 5 D

œ j œ œ œ œ j œ Œ Ó œ j œ œ œ œ j œ Œ Ó

a -ni-mals

I've trapped have all be-come

my pets

& # # #

œ œ œ

œ ˙˙

œ œ œ

Music/Lyrics: Kurt Cobain

198

There are, however, many alternative tunings to choose from. A band that work a lot with altered

tunings is Coldplay. In their song God Put A Smile Upon Your Face, the strings of the guitar are tuned in

such way that, although the song is written in C# major, the chords can be played with as many open

strings as possible, avoiding the otherwise common barre chords. The result is an open C# tuning.

Coldplay - God Put A Smile Upon Your Face

(excerpt)

q= 124

# & #

# ## # # 4

‹

Verse

open C# Tuning

C©

Œ Œ ‰ œ

Where do we go,

C©

& #

# ## # # Œ Œ ‰ œ J

nœ

œ nœ

‹

I‘ve got to

say,

n œ J œ nœ

œ J œ nœ

no-bo-dy

knows.

œ J œ nœ

I'm on my

way

D©7

D©7 DŒ„Š7

‹ œ ˙ Ó Ó Ó

down.

DŒ„Š7

‹ œ ˙ œ# œ ˙ Ó

Music/Lyrics: Guy Berryman, Jonny Buckland, Will Champion, Chris Martin

199

Standard Tuning Open C# Tuning Difference

E C# 3- (three semitones lower)

A C# 4+ (four semitones higher)

D E# or F 3+

g g# 1+

h c# 2+

e c# 3-

Yet another way to voice a note differently on the guitar is by using touch harmonics. This method is

especially popular in classical guitar music, but it is also used in rock, for example in Rage Against The

Machine’s Fistful of Steel.

200

Rage Against The Machine - Fistful of Steel

(excerpt)

q= 80

& # # #

Riff

F#m Em F#m Em

œ œ œ ≈ ¿ ¿ œ œ œ ≈ œ œœ

n œ

œ œ œ ≈ ¿ ¿ œ œ œ ≈ œ œœ

n n

n O

XII

F#m

& # # # V

œ œ œ ≈ ¿ ¿ œ œ œ ≈ œ œœ

œ O

n n

F#m

œ œ œ ≈ ¿ ¿ œ œ œ ≈ O n ‰

Music/Lyrics: Tim Commerford, Tom Morello, Zack de la Rocha, Brad Wilk

TIP

Be aware that certain tunings are used more in some genres than in others, for instance DADGAD in folk

music, drop D and Eb in alternative rock, and drop C in metal.When using lower tunings, you should use

higher gauge (thicker) strings, otherwise they may not have enough tension.

TIP

Some guitarists even recommend tuning the G and B strings down a further five cents to create a better

feeling of harmony in general.

201

#25 REVERSE POLARITY

Reversing the polarity, also known as using a ‘borrowed minor’, introduces non-diatonic chords to a song.

Most commonly, this means changing one chord from major to minor, although other combinations are

possible.

This can have a range of effects, including:

• making the chord progression more interesting

• signposting a new song section

C major chords and C major chords with reversed polarity:

w w w w w

C Dm Em F G Am b°

b w

w <n>

<n>

<n>w

Cm Dm Em Fm Gm Am b°

202

In their breakout single, Creep, Radiohead add interest to a simple progression in G major by moving from

C major to the non-diatonic C minor. The result is a darker and less generic take on a love song.

Radiohead - Creep

(excerpt)

q= 84

& 4

‹

Chorus

œ r œ œ œ œ œ ∑ Ó œ œ œ œ œ œ œ œ œ# œ œ

But I'm a creep I'm a weir - do

‹

Œ œ œ œ œ œ œ œ œ œ ˙ Œ Œ Œ œ œ œ bœ

what the

œ J œ Ó

hell am I do-ing

here I don't be- long here

∑

Music/Lyrics: Ed O’Brien, Colin Greenwood, Jonny Greenwood, Albert Hammond, Mike Hazlewood, Philip Selway, Thom Yorke

203

U2 use a similar chord progression in their song Magnificent on their album No Line On The Horizon.

U2 - Magnificent

(excerpt)

q= 115

# & #

# #

‹

Chorus

F#m C#m A E B Bm

But on

œ œ œ ˙

œ œ œ œ J

On-ly

love on -ly

love can leave such a mark

F#m C#m A E B Bm

# #

& # # Œ

œ j œ œ J

œ œ œ œ œ œ œ œ Ó Ó J

Ó œ œ œ ˙ ∑

‹

- ly love on -ly

love can heal such a scar

œ œ œ ˙

∑

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

Weezer reverse the polarity of a D-major chord to create tension before the start of the chorus on Buddy

Holly, signposting the new song section.

204

Weezer - Buddy Holly (excerpt)

q= 120

# #

& # 4

‹

Pre-Chorus

Eb Tuning

œ. œ.

‰

C#m F#m D

J œ œ œ œ œ

œ œ œ Œ

‰

J œ œ

Ooh, ooh, but you know I'm yours Ooh, ooh, and you know

& #

# C#m F#m D .

œ œ œ .

œ œ

œ œ Œ

‹

œ œ œ J nœ

œ œ œ J

# & #

‹

Ooh

say

you're mine Ooh, ooh, and that's for all the time

Chorus

A D E

œ œ œ œ œ œ œ œ œ œ

- Wee - Ooh, I look just like Bud - dy Hol - ly

# # A D E F#m

& # œ

Œ J ‰ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ

‹

Uh, oh, and you're Ma - ry Ty - ler Moore I don't care what they

& #

# D E A A D E A

œ œ œ œ œ œ œ œj œ

‰ œ

œ # œ œ œ œ Œ Ó

‹

a - bout us a -ny- way I don't care 'bout that

205

# & #

4 œ

‹

A D E

œ œ œ œ œ œ œ œ œ œ

Continued: Weezer - Buddy Holly

Ooh - Wee - Ooh, I look just like Bud - dy Hol - ly

& #

# A D E F#m

Œ J ‰ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ

‹

say

Uh, oh, and you're Ma - ry Ty - ler Moore I don't care what they

& #

# D E A A D E A

œ œ œ œ œ œ œ œj œ

‰ œ

œ # œ œ œ œ Œ Ó

‹

a - bout us a -ny- way I don't care 'bout that

Music/Lyrics: Rivers Cuomo

Where Is My Mind? by Pixies features multiple non-diatonic chords, including one that helps to signpost

the end of the chorus. In this example though, they go one step further and also add a diatonic twochord

interlude before returning to the chorus.

Pixies - Where Is My Mind?

(excerpt)

q= 84

# & #

# #

‹

Bridge

E G# A Am C#m

œ œ œ œ œ Œ ‰ œ œ œ œ œ œ œ œ Œ

Way out in the wa-ter,

see it swim-ming

Music/Lyrics: Charles Thompson

∑

206

An example of a change from minor to major would be Muse's Cave. Here, they switch from D minor to

D major in the second bar of the chorus, which contextualizes the topline in a new way.

Muse - Cave

(excerpt)

& b 4

‹

‰ œ J

Chorus

D/F#

œ œ œ ˙ œ œ ˙ œ œ Œ J # œ ˙ J

So come in my cave and I'll burn

‰ œ J œ nœ

‹

your heart a - way

Dm D/F# Gm

œ œ ˙ œ œ œ œ œ J

w ˙ Œ

Music/Lyrics: Matthew Bellamy

207

Chord Progressions

Radiohead Creep G B C Cm

U2 Magnificent F#m C#m A E B Bm

Pixies Where Is My Mind? E G# A Am C#m B

Weezer

Buddy Holly

(Eb tuning)

D C#m F#m (2x)

D Dm A

Muse Cave Dm D/F# Gm (2x)

TIP

Reverse polarity is also ideal for emphasizing part of the main melody in a new way, so try using it

in poignant or pivotal moments of the song. Try not to be bound by simply the diatonic or ‘normal’

chords in the key; you may be surprised where the new harmonizations take you.

208

Don’t let your dreams be dreams.

(Jack Johnson)

209

#26 MODAL INTERCHANGE

Sometimes simply incorporating one non-diatonic or ‘non-scale’ chord is enough to transform your

progression and add a lot of interest to your song.

Enjoy The Silence by Depeche Mode (written in C minor) creates more tension in the verse by replacing

the expected Eb major chord with Eb minor.

Depeche Mode - Enjoy The Silence

(excerpt)

q= 112

Verse

b 3

& bb b 4 Œ œ œ œ œ ‰ ‰ bœ

œ j œ œ ‰

‹

Ebm

Words like vio - lence

break the sil - ence

‹

b b b

≈ j œ

nœ

œ œ j ‰

come crash -ing

in in - to my litt - le world.

œ œ œ œ œ œ œ j ‰

Music/Lyrics: Martin Gore

Another example of modal interchange is Small Town Witch by Sneaker Pimps. Here, the chorus goes

to Ab major, instead of the A major you would expect from the key of D minor. Similarly, it uses E major

instead of E diminished. This gives the song an unexpected harmonic twist that sets itself apart from

standard cadences.

210

Sneaker Pimps - Small Town Witch

(excerpt)

q= 104

shuffle

& b 4

‹

Chorus

Bb Ab Dm F

œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ # œ œ œ œ j œ Œ

Small town witch come to mess me up, small town witch come to mess me up

Bb Ab Dm F

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó

Small town witch come to mess me up a - gain

Bb Ab Dm F

œ œ œ œ œ œ œ œ ‰ œ

Small town witch come to mess me up, small town witch come to mess me up

Bb Ab Dm F E

Small town witch come to mess me up a-

gain

Œ œ œ œ œ # œ œ œ œ j œ Œ

œ œ œ œ œ œ œ œ ‰ œ J œ œ œ œ ˙ Ó Ó Ó

Music/Lyrics: Chris Corner, Ian Pickering

∑

211

Another example would be Strawberry Fields Forever by The Beatles. Here, the verse moves from Bb

major to F minor, where we would normally expect to hear an F major chord.

The Beatles - Strawberry Fields Forever

(excerpt)

q= 100

Verse

& b b 4 Œ œ œ œ J

œ œ œ J œ œ œ J œ bœ

j œ Œ bœ

œ œ œ Œ Ó

‹

Let me take you down 'cause I'm go-ing

to Straw-ber-ry

Fields

Fm/Eb

& b b D°7 Ó bœ

œ bœ

œ J œ Œ

‹ 3

œ j œ œ

œ <n> œ

- thing is real And no - thing to get

& b b G Eb Bb

4 n œ œ œ œ Ó 8

œ b œ œ

œ œ œ 4 œ œ Œ Ó

‹

hung a bout Straw-ber

- ry Fields for - e - ver

Music/Lyrics: Paul McCartney/John Lennon

212

Chord Progressions

Verse

Chorus

Depeche Mode

Enjoy The

Silence

Cm Ebm Ab –

Sneaker Pimps

Small Town

Witch

–

Bb Ab Dm F (3x)

Bb Ab Dm F E

The Beatles

Strawberry

Fields Forever

Bb Bb Fm Fm/

Eb D 0 7 D 0 7 Eb F

G Eb Eb Bb

–

TIP

To get a feel for non-diatonic chords, pick just one chord from your progression and modulate it to

major or minor. Be aware that you may have to adjust the vocal melody too.

213

#27 THE BII, BIII, BVI AND BVII CHORDS

One popular trick in songwriting is to alter the second, third, sixth or seventh chord in the major scale by

lowering the root by a semitone, thus making a new major chord. The resulting chords are referred to

as the bII, bIII, bVI and bVII respectively. Here, the numbers refer to each chord's place in relation to the

root. This is known as Nashville notation.

The main benefit of this is that you now have a total of seven major chords to choose from, rather than

the usual three. The original minor chords are also still available for use, of course, meaning we have

greatly expanded the number of chords available within a key.

In C major, these are:

w w w w w

C Dm Em F G Am h°

w w

C Db Eb F G Ab Bb

214

These newly-created chords give the listener something unexpected, as well as helping to create atypical

melodies where they differ from the usual chords available within a key.

A well-known alternative song that features this type of chord extension is Every Day Is Exactly The Same

by Nine Inch Nails.

b w

Since the song is written in E major, the extended chords in this case are:

# w #

# w

# w # # w #

# w

# # w

E F#m G#m A B C#m d#°

# w n

# w # # w n

n w

n # w

E F G A B C D

The chords used in the Nine Inch Nails song are as follows:

E F G A C , the equivalent to the bII, bIII and bVI degrees in Nashville notation.

Nine Inch Nails - Every Day Is Exactly The Same

(excerpt)

q= 68

# & #

# #

‹

Verse

C E C

Œ ‰ œ nœ

œ œ œ œ œ œ œ

nœ

j # œ ‰ ‰ Ó

I be - lieve I can see the fu - ture

E C G F

# #

& # # ‰ ≈ r œ œ nœ

œ œ ≈ œ œ œ œ œ ‰ ‰ ‰ Ó

nœ J ‹

'cause I repeat the same rou tine

Chorus

215

‹

# # #

‰ ≈ r œ œ nœ

œ œ ≈ œ œ œ

nœ

'cause I repeat the same rou tine

œ œ J

‰ ‰ ‰ Ó

Continued: Nine Inch Nails - Every Day Is Exactly The Same

Chorus

A C G

# & #

# #

4 Œ ‰ ‰ œ œ nœ

œ œ nœ

œ œ œ nœ

œ œ

‹

- e - ry day is ex - ac - tly the same,

E A C G

& #

# # Œ ‰ ‰ œ œ n œ œ œ n œ œ œ œ nœ

œ œ

‹

- e - ry day is ex - ac - tly the same

E A C G

# #

& # # Œ ‰ ‰ œ œ n œ œ œ n œ J œ J

œ nœ

œ œ

‹

There is no love here and there is no pain

E A C G

# #

& # # Œ ‰ ‰ œ œ n œ œ œ n œ œ œ œ nœ

œ œ

‹

Music/Lyrics: Trent Reznor

- e - ry day is ex - ac - tly the same

Chord Progressions

Verse

Chorus

Nine Inch Nails Every Day Is Exactly The Same E C (3x) G F E A C G

216

b w

w bw

Another example is Nirvana's Lithium. The song is written in D major, resulting in the following modified

chords:

& # w w #

# w

& # w b

# w

# w # w

D Em F#m G A Bm c#°

# w b

n w

D Eb F G A Bb C

The chords used in the song are:

D F# G A Bb C Bm and include the bVI and the bVII degree.

217

Nirvana - Lithium

(excerpt)

q= 116

# & # 4

‹

Verse

D F# Bm G

Ó œ œ œ œ Œ œ J

œ œ J

I'm so hap - py

'cause to - day

Bb C A C

& # œ bœ

œ œ œ nœ

œ Œ ‰

‹ nœ

j œ œ œ œ

I've found my friends, they're in my head.

# & # 4

‹

œ nœ

Chorus

D F# Bm G

œ œ œ nœ

œ œ Œ Ó Œ œ nœ

œ œ œ œ œ

Yeah yeah yeah

& # <n> Bb C A C

˙ œ J Œ œ n œ œ œ œ nœ

œ œ

‹

yeah

218

Continued: Nirvana - Lithium

# & # 4

‹

Middle 8

Bb G Bb G Bb G Bb

œ œ j nœ

œ j nœ

œ œ <#> œ œ œ J J

Œ œ œ j nœ

œ j nœ

œ œ <#> œ œ œ J J

I like it I'm not gon-na

crack I miss you I'm not gon-na

crack

G Bb G Bb G Bb G Bb

& # Œ œ œ jn œ

œ j n œ œ œ <#> œ œ œ J J

Œ œ œ j nœ

œ j nœ

œ œ <#> œ œ œ J J

‹

I love you I'm not gon-na

crack I killed you I'm not gon-na

crack

Music/Lyrics: Kurt Cobain, Dave Grohl, Krist Novoselic

Chord Progressions

Verse Chorus Bridge

Nirvana Lithium D F# Bm G Bb C A C D F# Bm G Bb C A C G Bb G Bb (4x)

TIP

Try changing the chords of a song you have already written using the method above; you may be

surprised at where this takes your original topline.

219

#28 WRITING A BALLAD OVER MAJOR CHORDS

It’s easy to write habitually in either major or minor keys without noticing, which can in some situations

leave your songs sounding dry or dull. One such situation is the overuse of the minor key when writing

ballads.

You can counteract this by simply writing the same song/topline in major rather than in minor. Thus the

song will have less heaviness, which at the same time will make it easier for the listener to engage in the

song. Sometimes it is even enough when the minor tonic changes into a major chord, as in Right Where

It Belongs by Nine Inch Nails. The song is actually written in D minor, but begins with a D major chord

instead.

So, the chords are:

Chord Progressions

Verse

Chorus

Nine Inch Nails Right Where It Belongs D D C Bb Gm Bb F C

220

TIP

Verse

q= 70

shuffle D

Nine Inch Nails - Right Where It Belongs

& b 4

‹

q= 70

shuffle

& b 4C

Œ œ # œ œ œ œ œ œ œ œ œBb

œ # œ œ œ j ‰ Œ

& ‹ b Œ œ nœ

œ œ œ œ œ œ œ j ‰ Œ Ó

‹

& b 4F

& ‹ b Œ

‹

Verse

See the a - ni -mal

in his cage that you built,

Œ œ nœ

œ œ œ œ œ œ œ j ‰ Œ Ó

Chorus

& b 4 Œ

‹

are you sure what side you're on?

Chorus

What if eve - ry - thing a - round you

Music/Lyrics: Trent Reznor

œ œ œ œ œ œ œ C œ œ œ Ó

œ œ œ œ œ Œ Ó

What if eve - ry - thing a - round you

(excerpt)

Œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ j ‰ Œ

See the a - ni -mal

in his cage that you built,

are you sure what side you're on?

œ œ œ œ œ œ œ œ œ œ Ó

is - n't quite as it seems?

œ œ œ œ œ Œ Ó

is - n't quite as it seems?

Sometimes it’s enough to change only the root chord to major.

221

#29 MODULATION

Most key changes in popular music are based on direct (or diatonic) modulation, where you simply switch

from one key to the next. This is in contrast to classic (or pivot-chord) modulation, in which a chord

shared by both keys serves as a connector.

Main functions of modulation in pop music

The two most common functions of modulation are:

• Elevating the chorus

• Elevating the final chorus

Elevating the chorus

A good example of this is The Beatles' While My Guitar Gently Weeps, where they write in A minor

during the verse, but A major in the chorus. In this case, an E major chord acts as a pivot point, where

it's the dominant in both keys.

In Never Let Me Down Again by Depeche Mode, they use direct modulation by switching from D minor

in the verse to C minor in the chorus, a change of one step (or two semitones).

Both types of modulation are used to create contrast between the song sections, thereby emphasizing

the chorus.

222

The Beatles - While My Guitar Gently Weeps

(excerpt)

q= 112

‹

Verse

œ œ Œ ‰ œ œ œ

Am/G Am/F# F

Œ Œ œ J

œ œ

Œ ‰ œ œ œ J

œ J

‰ Œ Ó

I look at you all, see the love there that's slee-ping,

Am G D E

& Œ œ œ œ œ œ ‰ œ œ œ j œ Œ Ó Ó Œ ‰ œ j

‹

while my

guitar gen - tly weeps. I

Am Am/G Am/F# F

& œ œ ‰ œ œ œ j œ ‰ œ œ œ j œ œ œ œ œ J J

œ ‰ Ó

‹

look at the floor, and I see it needs swee - ping.

Am G C E

& Œ œ œ œ œ œ ‰ œ œ œ œ J

Œ Ó

‹

∑

Still my gui - tar

gen - tly weeps

223

Continued: The Beatles - While My Guitar Gently Weeps

Chorus

# & #

4 Œ ‰ œ œ J

œ œ

‹

C#m

I don't know why

œ œ œ

& #

# F#m

C#m

Œ ‰ œ œ J

œ œ œ œ œ Œ Ó

‹

- bo - dy to - ld you

# #

& # Bm 3

Œ ‰ œ œ J

œ œ ˙ ‰ œ nœ

œ œ Œ Ó

J ‹

how to un - fold your love.

∑

Music/Lyrics: George Harrison

224

Depeche Mode - Never Let Me Down Again

(excerpt)

Verse

4 q= 106

& b 4

‹

œ # œ Œ œ œ # œ œ Œ œ œ œ œ

∑

I'm

tak-ing

a ride with my best friend

‹

Dm C G

œ # œ ‰ œ j œ j ‰ œ œ # œ œ œ œ œ œ œ

∑

I hope he ne - ver lets me down a -gain

Chorus

We're

Bb Gm F

& b b Cm

b 4 œ Œ œ œ J

œ œ ‰ œ œ œ œ œ œ Œ œ œ œ œ Œ Ó

J J J J ‹

fly-ing

high we're watch-ing

the world pass us by

‹

b b b

Œ œ œ œ œ œ œ œ J

‰ œ œ œ œ œ œ

Nev

- er want to come down nev - er want to put my

‹

b b b

œ œ œ œ œ œ œ Œ Ó

feet back down on the ground

Music/Lyrics: Martin Gore

225

Elevating the final chorus

This method gives the classic feeling of a 'larger than life' final pop chorus. Here you go two steps (one

whole tone) up just once in the song, and usually stay there. As seen earlier in this section, Whitney

Houston's I Wanna Dance With Somebody does this directly, however a more sublte way to modulate for

the final chorus is by doing so in the section preceding this chorus.

Examples would be:

• Madonna - Hollywood (switches from B minor to C# minor during the bridge)

• The Police - So Lonely (C major to D major, solo)

• Taylor Swift - Paper Rings (D major to E major, middle eight)

226

Whitney Houston - I Wanna Dance With Somebody (Who Loves Me) (excerpt)

q= 119

& bb b b b b 4

Chorus

Œ œ œ œ œ œ œ œ œ œ j œ œ j Œ Œ ‰ œ J

œ œ œ œ œ

Oh,

I wan-na

dance with some-bo

- dy

I wan-na

feel the heat

& bb b b b b

with some

Ebm

œ œ j œ œ j Œ Œ œ œ œ œ œ œ

- bo - dy

Yeah I wan - na dance

& bb b b b b Cb Db

œ j œ œ œ œ j Œ Ó œ œ œ œ œ œ œ œ œ

with some-bo

- dy

With some - bo - dy who loves me

227

Continued: Whitney Houston - I Wanna Dance With Somebody (Who Loves Me)

Chorus 2

& bb b b

4 Œ œ œ œ œ œ œ œ j œ œ

Oh,

œ œ J

Œ Œ ‰ œ J

œ œ œ œ œ

I wan-na

dance with some-bo

- dy

I wan-na

feel the heat

& bb b b

with some

œ œ j œ œ J

Œ Œ œ œ œ œ œ œ

- bo - dy

Yeah I wan - na dance

& bb b b Db Eb

œ œ œ j œ œ Œ Ó œ œ œ œ œ œ œ œ œ

with some-bo

- dy

With some - bo - dy who loves me

Music/Lyrics: George Merril, Shannon Rubicam

228

Madonna - Hollywood

q= 120

& # # 4

Verse

(excerpt)

Bm D G Em

Œ œ œ œ œ œ œ

‰ œ j œ œ ˙

- ery - bo - dy comes to Hol - ly - wood

& # #

Bm D G Em

‰

œ j œ œ œ œ œ œ œ œ œ œ ˙

They wan - na make it in the neigh - bor - hood

& # # 4

& # #

Chorus

Shine your light now this time it's

got to be good

D G Em

œ œ œ j ‰ œ œ ˙ œ

‰ ‰ ‰

Bm D G Em

# œ nœ

œ œ œ œ

Œ ‰ Ó

œ j œ œ

229

Continued: Madonna - Hollywood

& 4

& # # # #

Bridge

C#m E A F#m C#m E A F#m

≈ ¿ ¿ ¿

j Œ Ó Œ ‰ Ó Œ ¿ j ¿ ¿ ¿ j ‰ Œ ‰ Ó

Check it out, this bird has flown

Chorus 2

C#m

œ œ œ j ‰

Shine your light now this time it's

& # # # #

nœ

œ œ œ œ œ

got to be good

E A F#m

œ œ ˙ œ

‰ ‰ ‰

C#m E A F#m

Œ ‰ Ó

œ j œ œ

Music/Lyrics: Miruais Ahmadzaï, Madonna Ciccone

230

The Police - So Lonely

(excerpt)

q= 76

‹

Verse

C G Chorus

Am F

& Œ C

& 4 œ œ ‰ œ œ J

œ ≈ œ r œ

œ œ ‰ œ œ ≈ œ œ r œ œ

œ œ ‰ œ j œ œ ‰ œ Ó

J J ‹ œ

you act as if you just don't care

‹

So lone - ly,

so lone - ly,

C G Am F

Am Œ F C G Am F

& ‹ ‰ œ œ ‰ œ œ œ J œ œ œ

œ œ ˙ ‰ œ œ œ œ ≈ œ œ

œ œ ‰ œ œ œ œ œ œ Ó

œ œ ˙ Ó

‹

so lone

Well, some

G Am F

Œ ‰ œ J

œ œ œ œ œ J

œ œ j Ó

- one told me yes - ter - day

C G Am F

& Œ ‰ œ œ J œ œ œ œ œ œ œ Ó

‹

that when you throw your love a - way

you look as if you're go - ing some - where

- ly!

so lone - ly, so lone - ly,

231

Continued: The Police - So Lonely

& # # 4

& # #

Solo

œ œ œ œ

A Bm G D A

3 3

‰ œ œœœ œ œ œ œœœ œ œnœ

œ œœ ‰ Œ œ

≈œ r ‰ ≈≈œ r œ# œœœœœœ

œ .

& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

# ≈ R R ≈ ≈ R ≈

e= 152

4 8 &‹

# #

Bm G D A Bm G

œ œ œ œ

≈

Chorus 2

≈

œ œ œ œ œnœ œ œ œ

3 3

œ œ œ œ

œnœ

œ œ œ# œ œnœ# œ œ œ œ œ

So lone-ly,

so lone-ly,

so lone-ly!

So lone-ly,

so lone-ly,

so lone

A Bm G D A

‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ˙ ‰ œ œ œ œ œ ‰ œ œ œ œ œ

Bm G D A Bm

& # ‰ œ œ œ œ œ ˙ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ

‹

- ly!

So lone - ly, so lone - ly, so lone - ly!

232

Music/Lyrics: Gordon Sumner

G D A Bm G

& # ˙ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ˙

‹

So lone

- ly, so lone - ly, so lone - ly!

Taylor Swift - Paper Rings

(excerpt)

q= 208

& # # 4

Verse

œ œ œ j œ œ j œ œ œ œ œ œ œ œ j œ œ œ j

The moon is high Like your friends were the night that we first met

& # #

œ j ‰

œ œ œ œ œ œ œ œ œ œ j œ œ j

Went home and tried to stalk you on the in - ter - net

& # # Bm A Œ

∑

œ œ œ œ œ œ œ œ j Œ

œ œ œ œ œ œ

Now I've read all of the books be-side

your bed

& # # 4

& # #

gon

Pre-Chorus

œ œ œ œ œ œ œ œ œ œ

(Ay!) Kiss me once'cause you know I had a long night (Oh!)Kiss me twice 'cause it's

œ œ œ œ

- na be al - right (Uh!) Three times 'cause I've

œ ¿

œ œ œ œ œ

œ ¿ œ œ œ œ

& # #

œ œ œ œ

œ œ Œ œ Œ œ œ œ œ

wait - ed my whole life (One, two, one, two, three, four)

233

& # #

4 Continued: gonTaylor - na Swift be - Paper al Rings - right (Uh!) Three times 'cause I've

& # #

& # # 4

& # #

œ œ œ œ

Chorus

œ œ œ œ œ œ j œ œ j œ œ œ j œ œ œ œ j œ œ

I like shi-ny

things, but I'd mar-ry

you with pa-per

rings Uh - huh, that's

œ Œ Œ œ œ œ Œ œ œ œj œ œ j œ œ

wait - ed my whole life (One, two, one, two, three, four)

right, dar - ling, you're the one I want And I hate ac - ci-dents

ex-cept

œ œ j œ œ œ œ j œ œ

when we went fromfriends to this Uh - huh, that's right, dar - ling, you're the

œ ¿ œ œ œ œ

œ œ Œ œ Œ œ œ œ œ

œ Œ Œ œ

œ œ œ œ

œ Œ Œ œ

œ œ j œ œ j œ

œ Œ Œ œ œ œ Œ œ œ

& # #

œ j œ œ j œ œ œ ˙ œ œ

œ œ ˙ œ œ

one I want In pa -per

rings, in pic-ture

frames, in

& # # Bm

œ ˙ œ œ

dir

- ty dreams Ah- oh,

you're the one I want

Œ Œ œ œ œ œ Œ

œ œ œ j œ œ j œ

234

Continued: Taylor Swift - Paper Rings

& # # # #

& # # # # A

too

& # # # #

Middle 8

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I want to drive a - way with you I want your com - pli- ca - tions

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I want your drea -ry

Mon - days Wrap your arms a- round me, ba - by boy

Chorus 2

œ œ œ œ œ œ j œ œ j œ œ œ j œ œ œ œ j œ œ

I like shi-ny

things, but I'd mar-ry

you with pa-per

rings Uh- huh, that's

œ Œ Œ œ

œ œ Œ

right, dar - ling, you're the one I want And I hate ac - ci-dents

ex-cept

when we went from friends to this Uh - huh,

that's

œ Œ Œ œ

œ œ œj œ œ j œ œ œ œ œ œ œ œ j œ œ j œ

œ œ j œ œ œ œ j œ œ

Œ Œ œ

& # # # #

Œ Œ œ œ œ Œ

œ œ œ j œ œ j œ

right, dar - ling,

you're the one I want

235

& # # # #

œ Œ Œ œ œ œ Œ œ œ œj œ œ j œ œ œ œ œ œ œ œ j œ œ j œ

Continued: right, Taylor Swift dar - - ling, Paper you're Rings the one I want And I hate ac - ci-dents

ex-cept

& # # # #

œ œ j œ œ œ œ j œ œ

when we went from friends to this Uh - huh,

that's

Œ Œ œ

& # # # #

Œ Œ œ œ œ Œ

Music/Lyrics: Jack Antonoff, Taylor Swift

œ œ œ j œ œ j œ

right, dar - ling,

you're the one I want

An example of advanced direct modulation would be Rage Hard by Frankie Goes To Hollywood. Here,

they modulate from the starting key of E minor to F# minor for the chorus, before rising again to G#

minor.

Frankie Goes To Hollywood - Rage Hard

(excerpt)

q= 109

& 4

‹

Verse

Œ Œ ‰

œ j œ œ

# D

& œ œ œ œ ‹ œ œ œ

œ œ œ œ œ

Laugh like the head of A - pol - lo

œ œ œ œ j œ

Young and strong on the wings of to - mor - row

236

Continued: Frankie Goes To Hollywood - Rage Hard

# & #

‹

Chorus

F#m

œ œ Œ œ œ œ œ œ œ œ œ Œ Œ

œ œ Œ œ œ œ œ Œ

Rage hard, in-to

the li - i - ight Rage hard, do-ing

it right,

‹

# #

œ œ œ œ Œ Œ œ œ ‰ œ r œ œ œ œ œ œ œ Œ Œ œ œ Œ œ œ œ œ œ

‹

# #

do-ing

it right Ragehard, a-gainst

the da - a- ark Ragehard, make your ma-ark

G#m C# G#m C#

# œ œ œ œ œ j œ Œ œ œ œ # œ œ œ œ

Let the tour - na-ment

be - gin

Don't give up and don't give in

& #

# G#m C# F#5 G# 5 A 5 B 5 Cm

œ # œ œ œ œ œ j

œ Œ œ œ œ œ œ œ

J œ œ œ

‹

Strength to rise up,strength to win Strength to save the world from lo - sing

Music/Lyrics: Peter Gill, Holly Johnson, Brain Nash, Mark O’Toole

237

Another example of direct modulation is Lucy In The Sky With Diamonds by The Beatles. Here, they write

in three keys, modulating from A major in the pre-chorus to Bb major, before then modulating again in

the chorus to G major.

The Beatles - Lucy In The Sky With Diamonds

(excerpt)

q= 128

# 3

& #

‹

Verse

A 7 /G D/F# Dm/F A/E A 7 /G D/F#

œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ

Pic-ture

your-self

in a boat on a ri-ver

With tan-ge- rine trees and mar-me-

lade

A/E A 7 /G D/F#

& #

# F

˙ ∑ œ œ œ œ œ œ œ œ œ œ œ

‹

skies Some - bo - dy calls you, you ans - wer quite

& #

# Dm/F A/E A7 /G F#m 7

œ œ ‰ œ j œ œ œ

œ œ œ ˙ ˙ b

‹

slow-ly

A girl with ka - lei - do-scope

eyes

∑

Dm/C

∑

238

Continued: The Beatles - Lucy In The Sky With Diamonds

q= 136

Pre-Chorus

C F Bb

& b 4

œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ ˙ œ

‹

Cel-lo- phane flow-ers

of yel-low

and green, tow-er-ing

o - ver your head

‹

∑

œ œ œ œ œ œ œ œ œ œ œ œ nœ

q= 94 D

Look for the girl with the sun in her eyes and she's gone

œ Œ Œ Œ

q= 94

& 4

‹

Chorus

G C D G C

œ œ œ œ œ J

œ œ J

œ œ œ œ j ‰ Ó

œ œ œ œ œ J

Lu - cy in the Sky with Dia - monds,

Lu - cy in the Sky with

# D

œ G C D

œ œ œ j œ œ œ œ œ

‰ Ó

œ œ œ J œ œ œ j ‰ Ó

‹

œ J

Dia

- monds,

Lu - cy in the Sky with Dia - monds

Music/Lyrics: Paul McCartney, John Lennon

239

Chord Progressions

Verse

Pre-Chorus

The Beatles

While My Guitar

Gently Weeps

Am Am/G Am/F# F Am

G C E

–

Depeche Mode Never Let Me Down Again Dm C G –

Whitney Houston

I Wanna Dance With

Somebody

– –

Madonna Hollywood Bm D G Em –

The Police So Lonely C G Am F C G Am F

Taylor Swift Paper Rings D (4x) Bm Bm A A D (4x) Bm Bm A A

Frankie Goes To

Hollywood

Rage Hard Em Em D D –

The Beatles

Lucy In The Sky With

Diamonds

A A7/G D/F# Dm/F

A/E A7/G D/F# F F A/E

A7/G D/F# Dm/F A/E

A7/G D/F# Dm Dm/C

Bb Bb C C F F Bb

(4x) C G (3x)

240

Chorus Solo Bridge/Middle 8 Chorus 2

A C#m F#m C#m Bm E – – –

Cm Bb Gm F – – –

Gb Ebm Db Cb – – Ab Fm Eb Db

Bm D G Em – C#m E A F#m C#m E A F#m

C G Am F D A Bm G – D A Bm G

D (4x) G G A A – E (4x) A A B B E (4x) A A B B

F#m (8x) G#m C# (3x)

F#5 G#5 A5 B5 Cm

– – –

G C D – – –

TIP

When modulating your song, make sure that both keys are in your vocal range.

241

#30 WRITING OVER A DISTINCTIVE RHYTHM

Assuming your song has vocals, it’s often best to keep your rhythms simple. There are songs, however,

whose strength lies in the exact opposite approach, where a distinct beat carries the entire song. A good

example would be Autolux's Turnstile Blues, where the beat is one of the most memorable elements.

Autolux - Turnstile Blues

(excerpt)

Hi-Hat

Snare

Bassdrum

q= 95

/ # # 4

Intro

¿ ¿

œ œ œ

¿ ¿

œ œ œ œ œ œ œ œ œ ¿ ¿ œ œ ¿ œ œ œ œ ¿ œ œ œ

> > >

Verse

Eb Tuning

242

Hi-Hat

Snare

Bassdrum

# & # 4 Œ œ œ œ œ œ œ

œ Œ

‹

My thoughts take me down - town,

/ # #

¿ ¿

4 œ œ

¿ ¿

œ œ œ œ œ œ œ œ œ ¿ ¿ œ œ

¿ ¿

œ œ œ œ œ œ œ œ œ

> >

& # Œ œ œ œ œ œ œ œ Œ

‹

change up at the turn - stile.

Snare

Bassdrum

œ œ œ œ œ œ œ œ œ œ

> >

Continued: Autolux - Turnstile Blues

‹

# #

Œ œ œ œ œ œ œ œ Œ

change up at the turn - stile.

/ # #

¿ ¿ œ œ

¿ ¿

œ œ œ œ œ œ œ œ œ ¿ ¿ œ œ

¿ ¿

œ œ œ œ œ œ œ œ œ

> >

Music/Lyrics: Carla Azar, Greg Edwards, Eugene Goreshter

TIP

An organic way to incorporate more complex rhythms is to take an interesting drum loop and play

along while jamming out new ideas. Of course, you can also jam with a real drummer.

243

#31 WRITING OVER A BASSLINE

A popular alternative to composing from a chord progression is to start with a bassline. A band who had

this method as their trademark for a long time would be The Cure. Riff-based basslines often formed the

foundations of their most famous songs, with an example being Close To Me.

The Cure - Close To Me

(excerpt)

Voice

Bass

q= 90

Verse

& # # 4 ‰ # œ

j œ œ œ œ œ œ # œ œ j ‰ ‰

œ r œ œ # œ œ œ œ œ œ

I've wai-ted

ho - urs for this, I've made my - self so sick, I

?# #

4 œ œ ‰ œ r ≈ ≈ œ œ # œ œ œ œ œ ‰ œ r ≈ ≈ œ œ œ œ œ

& # G#m F#

# œ œ # œ œ œ œ œ ‰ # œ

r œ œ# œ œ œ œ œ œ Œ

wish I'd stayed a - sleep to day.

?# # # œ œ

‰

œ r ≈ ≈ œ œ œ œ œ œ œ ‰ œ r ≈ ≈ œ œ œ œ œ

Music/Lyrics: Robert Smith

244

Another example is I Will Possess Your Heart by Death Cab For Cutie. Although dropping out for effect in

certain moments, it remains the main driving element of the song, lasting around eight minutes.

Death Cab For Cutie - I Will Possess Your Heart (excerpt)

Voice

q= 128

& b 4

Intro

∑ ∑ ∑ ∑

Bass

? b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Verse

Voice

Bass

3 3

&b 4 Œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ

œ œ œ œ œ œ œ Œ

How I wish you could see the po-ten-tial

the po-ten-tial

of you and me.

? b 4 ∑ ∑ ∑ ∑

‰ œ

j œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ j œ j œ œ j œ œ œ

It's like a book el- e - gant-lybound,but in a lan-guage

that you can't read just yet.

? b ∑ ∑ ∑ ∑

245

Continued: Death Cab For Cutie - I Will Possess Your Heart

Chorus

246

Voice

Bass

D F G

& b 4 ‰ j œ œ œ œ œ Œ œ Œ ‰ j

œ œ œ œ œ œ œ Œ œ

? b

You got-ta

spend some time, love, you got-ta

spend some time with me,

? b 4 ∑ ∑ ∑ ∑

D F G

&b ‰ j œ œ œ œ œ # œ

Œ œ Œ ‰ œ j œ œ œ j œ œ j œ Œ Ó

and I know that you'll find love. I will possess your heart.

? b ∑ ∑ ∑ ∑

D F G

&b ‰ j œ œ œ œ œ Œ œ

œ Œ ‰ j œ œ œ œ œ œ Œ œ œ

You got ta spend some time, love, you got ta spend some time with me,

? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

D F G

&b ‰ j # œ

œ œ œ œ œ Œ œ Œ ‰ œ j œ œ œ j œ œ j œ Œ Ó

and I know that you'll find love. I will possess your heart.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # œ

œ œ œ œ

and I know that you'll find love. I will possess your heart.

? b ∑ ∑ ∑ ∑

Continued: Death Cab For Cutie - I Will Possess Your Heart

D F G

& b ‰ j œ œ œ œ œ Œ œ Œ ‰ j œ œ œ œ œ

œ œ Œ œ œ

You got ta spend some time, love, you got ta spend some time with me,

? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

D F G

& b ‰ j # œ

œ œ œ œ œ Œ œ Œ ‰ œ j œ œ œ j œ œ j œ Œ Ó

and I know that you'll find love. I will possess your heart.

? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Ben Gibbard, Nick Harmer, Jason McGerr, Chris Walla

Chord Progressions

Intro Verse Chorus

The Cure Close To Me – B B G#m F# C#m E A F#m

Death Cab

For Cutie

I Will Possess Your Heart D D D F F D D F G

247

Other famous basslines which help to carry their songs are:

The Beatles

Weezer

Gorillaz

Red Hot Chili Peppers

Muse

Come Together

Only In Dreams

Feel Good Inc.

Give It Away

Hysteria

Here are a few tips for a good bassline:

TIP

• Find the right tone for your bassline

• Find a riff/melody that fits around the song’s chords

• Play in sync with the kick drum

• Play the root of the chords or their inversions

• Play in quavers when more pace is needed (e.g. during a guitar solo)

• Use octave jumps

• Play ascending or descending basslines

• Change note during the offbeat (e.g. from the ‘four and’, rather than the beat one)

• Avoid playing the third or fifth of a note used in the topline in any given moment, as this will usually

interfere with the melody.

248

Some other helpful tips are:

TIP

When putting chords over your bassline, it’s helpful to use no more than three, as a long, meandering

progression will leave less space for both the bass and vocal melodies. Be open to simplifying the

bassline itself if things get too complex.

TIP

Don’t try to squeeze your memorable bassline idea into a classic (ABAB) structure if it doesn’t feel right.

Sometimes you need to let the song’s strongest element lead the the way.

249

#32 USING THE RELATIVE MAJOR/MINOR

This method is a great way to change the mood of a song or create contrast between sections, for example,

between the verse and chorus. Jessie J's Masterpiece starts in C minor, before changing in the

chorus to its relative major key (Eb).

Jessie J - Masterpiece (excerpt)

q= 72

&b b b 4 œ

Verse 2

¿ ¿

œ œ œ œ œ

- hil bat - tle, I look good when I climb. I'm fe - 3

œ œ

&b b b

œ œ œ œ œ œ œ œ œ œ œ œ

≈ œ

jœ œ œ

- cious, pre - co - cious, I get brag - ga - do - cious, I'm not gon - na

&b b b

& bb b 4

œ r œ ≈ œ œ œ œ œ œ œ œ r œ

stop. I like the view from the top.

Pre-Chorus

bœ

œ œ œ œ œ j œ œ œ j

œ œ j

œ œ

You talk that blah blah, that la la, that

&b b b

bœ

œ œ j

œ nœ

≈

œ œ œ œ j œ œ œ œ j œ œ œ

rah rah sh*t, and I'm so done, I'm so o - ver it.

250

&b b b

≈

œ œ œ œ j œ œ œ œ j œ œ œ

& bb b 4

Eingangsrefrain

bœ

œ œ œ œ œ j œ œ œ j

œ œ j

œ œ

You talk that blah blah, that la la, that

Continued: Jessie J - Masterpiece

& bb b

bœ

œ œ j

œ nœ

rah rah sh*t, and I'm so done, I'm so o - ver it.

≈

Some

≈

œ œ œ œ j œ œ œ œ j œ œ œ

- times I mess up, I eff up, I

& bb b

œ j œ œ œ ‰

hit and miss but I'm o - kay I'm cool with it.

œ œ œ j œ œ œ œ j œ œ j œ œ œ

Chorus

Eb Fm Bb Cm Fm

&b b b 4 œ œ œ œ œ œ œ œ œ œ œ

‰ œ J œ œ œ

œ œ œ œ œ

‰ œ j œ œ œ

still fall on my face some-times

and I can't co-lor

in - side the lines,'cause I'm per-fect-ly

&b b b

œ œ œ j ‰ œ œ œ œ œ œ œ

œ j œ œ j

œ j ‰

- com - plete,

I'm still work - ing on my mas - ter - piece.

Music/Lyrics: Joshua Berman, Brittany Burton, Emily Schwartz

251

Although most songs that work with parallel key changes transpose from minor to major in the chorus,

you can of course also shift in the opposite direction, switching from major to minor, as shown in 60 &

Punk by Death Cab For Cutie.

Death Cab For Cutie - 60 & Punk

(excerpt)

q= 54

& b b b 4

‹

Verse

œ œ œ œ œ œ œ œ œ œ

There's no -thing

fun - ny about just slip-ping

a - way

It's no -thing

≈

‹

b b b

Eb Bb Ab

œ œ œ œ œ œ œ œ œ j ‰ Œ

fun

- ny how you're spend - ing your days

& b b b 4

‹

Chorus

‰

œ r œ œ œ œ œ œ œ œ œ œ œ

The cur - tain falls to ap- plause and the band

‹

b b b

F/A

œ œ œ œ j ≈

œ r œ œ œ œ œ œ

plays you off, the band plays you off

252

‹

b b b

‰

œ œ œ œ œ œ œ œ œ

He's a su - per - he - ro

grow - ing bored

‹

b b b

F/A

œ œ œ œ j ≈

Continued: Death playsCab you For Cutie off, - 60 & Punk the band plays you off

œ r œ œ œ œ œ œ

‹

b b b

‰

œ œ œ œ œ œ œ œ œ

He's a su - per - he - ro

grow - ing bored

‹

b b b

F/A

‰ ≈

œ r œ œ œ œ œ œ œ œ

With no one to save a - ny - more

‰

Music/Lyrics: Ben Gibbard

Chord Progressions

Verse Pre-Chorus Chorus

Jessie J

Masterpiece

Cm Cm Cm Cm

Ab Ab Fm

Cm Cm Cm Cm

Ab Ab Fm

Eb Fm Bb Cm Fm

Death Cab For Cutie 60 & Punk Eb Bb Ab Ab – Cm Bb F/A Ab

TIP

This kind of composition works well when changing from verse to chorus. However, be careful not to

use too many different chords in each section, as this can often sound messy.

253

#33 TIME SIGNATURES

Although every song is based on equally-spaced beats, a time signature can be communicated by

stressing certain beats over others. More advanced songwriters may use uneven or even multiple time

signatures in one song.

A good example is Pink Floyd’s Money, which is written in 7/4, but changes in the guitar solo to 4/4. All

You Need is Love by The Beatles even works with four different time signatures, namely 7/4 and 8/4 in

the verse, then 4/4 and 6/4 in the chorus.

Some further examples of time signature use would be:

3/4 Jimi Hendrix Manic Depression

6/8 Weezer My Name Is Jonas

6/4 MGMT Electric Feel

7/8 Incubus Make Yourself

254

Jimi Hendrix - Manic Depression

(excerpt)

q= 148

# 34 &‹ #

Verse

Eb Tuning

A G D A

nœ

œ œ œ nœ

œ œ œ œ œ

# œ

j œ Œ Œ

Ma - nic dep - res - sion is tou - ching my soul.

Music/Lyrics: Jimi Hendrix

Weezer - My Name Is Jonas

(excerpt)

q.= = 62

# # 6 &‹ # ## 8

Verse

F# G#m E B

œ œ œ œ œ ‰ Œ ‰ ‰ œ j œ œ œ œ œ ‰ Œ

My name is Jo - nas,

I'm car-ry-ing

the wheel.

Music/Lyrics: Rivers Cuomo, Patrick Wilson, Jason Cropper

255

MGMT - Electric Feel

(excerpt)

&b b b 4

Chorus

Cm 7

Gm Ab Bb Gm Ab

œ œ œ j ‰ œ œ Œ Ó œ œ œ œ œ œ œ œ œ Œ Œ

I said "ooh, girl Shock me like an e-lec-tric

eel

&b b b

Cm 7 Gm Ab Bb Gm Ab

œ œ œ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ Œ Œ

Ba - by girl, turn me on with your e - lec - tric feel"

Music/Lyrics: Ben Goldwasser, Andrew Vanwyngarden

TIP

One way to ease into using different time signatures is to try playing one of your quieter songs in 6/8.

Here, you divide each bar into three units (counting 1 2 3, 2 2 3) instead of four (1 2 3 4), while the

tempo remains the same.

256

Incubus - Make Yourself

e= 140

Verse

# 7

& # 8 ‰ ≈

‹

(excerpt)

œ r œ œ œ œ œ œ œ j

If I had - n't made me,

F#/A#

Bm G F#/A#

# & # 8 ‰ ≈

‹ œ r œ œ œ œ œ œ œ œ œ œ j ‰

I would 've been made some - how.

Bm G F#/A#

# 7

& # 8 ≈ œ r ≈ œ œ œ ≈ œ œ

œ œ œ œ œ œ

‹

If I had - n't as - semb - led my - self I'd've

Bm G F#/A#

# & # 8 œ nœ

œ œ œ œ œ œ j ‰ Œ

‹

fal

- len a - part by now.

Music/Lyrics: Brandon Boyd, Mike Einziger, Alex Katunich, Chris Kilmore, José Pasillas

TIP

Much like chord types, different time signatures can also create different moods. If starting in 4/4, for

example, switching to 2/4 can give a sense of intensity in a middle eight, final chorus or outro, while

using half-time in a chorus or middle 8 can create a momentous feeling.

257

#34 FUSING DIFFERENT GENRES

One compositional approach is to combine two or more distinct musical styles. Uno by Muse for,

instance, has a typical rock arrangement but uses a tango rhythm.

Muse - Uno

(excerpt)

258

Voice

Bass

q= 112

Chorus

œ œ œ ˙ Œ

& 4 œ j œ

œ œ œ œ j

‹

Cause you could - 've been num - ber one if you on - ly

4 ‰ Œ Œ

œ j œ œ

œ œ j œ j œ œ

# Am 3

& œ œ j ˙

œ j # œ œ nœ

‹

found the time, and you could - 've

œ j œ œ j œ œ œ j œ œ j œ œ

# B Am

& œ œ œ ˙ œ ‰

œ œ j # œ

nœ

‹

ruled the whole world if you had the

œ # œ œ œ J œ j œ œ j œ œ

# Em

‹

found the time, and you could - 've

# B 3

& œ œ œ ˙ œ

‹

œ œ ˙ œ

œ j œ œ j œ œ œ j œ œ j œ œ

Continued: Muse - Uno

ruled the whole world if you had the

‰

œ j

# œ

nœ

# œ œ œ J œ j œ œ j œ œ

# Em

& ˙

‹

∑

chance.

œ j

œ j œ œ

Music/Lyrics: Matthew Bellamy

259

Another good example would be Walk This Way by Aerosmith and Run DMC, most likely the first ever

rock/rap collaboration. Bands like Red Hot Chili Peppers, Incubus, Rage Against The Machine and Linkin

Park even created their own genres by mixing rock riffs and rap-style vocals.

Linkin Park’s nu-metal anthem In The End elegantly combines rapped lyrics in each verse and a sung

topline in the chorus, while also combining a rock arrangement with electronic samples. With the strong

melodic contrast between the verse and chorus, the song has more commercial potential than many rap

songs by creating both a very catchy topline and more chordal contrast.

Whereas a hip hop song is usually based on a sole, sampled chord progression, In The End consists of

two, namely Em - D - C - D in the verse and Em - G - D - C in the chorus, transcribed for Eb-tuning.

In addition to this, the bulk of the instruments are being played live, sounding much more vivid than a

loop, while the samples used only serve to complement them.

260

Linkin Park - In The End

(excerpt)

q= 105

& 4

‹

(It starts with one)

Verse

Eb Tuning, Drop D

œ j œ œ

‰ Ó

w ¿ ¿ ‰ ≈ ¿R ¿ ¿ ¿ ¿

One thing, I don't know why, it

‹

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ≈

does

- n't ev - en mat - ter how hard you try. Keep

‹

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

that in mind I de - signed this rhyme to ex - plain

‹

Ó ¿ ¿ ¿ ¿ Ó

œ œ

in due time.

(All I know)

∑

261

Continued: Linkin Park - In The End

& 4

‹

Chorus

3 G

œ œ œ J

œ œ J

œ œ œ ˙ ≈ œ œ œ œ

I tried so hard and got so far, but in the end

# D

‹

‰ œ J

œ œ œ œ œ œ œ Ó

it does - n't e - ven mat - ter.

Music/Lyrics: Chester Bennington, Robert Bourdon, Brad Delson, Joseph Hahn, Mike Shinoda

Another example of genre fusion would be Muse’s use of classical music in many of their songs, particularly

in Plug In Baby.

Here, they borrow heavily from Bach’s Toccata And Fugue, recontextualizing it within a rock song.

262

Johann Sebastian Bach - Toccata und Fuge

(excerpt)

{

Organ

Excerpt

Adagio

&b 4 œ ‰ œ

rœ œœœœœœœ œ œœ œ œ œ œœœ œ œœœœœ # œ œ œ œœœœœ œ œœ œ œœœœ#

? b 4 œŒ

® œœ œœœœœœ ® œœœœ œ œœœœœœœœœ œ œ ® œœœœœœœœœœœœœœ œ œ

Music: Johann Sebastian Bach

Muse - Plug In Baby

(excerpt)

Guitar

q= 136

Intro

& # # 4# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # #

œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ # œ œ # œ œ œ œ œ

Music/Lyrics: Matthew Bellamy

TIP

When combining genres, think about the qualities of each one and which song sections or elements

they would suit best. For example, a rapped verse and a soaring pop chorus would usually work better

than the other way around.

263

#35 VOCAL HARMONIES

A popular method for giving your song more color and variety is to work with vocal harmonies. Heavy

use of harmonies can be heard on Because by the Beatles and Good Vibrations by the Beach Boys, both

of which show just how much depth you can add with harmonies alone.

A simple approach is to add an accompanying melody which takes the original notes and shifts them up a

set interval, usually a third, fourth or fifth. This can often be heard as a backing vocal in a chorus, making

it sound catchier and more interesting.

The Beatles - Because

(excerpt)

q= 80

# # & # #

‹

Verse

- - ah,

be - cause the world is

round, it turns me on

Dº C#m

nn˙

D#m ø7 G#

# #

& # # œ ‰ œ j œ œ œw

œ j œ œ œ œ # œ Œ Ó

‹

œ œ J

Music/Lyrics: John Lennon, Paul McCartney

264

The Beach Boys - Good Vibrations

(excerpt)

q= 144

? b b b b 4

Chorus

Db Ab Db

3 3 3

& b b b b ˙ ˙ œ

‹

Good, good, good good vib - ra -

‰ ‰

3 3 3

Good, good, good good vib - ra -

? ˙ œ

b b b b 4 J ‰ ‰

bœ

‰ ‰

J ‰ ‰ Œ ‰ ‰

3 3 3 3 3

Ooh bop bop good vib - ra -

œ œ J

bœ

œ œ œ J

œ J J

? b b b b 4

bœ

œ œ J

œ œ œ œ

I'm pick - ing up good vib - ra - tions,

Ab Db Ab Db

& b b b b œ 3 œ œ 3

œ ˙ w

‹

- tions now

265

Continued: The Beach Boys - Good Vibrations

Ab Db Ab Db

& b b b b œ 3 œ œ 3

œ ˙ w

‹

- tions now

? b b b b <b> œ œ œ J

? b b b b

- tions

œ œ œ J ‰ ‰

bœ

J ‰ ‰ Œ ‰ ‰ J

œ œ J

3 3 3 3 3

? b b b b

- tions bop bop good vib - ra...

bœ

œ œ J

œ j œ œ œ œ

she's giv - ing me the ex - ci - ta - tions.

Music/Lyrics: Brian Wilson, Mike Love

A band who work a lot with harmonies, which forms a key part of their unique musical style, are the Red

Hot Chili Peppers.

266

Red Hot Chili Peppers - Hey

(excerpt)

q= 120

Chorus

& b b b 4 ˙ Œ œ œ œ œ œ J J

œ œ ˙ Ó œ œ œ œ J

œ j œ œ

‹

Hey, what would you say if I stayed? Stayed for a while if I

b E

& b b b 4

‹

œ Œ Ó

Hey

‹

b b b

b D

b A

˙ Ó œ œ œ j œ œ j œ œ œ œ j ‰

œ j œ œ œ œ j œ j œ œ œ ‰

may. Say it a-gain

and I'll come a-round

but not for the last time.

‹

b b b

w b

w ˙ Ó

Music/Lyrics: Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith

TIP

Be aware that different intervals on harmonies can even imply a genre. In rock, you will often find

fifths, in folk, thirds and in more experimental music even seconds are used.

267

#36 MAKING YOUR CHORUS STAND OUT

A major problem that you often fight against as a songwriter is having a strong verse melody, yet trouble

finding one that sets the chorus apart well. It’s best here to write using the principle of tension and

release, which can be achieved in various ways.

The most common ways to emphasize a chorus melody are:

1. Changing the pitch

One method is to raise the range in which the melody is sung. This is certainly the most common and

best-known way to dynamically separate the verse and chorus from one another. A good example would

be Crazy von Gnarls Barkley.

268

Gnarls Barkley - Crazy

(excerpt)

q= 112

& b b b 4

‹

b b b

Verse

Œ œœ œ œ œ œœ œ œ œœ œ œ œ œ œ J

œ œ J

œ Œ Œ ‰

œ œ

I re-mem-ber

when I re mem-ber

I re-mem-ber

when I lost my mind There was

œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

some-thing

so plea-sant

a- bout that place E-ven

you e-mo-tions

had an

Ebm

‹

b b b

G sus4

J œ ≈ œ œ œ œ œ

R J J

∑

- cho in so much space

& b b b 4

‹

b b b

Does that make me cra

Œ ‰ œ R

Does that make me cra

Chorus

œ œ œ œ œ œ J Ó Œ ‰ œ R

œ œ œ œ œ œ J

œ œœ œ J ‰

- zy?

Does that make me cra - zy?

œ œ œ œ œ œ J Ó Ó

Ab G sus4 G

œ œœ œ œœœ ˙

3 3 3

- zy?

Pos - si-

bly

œœœ œ J

œ ˙

Music/Lyrics: Brian Burton, Thomas Callaway, Gianfranco Reverberi, Gian Piero Reverberi

269

Another example is Taylor Swift’s New Romantics.

Taylor Swift - New Romantics

(excerpt)

q= 122

&b 4

Verse

Bb Dm C

œ j œ œ j œ ‰ œ

œ œ œ œ œ œ œ œ ≈ ‰ œ j œ œ j œ Œ

We're all bored we're all so tired of eve - ry-thing

We wait for

& b

œ œ œ œ œ œ ‰ ‰ œ j œ œ j œ ‰ œ j

trains that just aren't com-ing

We show off our

& b

œ œ œ œ œ œ j œ ‰ œ œ œ œ œ œ j œ

∑

dif-ferent

scar - let let - ters Trust me mine is bet - ter

Chorus

&b 4 Œ Œ ‰ œ œ œ œ J œ œ œ œ œ Œ Œ Œ œ œ

Cause ba

- by I could build a cast - le

Out of

C Gm Bb F

œ œ œ œ œ œ œ œ ˙

all the bricks they threw at me

‰ œ

j œ œ œ œ œ œ œ œ ˙ ‰ œ J

œ œ

And eve-ry

day it's like a bat- tle But eve-ry

270

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

C Gm Bb F

œ œ œ œ œ œ œ œ ˙

Continued: all the Taylor bricksSwift they threw - New atRomantics

‰ œ

j œ œ œ œ œ œ œ œ ˙ ‰ œ J

œ œ

And eve-ry

day it's like a bat- tle But eve-ry

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

night with us is like a dream Ba - by we're the new ro - man - tics

Œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ

Come on, come a -long

with me Heart-break

is the na-tion-al

anth - em

C Gm Bb

‰ œ j œ œ œ œ Œ œ œ œ œ œ œ œ ‰

We sing it proud-ly

We are too bu -sy

dan-cing

To get knocked off our feet

œ r œ œ œ œ œ œ

F C Bb

Œ œ œ œ œ œ œ

œ œ ‰ œ

j œ œ œ œ œ œ œ œ œ

Ba-by

we're the new ro-man-tics

The best peop-le

in life are free

MusicLyrics: Max Martin, Karl Schuster, Taylor Swift

271

2. Repetition

Another popular method to emphasise the topline of a chorus is to repeat certain words or phrases like

in So Lonely by The Police or Velvet Underground's Sweet Jane.

The Police - So Lonely

(excerpt)

q= 76

‹

So lone - ly,

so lone - ly,

so lone

Chorus

œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ

Am F C G Am F

& ‰ œ œ œ œ œ ˙ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ˙ Ó

‹

- ly!

so lone - ly, so lone - ly,

Music/Lyrics: Gordon Sumner

272

The Velvet Underground - Sweet Jane

(excerpt)

q= 105

# & # 4

‹

Chorus

D G D

Ó ‰ œ œ J

˙ œ J ˙ ‰ œ œ J

Sweet Jane! Whoa! Sweet Jane,

G D G

& # ˙ œ œ œ œ œ ‰ œ œ ˙ J Œ

‹

- oh - a!

Sweet Jane

Music/Lyrics: Lou Reed

TIP

If you're interested in experimenting with simpler choruses that use more repetition, try taking just

two, or even one, of your existing lines and repeat it for the entire length of the chorus. It may not

work instantly, but will spark new ideas.

273

3. Using a riff as an instrumental hook

One trick, which relies more on arrangement, is to counterpoint the vocal melody with an instrumental

riff or hook as in Phantogram's You Don't Get Me High Anymore.

Phantogram - You Don’t Get Me High Anymore

(excerpt)

Voice

Chorus

q= 98

& 4 Œ Œ Œ

G F F/E Dm Am/C Am

œ œ œ œ

Œ œ œ œ œ œ

No-thing

is fun Not like be-

fore

Guitar

& 4 œ œ œ œ

“‘

œ Ó œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

You don't get me high a

Am G F F/E

œ œ œ œ œ

- ny more Used to take one

:“;

∑

œ œ œ œ

œ Ó œ œ

Dm Am/C Am

œ œ

œ œ œ

Œ œ œ œ œ œ œ œ œ œ

Now it takes four You don't get me high a - ny more

274

:“;

∑ œ œ œ œ

Continued: Phantogram - You Don’t Get Me High Anymore

œ Ó œ œ

Dm Am/C Am

œ œ

œ œ œ

Œ œ œ œ œ œ œ œ œ œ

Now it takes four You don't get me high a - ny more

& œ œ œ œ

:“;

∑

Music/Lyrics: Sarah Barthel, Edwin Bocage, Josh Carter, Eric Frederic, Alfred Scramuzza, Dan Wilson

TIP

A similar and even more common method is to work with an accompanying hook as described in

lesson 22.

275

4. Using a pre-chorus to sign-post the chorus

A classic method for enhancing the chorus is to use a pre-chorus. By inserting a new chord progression

between two similar ones, your chorus will have more impact due to the tension or expectation created.

Here are two examples:

Incubus - Drive

(excerpt)

q= 91

& 4

‹

cer

Verse

Em Em 7/9 C maj7 Am 7/9

Œ ‰ œ j œ ‰

Some-times

I feel the fear of the un -

# Em Em7/9 C maj7 Am 7/9

& œ œ œ œ j ‰ œ œ œ œ Ó Œ

‹

- tain - ty

stin - ging clear

œ r œ œ œ œ œ œ œ œ

‰

œ j

Pre-Chorus

maj7

& 4 Œ ‰

‹

A 7 C maj7 A 7

œ r œ œ œ œ # œ œ # œ œ œ œ œ œ œ œ œ ˙ ‰ # œ

It's dri-ven

me before and it seems to have a vague, haunt

C maj7 A 7

& nœ

œ œ œ ‰ œ j œ œ œ Œ ‰

œ r œ œ ‰ # œ œ J

œ # œ œ œ œ œ œ œ

‹

- ing mass a- peal

But late-ly

I'm be-gin-ning

to find that I

276

& # Cmaj7 A

˙ œ

œ œ œ # œ nœ

œ œ œ œ œ œ œ

C maj7 A 7

& nœ

œ œ œ ‰ œ j œ œ œ Œ ‰

œ r œ œ ‰ # œ œ J

œ # œ œ œ œ œ œ œ

R ‹

Continued: - ing Incubus mass - Drive a- peal

But late-ly

I'm be-gin-ning

to find that I

# Cmaj7 A

˙ œ

œ œ œ # œ nœ

œ œ œ œ œ œ œ

‹

should be the one be - hind the wheel

& 4

‹

Chorus

Em Em 7/9 C maj7 Am 7/9 Em Em 7/9

Œ ‰ œ J

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

œ r œ œ

What-ev

- er to - mor - row brings I'll be there with o-pen

arms

# Cmaj7 Am 7/9 Em Em 7/9

& œ œ œ œ œ œ œ j œ œ œ j œ œ œ œ

‰ ‰ œ J ‹

and o - pen eyes yeah What - ev - er to - mor -

# Cmaj7 Am 7/9 Em Em 7/9 3 C maj7 Am 7/9

œ œ

& œ œ œ œ œ œ œ œ œ Œ j

œ j œ œ œ œ œ j œ œ œ œ œ œ

‹

- row brings I'll be there I'll be there, uh, uh

Music/Lyrics Brandon Boyd, Mike Einziger, Alex Katunich, Chris Kilmore, José Pasillas

277

Justin Timberlake - Can’t Stop The Feeling

(excerpt)

q= 113

‹

Verse

œ œ œ œ

I got this feel - ing

in - side my bones it goes el -

œ Œ ‰ œ j œ œ œ j ‰ Œ ‰ œ j œ œ

œ œ œ œ œ œ œ œ j 3

‰ Œ Ó

‹

ec - tric, wa - vey when I turn it on

Pre-Chorus

Bb/C

& 4 œ j œ œ œ œ œ œ œ œ œ œ œ œ J œ œ ‰ bœ

œ œ J ‹

And un - der the lights when eve - ry-thing

goes no-where

Bb/C C Ab/Bb

œ œ œ

& œ œ œ œ œ œ

œ œ ‰ bœ

j œ œ œ œ bœ

œ œ œ œ

‹

Bb Fm 7 Ab/Bb

œ œ œ œ ‰ œ b œ œ œ œ R œ œ œ œ œ b œ bœ

œ œ œ œ ˙

‹

hide when I'm get-ting

you close when we move, well you al-rea-dy

know

so just i - ma - gine, just i - ma - gine, just i - ma - gine

278

4 Continued: Justin Timberlake - Can’t Stop The Feeling

‹

Chorus

œ œ œ œ œ œ œ œ œ J

œ j œ œ j œ œ j œ œ œ œ œ

No-thing

I can see but you when you dance, dance, dance A feel - ing good,

œ œ œ œ œ

& œ œ œ œ J

œ j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

‹

good, creep - ing up on you so just dance, dance, dance, come on

œ œ œ œ œ œ œ œ œ j œ œ j œ œ j œ

‹

All those things I should - n't do, but you dance, dance, dance, and ain't

œ œ œ œ œ œ œ œ œ œ

œ j œ œ ≈ œ œ œ œ œ

‹

œ œ œ

‹

- bo - dy leav - ing soon, so keep danc - ing I can't stop the feel

- ing

so just dance, dance, dance I can't stop the feel

œ œ œ œ

‹

- ing

so just dance, dance, dance, come on

œ œ œ œ j œ œ j œ œ œ œ œ œ

Œ ≈ œ j

Œ ≈ œ œ œ j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

279

All those things I should - n't do, but you dance, dance, dance, and ain't

œ œ œ œ œ œ

& œ œ œ œ œ j œ œ ≈ œ œ œ œ œ

‹

Continued: Justin Timberlake - Can’t Stop The Feeling

no - bo - dy leav - ing soon, so keep danc - ing I can't stop the feel

œ œ œ

‹

- ing

so just dance, dance, dance I can't stop the feel

œ œ œ œ

‹

œ œ œ œ j œ œ j œ œ œ œ œ œ

Œ ≈ œ j

- ing

so just dance, dance, dance, come on

Œ ≈ œ j œ œ œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

Music/Lyrics: Max Martin, Karl Schuster, Justin Timberlake

Chord Progressions

Verse Pre-Chorus Chorus

Incubus

Drive

Em Em7/9 Cmaj7

Am7/9

Cmaj7 A7

Em Em7/9 Cmaj7

Am7/9

Justin Timberlake

Can’t Stop The

Feeling

C Am F Am

Bb/C Bb (2x)

Ab/Bb Bb Fm7

Ab/Bb

C Am F Am

280

Without music, life would be a blank to me.

(Jane Austen)

281

5. Using multiple toplines

You can also use more than one topline in the chorus, a trick you can hear in Pharrell William's Happy, as

well as Can't Stop The Feeling by Justin Timberlake. As shown here, this usually works best in a 'call and

response' structure.

2 Pharrell Williams - Happy

(excerpt)

q= 160

& b 4

‹

Chorus

Be - cause I'm hap - py

œ j œ bœ

‰ Ó

Db maj7 Cm 7

œ j œ

œ bœ

œ j

J œ

œ j œ ˙

b œ œ œ bœ

œ œ

Clap a-long

if you feel like a room with-out

a roof

F Db maj7 Cm 7

‹

Be - cause I'm hap-

Œ œ j œ bœ

∑

œ j œ

œ bœ

œ j

œœ

J bœ

j ˙

J œ œ

œ bœ

œ œ œ

Clap a-long

if you feel like hap-pi-ness

is the truth

Music/Lyrics: Pharrell Williams

‹

F Db maj7 Cm 7

Be - cause I'm hap-

œ j œ œ œ œ œ j œ

Œ œ j œ bœ

∑

œbœ

œ œ œ J œ œ

œ j ˙

Clap a-long

if you know what hap-pi-ness

is to you

bœ

œ bœ

œ œ œ œ

282

F Db maj7 Cm 7

Be - cause I'm hap-

œ j œ œ œ j œ j ˙ œ j

Justin Timberlake - Can’t Stop The Feeling

(excerpt)

‹

Chorus

œ œ œ œ œ œ œ œ œ J

œ j œ œ j œ œ j œ œ œ œ œ

No-thing

I can see but you when you dance, dance, dance A feel - ing good,

œ œ œ œ œ œ œ œ œ œ

J j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

‹

good, creep - ing up on you so just dance, dance, dance, come on

œ œ œ œ œ œ œ œ œ j œ œ j œ œ j œ

‹

Music/Lyrics: Max Martin, Karl Schuster, Justin Timberlake

All those things I should - n't do, but you dance, dance, dance, and ain't

œ œ œ œ œ œ œ œ œ œ

œ j œ œ ≈ œ œ œ œ œ

‹

œ œ œ

‹

- bo - dy leav - ing soon, so keep danc - ing I can't stop the feel

- ing

so just dance, dance, dance I can't stop the feel

œ œ œ œ

‹

- ing

so just dance, dance, dance, come on

œ œ œ œ j œ œ j œ œ œ œ œ œ

Œ ≈ œ j

Œ ≈ œ œ œ j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

283

6. Changing the tone length

Aside from altering the pitch of the melody, you can also consciously draw your vocal notes out in the

chorus, as in Icona Pop’s I Love It, as well as in Uprising by Muse, where the long notes differ sharply from

the shuffling verse melody.

Icona Pop - I Love It

(excerpt)

q= 126

Verse

& # 4 ‰

& # C

‰

& # G

‰

& # C ‰

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I got this feel - ing on the sum-mer

day when you were gone

œ œ œ œ œ œ ¿ ‰

I crashed my car in - to the bridge I watched, I let it burn

I threw your shit in - to a bag and pushed it down the stairs

I crashed my car in - to the bridge

œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ ¿

284

& # G

‰

& # C ‰

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Continued: Icona I threw Pop your - I Love shit Itin - to a bag and pushed it down the stairs

& # 4

œ œ œ œ œ œ ¿

I crashed my car in - to the bridge

Chorus

œ œ œ œ Œ ‰

œ J

œ œ

I don't care I love it I don't care

Music/Lyrics: Charlotte Aitchison, Patrik Berger, Linus Eklow

œ œ œ œ Œ Ó

285

Muse - Uprising

(excerpt)

q = 120

shuffle

& b 4

‹

Verse

‰

œ j œ œ œ œ

œ j œ œ j œ œ œ œ

The pa - ra - noi - a

is in bloom, the P - R

‹

trans

Œ œ œ œ Œ œ j œ œ j œ œ œ œ

- mis - sions

will re - sume they'll try to

‹

Œ œ # œ œ œ nœ

œ œ # œ

j œ # œ œ œ

push drugs keep us all dumbed down and hope that

‹

Gm F A

Œ œ œ œ œ œ œ œ œ œ œ œ Œ

we will ne - ver see the truth a - round

286

Continued: Muse - Uprising

& b 4

‹

Chorus

Dm Gm F A Gm F A/C#

w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ œ œ œ J

They will not force us They will stop de - gra - ding us

Dm Gm F A/C# A

˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙

They will not con - trol

us We will

‹

Gm F A/C#

˙ ˙ ˙ œ œ ˙

be vic - to - - ri - ous,

so come on

‰

œ j œ œ

Music/Lyrics: Matthew Bellamy

287

7. Different chord lengths

In many songs, the chords will change on each or every other bar. One way to create 3contrast between sections,

however, is to deliberately experiment with the chord lengths you’re using. A good example is Charli

XCX's Break The Rules, where she uses just one chord per bar in the chorus, versus several in the verses.

Charli XCX - Break The Rules

(excerpt)

q= 124

& b b b 4

‹

Verse

Bb Ab Eb Fm

œ j œ œ œ œ

- lec - tric lights

Œ ‰ Ó

‹

b b b

Cm Bb Ab Eb Fm

Œ ‰

Chorus

œ œ œ œ

Blow my mind

Œ ‰ Ó

& b b Cm

b 4 œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ j ‰

‹

b b b

I don't wan - na go to school I just want to break the rules

œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ j ‰

Boys and girls a - cross the world Put - ting on our danc - ing shoes

Music/Lyrics: Charlotte Aitchison, Tor Hermansen, Magnus Hoiberg, Steve Mac, Daniel Omelio, Mikkel Storleer Eriksen

288

In Sun by Two Door Cinema Club, the chords in the chorus are held for twice as long as in the verse.

Two Door Cinema Club - Sun

(excerpt)

q= 97

& 4

‹

Verse

D Am C Em

œ œ œ œ ‰ œ j œ œ œ œ œ ‰ Œ

- cean blue what have I done to you

D Am C Em

œ œ œ œ ‰ œ j œ œ œ œ œ œ œ j ‰

Cut so deep yet grow - ing through and through

289

Continued: Two Door Cinema Club - Sun

& 4

‹

Chorus

Though I'm far a - way

I know I'll stay,

# Em œ G C

& œ œ œ œ œ œ œ œ œ œ œ Œ Œ ‰ œ œ R Œ ≈ œ œ œ œ œ

‹

I know I'll stay right there with you Though it might be too late

œ Œ ‰ œ œ œ œ œ

Œ ‰

œ œ œ

‹

Am Em G

œ œ œ œ Œ ‰ J œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó

What would you say? What would you say? What would you do?

Music/Lyrics: Kevin Baird, Samuel Halliday, Alexander Trimble

290

In Video Games by Lana Del Rey, she holds the first chord of the chorus for four whole bars. This is

unusual, but in this example works very well.

Lana Del Rey - Video Games

(excerpt)

h= = 56

& # # #

Verse

F#m

A F#m A C#m D

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ

Swing-ing

in the back -yard,

pull up in your fast car, whi -st

-ling

my name

& # F#m A F#m A C#m D F#m

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

O-pen

up a beer, and you say,"Get o-ver

here and play a vi de-o

game

291

Continued: Lana Del Rey - Video Games

& # # #

time,

Chorus

œ j œ œ j œ œ j œ œ j ˙ œ œ j œ œ j œ ‰ œj œ œ œ œ

It's you, it's you, it's all for you, ev - ery-thing

I do. I tell you all the

& # # # D A G

œ œ œ œ œ

œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ

"Hea -ven

is a place on Earth with you, tell me all thethings you want to do

& # # # F#m E D

‰ ‰

œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ

I heard that you like the bad girls ho - ney, is that true?"

Music/Lyrics: Elizabeth Grant, Justin Parker

292

Although less common, the opposite is also possible, such as in MGMT's Little Dark Age. Here, we see a

switch from one chord per bar in the verse, to two or three for much of the chorus.

MGMT - Little Dark Age

(excerpt)

q= 98

# #

& # 4

‹

Verse

B/D# C#/E# F#m

Ó œ œ œ œ œ œ Œ œ œ œ œ œ Œ Ó

Brea-thing

in the dark, ly-ing

on its side

∑

& #

# B/D# C#/E# F#m Œ ‰ œ œ œ œ œ œ œ ∑

Œ œ œ œ œ œ Œ Ó

‹

The ru-ins

of the day paint-ed

with a scar

293

Continued: MGMT - Little Dark Age

Chorus

Bm C#m A D D/C# Bm C#m

# & #

4 Œ ‰ œ œ œ œ œ œ œ J ‰ œ œ œ J

œ œ œ ‰ œ œ œ œ œ J œ

‹

For-giv-ing

who you are for what you stand to gain Just know that if you hide

‹

# #

A D D/C# Bm C#m A D Bm

œ ‰ œ J

œ œ œ œ œ ‰ œ J

œ œ œ œ œ œ ‰ œ J

œ œ œ œ

it does-n't

go a - way When you getout of bed don't end up strand-ed

& #

# C#

œ œ œ C#/B

Œ œ œ œ œ œ œ œ œ # œ œ œ œ œ

‹

Hor

- ri - fied with each stone, on the stage my lit - tle dark age

Music/Lyrics: Ben Goldwasser, Andrew VanWyngarden

294

A similar example for doubling the number of chords in the chorus is Marilyn Manson’s Cupid Carries A

Gun from his album The Pale Emperor. Here, he changes from one chord per two bars in the verse to one

chord per bar in the chorus.

Marilyn Mansion - Cupid Carries A Gun

(excerpt)

Verse

q= 120

shuffle Em

& 4

‹

œ j œ

J œ œ Œ œ œ œ œ œ œ œ ‰ J J J œ

œ J

I'm the curled up fists Dead and hard-ened

spi - ders Like two

‹

C B B/G B/F#

œ Œ œ J

œ œ J

œ Œ Œ

œ œ œ œ œ J œ œ J

œ œ Œ œ œ œ œ

man-gled

crowns On thewhite heads of the mean - est coi- led snakes

295

Continued: Marilyn Mansion - Cupid Carries A Gun

& 4

‹

Chorus

Em G D A G

Œ œ œ œ œ œ œ J J Œ Œ œ œ œ œ œ œ œ œ # ˙ J J Œ Œ

Keep your ha-los

tight I'm your god or your guar-di

- an

# Em G D A G

& Œ œ œ œ œ œ œ J J Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ

J J J

‹

Keep your ha-lo

tight One hand on the trig-ger

the oth-er

hand in mine

# Em ˙ œ

G ˙

D œ œ œ œ œ œ A G

& ‰ œ œ Ó

˙ Œ ‰ œ J J

‹

Be-cause

now Cu - pid car-ries

a gun Now,

‹

Em G D C D Em

J œ Œ ‰ œ J

now

J œ

œ œ Ó

œ œ œ œ œ œ ˙ Ó

Cu -pid,

Cu-pid

car-ries

a gun

Music/Lyrics: Tyler Bates, Brian Warner

296

Chord Progressions

Verse

Chorus

Charli XCX Break The Rules Cm Bb Ab Eb Fm Cm Ab Eb Bb

Chord Change 1 2a 3a 1 2a 1 1 1 1

Two Door Cinema Club Sun D Am C Em C Am Em G

Chord Change 1 2u 1 2u 1 1 1 1

Lana Del Rey Video Games F#m A F#m C#m D

Chord Change 1 2 1 2 1 2

MGMT Little Dark Age B/D# C#/E# F#m F#m

Chord Change 1 1 1 1

E E E E D D A

G F#m F#m E D

1 1 1 1

3 1 1 4 1 1

Bm C#m A D

D/C# (2x)

Bm C#m A D Bm

C# C#/B

1 3 1 3 4 (2x)

1 3 1 3 4 1 1

Marilyn Mansion Cupid Carries A Gun Em D C B B/G B/F# Em G D A G

Chord Change 1 1 1 1 3 4* 1 1 1 1 3

* 1 = two bars

297

8. Starting with a hook based on a topline

You can make a topline more memorable by adding, or working around, long opening vowel sounds in

your chorus, such as ooh, aah or yeah. These can come in the form of the main vocal or backing vocals

and is a method used in Taylor Swift's You Need To Calm Down as well as by Lorde in her track Glory

and Gore.

Taylor Swift - You Need To Calm Down

(excerpt)

q= 85

# & # 4

‹

œ j

Chorus

œ œ œ œ œ œ œ œ œ œœ ‰

œ r

oh-oh,

oh- oh, oh- oh, oh- oh, oh- oh You need to calm down, you're be-ing

too

œ œ œ j œ œ

Œ ‰ r œ œ

œ œ œ

‹

# #

œ œ

Œ ‰ œ

loud

œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ‰ ≈

œ r

œ œ œ j œ

And I'm just like oh-oh,

oh- oh, oh- oh, oh- oh, oh- oh You need to just

& # Œ ‰

œ ‹ œ œ r œ œ œ ≈

œ œ œ œ œ j

“‘ œ œ œ œ œ j ‰ Œ Ó

stop, like can you just not step on my gown?You need to calm down

Music/Lyrics: Joel Little, Taylor Swift

298

Lorde - Glory and Gore

(excerpt)

Chorus

You could try and take us

& bb b b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ r

œ œ

Ab Fm Cm

Oh oh

& bb b b

œ œ œ œ œ œ

But we're the gla di - a - tors

œ œ œ œ œ œ œ œ œ œ

œ œ œ œ

r œ œ œ œ œ œ œ

Eve-ry-one

a rag - er

But sec-ret-ly

they're sav iors

Music/Lyrics: Joel Little, Ella Yelich O’Connor

299

9. Modulation

A not so common but very effective way to separate the chorus from the verse is to modulate (change

key), as in Alanis Morissette's You Oughta Know, from her Grammy Award-winning breakthrough album

Jagged Little Pill. In this example, the vocal melody hits an unexpected A# on the word 'here', as the song

itself modulates from F# minor to F# major for the chorus.

Alanis Morissette - You Oughta Know

(excerpt)

q= 105

& # # #

Verse

A/E

œ Œ œ ‰ œ J

œ œ œ Œ

B/D#

œ j œ Œ œ ‰ œ J

œ œ œ Ó

I want you to know that I'm hap - py for you

& # # # A œ B F#m

Œ œ ‰ œ œ J œ œ Œ œ œ œ ‰ œ ‰ œ œ

I wish noth - ing but the best for you both

300

Continued: Alanis Morissette - You Oughta Know

& # # # # #

‹ œ j

Chorus

œ j ‹

œ œ œ œ j ‰ Œ ‰ j œ œ œ œ

œ ‰ ‰ œ

j œ

And I'm here to re- mind you of the mess you left when you went

& # # # # #

# B F# E

nœ

œ Œ ‰ j œ j ‹ œ # œ œ

œ Œ ‰ j

œ œ œ œ ‹ œ

œ ‰ ‰ j œ œ œ

a -way

It's not fair to de - ny me of the cross

& # # # # #

# A

J nœ

<#> œ

j œ œ œ œ nœ

œ ‰ j œ œ œ œ œ œ

œ œ j

J ‹ œ # œ Œ

I bare that you gave to me You, you, you, ough-ta

know

œ œnœ

J <#> œ œ œ œ

Music/Lyrics: Glen Ballard, Alanis Morissette

Chord Progressions

Verse

Chorus

Alanis Morissette You Oughta Know A/E B/D# A B F#m F# E A B

301

Another way of using direct modulation is to lower the song's key by one tone (two notes) when moving

from the verse to the chorus, as in Penny Lane by The Beatles. Here, the key changes from B major to A

major.

The Beatles - Penny Lane

(excerpt)

q= 124

shuffle

# & #

# ##

‹

Verse

B/A# B/G# B/F# C#m/E

In Pen-ny

Lane there is a bar - ber show-ing

pho - to-graphs

of eve-ry

head

he's had the plea - sure to know and all the

peop-le

that come and go stop and say hel-lo

C#m F# 7

œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ ‰ œ j œ œ œ

B B/A# B/G# B/F# Bm

& #

# ## œ œ œ 3

œ œ œ œ œ nœ

œ Œ ‰ œ j œ œ

‹

G# ø G maj7 F# sus4 F# F# sus4 F#

& #

# ## œ œ œ œ œ œ n œ œ Œ ‰ œJ œ n œ œ œ œ Ó Ó Ó

‹

302

Continued: The Beatles - Penny Lane

# & #

‹

Chorus

C#m

œ œ œ œ œ J

œ œ œ œ œ ‰ œ J

œ œ œ œ ˙ Ó

Pen-ny

lane is in my ears and in my eyes

∑

‹

# #

A C#m D F#

œ œ J

œ œ œ œ œ ‰ œ J

œ œ œ œ œ œ œ œ œ # œ œ j ‰ Œ

Wet

be-neath

the blue sub-ur

- ban skies. I sit and mean-while

back

Music/Lyrics: John Lennon, Paul McCartney

Chord Progressions

Verse

Chorus

The Beatles

Penny Lane

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

B B/A# B/G# B/F# Bm G# ø Gmaj7

F#sus4 F# F#sus4 F#

A C#m D A C#m D F#

303

10. Switching to the parallel and counter parallel chord

It's also very popular to switch from A minor key to its relative major, or less commonly vice versa.

This is a simple trick because the chords available to you in each of these complementary keys are actually the

same. When changing from minor to major, you also create an uplifting feeling.

Here are two examples:

Silversun Pickups - Connection

(excerpt)

q= 147

& b b b b 4

‹

Verse

Bbm

Ó œ œ œ œ œ J œ œ j œ œ œ Œ Ó

How in the world can I ex - plain

& b b b b Fm Ab

Ó Œ œ œ œ œ Œ œ œ œ œ œ

‹

when thewords leap off from the page?

∑

304

Continued: Silversun Pickups - Connection

Chorus

Bbm

& b b b b w ˙ ˙ w ˙ œ œ œ œ

J œ ˙ ˙

‹

∑

This is my con- nec - tion

Db Bbm Fm

& b b b b w ˙ ˙ w ˙ œ œ œ œ J J J œ ˙ w

‹

This will leave an im- pres - sion

Music/Lyrics: Brian Aubert, Christopher Guanlao, Joe Lester, Nikki Monninger

∑

Death Cab For Cutie - I Will Follow You Into The Dark

(excerpt)

q= 72

& b 4

‹

Love of mine some day you will die, but I'll be

Verse

Dm 3

œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ j ≈ œ

r œ œ œ

Bb F C

œ œ œ ‰

œ r œ œ

œ œ j ‰ œ œ œ œ œ j ‰ Œ

be-hind

I'll fol -low

you in - to the dark

305

Death Cab For Cutie - I Will Follow You Into The Dark

(excerpt)

& b 4

‹

Chorus

Dm F Bb F F/E

œ r œ œ œ œ œ œ œ J

‰ œ œ œ œ œ œ œ œ œ ‰

hea-ven

and hell decide that they both are sat - is - fied, il -

œ r

‹

Dm F C

œ j œ œ œ œ œ œ œ J

‰ œ œ œ œ œ œ œ œ œ ‰

- mi- nate the "nos" on their va - can - cy signs If

œ r

‹

Dm F A Dm Dm/C

œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰

there is no - one be- side you when your soul em - barks, then

œ r

‹

Bbm

œ œ œ œ œ œ œ œ œ œ œ ‰

I'll fol - low you in - to the dark

Music/Lyrics: Ben Gibbard

306

Chord Progressions

Verse

Chorus

Silversun Pickups Connection Bbm Db Fm Ab Db Bbm Fm

Death Cab For Cutie

I Will Follow You

Into The Dark

F/A Dm/A Bb F C

Dm F Bb F C/E

Dm F Bb

Dm F A Dm Dm/C

Bb Bbm F/A

307

Alternatively you could change to the counter parallel chord (or contrast chord). In C major, this would

mean going to E minor and in A minor to F major.

In Black Summer by the Red Hot Chili Peppers they switch from Eb minor in the verse to Cb major in the

chorus, thereby creating a contrast between both song sections.

Red Hot Chili Peppers - Black Summer

(excerpt)

A la - zy rain am I The skies re-fuse

to cry Creq=

104

& 4

‹

Verse

Eb Tuning

œ j œ œ j œ œ œ œ jœ

˙ ‰ j œ

G D A Em

œ j œ œ j œ

œ j˙

‰ œ

# Am Em D/F# G D

& œ œ j œ œ j œ

œ j ∑

œ œ œ œ œ jœ

‹

- tion takes its piece of your sup - ply

& 4

‹

Chorus

G D E

œ œ œ œ œ œ œ œ œ œ J Œ

It's been a long time since I made a new friend

308

# G œ œ œ œ A œ œ œ E C G

œ œ œ œ J ‰

œ j œ œ œ œ œ œ

‹

Wai -ting

on an - oth - er black sum-mer

to end It's been a long time and you

D E D A E

& 4

‹

C G D E

œ œ œ œ œ œ œ œ œ œ J Œ

Continued: It'sRed been Hot Chili a Peppers long - time Black Summer since I made a new friend

# G œ œ œ œ A œ œ œ E œ œ œ œ C G

& J ‰

œ j œ œ œ œ œ œ

‹

Wai -ting

on an - oth - er black sum-mer

to end It's been a long time and you

# D E D A E

& œ œ j œ œ Œ

œ œ œ œ œ œ œ œ œ œ œ J Œ

‹

nev - er know when Wait - in' on an - oth - er black sum-mer

to end

Music/Lyrics: Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith

Chord Progressions

Verse

Chorus

Red Hot Chili Peppers

Black Summer

(Eb Tuning)

Em G D A Em Am

Em D/F# G D

C G D E G A E

C G D E D A E

309

11. Other chord progression changes

Of course there are many other ways to create a distinct chord progression for your chorus, outside of

the specific methods mentioned above.

Two well-working examples are Smashing Pumpkins' Today and End by The Cure.

The Smashing Pumpkins - Today (excerpt)

q= 82

# & #

# #

‹

Verse

Eb Tuning

F#m

A C#m F#m A C#m

Œ œ œ œ J

œ œ j œ Œ Ó Œ œ œ œ J

œ œ j œ œ J œ œ

wan -ted

more than life could e - ver grant me

F#m A C#m F#m A G# D#

& #

# # Œ œ œ œ œ œ œ Œ Ó Œ œ œ œ œ # œ œ Œ Ó

J J ‹

Bored by the chore of sav - ing face

310

Continued: The Smashing Pumpkins - Today

Chorus 2

E B A E B

# & #

# #

4 Œ œ œ J œ œ œ œ œ J

‰ œ œ œ œ œ œ Œ œ œ œ œ œ œ

‹

Music/Lyrics: Billy Corgan

To -day

is the great - est day I've e - ver known Can't wait for to-

mor

A E B

& #

# # œ œ ‰ œ r œ œ œ œ œ œ Œ

œ œ œ œ œ

‹

- row, I might not have that long I'll tear my heart

A E B C#

& #

# #

‹ œ j œ œ

Œ Œ œ œ J œ ‰ œ

J J œ œ J

out be - fore I get out

311

The Cure - End

(excerpt)

q= 86

& 4

‹

Verse

F Bb G F

œ j œ œ œ œ J J

œ œ œ j ‰ Ó Œ ‰ œ j œ œ œ œ œ bœ

œœ œ œ j ‰

I think I've reached that point where giv-ing

up and go-ing

# Bb G F

& Ó Œ ‰ œ j œ œ œ œ œ œ œ œ œ Œ

‹

are both the same dead end to me

# Bb G F Bb

& Ó Œ ‰ œ j œ œ œ œ œ ∑

J œ j

‹

& 4

‹

Chorus

are both the same old song

G/D C G/D C G/D

bœ

œ œ œ œ œ Œ bœ

œ œ œ œ œ j

Please stop lov-ing

me please stop lov-ing

me I am none of these things

‹

Bb C G/D C G/D

œ Œ Ó Œ bœ

œ œ œ œ œ Œ bœ

œ œ œ œ œ

Please stop lov-ing

me please stop lov-ing

312

‹

C G/D Eb

bœ

œ œ œ œ œ j œ Œ Ó

I am none of these things

# Bb C G

‹

Bb C G/D C G/D

œ Œ Ó Œ bœ

œ œ œ œ œ Œ bœ

Continued: The Cure - End

œ œ œ œ œ

Please stop lov-ing

me please stop lov-ing

‹

C G/D Eb

bœ

œ œ œ œ œ j œ Œ Ó

I am none of these things

# Bb C G

& Œ bœ

œ œ œ œ œ j œ Œ bœ

œ œ œ j œ Œ Ó

‹

I am none of these things, none of these things

Music/Lyrics: Perry Bamonte, Simon Gallup, Robert Smith, Porl Thompson, Boris Williams

Chord Progressions

Verse

Chorus

The Smashing Pumpkins

Today

(Eb Tuning)

F#m A C#m (3x)

F#m A G# D#

E B A (3x) E B C#

The Cure End G F Bb

C G/D (3x) Bb

C G/D (3x) Eb Bb C G

TIP

If you're struggling to do so with topline alone, any change of chord progression will make your chorus

stand out more.

313

12. Switching musical styles

You can also combine different musical styles to create contrast between song section. The most common

example in modern music is using a rapped verse and a sung chorus, as in Jay Z's Empire State of Mind.

Jay Z (feat. Alicia Keys) - Empire State of Mind

(excerpt)

q= 86

Yeah,

Verse

Œ ‰ ¿ j Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

yeah I'm out in Brook -lyn,

nowI'm down in Tri - be-ca

right next to De

¿ ¿ ≈ ¿ r ¿ ¿ ¿ ¿ ¿ ¿‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Ni-ro,

but I'll be hood for-e-ver

I'm the new Si - nat-ra

and since I made it here I can make it

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ Ó

a - ny-where,

yeah,they love me ev-ery-where

I used to cop in Har-lem

314

Continued: Jay Z (feat. Alicia Keys) - Empire State of Mind

(excerpt)

& # # # # #

œ œ

Chorus

œ œ œj ˙ Œ œ œ œ œ œ œ œ œ

In New York, con-crete

jung - le where dreams are made

& # # # # #

F# C# B

J œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ˙

of there's no-thing

you can't do Now you're in New York,

& # # # # #

‰ œ j œ œ œ œ œ

these streets will make you feel brand new, big lights will in - spi -

œ œ J œ œ j œ œ œ

& # # # # #

# C#

œ B

œ œ œ œ œ œ œ œ œ ‰ œ œ j ‰ j œ

re you Let's hear it for New York, New York, New York

œ œ œ j ˙ Œ

Music/Lyrics: Shawn Carter, Angela Hunte, Burt Keyes, Alicia Keys, Sylvia Robinson, Alexander

Shuckburgh, Janet Sewell

315

13. Changing the tempo

A seldom-used but interesting trick is to change the tempo between the verse and chorus, as in Lana Del Rey’s

West Coast. Here the songs shifts from 62 to 50 bpm from the verse to the chorus.

Lana Del Rey - West Coast

(excerpt)

q= 62

Verse

& # # # F#

4 ≈

≈

‰

œ œ œ œ œ œ œ œ œ œ

Down on the West Coast they got a say - in',

& # # # ≈

‰ ≈

œ œ œ œ œ œ œ œ œ œ œ œ

& # # # E

≈

œ œ œ œ œ œ r œ œ œ œ œ œ œ

& # # # D j ‰ ‰

j ‰ Œ

œ œ œ

if you're not drink - in'

then you're not play - in', but you've

got the mu - sic, you've got the mu - sic in you,

don't

you?

316

Continued: Lana Del Rey - West Coast

q= 50

& # # #

& # #

Chorus

I can see my ba - by swing - ing,

F# C#m D

‰

his par -lia-ment's

on fire and his hands are up

œ œ œ œ œ œ œ œ œ

j ‰ Œ Ó

œr

œ œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Elizabeth Grant, Rick Nowels

317

14. Shifting the starting point of the topline

A subtle, yet very effectively to enhance the chorus topline is to shift its starting point by several beats

or even a bar, as in Lights Out by Royal Blood. In addition to using a pre-chorus, changing the pitch and

using a backing vocal hook, they also start the chorus topline on the first offbeat of the second bar. This

creates separation between the song sections and a change in mood, both of which help the chorus to

stand out.

Royal Blood - Lights Out

(excerpt)

q= 90

& b 4

‹

Verse

œ œ œ œ œ œ œ œ œ Œ ‰ œ j œ œ œ J

‰ œ œ œ œ œ Ó Œ œ œ

Eve-ry

time I'm with it a- lone It picks me up You just send it down I can

‹

œ# œ œ œ œ nœ

œ œ œ j œ ‰ Œ œ œ œ œ œ œ œ œ

feel it rush-ing

un-der

my skin You're a cage won't you let me in?

∑

318

Continued: Royal Blood - Lights Out

& b 4

‹

Chorus

Dm F C Dm F C

Yeah

œ œ œ

Yeah

œ œ œ œ œ w ‰ J

My eyes are still burn-ing

red

You're not so hard to for-

get

Yeah

So turn the lights out

Dm F C Dm F C

‰ œ J

œ œ œ œ œ œ œ w

‰ œ J

œ œ œ œ

œ œ œ œ œ

With all the lights

out

Music/Lyrics: John Barrett, Mike Kerr, Ben Thatcher

319

2 15. Octave jumps

A less common, yet very effective, trick to emphasize the chorus is to insert an octave jump (or a similarly

large interval) near the beginning of the chorus melody, as in I'm Not Made By Design by Nothing but

Thieves.

Nothing But Thieves - I’m Not Made By Design

(excerpt)

q= 87

Chorus

& b b b b b b Ebm sus2 /F

‹

Ebm/Gb Abm Ebm

& b b b b b b

‹

œ œ œ œ œ œ œ œ œ œ nœ

‰ ‰ ‰ ≈

œ j œ

Ooh,

& b b b b b b œ œ œ œ

‹

œ œ œ œ œ œ nœ

& b b b b b b Ebmsus2 /F Ebm/Gb Abm

‰ ‰ ‰ ≈

œ j œ

‹

Ooh,

I'm not made, I'm not made by de - sign

can you be, can you be sa - tis - fied?

bœ

Music/Lyrics: Dominic Craik, Mike Crossey, Julian Emery, James Irvin, Joseph Langridge-Brown,

Conor Mason

320

A similar example is Death Cab For Cutie’s Soul Meets Body, from their major label debut, Plans. Here,

they introduce a large interval difference over the course of a whole song section. From the last note of

chorus one’s topline to the highest note sung in chorus two, we gain one octave.

Death Cab For Cutie - Soul Meets Body

(excerpt)

I do be-lieve

it's true that there are roads left in both of our shoes And if the siq=

128

& b 4

‹

Chorus 1

Dm F C Dm F C

J œ œ J

œ œ œ ‰ œ j œ J

œ œ J

œ J

œ œ J

œ œ œ œ ‰ œ j œ œ œ

Dm Bb C Dm F/A Bb C sus4 C

œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Ó Œ ‰ œ j

- lence takes you then I hope it takes me too So

Dm F C Dm F C

œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ œ ‰ œ

j œ œ œ

brown eyes I hold you near cause you're the on - ly song I want to hear a me-lo

- dy

‹

Dm Bb C Dm F/A Bb C sus4 C

J œ œ J œ œ œ œ œ œ œ œ œ œ Œ Œ Œ

soft

- ly soar-ing

through my at - mo - sphere

∑

321

Continued: Death Cab For Cutie - Soul Meets Body

& b 4

‹

Chorus 2

Where soul meets bo - dy

Where soul meets bo -

- dy Where soul meets bo - dy

œ œ œ œ œ J

œ ˙ w ˙

J œ

‰ œ

œ œ œ œ J

œ ˙ w

‰ œ œ œ œ

∑

Music/Lyrics: Ben Gibbard, Nick Harmer, Jason McGerr, Chris Walla

322

Creativity is intelligence having fun.

(Albert Einstein)

323

16. Inserting an instrumental interlude before the chorus

One method that is very subtle, but can still have a big impact, is to work in an instrumental riff before the

chorus. This can mean using the same chords as an existing section, or new ones entirely. In It's Not Over

Yet by Klaxons, they use the same chords throughout the song, creating separation with such an interlude.

Klaxons - It’s Not Over Yet

(excerpt)

q= 152

# & #

# #

‹

œ œ

Verse

œ Œ Œ

F#m

C#m

œ œ œ œ Œ œ œ œ Œ Œ

œ œ œ Œ Œ œ œ

I live for you I die for you do what

A F#m C#m A

& #

# # œ œ Œ Œ œ œ ‰ œ ‰ œ œ Œ Ó Ó œ œ œ Œ Œ

‹

œ œ

you want me to I cry for you,

F#m

C#m

& #

# # œ œ Œ œ œ œ œ

Œ Œ œ œ Œ Œ œ œ

‹

my tears will show that I

A F#m C#m

& #

# # œ œ

Œ Œ œ œ ‰ œ ‰ œ œ Œ Ó

‹

can't let you go

324

Continued: Klaxons - It’s Not Over Yet

& # # # #

Riff

A F#m C#m

œ œ œ œ

J œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ J œ œ J J J J

# & #

# #

‹

C#m

& #

# œ #

‹

Chorus

œ œ œ œ œ œ J

F#m

œ œ œ œ œ œ œ J

It's not o - ver, not o - ver, not o - ver, not o - ver yet

You still want me, don't you

œ œ œ œ

Œ ‰ œ œ J

œ œ J

œ œ œ ˙ Ó

Music/Lyrics: Robert Davis, Paul Oakenfold, Michael Wyzgowski

325

Another example of an instrumental interlude before the chorus can be heard in Adam’s Song by Blink

182.

Blink 182 - Adam’s Song

(excerpt)

q= 136

& 4

‹

Verse

C F Am F

Œ ‰ œ J

œ œ œ œ ‰ œ j œ œ œ œ ‰ œ J

œ œ œ œ œ œ œ œ

I ne-ver

thought I'd die a- lone I laughed the loud - est, who'd have known

C F Am F

& œ ‰ œ j œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ

J ‹

I trace the cord back to the wall no wonder, it was ne-ver

plugged in at all

Guitar

& 4

Interlude

C Dm Am F maj7

œ œ œ œ

œ œ œ œ œ œ

œ œ

œ œ œ œ

œ œ

œ œ œ œ

œ œ

326

Continued: Blink 182 - Adam’s Song

Chorus

C Dm Am F

& Œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

I ne - ver con - quered, rare - ly came Six-teen

just held such bet - ter days

C Dm Am F

& œ Œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

J J J J œ œ ‰

‹

Days when I still felt a - live We coul-dn't

wait to get out...

Music/Lyrics: Travis Barker, Tom Delonge, Mark Hoppus

327

17. The half-time change

Another popular method is to use a timing change to dinstinguish the chorus from the rest of the song. A

common method is switching to a 'half-time' feel in the chorus, whereby the beat/rhythm is played at half

of the expected speed. This will often result in longer chord lengths, but not always.

One good example of a half-time chorus would be Promises by Nero.

Nero - Promises

(excerpt)

Voice

Percussion

q= 144

Verse

&b 4 Ó ‰ ‰ ‰ œ œ J œ œ œ œ

T.T.

F.T.

Œœ œ œ œ œ œ

≈ œ œ Œ œ œ œ œ ≈ œ œ œ

You got me so wild

œ ¿ Œ œ œ œ œ ≈ œ œ œ œ Œ œ œ œ œ ≈ œ œ œ œ

Ó ‰ ‰ œ œ œ œ œ œ œ

how can I e - ver de - ny?

œ œ œ œ œ œ

≈ œ œ Œ œ œ œ œ ≈ œ ¿

œ œ œ Œœ œ œ œ œ œ

≈ œ œ Œ œ œ œ œ œ œ

≈ œ œ

328

Continued: Nero - Promises

Voice

Percussion

Chorus

Pro

Fmaj maj7/9

& b 4 Ó ‰ œ J œ œ Ó ‰ œ œ J

‰

- mi - ses

And they

¿ j Œ

Œ ¿

œ œ œ

& b œ œ œ œ œ œ J

œ œ œ œ œ

still feel all so was - ted on my - self

‰

¿ j ‰ ¿ j ‰ ¿ j ‰ ¿ j ‰

Œ œ œ œ

¿ j ‰ ¿ j

Music/Lyrics: Joseph Ray, Daniel Stephens, Alana Watson

329

In Cherry Glazerr’s Distressor she uses the concept of switching between standard time and half time

not only between verse and chorus but also in the intro of both verses as well as in the last chorus.

Cherry Glazerr - Distressor

(excerpt)

Voice

Drums

q= 125

Verse

Am/C

& 4 Ó œ # œ œ œ œ œ œ # œ œ œ œ

¿¿

œ j ¿

œ ‰

Vio -lence

in my head I put my mask on like

¿ j ¿

œ j ¿

œ ‰

œ ¿j

Dm/F

# œ œ # œ ˙

∑

- ery - bo - dy else

œ j ¿

œ ‰

œ ¿j ¿

œ j ¿

œ ‰

œ ¿j

330

Continued: Cherry Glazerr - Distressor

Chorus

Voice

& 4

∑

F maj7

∑

œ j œ œ œ

Drums

¿ ¿ ¿˙

¿ ¿˙

I can just

F maj7

˙ Ó ∑

∑ Œ œ j œ œ œ

be So I can just

¿ ¿ ¿˙

¿ ¿ ¿ ¿

¿˙

œ œ œ œ œ œ ¿ j ‰

J Œ

Am C E

˙ Ó Ó œ œ œ œ ˙

be be -e -e -e

¿ ¿ ¿˙

∑

¿ ¿ ¿

œ œ

Music/Lyrics: Clementine Creevy

331

18. The double-time change

A particularly popular method in punk to distinguish the verse and chorus is to utilize double time. Here,

the frequency of drum notes is increased, making it feel as though the BPM has been doubled. This can

be heard clearly in The Clash’s Should I Stay Or Should I Go.

The Clash - Should I Stay or Should I Go

(excerpt)

Voice

Drums

q= 111

# & # 4 ‰

‹

Verse

œ j œ œ œ œ œ nœ

œ j ‰ Œ Ó

Dar -ling

you've got to let me know

‰ œ

¿ ¿ œ

¿ ¿

œJ ‰ œ

¿ ¿ œ

D D G

& # Œ

œ œ œ œ œ œ œ j ‰ Ó

‹ nœ

Should I stay or should I go

‰ œ ¿ œ ¿ œ ¿ ¿ œ ¿ ¿ œ J

‰ œ ¿ œ ¿ œ ¿ ¿ œ ¿

332

Continued: The Clash - Should I Stay or Should I Go

Voice

Drums

Chorus

# & # 4 Œ œ œ œ œ œ œ œj œ

‹

D G D

Should I stay or should I go now? Should I stay or should I

œ œ œ œ œ œ

Ó ‰ œ J œ 1 œ ≈ œ œ 1 œ1 œ ≈ œ œ 1 œ1 œ ≈ œ œ 1 œ1 œ ≈ œ œ 1

G D G F

& # œ j Ó Œ

œ œ œ œ œ œ œj œ œ Œ

‹

go now? If I go there will be trou-

ble

œ 1 œ ≈ œ œ 1 œ œ 1 ≈ œ œ 1 œ1 œ ≈ œ œ 1 œ 1 œ ≈ œ œ 1

æ ! œœœœ œœœ ≈ œœœœ œœœ ≈

> >

333

Continued: The Clash - Should I Stay or Should I Go

G D G

& # ‰

œ j œ œ œ œ œ œ œ j Ó

‹

But if I stay it will be dou-ble

æ ¿ ! œœ œ œ œ œ œ ≈ œ œ œ œ œ œ œ 1 œ ≈ ≈ œ œ

1œ

> >

& # Œ œ œ nœ

œ œ œ œ j œ œ Œ

‹

So come on and let me know

¿ o

1œ

≈ œ

œ œ

1 œ ≈ œ œ

æ ! œœ œ œ œ œ œ ≈ œ œ œ œ œ œ œ ≈

> >

‹

# #

D G/D D

∑

> ¿

œ œ œ

‰ Œ Ó

Music/Lyrics: Mick Jones, Joe Strummer

334

Outside of punk, however, care should be taken to ensure that the transition is not too abrupt. A band

who achieve this well are The Police, such as in their song Every Little Thing She Does Is Magic.

Harmonically, they go from a dense, ascending chord progression in the verse to a more melodicallyopen

I IV progression, while changing from a drawn-out topline to a fast vocal lead-in as we arrive at

the chorus.

The Police - Every Little Thing She Does Is Magic

(excerpt)

Voice

q= 84

# & # 4

‹

Verse

œ œ œ œ œ œ œ œ œ

≈ ≈ œ œ œ

Drums

Though I've tried be -fore

to tell her of the feel -

‰

¿ ¿ ¿ ¿ ¿ o

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

G/B A/C# G A

& # œ œ œ œ œ œ

œ œ œ œ œ œ ˙ Œ

‹

ings I have for her in my heart

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ > ¿ > ¿ > ¿

o o o o o

¿ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

G/B A/C# G A

& # Ó ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

Ev-ery

time that I come near her I just lose

¿ ¿ ¿ ¿ ¿ >> o >> o >> o

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

335

Schlagzeug

‰

¿ ¿ ¿ ¿ ¿ o

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Continued: The Police - Every Little Thing She Does Is Magic

G/B A/C# G A

& # œ œ œ œ œ œ

œ œ œ œ œ œ ˙ Œ

‹

Though I've tried be-fore

to tell her of the feelings

I have for her in my heart

¿ ¿ ¿ ¿ ¿ > > > o o o o o

¿ ¿ ¿ ¿ ¿ ¿

¿ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

G/B A/C# G A

& # Ó ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹

Ev-ery

time that I come near her I just lose

¿ ¿ ¿ ¿ ¿ >> o >> o >> o

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Voice

Drums

G/B A/C# D G A D G A D

œœ œ ≈≈œ œ ˙

# œ œ œ œ

‰ ‰ ‰ ‰ ≈Ó

& #

œ 4

œ œ œ œ œ œ œ œ œ

œ ‰

‹

my nerve as I've done from the start

Ev - ery lit - tle thing she does is mag - ic ev - ery-thing

she

‰ J ¿

4 Œ

Chorus

¿ o ¿ o o o o

> ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿¿¿ œ œ œ œ Ó

‰ ‚ œ ≈ ‚ œ‚ ‚ ‚ r ‰

J ‰ J ‰ J

336

& # œ œ œ œ œ

‹

œ œ œ œ

do just turns me on E - ven though my

Schlagzeug

Ev - ery lit - tle thing she does is mag - ic ev - ery-thing

she

> ¿

4œ

¿ > ¿

‰ œ

œœ

‚ ‰ œ œ≈ ¿ ‚ œ‚ ¿ ‚ ‰ ‚ r ‰

J ‰ ‰ J J ‰ J ‰ ‰ J

Continued: The Police - Every Little Thing She Does Is Magic

# œ œ

& # œ œ œ œ œ œ œ

œ œ œ œ

Œ œ ‰

‹ >

> ¿

/ œ

œ œ

‰ œ

¿ ‰

‰

J ≈ ¿ œ

¿ ¿ ¿ ‰ œ

J ‰

J J ‰ J

life be - fore was tra - gic

now I know my

do just turns me on E - ven though my

A Bb Fmaj9

# A

2œ œ œ œ œ

œ œ œ œ

& # œ

œ n œ œ œ œ 4

˙ œ ‰

‹

life love for be -her fore goes was on tra - gic

now I know my

> >

2¿

/ 4

4œ

‰ J ≈ ¿ o o ¿ o

¿ r ¿ ¿ ¿ œ

¿ ¿

‰ œ ≈ ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿ ‰ œ

‰ J

‰

≈ ¿ ¿ ¿ ¿ ¿ ≈

J 4

A Bb Fmaj9

œ n A

G/B

& # œ œ œ ∑ œ 4

˙ ˙

‹

# #

love for her goes on

o o o

4 œ

r ¿ ¿ ¿ ‰ 4

œ ≈ ¿ ≈ œ ≈ o

œ ≈ ¿ ¿ ¿ ¿ ¿ ≈ ¿ œ

≈ ¿ ¿ ¿ ¿ ¿ ≈ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ ¿

≈

Music/Lyrics: Gordon Sumner

∑

G/B

A/C#

∑

A/C#

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ o ¿

337

19. Using different time signatures

Another way to create clear contrast between the verse and chorus is to use different time signatures, as

in Lucy In The Sky With Diamonds by the Beatles. Here, they switch from 3/4 in the verse and pre-chorus

to 4/4 in the chorus.

The Beatles - Lucy In The Sky With Diamonds

(excerpt)

q= 128

# 3

& #

‹

Verse

A 7 /G D/F# Dm/F A/E A 7 /G D/F#

œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ

Pic-ture

your-self

in a boat on a ri-ver

With tan-ge- rine trees and mar-me-

lade

A/E A 7 /G D/F#

& #

# F

˙ ∑ œ œ œ œ œ œ œ œ œ œ œ

‹

skies Some - bo - dy calls you, you ans - wer quite

& #

# Dm/F A/E A7 /G F#m 7

œ œ ‰ œ j œ œ œ

œ œ œ ˙ ˙ b

‹

slow-ly

A girl with ka - lei - do-scope

eyes

∑

Dm/C

∑

338

Continued: The Beatles - Lucy In The Sky With Diamonds

q= 136

Pre-Chorus

C F Bb

& b 4

œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ ˙ œ

‹

Cel-lo- phane flow-ers

of yel-low

and green, tow-er-ing

o - ver your head

‹

∑

œ œ œ œ œ œ œ œ œ œ œ œ nœ

q= 94 D

Look for the girl with the sun in her eyes and she's gone

œ Œ Œ Œ

q= 94

& 4

‹

Chorus

G C D G C

œ œ œ œ œ J

œ œ J

œ œ œ œ j ‰ Ó

œ œ œ œ œ J

Lu - cy in the Sky with Dia - monds,

Lu - cy in the Sky with

# D

œ G C D

œ œ œ j œ œ œ œ œ

‰ Ó

œ œ J

œ œ œ œ j ‰ Ó

‹

œ J

Dia

- monds,

Lu - cy in the Sky with Dia - monds

Music/Lyrics: Paul McCartney, John Lennon

339

20. Arrangement and production techniques

In addition to compositional tricks, you can also emphasize the chorus using arrangement and production.

One of the most popular techniques is to work with backing vocals.

There are two approaches here:

• Doubling the topline (or parts of it) with a harmony

• Completing the topline in a 'call and response’ style

Otherside by the Red Hot Chili Peppers has both a refrain and a chorus. The topline is doubled every time

the refrain appears, while the chorus topline is doubled selectively in the second half of the song, helping

these sections to stand out.

Red Hot Chili Peppers - Otherside

(excerpt)

q= 123

Refrain

œ œ

& ‰ Œ

‹

take it on the oth - er - side

Take it on the

& 4 œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ

J J J ‹

I've got to take it on the oth - er - side

Take it on the

Am G Am

‹

œ œ

340

oth - er - side

Take it on Take it on

œ œ œ Œ œ œ œ ˙ w œ œ œ œ ˙

∑

& 4

œ œ J

œ œ œ J

œ œ J

œ œ

& 4

take it on the oth - er - side

Take it on the

œ œ œ œ J

œ œ œ J

œ œ Œ œ œ J

œ œ

Continued: I'veRed got Hot to Chili take Peppers it on - Otherside

oth - er - side

Take it on the

Am G Am

œ œ œ

œ œ œ ˙ w œ œ

œ œ œ Œ œ œ œ ˙ w œ œ

oth - er - side

Take it on Take it on

J œ œ Œ œ œ œ ˙ w œ œ œ œ ˙

oth-er

- side Take it on Take it on

∑

Chorus

F C G

& ˙ Ó

‹ How long slide Side

& 4 Œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó œ œ œ œ œ œ œ œ œ œ

‹

How long, how long wil I slide Se - pa-rate

my side

F C G Am

‹

∑

˙ Ó Œ

œ œ œ w w

I don't be - lieve it's bad

& ˙ Œ œ œ Œ ‰

˙ œ j œ œ œ œ ˙ œ œ

‹

F C G

‹

I don't, I don't be - lieve it's bad

œ œ Œ Ó

∑

slit - tin'

˙ Ó œ œ œ œ œ œ œ œ œ œ

341

I don't be - lieve it's bad

˙ Œ œ œ ˙

Œ ‰ œ j œ œ œ œ ˙ œ œ

Continued: Red Hot IChili don't, Peppers - Otherside I don't be - lieve it's bad

F C G

œ œ Œ Ó

slit - tin'

˙ Ó œ œ œ œ œ œ œ œ œ œ

Slit

- tin' my throat it's all I e - ver

∑

Music/Lyrics: Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith

Joe Cocker's cover version of With A Little Help From My Friends, on the other hand, uses a second voice

in a ‘call and response’ style. This gives the vocal melody an almost choir-like sound and at the same time

great intensity.

Joe Cocker - With A Little Help From My Friends

(excerpt)

q=145

Chorus

nœ

Ah, with a lit - tle help from my friends

œ œ œ

# 3

& #

4 nœ

œ œ œ œ œ œ Œ ∑ Œ Œ œ œ

‹

Oh ba - by I get by All I

‰ ‰

# œ

j œ

# œ Œ Œ

342

nœ

œ œ œ

Ah, with a lit - tle help from my friends

G D A

# # œ œ j

‰ ‰

# œ

j œ

# œ Œ Œ

G D

# 3

& #

4nœ

œ œ œ œ œ œ Œ ∑ Œ Œ œ œ

‹

Oh ba - by I get by All I

Continued: Joe Cocker - With A Little Help From My Friends

‹

# #

nœ

Ah, with a lit - tle help from my friends

œ œ œ

œ œ œ œ œ ∑

∑ Œ ‰ œ j œ œ

need is my bud-dies

I say I'm

œ #

‰ ‰

# œ

j œ

# œ Œ Œ

nœ

œ œ œ

Ah, with a lit - tle help from my friends

G D

# #

& # œ œ œ œ œ œ

œ Œ Œ ∑ Œ Œ œ nœ

‹

3 3

gon-na

ge -t

high Oh

‰ ‰

# œ

j œ

# œ Œ Œ

n˙

Ooh,

# # œ Œ Œ

G D

& #

œ œ œ œ n œ œ œ Œ

‹

∑

yeah

Music/Lyrics: John Lennon, Paul McCartney

343

Here are a few other tricks:

• doubling the length of a chorus (usually first or last)

• 'double-tracking’ the topline (stacking two or more vocal takes)

• changing the vocal volume

• cutting all or some of the arrangement just before the chorus

• playing open chords

• doubling guitars or other instruments

• varying the bassline, or simply transposing it by an octave

• adding new instruments or extra percussion

• adjusting the panning (left-right alignment of sounds)

• changing the cymbals or drum samples used (e.g. from ride to crash)

• using effects (reverb, delay, distortion)

TIP

Try to incorporate multiple tricks into your song at once. In Justin Timberlake's 'Can't Stop The Feeling',

the vocal pitch increases, while the song also works with multiple toplines and a pre-chorus.

344

Great things are not done by impulse,

but a series of small things brought together.

(Vincent van Gogh)

345

#37 RE-HARMONIZING WITH ALTERNATIVE CHORDS

When choosing chords to go with a topline, you will find that more than one always fits. This is because

the chords available to you are based on the note or notes that appear in your melody at any given time,

with more chord shapes available than you may think.

The basic principle when looking at swapping the chords themselves is that you can exchange one for

another, as long as it contains at least two of the three notes from the original triad.

When using basic triad chords we have two options:

The third or sixth chord

Taking C major (C-E-G) as an example, we could replace it with the third chord in the scale, in this case E

minor (E-G-B), with them sharing the notes E and G. Similarly, the sixth chord could be used instead, here

A minor (A-C-E), sharing the notes C and E.

Depending whether your song is in major or minor, the third and sixth chord will also happen to be the

parallel (relative) and counter parallel chord of your chosen key. (look at lesson 36)

The diminished chord and tritone substitution

Where seventh chords have a fourth note beyond the basic triad, we now have an expanded range of

options for replacing them. Taking the C7 chord (C-E-G-Bb), we can now change it for E diminished (E-

G-Bb), in fact sharing three notes. Keeping in mind that in music theory we can often describe the same

thing in many different ways, you can see that this is simply the original chord minus the root or bass note.

Similarly, we can replace C7 using a tritone substitution, where we jump up (or down) three full tones (or

six frets/keys) and play the same type of chord. Considering that the resulting chord has simply lost the

346

root and the fifth, you could also describe what’s happened as a diminished fifth or augmented fourth.

In our example, the result would be Gb7 (Gb-Bb-Db-E). Be aware that these two more complex variations

are used more in jazz than pop or rock.

Every time you add a note to a chord, you in turn increase the number of replacement chords available.

Needless to say, there is an almost never-ending list of alternative chords, depending on your melody.

I = VIm, IIIm (C-Dur: C = Am, Em)

& w

C Am Em

G7 - VII°, bII7 (C7 = h°, Db7)

& w

bbw

G7 h° Db7

TIP

Take one of your existing songs and change some chords using the methods above. You’ll be able to

hear how the feel may change, but the melody still fits.

347

#38 RE-USING CHORD PROGRESSIONS

You may find that certain chord progressions work for you better than others. The good news is that

you need not force yourself to create never-endingly new sequences for the sake of it. This can be futile,

especially if you want to release more than one album. U2, for instance, have used the same (or a minorly

modified) sequence on their songs All I Want Is You, The First Time and The Playboy Mansion.

Chord Progressions

Verse

I IV

Chorus

VIm IV / VIm V

U2 - All I Want Is You

(excerpt)

q= 93

# & #

‹

Verse

Eb Tuning

A D A D

Œ œ œ w œ J

œ œ œ œ J

œ œ J

˙ Œ œ œ

You say you want dia-monds

on a ring of gold You

& #

# A D A D

Œ œ œ ˙ ‰

œ j œ œ œ œ œ œ œ ˙ ‰

J ‹

say you want you sto - ry to re - main un - told

348

Continued: U2 - All I Want Is You

# & #

‹

But all the

Chorus

F#m

œ œ œ œ œ œ œ œ œ œ ˙ Œ œ œ œ J

œ œ

F#m

pro-mi- ses we make from the cra-dle

to the grave

& #

# D A D A

˙ Œ

œ œ ˙

‰

jœ œ j ˙ ‰ œ

jœ œ j w

‹

when all I want is you.

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

349

U2 - The First Time

q= 94

# & #

# #

‹

Verse

Eb Tuning

(excerpt)

A E A

œ œ œ œ œ œ Œ Ó Œ ‰ œ j œ œ œ œ œ œ Œ Ó Œ ≈ œ œ

I have a lov - er,

a lov-er

like no other.

She got

E A E A

& #

# #

3 3

œ œ œ œ Œ ‰

œ ˙

‹ œ œ

œ œ œ j œ œ œ

∑

soul, soul, soul,sweet soul and she teach me how to sing

# & #

# #

‹

Chorus

C#m

‰ œ j œ œ œ œ œ œ œ œ œ Ó

Shows me co - lors when there's none to see,

C#m

& #

# # ‰ œ j œ œ Œ ≈ œ œ œ œ œ

‹

gives me hope when I can't be - lieve but for the

‰

œ j œ œ

E A E A

& #

# #

œ œ œ Ó Œ Œ ‰ ‹ œ j œ œ œ

Œ Ó

first time I fell love.

∑

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

350

U2 - The Playboy Mansion

q= 84

# & #

# #

‹

Verse

(excerpt)

œ j œ Œ Œ ‰ œ œ œ œ œ Œ Œ ≈ œ œ œ œ œj ‰ Ó

If coke is a mys-te- ry,

Mi- chael Jack-son

‹

# #

œ œ œ Œ Œ ‰ œ j œ œ ˙ nœ

œ œ œ

Œ ‰

his - to - ry,

if beau - ty is truth, and sur -

œ j

& #

# #

œ œ Œ ‰ œ œ œ œ œ œ j œ

‹

- ry

the foun - tain of youth.

‰ Ó

# & #

# #

‹

Chorus

C#m B C#m

œ œ œ ˙ œ œ œ Œ ‰ œ œ œ œ œ œ ‰ œ j œ j œ œj

What am I to do, have I got the gifts to get me through

& #

# #

œ ‰

œ j

‹ œ œ œ j œ j œ œ j œ œ œ

the gates of that man - sion.

Music/Lyrics: Adam Clayton, Dave Evans, Paul Hewson, Larry Mullen Jr.

351

Chord Progressions

Verse

Chorus

All I Want Is You Ab Db Fm Db

The First Time Eb Ab Cm Ab

The Playboy Mansion E A C#m B

TIP

If you use the same chord progression more than once, try to use it in different song sections and to

change the key if possible.

352

Time you enjoy wasting, was not wasted.

(John Lennon)

353

#39 CHORD PROGRESSIONS BASED ON SECONDS

As you will begin to notice, most chord progressions are based around the root, fourth and fifth. In C

2 major, this would mean common use of the C major, F major and G major chords. An alternative, however,

is to work with chord progressions based on (or even comprised entirely of) seconds. This works best on

slower songs and/or simpler arrangements, since semitones create a certain friction which needs space

to breathe. A band who use this technique regularly are Portishead, which can be heard on their songs

Glory Box and Only You.

Portishead - Glory Box

(excerpt)

q= 60

shuffle

& bb b b b b 4

Chorus

Ebm

nœ

Ebm/Db Ebm/C Ebm/Cb

bœ

œ œ œ œ œ œ œ œ œ œ ˙

Give me a rea - son to love you

∑

Ebm Ebm/Db Ebm/C Ebm/Cb

& bb b b b b Ó nœ

bœ

œ œ œ œ œ œ œ œ ˙ œ ˙ ‰ j

J œ

Give me a rea - son to be a

&b b Ebm

b b b b œ œ œ

Ebm/Db

∑

Ebm/C

∑

Ebm/Cb

∑

man

Music/Lyrics: Geoff Barrow, Beth Gibbons, Isaac Hayes, Adrian Utley

354

Portishead - Only You

(excerpt)

q= 60

shuffle

&b 4

Chorus

Drop D Tuning

D/F#

Dm/F E° 7 3

œ œ œ ˙ Œ œ œ ˙ œ œ œ œ ˙ Œ

œ œ

It's on - ly you who can tell me a- part and it's

D/F#

Dm/F

œ œ œ ˙ Œ œ œ ˙ œ œ # œ œ # œ n˙

- ly you who can turn my wood- en heart

E° 7

Music/Lyrics: Geoff Barrow, Beth Gibbons, Romye Robinson, Adrian Utley, Emandu Wilcox

Another song which uses a chromatic chord progression well is Tear You Apart by She Wants Revenge. To

work around this type of chord progression, which can be quite overpowering, they use as few notes as

possible in the topline, with an almost 'spoken' feel. Something else worth noting is that they use fewer

chromatic chord changes in the chorus, so as to release some tension.

355

She Wants Revenge - Tear You Apart

(excerpt)

q= 153

# & #

4 œ œ œ œj œ œ j œ œ œ œ œ j œ œ œ œ œj œ œ j œ œ

‹

# #

may

Verse

Got a big plan,his mind's set, may-be

it's right At the right place and right time,

œ œ œ j œ œ œ œ œ j œ œ j œ œ

- be to - night In a whis - per or hand - shake

& #

œ œ œ j œ œ œ œ œ j œ œ j œ œ œ œ œ œ Ó

‹

send-ing

a sign Wan -na

make out and kiss hard, wait ne - ver mind

# #

& # 4

‹

Chorus

F# C#/E#

œ œ œ j œ œ j œ œ Œ

œ œ œ j œ œ j œ œ

I want to hold you close Skin pressed a - gainst me tight

& #

# E

Œ œ œ ‰ œ j œ œ j œ œ Œ œ j œ œ œ j œ œ œ j œ œ

‹

Lie still, and close your eyes girl So love - ly it feels so right

Music/Lyrics: Adam Braven, Justin Warfield

356

Chord Progressions

Verse

Chorus

Portishead

Sour Times

Ebm Ebm/Db Ebm/C

Ebm/Cb

Ebm Ebm/Db Ebm/C

Ebm/Cb

Portishead Only You Dm D/F# Dm/F E 0 7 Dm D/F# Dm/F E 0 7

She Wants Revenge Tear You Apart F# F E D# F# C#/E# E D

TIP

Semitone chord progressions are by nature very dominant, so avoid toplines with a barrage of notes,

rather using legato phrases or appropriate gaps in the melody to avoid conflict. To get a feel for this

technique, it’s helpful to start with a ballad first, before moving onto faster songs.

357

#40 BUILDING CHORD PROGRESSIONS WITH THIRDS

Another method for finding chord progressions is to base them on thirds which can have a smoother,

more cyclical feel. In C major, this would mean for example going from A minor to C major.

Here are a few examples that work with these progressions.

Garbage - The Trick Is To Keep Breathing

(excerpt)

q= 105

&b b 4

Verse

She's not the kind of girl who likes to tell the world

&b b Eb Œ

Cm Eb F Eb ∑

˙ œ j œ œ j œ œ œ œ œ œ j œ œ j Ó

œ ˙

a - bout the way she feels a-bout

her-

self

œ j œ œ j œ œ œ œ ˙

œ j œ œ j œ œ œ œ

358

Continued: Garbage - The Trick Is To Keep Breathing

Gm Bb Dm F

Chorus 1

& bb 4

œ j œ œ j ˙ œ

And la - tely

I'm not the on - ly one.

Gm Bb Dm F

& bb ∑

˙ œ j Œ

œ œ œ œ œ œ œ ˙

I say nev - er trust a - ny-

one.

œ œ œ

œ œ ˙

∑

Chorus 2

&b b 4

Eb maj7

œ j œ œ œ œ œ ˙

The trick is to keep breath - ing

∑

&b b Eb maj7

Œ ‰

∑

œ j Œ

œ œ œ œ œ ˙

The trick is

to keep breath-ing

∑

Music/Lyrics: Duke Erikson, Shirley Manson, Steve Marker, Butch Vig

359

Nirvana - Come As You Are

(excerpt)

q= 122

# #

& # 4

‹

J œ œ J

Chorus 1

Drop D Tuning

F#m

As an old me - mo-ry

ah, me - mo-ry

ah,

F#m

œ œ J

œ œ # œ ˙ œnœ

œ œ œ Œ # œ œ œ # œ ˙ œnœ

œ œ

‹

# #

A F#m A F#m A

œ Œ # œ œ œ # œ ˙ œnœ

œ œ œ Œ # œ œ œ # œ ˙ œnœ

œ œ œ Œ Ó

me - mo-ry

ah, me - mo-ry

ah.

Chorus 2

D Bm D

# & #

4 Ó œ œ œ œ œ nœ

J J

œ œ j œ œ œ Ó œ œ nœ

J J

‹

And I swear that I don't have a gun. No, I don't

‹

# #

Bm D Bm D E

œ œ j œ œ œ Ó œ œ nœ

œ J J œ j œ œ œ Ó Œ

have a gun. No, I don't have a gun.

Music/Lyrics: Kurt Cobain

360

Bush - The Chemicals Between Us

(excerpt)

q= 96

# & # 4

‹

Verse

B sus4 B sus4 /D

Œ œ J

œ œ œ œ œ œ œ ≈ Œ Ó

I want you to re- mem - ber

& # sus4 B sus4 /D D#

Œ ‰

œ r œ œ œ œ œ œ œ œ œ œ nœ

‹

a love so full it could send us all ways

# & # 4

‹

Chorus

Œ ‰

C maj7

¿ r nœ

œ œ œ œ œ œ ‰

The chem-i

- cals between us, the walls that lie bet - ween

G Am

& # <n> œ œ Œ œ œ n œ œ œ œ œ j œ ‰ Ó

‹

us, ly - ing in this bed

nœ

œ œ œ œ œ œ

Music/Lyrics: Gavin Rossdale

361

Garbage

The Trick Is To

Keep Breathing

Chord Progressions

Verse Chorus/Chorus 1 Chorus 2

Cm Eb Gm Bb Dm F Ebmaj7 F6

Nirvana Come As You Are F#m A Bm D

Bush

The Chemicals

Between Us

Bsus4 Bsus4/D

(2x) D

Am C G Am

TIP

Where the use of thirds in a chord progression is quite distinctive and dominant, it is helpful to ‘move

it’ around the instrument to create different sections, rather than trying to find a new topline melody

for the same progression.

TIP

It can be harder to write a strong topline over thirds, so it is best used for pre-choruses, middle 8s or, if

in a chorus, with songs that have a ‘pay-off’ or second chorus later in the song.

362

Speak in extremes, it‘ll save you time.

(David Bowie)

363

#41 TOPLINES WITH EXTREME INTERVALS

A well-tread method for bringing more drama and power to a melody is to use unexpectedly large intervals,

effectively jumping up (or down) the scale into a new octave. One of the most famous examples

comes at the beginning of Harold Arlen's Somewhere Over The Rainbow, where the word somewhere

leaps up a full octave. Similarly, The Alternative by IAMX uses a very noticeable step up, this time for a

separate word, 'idolize', which signposts the end of the chorus well.

Judy Garland - Somewhere Over The Rainbow

(excerpt)

Verse

q= 80

& 4

Some

Am Em C 7

˙ œ œ œ œ œ

- where

ov - er the rain - bow,

F F#º 7 C

˙ ˙ Ó

way up high.

Music/Lyrics: Harold Arlen

364

IAMX - The Alternative

(excerpt)

q= 120

shuffle

& b b b b 4

‹

Chorus

œ œ œ œ

I'm blind to my - self

and i - -

- do - lize

Bbm

œ Œ œ

& b b b b œ œ œ ˙ w

‹

Music/Lyrics: Chris Corner

œ œ œ

TIP

Large interval jumps work best at the beginning or end of a phrase.

365

#42 MELODIC STARTING POINTS

2 The point at which your melody starts can greatly alter the way it sounds. If something is feeling stale or

predictable, starting a few beats (or even a bar) later or earlier can make a huge difference and bring real

variety into your composition.

A band who often work in this way are Incubus, as in their song The Warmth, where the chorus melody

actually comes in on beat one of bar two, rather than the more expected bar one.

Incubus - The Warmth

(excerpt)

q= 140

# & # 4

‹

Chorus

C G Em

Ó Œ ‰ ¿ œ œ œ œ œ œ ˙ œ œ œ œ ˙

So don't let the world bring you down

Music/Lyrics: Brandon Boyd, Mike Einziger, Alex Katunich, Chris Kilmore, José Pasillas

You can even shift the vocal melody by bars, as opposed to beats. A good example of this would be

World In My Eyes by Depeche Mode, a song in which the chorus opens with two purely instrumental bars

with the vocal melody starting on the third.

366

Depeche Mode - World In My Eyes

(excerpt)

q= 122

Chorus

& b b b b b b Ab/C

‹

∑

Abm

œ œ j œ j œ

That's all there is

‹

b b b b b

Ebm Abm Bb

œ j œ

œ œ j œ j œ

œ œ œ j œ j œ œ œ

No-thing

more than you can feel now That's all there is

‰

Music/Lyrics: Martin Gore

TIP

To get a feel for this technique, try using recording software like Logic or Cubase to drag a vocal melody

back and forth over the instrumentation and hear how it changes.

367

#43 PEDAL POINTS

A pedal (or organ) point is a continual bass tone, namely the root note of the song's key, over which other

notes in the scale can be played freely. Its use is widespread worldwide but can especially be found in

European and South Asian music traditions.

A song that works well with a droning bass part is Street Fighting Years by Simple Minds, from their

album of the same name, in which they build on their Scottish roots.

Simple Minds - Street Fighting Years

q= 96

# & # 4

‹

Verse

œ œ œ œ œ œ œ

(excerpt)

Chased you out of this world, did - n't mean to stop (I)

turned a- round and sud-den

- ly you were gone Like some

A/D

G/D

A/D

& #

œ œ œ œ ‹ œ œ œ œ œ œ œ œ j ‰ Œ Œ

œ œ œ œ œ œ

‰ ‰

A/D

& #

œ œ œ ‹ œ œ œ j ‰ ‰ œ j œ œ œ œ œ œ j ‰ ‰ œ j

birds from

pa -ra

- dise

the fi - re and ice We

G/D

A/D

& #

œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ

turned a round and sud-den

-ly

you were gone, gone, gone

368

& # # D G/D 3 3

‰ j ‰ Œ j ‰

A/D

& #

œ œ œ ‹ œ œ œ j ‰ ‰ œ j œ œ œ j ‰ ‰

œ œ œ

Continued: birdsSimple from pa Minds -ra

- - dise Street Fighting Years the fi - re and ice We

G/D

A/D

& #

œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ

turned a round and sud-den

-ly

you were gone, gone, gone

G/D

# 3 3

& # ‰ œ œ œ ‹ œ œ œ œ œ œ j ‰ Œ œ œ œ œ œ œ œ j ‰

œ j

A/D

& # ‰

‹

Sum-mer

burns a hole in - side

years are gold-en

once a -gain

G/D

œ j œ œ œ œ œ œ œ œ œ j œ œ œ Ó

My thoughts re - turn to you my dear young friend

& # # 4

Interlude

C/D

G/D

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Music/Lyrics: Charlie Burchill, Jim Kerr, Mich MacNeil

TIP

This type of songwriting works best for songs using an AAA or verse-only structure.

369

#44 WRITING OVER A BLUES CADENCE

When writing lyric-based songs, it can be helpful to start with a blues cadence. Cadences serve as a chord

progression blueprint that can be applied to any key. Structurally, such songs use AAA.

The classic blues cadence consists of 12 bars using the following chords (example in C major):

I IV I I IV IV I I V IV I V

C7 F7 C7 C7 F7 F7 C7 C7 G7 F7 C7 G7

Well-known examples of this type of songwriting would be Johnny Cash's Folsom Prison Blues and James

Brown's I Got You.

Johnny Cash - Folsom Prison Blues

(excerpt)

q= 104

& 4

‹

Verse 1

œ œ œ œ œ œ œ ‰ œ J

œ œ œ œ œ œ

j ‰ ‰ œ J

I hear the train a com - ing it's rol - ling 'round the bend and

370

‹

œ œ

G 7

œ # œ œ œ J œ œ j ‰ bœ

œ œ œ œ ‰ œ J

œ œ œ œ œ œ Œ

I ain't seen the sunshine since I don't know when I'm stuck in Fol-som

Pri-son

‰ bœ

œ J œ ‰ œ J

œ œ œ œ

Œ Ó Ó Œ œ œ

and time keeps drag - gin' on But that

‹

G 7

Continued: I ain't Johnny seen the Cash sunshine - Folsom sincePrison I Blues don't know when I'm stuck in Fol-som

Pri-son

‹

œ œ

œ # œ œ œ J œ œ j ‰ bœ

œ œ œ œ ‰ œ œ J œ œ œ œ œ Œ

‰ bœ

œ J œ ‰ œ J

œ œ œ œ

Œ Ó Ó Œ œ œ

and time keeps drag - gin' on But that

# D7

& œ œ œ œ œ Œ ‰ œ ‹

train keeps a rol - lin'

on down to San An - tone

œ j œ œ œ œ bœ

œ œ

Œ Œ ‰

& 4

‹

œ œ

Verse 2

œ œ œ œ œ œ œ ‰ œ œ œ# œ œ œ

J œ Œ œ œ œ# œ œ œ J œ œ j

When I was just a ba - by, my Ma-ma

told me 'Son, al-ways

be a good boy, don't

# G7 C G

& œ œ œ bœ

œ œ ≈œ œ œ œœ œ œ œ œ Œ ‰ bœ

J œ œ œ œ œ Œ Ó

‹

e-ver

play with guns.' But I shot a man in Re - no, just to watch him die

‹

when I

D 7

Ó Œ œ œ œ œ œ œ œ Œ ‰ j œ œ œ œ œ œbœ

hear that whist-le

blow-in'

I hang my head and cry

œ œ

Œ Ó

Music/Lyrics: Johnny Cash

371

James Brown - I Got You (I Feel Good)

(excerpt)

q= 140

Verse 1

# œ# œ œ 7

& # nœ

œ J ‰ Œ Ó Œ ‰ œ j œ nœ

‹

œ nœ

œ J œ Ó Ó

nœ# œ œnœœ

I feel good I knew that I would now I feel

& # <n> G 7 D

œ œ 7

Ó Œ ‰ œ j œ n œ œ nœ

œ J œ Ó Ó Œ

‹

œ # œ

j œ

good I knew that I would now So good,

# 7 G 7 D

œ 7

& #

nœ

Ó Œ

j œ Ó

nœ

œ œ œ œ J ‰ Œ Œ ‰

‹

so good, I got you Whoa!

Verse 2

# œ# œ œ 7

& # nœ

œ J ‰ Œ Ó Œ ‰ œ j œ nœ

œ œ œœœ œ J ‰ Ó Ó

‹

nœ# œ œnœœ

I feel nice Like su-gar

and spice I feel

G 7 D 7

& # <n> œ œ Ó Œ ‰ œ j œ n œ œ œ œ œ œ Ó Ó Œ

‹

œ # œ

j œ

nice

Like su-gar

and spice So nice,

372

A 7 G 7 D

# œ œ 7

& #

nœ

J ‰ Œ Œ

j œ œ nœ

œ œ # œ œ J ‰ Œ J ‰ Œ Ó ∑

‹

so nice, I got you

& # <n> G 7 D

œ œ 7

Ó Œ ‰ œ j œ n œ œ œ œ œ œ Ó Ó Œ

‹

Continued: James Brown - I Got You (I Feel Good)

nice

Like su-gar

and spice So nice,

# 7 G 7 D

œ œ 7

& #

nœ

J ‰ Œ Œ

j œ œ J ‰ Œ

nœ

œ œ # œ œ J ‰ Œ Ó ∑

‹

so nice, I got you

Bridge

G 7

# & # nœ

œ œ œ nœ

J ‰ Œ

‹

œ œ ˙

œ # œ

j œ

When I hold you in my arms I

D 7 G 7

& # œ œ œ œ œ nœ

œ nœ

œ œ œ

œ œ

nœ

Œ ‰ œ J J ‹

‰ œ R

œ # œnœ

nœ

œ œ J

3 3

know that I can't do no wrong And when I hold you in

A 7

& # œ nœ

œ œ œ

œ œ ‰ œ œ œ œ œ œ J J ‰ J nœ

‰

‹ 3

‰ ‰ Ó

Music/Lyrics: James Brown

my arms My love won't do you no harm

TIP

When writing over a classic blues cadence, use it simply as a template and remain open to adapting it.

Major seventh chords and the 'V - IV - I turnaround' are often enough to create a bluesy feel.

373

#45 PROSODY

In songwriting, prosody means reflecting lyrics in the song’s arrangement. A well-known example is

Radiohead's High and Dry, in which the chorus melody goes up sharply when singing the word 'high'.

Radiohead - High and Dry

(excerpt)

q= 88

# & #

# #

‹

Chorus

Œ œ

œ j œ œ J

Don't leave me high,

F# A E

Œ œ

œ j œ œ J

don't leave me dry

œ œ œ J ‰ Œ Ó

Music/Lyrics: Ed O’Brien, Colin Greenwood, Jonny Greenwood, Philip Selway, Thom Yorke

In Meghan Trainor’s All About That Bass, the main vocal line is sung in a low pitch, which again mirrors

the lyrics.

Meghan Trainor - All About That Bass

(excerpt)

374

q= 134

Chorus

& # # #

œ j

‰ ‰

ù ù

œ œ œ œ œ ¿j œ œ œ

¿j

œ œ

& # # # Bm

j ‰ j ‰

‰

œ œ œ œ ¿ œ œ ¿

œ œ œ

# # E

Be-cause

you know I'm all a-bout

that bass, 'bout that bass, no tre-ble

I'm

all a - bout that bass, 'bout that bass, no tre - ble I'm

‰

œ j

q= 134

& # # #

Refrain

œ j œ œ œ œ

j ‰ ‰ ‰ j

œ œ œ œ ¿ œ œ œ

¿j

œ œ œ

& # # # Bm

œ œ œ œ ¿ j ‰

œ œ ¿ j ‰

‰

œ œ œ œ j

all a - bout that bass, 'bout that bass, no tre - ble I'm

& # # # E

œ œ œ œ ¿ j ‰

œ œ ¿ j ‰

œ œ œ j ‰ ‰

œ j

all a - about that bass, 'bout that bass, no tre - ble

I'm

& # # # A j ‰

j ‰ Œ Ó

œ œ œ œ ¿ œ œ ¿

Continued: Meghan Trainor - All About That Bass

Be-cause

you know I'm all a-bout

that bass, 'bout that bass, no tre-ble

I'm

all a - bout that bass, 'bout that bass

Music/Lyrics: Kevin Kadish, Meghan Trainor

375

Prosody is also used in Alanis Morissette's All I Really Want, in which the instrumentation reacts to the

lyric. Following the lines: 'Why are you so petrified of silence? Here can you handle this?' the entire track

drops out for two seconds.

Alanis Morissette - All I Really Want

(excerpt)

q= 92

& bb 4

Chorus

œ œ œ œ œ œ œ œ œ œ œ ≈ Œ Ó œ œ œ œ œ œ J ‰ Œ

Why are you so pet-ri-fied

of sil - ence?

Here, can you han-dle

this.

G.P.

Œ Œ ‰ œ œ œ œ œ œ œ J ‰ Œ Ó

Did you think ab - out your bills?

Music/Lyrics: Alanis Morissette, Glen Ballard

TIP

With this approach, the composition of a song should always reflect the given lyrical content.

376

For me, a song doesn’t really take flight until it has a lyric on it.

(Ben Gibbard)

377

#46 INCORPORATING A CODA

A coda is a great way to break the common ABAB structure, to reach a new level of energy or have the

song end in a less obvious way. Well-known examples are Under The Bridge by the Red Hot Chili Peppers

and Hummer by the Smashing Pumpkins.

The Smashing Pumpkins - Hummer

(excerpt)

q= 86

‹

# #

Coda

∑

G/A

∑

G maj7 /A

∑

& #

# A G/A Gmaj7 /A

œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ J ‰ œ œ œ œ ˙ J ∑

‹

Ask your self a ques-tion,

a-ny-one

but me, I ain't free.

& #

# A G/A Gmaj7 /A

œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ J ‰ œ œ œ ˙ ∑

‹

Ask your-self

a ques tion, a-ny-one

but me, I ain't free.

# #

& # A/E A/D A/E Ó

A/F# Gadd9 ∑

˙ œ

œ w

‹

Do you feel?

378

& #

# A/E A/D A/E A/F# G6 G add9 ∑

˙ œ

œ nw

‹

Love is real.

# A G/A Gmaj7 /A

# #

& # A/E A/D A/E Ó

A/F# Gadd9

˙ œ

∑

‹

Continued: Do The Smashing Pumpkins - Hummer you feel?

# #

& # A/E A/D A/E A/F# G6 G add9

∑

˙ œ

œ nw

‹

Love is real.

# #

& # A ∑ ∑

‹

G/A

∑

G maj7 /A

∑

& #

# A ∑ ∑

‹

∑

& #

# A/E Ó A/D A/E A/F# G Œ Ó Œ ∑ ∑ ∑

‹

∑

Music/Lyrics: Billy Corgan

379

Red Hot Chili Peppers - Under The Bridge

(excerpt)

q= 84

# & # 4

‹

Coda

Am 7 G 6 F maj7 A Am 7 G 6 F maj7

nœ

˙ J

œ œnœ

œ œ ˙

# œ nœ

œ œ J

œ nœ

œ œ ˙

Yeah, yeah, yeah, yeah, oh no, no, no, yeah, yeah,

A Am

& # 7 G 6 F maj7 F maj7 E 7 G 6

# œ n œ œ œ J

œ nœ

œ œ ˙ Ó ‰ ¿ ¿ ‰ Ó Ó

J J ‹

Love me I say, yeah, yeah, one time

A C G F

& # œ œ œ œ œ œ œ œ œ œ nœ

œ œ œ œ œ J ‰

‹

Un-der

the bridge down- town

is where I drew some blood

A C G F

& # œ œ œ œ œ œ œ œ œ œ nœ

œ œ œ œ œ Œ

‹

Un-der

the bridge down town I could not get e-nough

A C G F

& # œ œ œ œ œ œ œ œ œ œ nœ

œ œ œ œ œ J ‰

‹

Un-der

the bridge down- town

for - got a - bout my love

A C G F

& # œ œ œ œ œ œ œ œ œ œ nœ

œ œ œ œ œ

‹

Music/Lyrics: Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith

Un-der

the bridge down- town

I gave my life a - way

380

TIP

As with intros, the coda is a part in which you can stray from the main motifs and introduce something

entirely new; so be creative here rather than rigid. Be sure to think about how your coda fits with the

wider song structure, however, to avoid it sounding tacked-on.

381

#47 STAYING CREATIVE

An important issue in songwriting, as with all artistic endeavors, is how to remain creative, or overcome

the dreaded writer's block. Above all, remember to stay open and optimistic, as frustration and stress are

the killers of all creativity.

TIP

• Think of new, unconventional ways to describe what you do, feel or think

• Talk to other people

• Go to concerts

• Listen to the radio

• Read books

• Listen to playlists on streaming portals

• Read newspapers and magazines

• Travel

• Read other musicians’ lyrics

• Take a break now and then; constantly listening to music can be counter-productive

• Change the instrument on which you write, or lose instruments completely

• Write spontaneously, allowing your subconscious thoughts to come through

• Figure out which times of day you're most creative and plan around it

• Always have your instrument within reach, best of all on a stand in the room where you spend most

of your time.

• Keep track of lines or phrases you like and use them as a starting point in your songwriting

• Use a section from an existing song to trigger your own song ideas

• Create a loop and play to it

• Play in different musical styles

• Do writing exercises, even in the form of diary entries or blogs

• Write ten songs in one day

382

We can never rely on inspiration. When we most want it, it does not come

(George Gershwin)

383

#48 ARRANGEMENTS

A good arrangement should support the main melody and always follow the mantra 'less is more'. Nothing

defeats the purpose of an arrangement more than completely overloading it with instruments, which in

the end distract from the melody. Just listening to power trios like The Police, Nirvana or Blink 182 can

show you how varied an arrangement can be achieved with as little as three instruments. No matter what

the style, a good arrangement aims to balance tension and release and keep the listener’s attention.

There are four basic types of arrangement:

• Minimal Arrangement

• Continuous Arrangement

• Quiet-Loud Arrangement

• The Building Arrangement

Minimal Arrangement

This kind of arrangement (mainly used in ballads or unplugged performances) is primarily about creating

an intimate and personal atmosphere by limiting itself to very few, or even one instrument and

focusing on subtlety. It can be used outside these settings, however, with a good example being

Seven Nation Army by the White Stripes, which uses simply one guitar and minimal drums to support

the vocal. Here, the effect is intensity rather than intimacy. Other more diverse artists who work with

simple arrangements are The xx and Lorde.

384

Continuous Arrangement

A continuous arrangement creates a constant mood that does not change or stop, often relying on

a strong groove. Although often a staple of prog or psychedelic music, a more pop example would be

How Soon Is Now? by The Smiths, which relies heavily on tremolo.

Quiet-Loud Arrangement

The quiet-loud approach creates as much dynamic contrast as possible, with abrupt changes

between quiet and loud sections. Popular methods to achieve this are the use of effects pedals and/

or double-tracking, where ample distortion is added and multiple tracks are layered per instrument.

This can sometimes lead to up to thirty recordings for a riff of a few seconds. A band that have used

this technique very often are the Smashing Pumpkins on, among others, their popular single Today.

385

The Building Arrangement

The building arrangement is by far the most popular type. Here it’s all about continuously raising the

ceiling on the power of the arrangement by incorporating new elements and increasing the intensity

of emotional peaks as they arrive. The climax in this case is always the final chorus. A classic example

of this would be Stairway To Heaven by Led Zeppelin.

TIP

Keep in mind, if working on an arrangement as a band, that it is helpful to think of the chords used in

terms of triads and to split the notes amongst the musicians. This way you can avoid needlessly playing

the same notes on the guitar, bass or keyboard, which would result in quite a dull arrangement.

386

Sometimes imperfection is what makes your work great.

(Rick Rubin)

387

#49 COVERING A SONG

It can sometimes be a nice addition to your album to cover a song by another artist, either as a bonus

track or B-side. Nothing to be ashamed of, even The Beatles and Elvis Presley have incorporated covers

in their time. Do be sure, however, to take an original approach and to write a version which differs

significantly from the original and ideally surpasses it. This can come in the form of a new genre or a

completely new arrangement.

Here are a few examples:

Song Original Cover

Nothing Compares 2 U The Family Sinéad O’Connor

Hallelujah Leonard Cohen Jeff Buckley

The Ghost Of Tom Joad Bruce Springsteen Rage Against The Machine

Hurt Nine Inch Nails Johnny Cash

All Along The Watchtower Bob Dylan Jimi Hendrix

With A Little Help From My Friends The Beatles Joe Cocker

Knocking On Heaven’s Door Bob Dylan Guns N’ Roses

Girls Just Want To Have Fun Robert Hazard Cindy Lauper

I Love Rock ‘N Roll The Arrows Joan Jett And The Blackhearts

Along Comes Mary The Association Bloodhound Gang

TIP

Nothing is worse than a bad cover song, so if you don’t have an exciting idea, write an original song

instead!

388

Music is the strongest form of magic.

(Marilyn Manson)

389

#50 EFFECTS

As effects are an important part of music production, here is a brief overview of the most important ones

and their functions.

In total there are seven types of effects:

dynamic effects

Here the input level of the signal is changed.

(e.g. compressor, tremolo and slicer)

filter effects

The frequency range of the signal is altered here.

(e.g. equalizer, wah-wah and phaser)

distortion effects

Here the signal is intentionally increased until harmonics are created and the sound becomes saturated and

‘breaks up’. (e.g. overdrive, distortion and fuzz)

modulation effects

Here the pitch of the signal is changed.

(e.g. octaver, vibrato, pitch shifter, and harmonizer 1 )

time-delay effects

Here the signal is reproduced and added to the original at different times and volumes.

(e.g. reverb and delay)

390

time-delay and modulating effects

Here the signal is re-pitched and in different ways over time.

(e.g. chorus and flanger)

looper

Here the signal is stored as you play and reproduced on a loop.

When working with several effects, you should pay attention to the order in which they are placed to get

the best possible sound.

As a general rule, the order would be:

• dynamic/sound filtering effects

• sound-modulating effects

• sound-delaying effects

Here is a classic effects chain:

instrument - wah-wah - compressor - distortion - equalizer -

flanger - chorus - delay - reverb - looper - amplifier

391

The tuning device (tuner) should always be placed before the effects, in order to give a pure signal.

Alternatively, you can use an ‘a/b’ switch to route your guitar’s signal through either the effects or the tuner

at any one time.

instrument - a/b switch

tuner

effects

In conclusion, we can say that effects have four main functions:

• Adding interest to an arrangement and creating impact

• Defining a style or genre

• Providing inspiration or a starting point for a song

• Improving and balancing sounds

TIP

Less is more. Try not to place too many effects in one chain or song and instead concentrate on the

ones which are adding the most. Sometimes one effect is all you need.

392

For a songwriter, you don’t really go to songwriting school. You learn by listening to tunes.

(Tom Waits)

393

#51 WRITING GOOD LYRICS

Young musicians often underestimate the difficulty of writing good lyrics or even compare it with writing

a poem. The important difference is that in a poem, only the meter (and at times rhymes) need to fit,

whereas in a song the lyrics must also fit the melody. Finding the right combination is what makes it so

hard to write good lyrics.

Good practice with lyric writing is to take a personal and authentic approach, drawing on personal

experience and, in turn, what you have learnt or felt. Simply stringing together clichéd phrases without

making a real statement will result in less effective lyrics. Equally, well-meaning lyrics that are either too

abstract or too literal can ruin the feel of a song; so there's a fine line between these two extremes, which

only a few bands manage to master.

A good example of poetic lyrics is Cath... by Death Cab For Cutie, which deals with succumbing to the

social conventions of life.

Or in the words of the author:

I wanted to create this character that’s going through the motions, not really sure of why they’re necessarily

doing it because it’s just the thing that they have to do at this point and it’s expected that they’re

going to be doing this. (Ben Gibbard)

394

Death Cab For Cutie - Cath...

(excerpt)

Cath, she stands with a well-intentioned man

But she can’t relax with his hand on the small of her back

And as the flash bulbs burst

She holds a smile like someone would hold a crying child

And soon everybody will ask what became of you

Cause your heart was dying fast and you didn’t know what to do

Cath, it seems that you live in someone else’s dream

In a hand-me-down wedding dress

With the things that could have been all repressed

You said your vows and you closed the door

On so many men who would have loved you more

And soon everybody will ask what became of you

And your heart was dying fast and you didn’t know what to do

The whispers that it won’t last roll up and down the pews

But if their hearts were dying that fast

They’d have done the same as you

And I'd have done the same as you

Lyrics: Ben Gibbard

395

Here are a few principles of writing lyrics:

Universality

If writing from a personal experience, choosing one shared by a great number of other people can make

for an even better song. Somebody That I Used To Know by Gotye, for instance, deals with the theme

of breaking up and separation, something that almost everyone has experienced. Although the theme

of love occurs in the vast majority of popular songs, you can still tap into its universality successfully by

making unique observations, as in this clever track.

Other popular themes are loneliness, self-discovery, overcoming adversity, partying or even a popular

holiday. Did you know that I Gotta Feeling by the Black Eyed Peas (15m+ downloads) and Bing Crosby's

White Christmas and Silent Night (80m units sold) are among the most commercially successful songs of

all time?

The Song Title

Deciding on a strong song title early on can work miracles, even helping you maintain your thematic focus

and to fill in the harder-to-write sections, such as the second verse or middle 8. Conversely, if deciding

your title later, you can take this opportunity to summarize the mood of the completed song. The simplest

way to do this is often by looking at the chorus and either selecting a phrase directly or just summing it

up. A starkly different approach is to choose a title which, at first, seems to have nothing to do with the

song’s content.

Being cryptic in this way can make things more interesting, but at the same time make it harder for the

listener to find meaning in your work without deliberately seeking it out.

396

The First Impression

Always start your lyrics with a strong line; this way, you grab the listener’s attention. While strong melodic

hooks make a world of difference to a song’s intro, equally important is a lyrical hook which draws the

listener in from the start. A good example of this is the Nine Inch Nails song Hurt, which opens with the

line: 'I hurt myself today to see if I still feel.' Lyrics: Trent Reznor (excerpt)

Other examples are:

David Bowie

Bob Dylan

The Smashing

Pumpkins

Simon and Garfunkel

IAMX

Space Oddity

All Along The Watchtower

Bullet With Butterfly Wings

The Sound of Silence

After Every Party I Die

Ground control to Major Tom

Lyrics: David Bowie (excerpt)

’There must be some way out of here?’

said the joker to the thief

Lyrics: Bob Dylan (excerpt)

The world is a vampire, sent to drain

Lyrics: Billy Corgan (excerpt)

Hello darkness my old friend,

I’ve come to talk to you again

Lyrics: Paul Simon (excerpt)

You’re living but you’ve got no soul

You captivate but you hold no weight at

all

Lyrics: Chris Corner (excerpt)

397

Varying Lyrics

Many songwriters dread the second verse. Even though the majority of the song may already be written,

with strong themes, melodies and chord progressions, you can still become stuck in terms of developing

the basic idea here. An easy way to get started is to repeat either all or part of the first line of verse one

and modify it to expand on new ideas.

Examples:

IAMX - Volatile Times

(excerpt)

Verse 1:

Look at me, what have I become?

I‘m lost, I was once a gentleman

Verse 2:

Look at me in the apocalypse,

My European guilt expecting instant fix

Lyrics: Chris Corner

398

Marilyn Manson - The Mephistopheles of Los Angeles (excerpt)

Verse 1:

I don't know if I can open up I've been opened enough

Verse 2:

I don't know if I can open up 'been opened too much

Lyrics: Brian Warner

Partial Rhymes

To increase your vocabulary and also make your rhymes sound less obvious, you can use partial rhymes.

These are words that rhyme in terms of the main vowel (and its corresponding consonant) but do not use

the exact same sound, e.g. now / down or find / time.

Internal Rhymes

In addition, you can use internal rhymes to keep the tension in a song. These are phrases that contain

multiple rhymes within them. A song that combines both rhyming styles elegantly is This Place Is A Prison

by The Postal Service.

399

The Postal Service - This Place Is A Prison (excerpt)

This place is a prison

And these people aren‘t your friends

Inhaling thrills through $20 bills

And the tumblers are drained and then flooded

Again and again

There‘s guards at the on-ramps, armed to the teeth

And you may case the grounds from the Cascades to Puget Sound

But you are not permitted to leave

Lyrics: Ben Gibbard

Same-Word Rhymes

All this said, don’t bow down to any dogma. With the right context and delivery, even using the same

words multiple times can be very effective. As with any creative process, ensure that the framework does

not necessarily dictate the content.

Eminem - Without Me

(excerpt)

Now this looks like a job for me

So everybody just follow me,

Cause we need a little controversy

Cause it feels so empty without me

Lyrics: Marshall Mathers

400

Non-Rhyming Lyrics

Another (quite advanced) way of using rhymes, is to do away with them altogether. If you listen to Tonight,

Tonight by The Smashing Pumpkins, you may not even notice the lack of rhymes, owing to its strong flow

and storytelling.

The Smashing Pumpkins - Tonight, Tonight

(excerpt)

Time is never time at all

You can never ever leave

Without leaving a piece of youth

And our lives are forever changed:

We will never be the same

The more you change the less you feel

Lyrics: Billy Corgan

401

Refrains

This type of rhyme is a good way to give flowing, narrative-based songs a certain recognizability, by replacing

the traditional chorus with a recurring line at the end of each verse. It thereby keeps the listener’s attention with

minimal disruption to the storytelling; something especially useful with songs consisting of more than three

verses, as for instance Shelter From The Storm by Bob Dylan.

Bob Dylan - Shelter From The Storm

(excerpt)

It was in another lifetime, one of toil and blood

When blackness was a virtue and the road was full of mud

I came in from the wilderness, a creature void of form

"Come in," she said, "I’ll give you shelter from the storm"

Suddenly I turned around and she was standin’ there

With silver bracelets on her wrists and flowers in her hair

She walked up to me so gracefully and took my crown of thorns

"Come in," she said, "I’ll give you shelter from the storm"

Well, the deputy walks on hard nails and the preacher rides a mount

But nothing really matters much, it’s doom alone that counts

And the one-eyed undertaker, he blows a futile horn

"Come in," she said, "I’ll give you shelter from the storm”

Lyrics: Bob Dylan

402

Trusting our Subconscious

Your subconscious mind is constantly working, to the point that you may not realize until weeks later

what the song you have written is about. So, don’t put yourself under too much pressure and trust your

inspiration.

Simplicity

Concentrate on a core idea and don’t get entangled in multiple sub-themes. Just say what you want to say.

Variety

In order to avoid being predictable with your lyrics, try to steer clear of overused rhymes on common

words (e.g. 'light'/'night') and instead widen your scope. Everyone knows that 'be' and 'me' rhyme with

'see', however 'revelry' would be a less common and often better option.

The Smashing Pumpkins - Violet Rays

(excerpt)

Am I the only you see?

Raised from the path of revelry

Lyrics: Billy Corgan

403

Strong Frameworks and Problem Words

Attempting to work on rhymes that are either too awkward or too clichéd can quickly cause you to get

carried away lyrically, matching the first word or line with one that strays far from the initial idea. It’s

therefore advisable to add more complex or dead-end words on alternating non-rhyming lines within

a framework of strong rhymes which you’re happy with. In the examples below, the songwriters avoid

complex token rhymes and clichéd ones respectively.

Here are two examples:

Death Cab For Cutie - The New Year (excerpt)

So this is the New Year

And I have no resolutions

For self-assigned penance

For problems with easy solutions

Lyrics: Ben Gibbard

U2 - One (excerpt)

Did I disappoint you?

Or leave a bad taste in your mouth?

You act like you never had love

And you want me to go without

Lyrics: Paul Hewson

404

Unity

Nothing is more confusing than changing themes within a song. So decide on one and stick to it.

Editing Down, Not Padding Out

Err on the side of having more lyrics than you need and edit things later if required, rather than breaking

your creative flow and padding ideas out further down the line.

Flexibility

Remain open to change and know that the first draft of your lyrics is not automatically carved in stone.

Sometimes a pre-chorus can become your new middle 8, or lines from the second verse may fit better in

the first one.

The Second Verse

Have no fear when it comes to the second verse. Just know that it’s there to continue the narrative, bring

in new information and lead the listener naturally back to the chorus.

Perfectionism

Having expectations of yourself that are too high can hinder your lyric-writing and creativity in general.

Don’t be afraid to say a song is done; often having a completed body of work where the standard improves

incrementally is better than worrying over songs and never finishing them.

405

Originality

Always try to be original and unpredictable. Writing well-tread, clichéd phrases is easy but also extremely

boring.

Here are three examples:

Bob Dylan - Like A Rolling Stone

(excerpt)

You used to ride on a chrome horse with your diplomat

Who carried on his shoulder a Siamese cat

Lyrics: Bob Dylan

Eminem - Lose Yourself (excerpt)

There‘s vomit on his sweater already:

Mom‘s spaghetti

Lyrics: Marshall Mathers

Red Hot Chili Peppers - Road Trippin’ (excerpt)

Road trippin’ with my two favorite allies

Fully loaded we got snacks and supplies

Lyrics: Anthony Kiedis

406

The Chorus

Make sure that your chorus is simple, short and concise. The catchier, the better.

Getting to the Point

Arrive quickly at the main theme of your song, as putting it off is counter-productive, considering its key

functions. In commercial music, the chorus should enter within the first minute of the song.

Continuity

Keep a consistent tone and choice of words throughout your song for the most part. Jumping between

colloquial and flowery language without reason will sound jarring and inauthentic. For instance, switching

from Bob Dylan to Morrissey part way through a verse.

Balancing Lyrical Density

Find the right mix of poetic language and direct statements. The listener does not want to be buried by

dense, poetic descriptions and needs to breathe from time to time.

Quality Control

Don’t use something you’re unhappy with. If you’re not one hundred percent satisfied, come back with

fresh eyes at least once and try again. At the same time, don’t tinker forever with your lyrics if you’re not

seeing improvement. Sometimes your first inspiration is the best.

407

Placeholder Words

When you begin working on a new song and are yet to commit to final lyrics, you can still work with the

melody by using temporary words and phrases. These can be words that do not make contextual sense

or even ones that are completely made up. A well-known example is Yesterday by the Beatles, where Paul

McCartney had originally been humming 'Scrambled Eggs' instead of the now-famous title lyric.

Two other examples of improvised Beatles lyrics are Blackbird and A Day In The Life.

The Beatles - Blackbird

Scrambled eggs in the dead of night

Eat a cow’s stomach kiss your wife

Bonnie five

You once saw the buttocks of a sickly man named Clive

Blackbird singing in the dead of night

Take these broken wings and learn to fly

All your life

You were only waiting for this moment to arise

Lyrics: John Lennon/Paul McCartney

408

The Beatles - A Day In The Life

My name is John Lennon, hello to you

I’m in the Beatles, it’s 1966

I like corn beef, it’s fun to chew

Potatoes make good pies and also cottage fries

I read the news today, oh boy

About a lucky man who made the grade

And though the news was rather sad

Well, I just had to laugh, I saw the photograph

Lyrics: John Lennon/Paul McCartney

Metaphors and Similes

Try to work with metaphors in your lyrics, as they often give the content new depth. This is one of the

simplest ways to use imagery.

A 'simile' draws a comparison between two things using ‘like’ or ‘as’ to create imagery, e.g. 'The ocean

was like an angry beast.' A 'metaphor', on on the the other hand hand, is more is more subtle, using using more more direct direct language in

such in such a way a way that that the the underlying comparison may may or may or may not not be be obvious, e.g: e.g: The 'The beast beast swallowed the

boats the boats whole. whole.'

409

Imagery

One basic rule of writing lyrics is: show, don’t tell. Always try to paint imagery, as opposed to using

stilted, direct statements – while avoiding clichés and frequently-used phrases. Songs which do this well

are Why You'd Want To Live Here and Styrofoam Plates by Death Cab For Cutie. Equally, don’t use farfetched

lyrics for the sake of being intellectual. Keep your feet on the ground and don’t be afraid of using

everyday language.

Death Cab For Cutie - Why You‘d Want To Live Here (excerpt)

I‘m in Los Angeles today

It smells like an airport runway

Jet fuel stenches in the cabin

And lights flickering at random

I‘m in Los Angeles today

Garbage cans comprise the medians

Of freeways always creeping

Even when the population‘s sleeping

And I can‘t see why you‘d want to live here

Lyrics: Ben Gibbard

410

Death Cab For Cutie - Styrofoam Plates (excerpt)

There‘s a saltwater film

On the jar of your ashes

I threw them to sea

But a gust blew them backwards

And the sting in my eyes

Which you then inflicted

Was par for the course

Just as when you were living

It‘s no stretch to say

You were not quite a father

But a donor of seeds

To a poor single mother

That would raise us alone

We never saw the money

That went down your throat

Through the hole in your belly

Lyrics: Ben Gibbard

411

Slang and Evolving Language

Be careful with slang if you want your lyrics to have longevity. Buzzwords that seem modern at the time can

quickly become outdated and sound awkward. Language is alive and constantly evolving. It can be done

successfully, but choose carefully as in U2’s Unknown Caller, namely the line: 'force quit and move to trash.'

Lyrics: Paul Hewson (excerpt)

Being Specific

Specificity can make your songs much more vivid. Including the specific names or types of things, places

and people in your lyrics can bring real color into your songwriting by encouraging the listener to hone in

on the fine details in your storytelling.

Lana Del Rey - West Coast (excerpt)

I can see my baby swingin‘

His Parliament‘s on fire and his hands are up

Lyrics: Elizabeth Grant

Death Cab For Cutie - We Looked Like Giants (excerpt)

We looked like giants in the back of my grey subcompact

Lyrics: Ben Gibbard

412

Modest Mouse - Dramamine (excerpt)

Travelling swallowing Dramamine

Feeling spaced breathing out Listerine

Lyrics: Isaac Brock

Emphasis

Ensure that the most important words in your song are emphasized when writing and delivering the

lyrics. One simple way to do this is by placing key words at the end of the lines in which they sit. Similarly,

be sure to repeat words and phrases that are important for the song, in particular those in the title and

chorus.

Time and Person

The tense and grammatical ‘person’ used in your lyric writing can affect the overall feeling of the song.

Writing in the present tense, for example, is often more striking than the past, where the latter might suit

a very detailed, narrative story. With person, the audience may identify easier with an 'I' or 'you' perspective

than with a third person’s, since it is much more personal. Equally here, you might choose 'he' or 'she'

as a means of being less clichéd or creating variety among your repertoire.

413

Consistency

Your lyrics are as much a part of your artistic identity as your look, vocal style or the guitar you play.

Therefore, keep in mind that retaining a certain consistency will sound more authentic and credible.

Palettes of Words

A painter, before starting his piece, mixes a certain range of colors to work from; so you should when

writing lyrics. To make this natural, one exercise would be to first gather some thoughts on the chosen

subject, either whole sentences or just single words, and refer to them if you get stuck or end up offtrack.

Using Index Cards

Oftentimes, you will have have lyrical ideas which, in the end, simply don’t fit into the song you’re

currently working on. Rather than throwing them away, instead write them on an index card and keep a

collection of your ideas; you may use them later in a different song.

Editing Your Lyrics

One trait of a good songwriter is the ability (and willingness) to edit their work when needed. If writing

the first draft of your lyrics on a piece of paper, type them up on a computer to make them easy to revise.

What’s more, when you do print them out, they will feel clean and finalized.

Less is More

Make every word count. Do not needlessly reiterate things that have already been implied or stated in

your lyrics. Don’t ramble.

414

Clichés

Clichés are simply truths that, through frequent use, have lost their effect. So rather than being afraid

of them, just stay aware. Using clichés as lyrical placeholders before further development or choosing to

deliver them in a new and interesting way is better than stalling your creativity and not getting your ideas

out at all. If you do find yourself wanting to use a somewhat clichéd phrase, you can take the edge off by

de-emphasizing it or using a more creative vocal delivery.

Be honest and open

There is no substitute for sincerity. If you have no relation to your lyrics, no one else will either.

415

#52 LYRIC-BASED SONGWRITING

As mentioned, in addition to topline- and chord/riff-based songwriting, there are successful methods

which focus less on topline and hooks. One such method is, of course, lyric-based.

This type of composition is ideal if you have a lot to say creatively, or don't if you have less experience

with melody, as you can let the lyrics naturally dictate the topline to some extent. This works because

every word has its own natural rhythm, owing to its length, vowels and stresses.

One of the best known examples of this is Bob Dylan's Like A Rolling Stone.

Bob Dylan - Like A Rolling Stone

(excerpt)

q= 96

‹

Verse

Dm 7

œ œ œ œ œ œ œ œ œ J

‰

Once u - pon a time you dressed so fine

C/E

& œ œ œ œ œ œ œ œ œ Œ

‹

Threw the bums a dime in your prime

& Ó œ œ œ ‰

‹

∑

Did

- n't you

416

Continued: Bob Dylan - Like A Rolling Stone

‹

Chorus

C F G C F

œ œ œ œ œ œ J Œ ‰ Ó Ó œ œ œ œ œ œ J Œ ‰ Ó

How does it feel? How does it feel?

G C F G

& Œ ≈ œ œ œ œ œ œ œ œ J ‰ Œ Ó Œ ‰ œ œ œ œ œ œ

J ‹

To be with out a home Like a com -plete

un -

C F G C F G

& J ‰ Œ Ó Œ œ œ œ J

œ œ œ J J

‰ Œ Ó

‹

∑

known Like a rol-ling

stone

Music/Lyrics: Bob Dylan

417

An artist that also works a lot (if not exclusively) with lyric-based songwriting is Death Cab For Cutie. This

can be heard especially in the song, Photobooth, and on many of their early albums in general.

Death Cab For Cutie - Photobooth

(excerpt)

q= 110

& 4

‹

Verse

G Em D

Œ œ œ œ œ œ œ œ œ j œ ‰ œ œ œ œ œ œ œ œ œ

# C

& œ œ œ œ

‹

re-mem-ber

when the dayswere long andthe nights when the liv-ing

room was

on the lawn Con - stant quar - rel - ling, the

# Em D C

& œ œ œ

‰ œ œ œ œ œ œ œ œ œ j œ œ Œ

‹

child - ish fits and our clothes in a pile on the ot - to - man

Œ Œ œ œ œ œ œ œ

418

Continued: Death Cab For Cutie - Photobooth

& 4

‹

Chorus

Am C Em D C

Œ œ œ œ œ œ j œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ œ

And as the

sum-mer's

end - ing, the cool air will put yourhard heart a way

‹

Am C Em G D C

Œ œ œ œ œ œ j œ œ œ œ Ó ‰ œ

j œ œ œ j œ œ j Ó

You were so

con - des - cen - ding

And this is all that's left

# Em G D C

& Œ œ œ œ œ œ œ œ j œ œ j Ó

‹

Scrap

- ing pa - per to doc - u - ment

# Em G D G

& ‰

œ j œ œ œ œ œ œ œ œ j œ œ j œ ˙ Œ

‹

I've packed a change of clothes and it's time to move on

Music/Lyrics: Ben Gibbard

419

A song that shows that you can write a catchy chorus based on lyrics and the natural flow of words, is Pedestrian

At Best by Australian singer-songwriter Courtney, Barnett. Unlike the previous example, its structure is ABAB.

Courtney Barnett - Pedestrian At Best

(excerpt)

q= 136

Verse

Œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

I love you I hate you I'm on the fence it all de- pendswhe-ther

I'm up or down, I'm

3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ j œ œ œ œ j œ œ œ œ j œ œ

on the mend, trans-cend-ing

all re - a - li-ty

I like you, des-pise

you, ad-mire

you What

œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ

are wegon na do when e

- verything all falls through? I must con- fess, I've made a mess of

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

what should be

a small suc-cess

But I dig- ress, at least I've tried my ve -ry

best I guess

‰ œ j œ œ œ œ Œ œ œ œ œ œ ‰ œ j œ œ

This, that, the oth - er,

why e - ven both - er? It won't be

420

F# F#/E F#/D# F#/C#

œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ Œ

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

what should be a small suc-cess

But I dig- ress, at least I've tried my ve -ry

best I guess

Continued: Courtney Barnett - Pedestrian At Best

‰ œ j œ œ œ œ Œ œ œ œ œ œ ‰ œ j œ œ

This, that, the oth - er,

why e - ven both - er? It won't be

F# F#/E F#/D# F#/C#

œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ Œ

with me on my death-bed

but I'll still be in your head

∑

& # # # # #

Chorus

F# E

A B F# E A B

œ œ nœ

œ œ œ œ œœ œ nœ

œ œ œ œ œ œ Ó ‰ ‰ Œ Ó ‰ ‰ Œ

Put me on a pe-des- tal and I'll on-ly

dis-ap- point you

F# E A B F# E A B

œ œ œ œ œ œ œ œ œ nœ

œ œ œ œ œ œ Ó ‰ ‰ Œ Ó ‰ ‰ Œ

Tell me

I'm ex cep-tion-al,

I pro-mise

to ex- ploit you

F# E A B F# E A B

œ œ œ œ œ nœ

≈ œ œ nœ

œ œ œ œ œ œ œ Ó ‰ ‰ Œ Ó ‰ ‰ Œ

Give me all your mo-ney

and I'llmake some o-ri-ga

-mi,

ho-ney

& # # # # # F# 3

E A B

# nœ

œ œ œ œ j ‰ ‰ œ j nœ

œ œ nœ

œ œ œ

I think you're a joke, but I don't find you ve - ry

& # # # # #

F# E A B F#

nœ

œ œ œ œ œ nœ

œ œ œ œ

421

& # # # # #

F# E A B F# E A B

œ œ œ œ œ nœ

≈ œ œ nœ

œ œ œ œ œ œ œ Ó ‰ ‰ Œ Ó ‰ ‰ Œ

Continued: Courtney Give me allBarnett your money Pedestrian and I'llmake At Best some o-ri-ga

-mi,

ho-ney

& # # # # #

# F# 3

E A B

nœ

œ œ œ œ j ‰ ‰ œ j nœ

œ œ nœ

œ œ œ

I think you're a joke, but I don't find you ve - ry

& # # # # #

F# E A B F#

nœ

œ œ œ œ œ œ œ nœ

œ œ œ œ œ œ j œ

fun

Music/Lyrics: Courtney Barnett

- - - - - - -

Chord Progressions

Verse

Chorus

Bob Dylan Like A Rolling Stone C Dm7 Em F G C F G

Death Cab For Cutie Photobooth G Em D C

Am C Em D C (2x)

Em D C Em D G

Courtney Barnett

Pedestrian At Best

F# (14x)

F#/E F#/D# F#/C#

F# E A B

TIP

If your lyrics start out more as a flowing piece of poetry, think about song structure before setting them

to music. How many verses are there? Is there a chorus? A pre-chorus or middle 8? And which parts

work best in each section?

422

If you don‘t want anyone to know anything about you, don‘t write anything.

(Pete Townshend)

423

#53 FINDING THE RIGHT TEMPO

Tempo is the speed of a piece of music and is typically measured in beats per minute, or BPM. Along with

the key, it’s one of the most influential factors on a song’s mood and feel. Where the human heart-rate

sits at around 60-100 bpm, slower songs innately have a more relaxing effect, while faster tempos can

energize or even give you a rush of adrenaline.

In many cases, tempo can also help determine the musical genre. This is particularly important for moodbased

songwriting, especially within electronic dance music, but can be applied to almost all genres.

Here are some common genres and their typical tempos:

Genre

BPM

Pop 100-140

Rock 110-140

Metal 100-160

Hip-Hop 85-115

Reggae 60-90

R & B 60-80

Jazz 60-150

424

Genre

BPM

Techno 120-140

House 115-135

Deep House 110-125

Trap 130-150

Trance 130-145

Drum & Bass 160-180

TIP

If you're having a hard time writing songs at faster tempos, one simple and effective trick is to play one

of your existing songs with a double time feel and see where this new approach takes you.

TIP

If you’re unsure what the tempo of your song is, you can find many tap-tempo BPM-counters online.

425

#54 MOOD-BASED SONGWRITING

The other main type of songwriting which relies less on hooks and topline is something I call 'moodbased'

songwriting. Here, the focus is on the feel of the song, thinking about things like the tone,

production and repetition. This could mean anything from the sublte mood of expertly-recorded vintage

instruments, to the punch of a club-ready techno track.

When the thus-far mostly analog music production methods were widely digitized in the early 1990s,

this opened the door to a way of making music previously reserved for professional productions, film

soundtracks, etc. Suddenly, with the help of software and samplers, it was possible to produce music at

home at a low cost.

This in turn bolstered many ermergent styles of music where the production and songwrting processes

became virtually one and same. Such genres include ambient pop, trip hop and EDM (Electronic Dance

Music), which has itself divided into countless sub-genres like deep house, dubstep, or trap to name just

a few.

426

Here are a few basic criteria for writing a mood-based song:

• Mostly instrumental

• A motif repeats, sometimes sampled

• The song length is longer than in pop songwriting

• The beat is often programmed or sampled

• Structures are very simple, often AAA

• If vocals are used, they're mostly sampled

• Textured sounds which are often layered and slowly evolve

Here are a few examples:

Air

Thievery Corporation

Zero 7

The Prodigy

David Holmes

Sexy Boy

Shaolin Satellite

Polaris

Breathe

Ocean’s Thirteen Soundtrack

TIP

Even if you don't intend to focus on mood-based songs, sometimes writing in this style will help to

develop your arrangement and production skills, which will aid you in all other areas of songwriting.

427

#55 USING MODAL SCALES

If you’re looking to write mood-based songs, especially in the field of film scoring, a helpful approach is

to work with modes or modal scales.

Here is a brief overview of their effects and how best to use them:

Modal sounds

Lydian and Ionian are the most cheerful and uplifting scales, embodying feelings such as adventure,

movement, heroism and hope. Mixolydian and Dorian, on the other hand, can often be found in blues,

gospel, jazz, rock and in medieval music. Aeolian, in turn, is associated rather with sad, melancholic

sounds, while Phrygian and Locrian create above all scary or dramatic moods. The Phrygian mode is

strongly connoted with Middle-Eastern and Asian music.

Below you can find a list of modal scales, ordered from ‘brightest’ to ‘darkest’.

• Lydian (brightest)

• Ionian

• Mixolydian

• Dorian

• Aeolian

• Phrygian

• Locrian (darkest)

428

Mode construction

Here is a list of each mode's interval sequences. Ionic is equal to the classic major scale, and Aeolian to

the natural minor.

Interval sequences of the modes

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

W–W–H–W–W–W–H

W–H–W–W–W–H–W

H–W–W–W–H–W–W

W–W–W–H–W–W–H

W–W–H–W–W–H–W

W–H–W–W–H–W–W

H–W–W–H–W–W–W

W=whole step (tone), H=half step (semitone)

There are two methods for constructing the various types of modal scale.

1. Shifting the tonic (starting note) of the major scale

Taking the C major scale as an example (C-D-E-F-G-A-B-C), you can create a Dorian feel by instead starting

on the second note, in this case the D. This new scale (D-E-F-G-A-B-C-D) achieves a unique sound

due to the different contrast between the root (D) and the other notes in the scale, typically heard over

C major.

429

430

w w w w w w w w

Western major scale

w w w w w w w w

& w w w w w w w w

Using this same logic, you can derive all the modes, with each one starting on a different note of what

would usually be the major scale. You can refer to the list below, starting with Ionian, i.e. the ‘normal’

Ionian

w w w w w w w w

& w w w w w w w w

Dorian

w w w w w w w w

& w w w w w w w w

Phrygian

w w w w w w w w

& w w w w w w w w

Lydian

& w w w w w w w w

Mixolydian

& w w w w w w w w

w w w w w w w w

Aeolian

w w w w w w w w

Locrian

2. Adding a flat or sharp to a major scale

Using this method, you can find modes by adjusting existing scales rather than moving them. The list

below explains how to do this, with ‘b’ denoting a note that must be flattened and ‘#’ a note that needs

to be sharpened.

w w w w w w w w

Ionian

w w bw

w w w bw

Dorian

w w bw

431

w w bw

Phrygian

# w w w w

w w w w

w w w # w w w w w

Lydian

w w w w w w bw

Mixolydian

w w w w w w bw

w w bw

Aeolian

w w bw

w bw

w Locrian

w bw

432

Establishing a tonal center for a melody

When working with modes, it’s important to establish a clear tonal center to help guide the listener’s

ear. Below are some methods for doing so by placing or emphasizing the tonic (root note) within your

melody in certain ways.

Here are a few tips:

• Position – using the tonic within a melodic phrase first and/or last (a ‘landing

note’)

• Repetition – doubling, tripling and so on, and/or repeating the landing note

intermittently

• Dynamics – increasing the tonic note’s velocity (playing it ‘harder’)

• Rhythm – placing the tonic on downbeats and/or holding it for a longer

433

Modal scales in pop music

Modal scales are also often used in pop music to give the composition a different feel. Popular unconventional

scales here include the Mixolydian, Dorian and Aeolian scales, with the latter also known as

the natural minor scale. Phrygian is used a lot in metal, where it creates a dark mood, while the Lydian

is often found in film music. Due to the very dissonant sound of the Locrian scale, it is rarely used.

Here are some examples:

The Doors - Riders On The Storm

(excerpt)

q= 104

& # 4

Intro

“”

œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ

& # Em

œ œ œ A

œ œ œ œ # œ œ œ œ œ œ œ œ œ

& # Em

œ œ œ œ œ # œ œ œ œ j œ œ j

Music/Lyrics: John Densmore, Robby Krieger, Ray Manzarek, Jim Morrison

434

Metallica - Wherever I May Roam

(excerpt)

q= 131

Riff

& # E 5

‰ j œ œ nœ

E 5 E 5 A 5 A# 5 B 5 C 5

‰ œ j œ œ nœ

‰ j œ œ nœ

# œ <#> œ œ Music/Lyrics: James Hatfield, Lars Ulrich

Alan Silvestri - Theme From Back To The Future

(excerpt)

q= 131

& # 4

Motif

Music: Alan Silvestri

A/G

# ˙ ‰ # œ œ œ œ œ # ˙ w

435

Coldplay - Clocks

(excerpt)

2 q= 131

&b b b 4

Riff

œ œ

œ œ œ

Bbm

œ œ bœ

œ œ

œ œ œ

&b b b

Bbm

bœ

œ œ

œ œ œ

œ œ œ œ œ

œ œ œ

Music: Guy Berryman, Jonny Buckland, Will Champion, Chris Martin

The Cure - A Forest

(excerpt)

q= 81

& 4

œ r

Intro

œ r œ œ

œ œ ˙

œ r œ

œ r œ œ

œ œ ˙

œ r

Am C F Dm Am C F Dm

˙ œ œ ˙ œ

œ œ œ r œ

œ r œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Music/Lyrics: Simon Gallup, Mathieu Hartley, Robert Smith, Laurence Tolhurst

436

Björk - Army of Me

(excerpt)

q= 86

Riff

bœ

“‘

œ œ bœ

bœ

œ œ œ œ œ œ œ œ œ

Music/Lyrics: Björk Gudmundsdottir, Graham Massey

Scale

Song Part

The Doors Riders On The Storm E-Dorian intro, verse

Metallica Wherever I May Roam E-Phrygian riff

Alan Silvestri

Theme From Back To

The Future

G-Lydian

motif

Coldplay Clocks Eb-Mixolydian chord progression

The Cure A Forest A-Aolian intro

Björk Army Of Me C-Locrian bassline

TIP

The modal scale doesn’t need to appear in the topline or in all song sections. Often, an intro, a chord

progression or riff based on the scale is enough to give the song a modal sound.

437

#56 THE HIT FORMULA!

By examining popular songs, we can easily identify some of the key traits which help create their appeal

to a large number of people.

These range from ideal section lengths to the palette of chords used, so let’s look at some below:

Length

Tempo

Structure

3:30-4:00 minutes, vocals starting within 10 seconds

and the first chorus by 45 seconds

100 -140 bpm

ABAB form (ABAB, ABABC, ABCABC, ABCABCD)

Topline (chorus) catchy, based on at least two methods from lesson #38

Chords

Arrangement

Recognizability

Lyrics

a continuous chord sequence, a maximum of 4 chords

building incrementally with additional instruments,

backing vocals or harmonies

riff/hook (in the chorus or throughout the whole song)

universal theme

438

A song that checks all the boxes is the No.-1 hit Can’t Feel My Face von The Weeknd from 2015.

The Weeknd - Can’t Feel My Face

(excerpt)

q= 108

‹

Verse

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ

And I know she'll be the death of me at least we'll bothbe numb. And she'll al

œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ

‹

- ways get the best of me, the worst is yet to come.

‹

Pre-Chorus

œ j

œ œ œ œ bœ

œ œ

She told me, don't wor - ry

a - bout

œ œ

& Œ

‹

œ j b

œ œ œ œ œ

œ œ

it. She told me, don't wor - ry no more.

‰ œ œ

œ j œ œ œ Œ Ó

439

Continued: The Weeknd - Can’t Feel My Face

Voice

q= 108

& 4

œ j

Chorus

bœ

œ œ œ œ œ œ j œ œ œ œnœ

Œ Œ œ œ œ

I can't feel my face when I'm with you But I love

Bass

¿ ¿ œ ≈ œ ¿ œ

≈ ¿ œ œ ‰

œ j ≈ œ j ≈ œ

≈ œ œ œ

œ œ œ Œ Œ œ œ œ œ œ œ Œ Ó

it But I love it

‰ œ j ¿ œ ¿ œ œ œ ‰ œ j ¿ œ ¿ œ ≈ ¿ œ œ

Music/Lyrics: Savan Kotecha, Max Martin, Ali Payami, Peter Svensson, Abel Tesfaye

440

The Weeknd - Can‘t Feel My Face

Length

Tempo

Structure

Topline (chorus)

Chords

Arrangement

Recognizability

Lyrics

3:30 minutes, vocals at 8 seconds, first chorus at 45 seconds

108 bpm

ABCABC form

repetition (‘but I love it, but I love it’), two vocals using call and

response (‘I can’t feel my face when I’m with you…’), first chorus is

double chorus

G F Am Am

building

bassline as instrumental hook (starting at the first chorus)

theme - being in love, via drug metaphor

TIP

One trick to make the second chorus more impactful is to cut the second verse in half. This way, the

listener doesn't have to wait so long for the next chorus. A good example of this is Sia's ‘Chandelier’.

441

Here are three examples from the current charts, which also show how the middle 8 has once again

become more popular in commercial songwriting.

Dua Lipa - Physical

(excerpt)

Voice

Verse

q= 147

& 4

œ œ œ œ œ J

œ œ J

œ j œ Ó œ œ œ œ œ œ œ œ

Com-mon

love is-n't

for us We cre-a-ted

some-thing

phe nom

Synthesizer

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œ ˙ Œ

- e - nal Don't you a - gree,

Ó œ œ œ œ ˙ Œ

don't you a - gree?

∑

442

œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ Œ

? œ œ œ

œ œ œ

Continued: Dua Lipa - Physical

Ó œ œ œ œ ˙ Œ

∑

don't you a -

gree?

œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ Œ

Pre-Chorus

Voice

& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

J J J

Who needs to go to sleep when I got you next to me

Synthesizer 4

∑ ∑

443

Continued: Dua Lipa - Physical

Voice

Chorus

& 4 Œ œ œ ‰ j œ œ œ œ œ Œ

All night, I'll ri-ot

with you I know you got my back and you

œ œ œ œ œ œ œ œ œ

Synthesizer

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ œ œ

& œ œ œ j œ œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ

know I got you So come on (come on), come on (come on), Come on

œ œ œ

œ œ

œ œ œ

œ œ œ œ

œ œ

Œ œ œ Ó œ œ œ œ œ Œ œ œ Œ

(come on), let's get phy-si-cal

Lights out,

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

444

œ œ œ

œ œ

Continued: Dua Lipa - Physical

œ œ

œ œ œ

œ œ

Œ œ œ Ó œ œ œ œ œ Œ œ œ Œ

(come on), let's get phy-si-cal

Lights out,

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ Œ œ j œ œ œ œ œ œ œ œ

folo -low

the noise Ba - by keep on dan - cin' like you

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ Œ œ œ Œ œ œ

ain't got a choice So come on (come on), come on

Œ œ œ Œ œ œ w œ œ œ œ œ

445

œ œ œ œ œ œ œ œ

Continued: Dua Lipa - Physical

œ œ œ œ œ œ

œ œ Œ œ œ Œ œ œ

ain't got a choice So come on (come on), come on

Œ œ œ Œ œ œ w œ œ œ œ œ

(come on), Come on, let's get phy-si-cal

œ œ

œ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ

446

Continued: Dua Lipa - Physical

Voice

Middle 8

& 4 Œ œ œ Œ ‰ œ œ œ œ J œ œ œ œ œ Œ œ œ Œ œ J

Hold on just a lit-tle

tight-er

Come on, hold on, tell

Synthesizer

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

me if you're rea - dy Come on (come on, come on)

œ œ œ œ J

œ œ J œ J

œ ˙ œ œ œ œ œ œ

Ba- by, keep on dan - cin',

let's get phy-si-

cal

œ œ

œ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ

447

? œ œ

Continued: Dua Lipa - Physical

œ œ œ œ J

œ œ J œ J

œ ˙ œ œ œ œ œ œ

Ba- by, keep on dan - cin',

let's get phy-si-

cal

œ œ

œ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ

Music/Lyrics: Clarence Coffee, Jason Evigan, Sarah Hudson, Dua Lipa

448

Dua Lipa - Physical

Length

Tempo

Structure

Topline (chorus)

Chords

Arrangement

Recognizability

Lyrics

3:14 minutes, vocals at 13 seconds, first chorus at 42 seconds

148 bpm

ABCABCD form

pitch changes, repetition (‘come on, come on’), first chorus is

double chorus (lyrically varied)

Am F C G

building

synth bass as instrumental hook (throughout the whole song), vocal

hook (‘come, come on’) in the chorus, accompanying hook (synth)

in the chorus, production hook (delay on ‘come on, come on’ and

‘physical’)

theme - being in love

TIP

Another tip for 'hit' songwriting is to use a chorus at double the expected length. You can even give

the two halves a different feel, as in 'Break The Rules' by Charli XCX.

449

DNCE - Cake By The Ocean

(excerpt)

Voice

Guitar

Verse

q= 119

Em Bm Am C Em Bm

& 4 œ ˙ œ œ œ œ œ œ œ œ œ œ ˙

‹

Oh, no See you walk- ing 'round like it's a fune - ral

& # 4

œj ‰ ‰ œj œ œ œ œ # œ nœ

j ‰ ‰

Am C Em Bm

# œ œ œ œ œ œ œ œ œ

& œ ˙

‹

Not so se - ri - ous, girl, why those feet cold?

& #

nœ

j ‰ ‰

œ j j ‰ ‰ j

œ œ œ œ œ

œ œ

Am C Em Bm Am C

# œ œ œ œ œ œ œ

œ œ ˙ œ œ œ Œ ¿

J ‹

We just get-ting

started, don't you tip - toe, tip - toe,

& #

nœ

j ‰ ‰

œ j œ œ œœ œ œ

j ‰ ‰

œ j j

œ œ œ œ œ ‰ ‰ œ œj œ œ œ œ # œ

œj œ œœœ # œ nœ

j ‰ ‰

œ œ œ œ # œ

œ j œ œœœ œ

450

& #

nœ

j ‰ ‰

œ j j ‰ ‰ j

œ œ œ œ œ

œ œ œ œ

œ œ # œ

Am C Em Bm Am C

# œ œ œ œ œ œ œ œ œ

& ˙ œ œ œ Œ ¿ J ‹

We just get-ting

started, don't you tip - toe, tip - toe,

& # nœ

j ‰ ‰

œ j j

œ œ œ œ œ ‰ ‰ œ œj œ œ œ œ # œ nœ

j‰ ‰ œ j œ œ œ œ œ

Continued: DNCE - Cake By The Ocean

451

Continued: DNCE - Cake By The Ocean

Voice

Guitar

Pre-Chorus

Em Bm Am C

& 4 ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ Œ

‹

Waste time with a mas-ter

piece, don't waste time with a mas-ter

piece

& # 4 j ‰ ‰ j

œ œ œ œ

œ œ

# œ nœ

j ‰ ‰

œ j

Em Bm Am C

‹

You should be rol-ling

with me, you should be rol-ling

with me, ah

& #

œ œ œ œ œ

‰ œ j œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ ‰ œ j œ œ

j ‰ ‰

œ œ œ œ # œ nœ

j ‰ ‰

œ j

œ œ œ œ œ

452

Continued: DNCE - Cake By The Ocean

Voice

Guitar

Chorus

Bm Am C

& 4

œ œ œ œ œ Œ Œ ‰

‹

& # 4 ‰

Talk to me, ba - by

I'm go - ing blind from

œ œ œ J ‰

œ j œ œ œ œ

œ œ œ J ‰

‹

& #

Em Bm Am C

œ œ œ œ œ œ œ œ ‰

this

J ‰ Œ

sweet,sweet crav-ing,

whoa- oh

Let's lose our minds and

œ œ œ œ J ‰

œ j œ œ œ œ

œ œ œ Œ

œ œ œ œ œ

‹

Em Bm Am C

œ œ œ œ œ Œ Œ ‰

‰

œ j œ œ œ œ

fuck -ing

cra - zy

I, I, I, I, I,

œ œ œ

nœ

œ œ

œ œ œ œ œ œ

& # #

Em Bm Am C

453

& #

œ œ œ œ J ‰

Continued: DNCE - Cake By The Ocean

œ œ œ Œ

œ œ œ œ œ

œ J ‰ Œ

Em Bm Am C

# œ

& œ œ œ œ Œ Œ ‰

œ j œ œ œ œ

‹

go fuck-ing

cra - zy

I, I, I, I, I,

& # œ œ œ œ œ nœ

œ œ

‰ J

œ œ œ œ œ œ

Em Bm Am C

& œ œ œ œ œ ‹ ¿ ¿ œ œ œ œ œ

I keep on hop-ing

we'll eat cake by the o - cean

& # œ

‰ J œ œ œ œ nœ

œ œ œ œ œ œ œ œ œ

454

Continued: DNCE - Cake By The Ocean

Voice

Guitar

& 4 Ó

‹

& # 4

Middle 8

Em Bm Am C

j ‰ ‰

¿ ¿ ¿ ¿ ¿ ¿ ‰ Ó

You're fuck-ing

de - li-cious

œ œ œ œ # œ nœ

j ‰ ‰

œ j œ œ œ œ œ

# Em

& Ó Ó œ œ œ œ

‹

Talk to me girl

& #

j ‰ ‰

œ œ œ œ # œ

∑

Music/Lyrics: Robin Fredriksson, Joe Jonas, Mattias Larsson, Justin Tranter

455

DNCE - Cake By The Ocean

Length

Tempo

Structure

Topline (chorus)

Chords

Arrangement

Recognizability

Lyrics

3:39 minutes, vocals at 8 seconds, first chorus at 40 seconds

119 bpm

ABCABCD form

pitch changes, two vocals using call and response, (‘Talk to me,

baby.. and ‘I-I-I-I-I-I keep on hoping …), vocal hook (‘I-I-I-I-I-I keep

on hoping’), first chorus is double chorus (lyrically varied)

Em Bm Am C

building

guitar riff as instrumental hook (plays throughout the whole song),

vocal hook (‘I-I-I-I-I-I keep on hoping’)

theme - being in love

456

People are going to judge you anyway, so you might as well do what you want.

(Taylor Swift)

457

Taylor Swift - You Need To Calm Down

(excerpt)

Voice

Synthesizer

q= 85

& # #

4 ≈

?# #

& # #

?# #

& # # G

?# #

You are some-bo

- dy that I don't know But you're

- king shots at me like it's Pat rón

damn,

Verse

œ œ œ œ œ œ œ œ œ

it's se-ven

A - M

‰ ‰

œ r œ œ œ Œ ‰

œ œ œ œ œ œ œ œ œ

≈

œ r œ œ œ

- And I'm just like,

œ œ œ Œ ‰ œ R

œ œ

Œ ‰

œ r œ œ œ œ œ

Œ Ó

œ œ œ Œ ‰ œ R œ œ œ Œ ≈ œ œ œ

œ r

458

Continued: Taylor Swift - You Need To Calm Down

Pre-Chorus

& # A

Voice

# 4 œ r œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰

And snakes and stones ne - ver broke my bones

Synthesizer

4 œ

?# # 4 R œ r ≈ ‰ Œ Ó

Voice

Synthesizer

Chorus

& # D

# 4 œ j œ œ œ œ œ œ œ œ œ œ œ ‰

œ r œ œ œ j œ

So oh-oh,

oh- oh, oh- oh, oh- oh, oh oh You need to calm

?# #

4 ‰ œ œ œ Œ ‰

œ r œ œ œ Œ ‰ œ R

& # # G

Œ ‰

œ œ œ r œ œ œ Œ ‰

œ œ œ r œ œ œ

down,

you're be-ing

too loud And I'm just like

?# # œ œ œ Œ ‰ œ R œ œ œ Œ ‰

œ r

& # # D

œ œ œ œ œ œ œ œ œ œ œ œ J ≈ r œ œ jœ

459

?# #

down,

you're be-ing

too loud And I'm just like

Continued: Taylor Swift - You Need To Calm Down

& # # D

œ œ œ œ œ œ œ œ œ œ œ œ œ œ J ≈ r œ œ

œ j œ

?# #

œ œ œ Œ ‰ œ R œ œ œ Œ ‰

oh-oh,

oh- oh, oh- oh, oh- oh, oh oh You need to just

œ œ œ Œ ‰

œ r œ œ œ Œ ‰ œ R

œ r

& # # G

Œ ‰

œ r œ œ œ

stop, like can you just

?# #

œ œ œ

Œ ‰ œ R

& # #

œ œ ≈ œ œ œ œ j

“‘ œ œ œ œ œ j ‰ Œ Ó

not

step on my gown?You need to calm down

?# # Ó

œ œ œ

∑

460

Continued: Taylor Swift - You Need To Calm Down

Middle 8

Voice

& # # 4

?# #

Synthesizer

& # #

≈ ‰

œ œ œ œ

≈

œ œ œ

j ≈

And we see you

œ œ œ œ œ

o - ver there on the in - ter-net

œ r œ œ œ Œ ‰

≈

œ r

?# #

‰

œ r œ œ

≈

œ œ œ j

Com - pa - ring all the girls who are kil -ling

≈

œ œ œ œ œ

œ œ œ Œ ‰ œ R

≈

& # # G

‰

œ œ œ œ œ œ j ‰ œ œ œ

But we fi - gured it out We all know

?# #

œ œ œ

Œ ‰ œ R

& # #

œ j ‰ œ œ œ œ j ≈

r œ œ œ œ

461

?# #

Com - pa - ring all the girls who are kil -ling

œ œ œ Œ ‰ œ R

Continued: Taylor Swift - You Need To Calm Down

& # # G

‰

œ œ œ œ œ œ j ‰ œ œ œ

But we fi - gured it out We all know

?# #

œ œ œ

Œ ‰ œ R

& # #

œ j ‰ œ œ œ œ j ≈

r œ œ œ œ

now, we all got crowns You need to calm down

?# # œ œ œ

∑

Music/Lyrics: Joel Little, Taylor Swift

462

Taylor Swift - You Need To Calm Down

Length

Tempo

Structure

Topline (chorus)

Chords

Arrangement

Recognizability

Lyrics

2:48 minutes, vocals at 11 seconds, first chorus at 45 seconds

85 bpm

ABABCB form

pitch changes, vocal hook (oh-oh, oh-oh, oh-oh, oh-oh, oh-oh)

D G

continuous

synthbass as instrumental hook (throughout the whole song), vocal

hook (oh-oh, oh-oh, oh-oh, oh-oh, oh-oh) in the chorus

theme - a message of tolerance and respect for LGBTQ people

TIP

Even when aiming to write a very commercial song, always try to take an original approach; there’s

already enough cobbled-together pop music out there.

463

#57 WRITING TOPLINES AROUND THE ROOT NOTE AND THE SUPERTONIC

Nowadays it's popular for songs in the charts to work with melodies that are based on the root note of

the key (or tonic). The zeitgeist of today is more understated, eschewing the more over-the-top toplines

of the 70s (ABBA, Bee Gees), 80s (Pet Shop Boys, Queen) and 90s (Whitney Houston, Bryan Adams).

Well-known examples of this kind of succinct songwriting are Taylor Swift's Welcome To New York and

All About That Bass by Meghan Trainor.

Taylor Swift - Welcome To New York

(excerpt)

q= 117

& # 4

Chorus

G D C

œ œ œ œ œ ‰ ‰ Œ œ œ œ œ œ œ

Wel - come to New York, it's been wait - ing for you

& # G D C G D C

œ œ œ œ œ j ‰ œ œ œ œ œ Ó œ œ œ œ œ ‰ ‰

Wel -come

to New York, wel-come

to New York Wel -come

to New York,

& # G D C

Œ œ œ œ œ œ œ œ œ œ œ œ j ‰ œ œ œ œ œ Ó

it's been wait-ing

for you Wel -come

to New York, wel-come

to New York

Music/Lyrics: Taylor Swift, Ryan Tedder

464

Meghan Trainor - All About That Bass

(excerpt)

q= 134

Chorus

Refrain

& # # #

œ j œ œ œ œ

j ‰ j ‰ œ œ œ œ ¿ œ œ œ

¿ œ œ

& # # # Bm

j ‰

‰

œ œ œ œ ¿ œ œ ¿

œ œ œ

& # # # E

œ œ œ œ ¿ j ‰

œ œ ¿ j ‰

œ œ œ j ‰ ‰

A & # # # A j ‰

œ œ œ œ j ‰ Œ Ó

¿ œ œ ¿

Be-cause

you know I'm all a-bout

that bass, 'bout that bass, no tre-ble

I'm

Be-cause

you know I'm all a-bout

that bass, 'bout that bass, no tre-ble

I'm

all a - bout that bass, 'bout that bass, no tre - ble I'm

all a - about that bass, 'bout that bass, no tre - ble

I'm

all a - about that bass, 'bout that bass, no tre - ble

I'm

all a - bout that bass, 'bout that bass

‰

œ j

Music/Lyrics: Kevin Kadish, Meghan Trainor

465

It is also becoming increasingly popular in pop songwriting to base simple toplines not only around the

root note, but also the supertonic, the second note of the scale. In C major that would be the tone ‘d’.

The main benefit is that this note can be sung over any chord in the chosen key. Looking again at the

key of C major, singing the supertonic over a C major chord, would be the ninth. When playing a D

minor chord, it would be the root note, while over E minor it would be the minor seventh and so on.

The supertonic can be used in any song section, but is primarily found in chorus melodies.

4 Popular examples for this would be The Weeknd’s Can't Feel My Face, Justin Timberlake’s Can't Stop

The Feeling and Don't Start Now by Dua Lipa.

The Weeknd - Can’t Feel My Face

(excerpt)

‹

œ j œ

Chorus

b œ œ œ œ œ œ j œ œ œ œ nœ

Œ Œ œ œ œ

I can't feel my face when I'm with you. But I love

œ œ œ Œ Œ œ œ œ œ œ œ Œ Ó

‹

it. But I love it.

Music/Lyrics: Savan Kotecha, Max Martin, Ali Payami, Peter Svensson, Abel Tesfaye

466

4 Justin Timberlake - Can’t Stop The Feeling (excerpt)

‹

Chorus

œ œ œ œ œ œ œ œ œ J

œ j œ œ j œ œ j œ œ œ œ œ

No-thing

I can see but you when you dance, dance, dance A feel - ing good,

œ œ œ œ œ œ œ œ œ œ

J j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

‹

good, creep - ing up on you so just dance, dance, dance, come on

œ œ œ œ œ œ œ œ œ j œ œ j œ œ j œ

‹

Music/Lyrics: Max Martin, Karl Schuster, Justin Timberlake

Dua All Lipa those - Don’t things Start I Now should(excerpt)

- n't do, but you dance, dance, dance, and ain't

Chorus

œ œ œ œ œ œ œ œ œ œ

œ j œ œ ≈ œ œ œ œ œ

‹ & # # 4 ‰ œ œ œ Œ ‰ œ œ œ Œ ‰ œ œ œ œ œ ‰ œ œ

no - bo - dy leav - ing soon, so keep danc - ing I can't stop the feel

C Don't show up, don't come outAm

Don't start car-ing

œ œ œ œ

& Œ ≈ œ œ œ j œ œ j œ œ j œ œ œ a œ - bout me

œ œ

& # D A Em Bm G D

‹ #

œ Œ ‰ œ œ œ Œ ‰ œ œ œ Œ ‰ œ œ œ œœ ‰ œ œ œ Œ Ó

- ing

so just dance, dance, dance I can't stop the feel

now Walk a - way, you knowhow Don't Amstart car-ing

a - bout me now

œ œ œ œ

‹

Œ ≈ œ œ œ j œ œ j œ œ j œ

J ¿ ¿ ≈ ‰

Music/Lyrics: Caroline Ailin, Ian Kirkpatrick, Dua Lipa, Emily Warren

- ing

so just dance, dance, dance, come on

467

Chord Progressions

Key

Supertonic

The Weeknd Can’t Feel My Face C d

Justin Timberlake Can’t Stop The Feeling C d

Dua Lipa Don’t Start Now Bm/D e

TIP

As can be seen from these examples, this simple style of songwriting is most effective in the chorus.

468

Sometimes the therapeutic value of making the work is the outcome.

And that’s enough.

(Rick Rubin)

469

#58 THE SONG-DNA

In conclusion, every song consists of the following six basic building blocks:

• topline (vocal melody + lyrics)

• chords

• structure

• key

• tempo

• time signature

Your way of combining these elements forms the basis of your song.

In addition, you should stay aware of the two main compositional tricks, which can also overlap.

These are:

• tricks to make the song more interesting (see lessons 1-72)

• tricks to highlight the chorus (see lesson 38)

As a simple rule, you should include at least 1-2 tricks that make the song sound more interesting and

2-3 tricks that emphasize the chorus.

470

Lyrics for popular songs generally follow one guiding principle:

They include a universal theme based on a genuine experience.

Your theme will need to be universal enough to touch a wider audience. Paradoxically, if the subject matter

is not personal enough to you, your lyrics may appear insincere and not very believable.

Here is a brief analysis of ten songs that have already been mentioned in the book in relation to their

compositional building blocks:

Lorde - Glory and Gore

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

different chord lengths in verse and chorus, chord variation in verse and

chorus, vocal hook in chorus, shortened second verse

pitch changes, vowel sound backing vocals in chorus ('oh-oh, oh-oh'),

different chord lengths in verse, pre-chorus and chorus (two-bar vs.

four-bar), chord variation in verse (Ab Fm Cm Bb) and chorus (Ab Fm Ab

Fm C)

theme - criticism of celebrity culture

471

Lorde - Glory and Gore

(excerpt)

q= 71

& bb b b 4

There's a

slip

Verse

hum-ming

in the rest - less sum - mer air And we're

- ping off the course that we pre - pared

But in all

cha-os

there is cal-cu-la

- tion Drop-ping

glas-ses

just to hear them break

& bb b b Cm

œ œ œ œ œ œ œ œ œ

& bb b

œ œ œ œ œ œ œ œ œ œ œ

Ab Fm Cm

œ œ œ œ œ œ œ œ œ

≈

‰

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ Œ

472

Continued: Lorde - Glory and Gore

&b b b b 4

Pre-Chorus

And the cry goes out

Fm Cm Bb

Haaa - oh

œ œ œ œ œ œ

j ‰ Œ œ œ œ œ œ œ ‰ ≈ œ

œ œ œ œ œ œ œ

They lose their minds for us And how

Ab Fm Cm Bb

Haaa - oh

&b b b b œ Œ

œ œ œ Œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œ œ œ œ œ

it plays out

Now

we're inthe ring, and we're com-ing

for blood

Chorus

& bb b b 4 œ œ œ œ œ œ œ œ œ œ

You could try and take us

Ab Fm Cm

Oh oh

&b b b b

œ œ œ œ œ œ œ œ œ œ

œ œ œ œ

œ œ œ œ œ œ

But we're the gla di - a - tors

œ œ œ œ

r œ œ œ œ œ œ œ

Eve-ry-one

a rag - er

But sec-ret-ly

they're sav-

iors

Music/Lyrics: Joel Little, Ella Yelich-O’Connor

473

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

Weezer - Thank God For Girls

one continuous chord progression based on 4 chords, inversion of the

third chord (D7/F#)

contrast between spoken lyrics in the verse vs. sung chorus, pitch

changes, longer topline notes in chorus (‘thank God for girls’)

theme - physical attraction

Weezer - Thank God For Girls

(excerpt)

q= 95

‹

œ r

The

Verse

G D 7 /F# F

œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

girl in the past-ry

shop with the net in her hair is mak-ing

a ca no-li

for you to take

Am G D 7 /F# F 3

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‰œ œ œ j ‰

‹

on your hi-king

trip in the woods with your bros that you've known since the se-cond

grade

474

Continued: Weezer - Thank God For Girls

‹

Thank God for girls Hol-la

Je - su Chris-te

from Ten -nes-

see to L. - A. Thank God for girls On your

reck

Chorus

Am G D 7 /F# F Am G

œ ˙ œ œ œ œ J

œ Œ ‰ œ œ œ œ œ œ œ œ j ‰ ≈ œ œ œ

D 7 /F# F Am G D 7 /F# F

& œ œ œ œ œ œ j ‰ œ ˙ œ œ œ œ œ J Œ ‰ œ œ

‹

Am G D 7 /F# F

& œ œ œ œ œ œ j ‰ ≈ œ œ œ œ œ œ œ œ œ j ‰ Œ

‹

- on - ing day You bet-ter

bow down and pray

Music/Lyrics: Bruce Balzer, Craig Balzer, Rivers Cuomo, Alex Goose, Bill Petti

475

Death Cab For Cutie - 60 & Punk

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

direct modulation to the parallel minor key in the chorus, chord variation

in verse and chorus, different chord lengths (before and after the

chorus)

pitch changes, diatonic modulation to the parallel minor key (Eb major

to C minor)

theme - shattering your illusions*

* “We all have moments in our life where our heroes let us down. And one can view that through the lens of being

disappointed that someone you admire has let you down and has become something less than who you thought they

were. But I think there’s something also very humanizing in that.“ (Ben Gibbard)

Example: Look at lesson 34

Muse - Sunburn

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

three-chord variation

pitch changes, chorus topline starts on the ‘three and’ (offbeat of beat

three)

theme - destructive romantic relationships

Example: Look at lesson 14

476

The Police - So Lonely

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

one continuous, popular chord progression, modulation from C major to

D major from the guitar solo onwards to emphasize the final chorus

pitch changes, repetition (‘so lonely, so lonely’), switching from a

standard time in the verse (with reggae rhythm) to double-time in the

chorus

theme - loneliness

Example: Look at lesson 31

Cherry Glazerr - Distressor

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

multiple changes between standard time and half-time, chord variation

and use of different chord lengths throughout the song

pitch changes, instrumental interlude before the chorus, half-time

change from verse to chorus

theme - insecurity and self-discovery

Example: Look at lesson 38

477

MGMT - Electric Feel

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

6/4 time signature, one continuous chord progression

pitch changes, using longer topline notes

theme - being in love

MGMT - Electric Feel

(excerpt)

q= 103

&b b b 4

Verse

Cm Gm Ab Bb Gm Ab

œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ Œ Œ

All

a-long

the West -ern

front peop-le

line up to re-

ceive

&b b b

Cm Gm Ab Bb Gm Ab

œ œ œ œ œ œ œ

œ œ Œ

œ j œ œ œ œ œ œ œ œ

Œ Œ

she got the pow-er

in her hand to shock you like you won't be-

lieve

478

Continued: MGMT - Electric Feel

&b b b 4

Chorus

Cm 7

Gm Ab Bb Gm Ab

œ œ œ j ‰ œ œ Œ Ó œ œ œ œ œ œ œ œ œ Œ Œ

I said "ooh, girl Shock me like an e-lec-tric

eel

&b b b

Cm 7 Gm Ab Bb Gm Ab

œ œ œ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ Œ Œ

Ba - by girl, turn me on with your e - lec - tric feel"

Music/Lyrics: Ben Goldwasser, Andrew Vanwyngarden

Incubus - Drive

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

different chord voicings in form of a chord-based riff, chord variation

pitch changes, pre-chorus using a different chord progression than in

verse and chorus

theme - letting go of fear*

* “The lyric is basically about fear, about being driven all your life by it and making decisions from fear. It's about

imagining what life would be like if you didn't live it that way.“ (Brandon Boyd)

Example: Look at lesson 18

479

The Smashing Pumpkins - Disarm

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

popular chord progression in the verse, direct modulation to the counter

parallel chord in the chorus, chord variation, different chord lengths,

different chord voicings, chord inversions

pitch changes, pre-chorus, different chord lengths in the pre-chorus and

chorus, diatonic modulation to the counter parallel chord (E minor to C

major)

theme - childhood trauma*

* “The reason I wrote Disarm was because, I didn't have the guts to kill my parents, so I thought I'd get back at them

through song. And rather than have an angry, angry, angry violent song I'd thought I'd write something beautiful

and make them realize what tender feelings I have in my heart, and make them feel really bad for treating me like

shit.“ (Billy Corgan)

Example: Look at lesson 13

Nine Inch Nails - Every Day Is Exactly The Same

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

non-diatonic chords using the bII/F, bIII/G and bVII/C throughout the

song

pitch changes, repetition, guitar riff in the chorus

theme - the routine of everyday life

Example: Look at lesson 27

480

Taylor Swift - You Need To Calm Down

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

one continuous chord progression based on 2 chords, one continuous

bassline as main instrumental hook

pitch changes, topline based hook (oh-oh, oh-oh, oh-oh, oh-oh, oh),

using longer topline notes

theme - a message of tolerance and respect for LGBTQ people

Example: Look at lesson 56

Coldplay - Clocks

Tricks to make the song

more interesting

Tricks to highlight the

chorus

Lyrics

modal scale (Eb Mixolydian), modal interchange (Bbm),

different chord lengths in the main chord progression

pitch changes, using longer topline notes

theme - being in a dysfunctional relationship

Example: Look at lesson 17, 55

481

#59 CHANGING INSTRUMENT

It’s quite useful to change the instrument you write on from time to time. Even something as simple as

playing your song idea on a classical guitar as opposed to an acoustic guitar can make a big difference to

the direction of the song and at the same time be a great inspiration. Further to this, switching instrument

(from guitar to piano for example) will naturally vary the keys you write in; something important, as we’ll

see next.

TIP

Keep more than one type of instrument close-by in your writing environment, or even experiment by

keeping your main instrument out of reach, so as to push you toward broadening your horizons.

#60 FINDING THE RIGHT KEY

Each key has its own sound and effect. It’s therefore advisable to play your song in different keys before

deciding on one.

TIP

Get a feel for which keys best fit your voice and range. If you notice when covering a song that you hit

the highest note of the chorus perfectly and with ease, write the note (and its associated key) down

and try to work around them on future ideas.

482

#61 USING A CAPO

Using a capo is the easiest way to change the key of a song. Be aware though, that it changes the tone

too. On the plus side, it also opens up possibilities in terms of using certain riffs or chord shapes on the

guitar in unusual keys. A track that uses this technique is Cath... by Death Cab For Cutie. The song is

written in A major, but played using G major chord shapes with the capo sitting on the second fret.

TIP

A capo is useful if you find yourself using many unwanted barre chords while writing. By adding one,

you can work with alternate chord shapes (usually open chords) to create new voicings, while leaving

the desired chord progression intact. Furthermore, beginner guitarists are able to play in all keys,

without having to struggle with complicated barre chords.

#62 STARTING WITH THE CHORUS

As described earlier, a budding songwriter will often find a beautiful melody for the verse, but have difficulty

finding a chorus that both fits and stands out. A simple trick here is to work on the chorus first and

add the verses later, which is typically much easier to do. This may take away a little bit of the magic of

songwriting, but we are focusing here on the results.

TIP

Try continuing with your chorus chords when moving onto the verse idea, rather than attempting an

entirely new progression immediately. Many hit songs take this approach and you can always change

or vary them if necessary.

483

#63 WRITING IN A POPULAR KEY

Most commercial songs are written in either C major / A minor or G major / E minor. Other popular keys

are: Eb major / C minor, F major / D minor, D major / B minor, A major / F# minor and E major / C# minor.

TIP

When writing songs with a commercial approach, try to use one of the keys above and make sure it

fits your vocal range.

#64 KEEPING TRACK OF IDEAS

John Lennon, even in his time, used one: a portable recording device. Nowadays, there are digital audio

recorders and even smartphones with memo functionality. Whether in the rehearsal room or on the road,

you should be able to get your musical and lyrical ideas down at any time.

TIP

When considering the right arrangement or key for a song, it is very helpful to record your band

rehearsals. Not only can you keep track of specific, developing song versions, but even entire

rehearsals, meaning you’ll never lose a new idea while jamming again.

484

#65 KEEPING A DAILY RHYTHM

It’s commonly said that it takes 10,000 hours to become an expert in your chosen field. For this reason, it

is important to keep a daily rhythm with your art form. As the saying goes: 'consistency is king'.

TIP

Try to devote some time each day to being creative, rather than large blocks of time only when you

can fit them in. This way, your ideas will remain fresh and will most likely receive more time overall. Be

aware of which times of the day you are the most productive and work accordingly.

#66 FINISHING SONGS

Perfectionism, or having fixed ideas about how a song should sound in the end, can really limit your

song writing. So even if you’re not fully satisfied with a song idea, always try to finish it.

TIP

Save all your songs or song ideas. You never know when you might use them later, even as a B-side,

or simply using a melody, lyric or chord progression in a new song.

485

#67 SHOEHORNING SONGS INTO DIFFERENT STYLES

Aiming for a diverse repertoire of songs is important, but equally the first inspiration is often the right

one. So don’t try to frantically rewrite your songs in new styles if you are not happy with them.

TIP

The rule here is: Write a new song rather than constantly tinkering with existing ideas.

#68 FINDING A GOOD ENDING

Avoid simply fading out or hanging on the root chord to end your song. Instead, try to find a unique

ending part that’s memorable but not too drawn-out.

TIP

Where most songs close on the root, one simple step toward a more interesting ending is to try

finishing with different chords.

#69 KEEPING THE GUIDE TRACK

Always keep the guide track13 from your demo recordings when going into the studio to record the final

version. A certain vocal can be quite hard to reproduce in what is often a very tense studio atmosphere,

so it is always useful to have an alternative.

TIP

When making demo recordings, put as much effort into the quality as you would in a professional

studio.

486

#70 PRODUCTION SHEETS

To get a feel for how to best arrange a song, practice creating a ‘production sheet’. For this, take one of

your favorite songs and write out the arrangement. This includes things like the song structure, the sounds

used, as well as the instrumentation. Think about when they're played (e.g. in the chorus), voicings (e.g.

power chords), technique (e.g. dampening) and to what extent (e.g. crotchets). This can also include the

model of the instrument (e.g. Fender Telecaster), the type of amplifier (e.g. Orange) and the effects used

(e.g. analog delay). The more detailed, the better.

TIP

Start simple. Even as a beginner, you can pick out important information. What is the structure? What

key is it in? What is the tempo? When do the vocals come in? How long is the song?

#71 SHARING VOCALS

You can give a song extra depth by having more than one lead vocal, not only stylistically but also as a

unique vehicle for more compleyx narratives. A good example is Gotye's Somebody That I Used To Know,

here the third verse is sung by female solo artist Kimbra, giving the listener a different perspective on

the song's well-tread subject. Duets don't necesarily need tbe sung by a man and woman, however, as

The Beatles demonstrated in their song A Day In The Life. Other artists who work frequently with shared

vocals are Blink 182 (I Miss You), Warpaint (Love Is To Die), Of Monsters And Men (Little Talks) and The xx

(Crystalised).

TIP

He who dares, wins. If you have more than one person in your band willing to sing, let them try!

487

#72 CO-WRITING

One of the best ways to stay creative is to collaborate with someone else, allowing you to both inspire and

complement each other musically. Although many songwriters believe they would rather work alone, it’s

better to remain open; especially when you consider that many of the most successful bands to date have

relied on writing duos.

TIP

Meet up with other musicians and jam with them. Everyone has their own approach and way of

writing songs, so you never know where the session may lead.

#73 WORKING WITH A RHYMING DICTIONARY

This is certainly not the most elegant way to write lyrics, but still legitimate. Particularly if writing in a

language which is not your native tongue, a rhyming dictionary can give you the spark you may be

lacking. After all, the rhyme is only the framework for your lyrics, while its real content is the creative

element, something not even a rhyming dictionary can provide.

TIP

An alternative to classic rhyming dictionaries would be online equivalents such as rhymer.com

rhymezone.com.

and

488

#74 ONLINE DICTIONARIES

If writing lyrics in a different language, there are many online opportunities that you can take advantage of;

from dictionaries like 'Leo' or 'Urban Dictionary', where you can check definitions, as well as the spelling of

words, to sites like 'Google Translate', to language forums, where you can discuss slang terms and phrases.

TIP

As a registered user at many of these websites, you can ask your own questions, frequently receiving

a response within minutes from a native speaker.

489

#75 THE SONG CHECKLIST

Finally, here is a brief check-list you can use to see if your song fulfills some of the key ingredients needed

to reach its full potential.

• Has the topline got recognizability?

• Do your lyrics have a universal theme?

• Are you using similes, metaphors or imagery in your lyrics?

• Do the chords and vocal melody fit?

• Are you taking advantage of different voicings and inversions?

• Does the time signature fit your song?

• Do you have the right tempo?

• Does the key suit the vocal range of the singer?

• Have you found the right tuning?

• Do you have a catchy intro?

• Does the song structure flow well, without being too predictable?

• Does your song have riffs or hooks?

• Does your arrangement convey the right genre?

• Are you working with vocal harmonies?

• Have you incorporated production hooks?

• Do you have a good ending?

490

Have no fear of perfection, you’ll never reach it.

(Salvador Dalí)

491

SONGLIST

AC/DC

Back In Black p. 113–114

Hells Bells p. 58

Aerosmith

Walk This Way p. 111, 260

Air

Sexy Boy p. 427

Alanis Morissette

All I Really Want p. 376

You Oughta Know p. 300–301

Alan Silvestri

Theme Of Back To The Future p. 435, 437

Alphaville

Forever Young p. 72

Alt-J

Breezeblocks p. 50–52

America

Horse With No Name p. 71

...And You Will Know Us By The Trail Of Dead

Will You Smile Again For Me p. 58, 60

Autolux

Turnstile Blues p. 242–243

Avril Lavigne

Complicated p. 74

Beastie Boys

Sabotage p. 66

Beck

Loser p. 66, 112–113

Beyoncé

Crazy In Love p. 174–175

Bing Crosby

Silent Night p. 396

White Christmas p. 396

Björk

Army of Me p. 437

Blink 182

Adam’s Song p. 326–327

I Miss You p. 487

Bloodhound Gang

Along Comes Mary p. 388

Blur

Song 2 p. 113–114

Bob Dylan

All Along The Watchtower p. 35–36, 397

Knocking On Heaven’s Door p. 388

Like A Rolling Stone p. 169, 406, 416-417, 422

Shelter From The Storm p. 402

Bob Marley

Get Up Stand Up p. 66

No Woman No Cry p. 72–73

Bran Van 3000

Drinking In L.A. p. 103–104, 108, 188

Bruce Springsteen

Born In The USA p. 71

The Ghost of Tom Joad p. 388

Bush

The Chemicals Between Us p. 361–362

492

Cake

The Distance p. 61

Carly Rae Jepsen

I Really Like You p. 78–79, 85

Charli XCX

Break The Rules p. 288, 297, 449

Cherry Glazerr

Distressor p. 330–331, 477

Lucid Dreams p. 20–21, 26

Chuck Berry

Johnny B. Goode p. 58

Cindy Lauper

Girls Just Want To Have Fun p. 388

Coldplay

Clocks p. 121, 129, 436–437, 481

God Put A Smile Upon Your Face p. 199

Low p. 192–193, 195

Talk p. 190–192, 195

Courtney Barnett

Pedestrian At Best p. 420–422

Creedance Clearwater Revival

Run Through The Jungle p. 66

David Bowie

Space Oddity p. 397

David Holmes

Ocean’s Thirteen Soundtrack p. 427

Death Cab For Cutie

60 & Punk p. 252–253, 476

Black Sun p. 126, 129

Cath… p. 394–395, 483

Expo ’86 p. 147–148, 151

Information Travels Faster p. 61

I Will Follow You Into The Dark p. 307–309

I Will Possess Your Heart p. 247–249

Photobooth p. 418–419, 422

Soul Meets Body p. 321–322

Styrofoam Plates p. 410–411

The New Year p. 404

We Looked Like Giants p. 31–33, 412

Why You’d Want To Live Here p. 410

Deep Purple

Smoke On The Water p. 58

Deftones

Change (In The House of Flies) p. 105, 108

Depeche Mode

Enjoy The Silence p. 210, 213

Never Let Me Down Again p. 222, 225, 240–241

World In My Eyes p. 366–367

DNCE

Cake By The Ocean p. 450-456

Dua Lipa

Don’t Start Now p. 80–81, 85, 466–468

Physical p. 83–85, 442–449

Eminem

Lose Yourself p. 406

Without Me p. 400

Eurythmics

Sweet Dreams (Are Made of This) p. 53–56

Frankie Goes To Hollywood

Rage Hard p. 236–237, 240–241

493

Frank Sinatra

Fly Me To The Moon p. 152, 155

Garbage

Supervixen p. 194–195

The Trick Is To Keep Breathing p. 358–359, 362

Glass Animals

Heat Waves p. 131–132

Gloria Gaynor

I Will Survive p. 152–155

Gnarls Barkley

Crazy p. 268–269

Gorillaz

Feel Good Inc. p. 248

Gotye

Somebody That I Used To Know p. 107–108, 396, 487

Green Day

Basket Case p. 18–19, 26, 61

Guns N’ Roses

Knocking On Heaven’s Door p. 388

Sweet Child of Mine p. 58

Harry Chapin

Cats In The Cradle p. 150–151

IAMX

After Every Party I Die p. 397

The Alternative p. 364–365

Volatile Times p. 47, 398

Icona Pop

I Love It p. 386–387

Imogen Heap

Hide and Seek p. 6–7

Incubus

Drive p. 139, 144, 276–277, 280, 479

Make Yourself p. 254, 257

The Warmth p. 182, 184, 366

Jack Johnson

Taylor p. 72, 73, 75

James Brown

I Got You (I Feel Good) p. 370, 372–373

Jay-Z

Empire State of Mind p. 314–315

Jeff Buckley

Hallelujah p. 8–9, 388

Jessie J

Masterpiece p. 250–251, 253

Jimi Hendrix

All Along The Watchtower p. 388

Hey Joe p. 152–153

Little Wing p. 58

Manic Depression p. 254–255

Purple Haze p. 112

The Wind Cries Mary p. 149, 151

Joan Jett and The Blackhearts

I Love Rock ’n Roll p. 388

Joe Cocker

With A Little Help From My Friendsl p. 341–343, 388

Johann Sebastian Bach

Toccata und Fuge p. 262–263

Johnny Cash

Folsom Prison Blues p. 370–371

Hurt p. 388

494

Judy Garland

Somewhere Over The Rainbow p. 364

Justin Timberlake

Can’t Stop The Feeling p. 278–280, 283, 344, 384–

385, 466–468

Kavinsky

Nightcall p. 183–184

Klaxons

It’s Not Over Yet p. 324–325

Kurt Vile

Pretty Pimpin p. 120

Kylie Minogue

Slow p. 62–63

Lady Gaga

Poker Face p. 74–75

Lana Del Rey

Video Games p. 291–292, 297

West Coast p. 316–317, 412

Led Zeppelin

Stairway To Heaven p. 150, 386

Whole Lotta Love p. 71

Lenny Kravitz

Are You Gonna Go My Way p. 165–166

Leonard Cohen

Hallelujah p. 388

Linkin Park

Crawling p. 74

In The End p. 260–262

Lorde

Glory and Gore p. 298–299, 471–473

Lou Reed

Walk On The Wild Side p. 10, 14, 182, 184

Madonna

Hollywood p. 226, 229–230, 240–241

Music p. 65

Marilyn Manson

Cupid Carries A Gun p. 295–297

The Mephistopheles of Los Angeles p. 399

Mark Ronson

Uptown Funk p. 71

Meghan Trainor

All About That Bass p. 374–375, 464–465

Metallica

Nothing Else Matters p. 58

Wherever I May Roam p. 435, 437

Metronomy

Corinne p. 22, 24–26

MGMT

Electric Feel p. 254 , 478–479

Kids S. 74–75

Little Dark Age p. 293–294, 297

Mobb Deep

Shook Ones Part II p. 188

Modest Mouse

Dramamine p. 413

Muse

Bliss p. 130, 132

Cave p. 207–208

Hysteria p. 248

Plug In Baby p. 262–263

495

Sunburn S. 106, 108, 476

Uno S. 258–259

Uprising S. 284, 286–287

Nero

Promises S. 328–329

Nine Inch Nails

Every Day Is Exactly The Same S. 214–218, 480

Hurt S. 388, 397

Right Where It Belongs S. 220–221

Nirvana

Come As You Are S. 360, 362

Lithium S. 218–219

Smells Like Teen Spirit S. 58

Something In The Way S. 71, 198

Nothing But Thieves

I’m Not Made By Design S. 320

Now, Now

Thread S. 127–129

Of Monsters And Men

Little Talks S. 487

Outkast

Hey Ya! S. 162, 164

Phantogram

You Don’t Get Me High Anymore S. 274–275

Pharrell Williams

Happy S. 10–13, 282–283

P!nk

Get The Party Started S. 62, 65

Pixies

Where Is My Mind? S. 172–173, 206, 208

Portishead

Glory Box S. 354, 357

Only You S. 355, 357

Sour Times S. 188

Queen

We Will Rock You S. 174, 176

Radiohead

Creep S. 203, 208

High and Dry S. 374

Rage Against The Machine

Bulls On Parade S. 183–184

Fistful of Steel S. 200–201

Killing In The Name S. 197

The Ghost of Tom Joad S. 388

Red Hot Chili Peppers

Black Summer S. 308–309

Give It Away S. 248

Hey S. 267

Otherside S. 340–341

Road Trippin’ S. 406

Under The Bridge S. 58–59, 378, 380

Rihanna

Umbrella S. 162–164

Robert Hazard

Girls Just Want To Have Fun S. 388

Robin Thicke

Blurred Lines S. 71

Royal Blood

Lights Out S. 318–319

Sandy Denny

Matty Groves S. 44

496

Santigold

Disparate Youth S. 96, 97

She Wants Revenge

Tear You Apart S. 355–357

Sia

Chandelier S. 149, 151, 441

Silversun Pickups

Connection S. 304–305, 307

Dots and Dashes (Enough Already) S. 87–89, 93

Lazy Eye S. 110

Well Thought Out Twinkles S. 122–125

Simon and Garfunkel

The Sound of Silence S. 397

Simple Minds

Street Fighting Years S. 368–369

Sinéad O’Connor

Nothing Compares 2 U S. 388

Sneaker Pimps

6 Underground S. 71

Small Town Witch S. 210–211, 213

Spoon

The Two Sides of Monsieur Valentine S. 44

Stevie Wonder

Superstition S. 174, 177–181

Taking Back Sunday

Spin S. 87, 91–93

Taylor Swift

Miss Americana & The Heartbreak Prince S. 98–101

New Romantics S. 270–271

Paper Rings S. 226, 233–235, 240–241

Shake It Off S. 116–117, 117

Welcome To New York S. 464

You Need To Calm Down S. 71, 298, 458–463, 481

The Arrows

I Love Rock ’n Roll S. 388

The Association

Along Comes Mary S. 388

The Beach Boys

Good Vibrations S. 264–266

The Beatles

A Day In The Life S. 408–409, 487

Because S. 264

Blackbird S. 408

Can’t Buy Me Love S. 61

Come Together S. 186, 248

Eleanor Rigby S. 143–144

I Am The Walrus S. 186

Let It Be S. 72

Lucy In The Sky With Diamonds S. 186, 238–241, 338–339

Penny Lane S. 302–303, 240–241

Strawberry Fields Forever S. 186, 212–213

Tomorrow Never Knows S. 71, 186

When I’m Sixty Four S. 186

While My Guitar Gently Weeps S. 222–224, 240–241

With A Little Help From My Friends S. 342, 388

You Never Give Me Your Money S. 152, 154–155

The Black Eyed Peas

I Gotta Feeling S. 396

The Black Keys

Gold On The Ceiling S. 159, 161

Next Girl S. 68–70

Tighten Up S. 44–46

497

The Byrds

Mr. Tambourine Man S. 58–59

The Clash

Should I Stay or Should I Go S. 332–334

The Cranberries

Zombie S. 72

The Cure

A Forest S. 436–437

Close To Me S. 244, 247

End S. 310, 312–313

Lullaby S. 48

If Only Tonight We Could Sleep S. 183–184

Jumping Someone Else’s Train S. 22–23

Killing An Arab S. 158, 161

The Doors

Break On Through (To The Other Side) S. 71

Riders On The Storm S. 434, 437

The Family

Nothing Compares To You S. 388

The Jackson 5

ABC S. 162–164

The Killers

Smile Like You Mean It S. 169–170

The Kinks

You Really Got Me S. 165–166

The Police

Every Little Thing She Does Is Magic S. 335–337

Message In A Bottle S. 140, 144

So Lonely S. 226, 231–232, 240–241, 272

The Postal Service

This Place Is A Prison S. 399–340

The Prodigy

Breathe S. 427

The Smashing Pumpkins

Bullet With Butterfly Wings S. 397

Disarm S. 94–95, 101, 480

Hummer S. 378–379

Today S. 58, 112, 310–311, 313, 385

Tonight, Tonight S. 401

Violet Rays S. 403

The Smiths

How Soon Is Now? S. 385

The Temptations

Papa Was A Rolling Stone S. 66

The Velvet Underground

Sweet Jane S. 272–273

The Weeknd

Can’t Feel My Face S. 436–441, 466, 468

The White Stripes

Seven Nation Army S. 110, 384

The xx

Crystalised S. 487

Thievery Corporation

Shaolin Satellite S. 427

Tom Petty

Into The Great Wide Open S. 140, 144

Two Door Cinema Club

Someday S. 381

Sun S. 289–290, 297

All I Want Is You S. 348–349, 352

498

Breathe S. 47, 116, 118–119

Bullet The Blue Sky S. 68, 70

City of Blinding Lights S. 197

Do You Feel Loved S. 133–134

I Still Haven’t Found What I’m Looking For S. 102, 108, 197

Magnificent S. 204, 208

Native Son S. 28–29, 33

New Year’s Day S. 197

One S. 404

Stay (Faraway, So Close!) S. 197

Sunday Bloody Sunday S. 113, 115, 197

The First Time S. 348, 350, 352

The Playboy Mansion S. 348, 351–352

Vertigo S. 28, 30, 33

With or Without You S. 72, 169, 171–172, 182, 184

Van Halen

Jump S. 165, 167–168

Wavves

Poor Lenore S. 81–82, 85

Warpaint

Love Is To Die S. 487

Weezer

Beverly Hills S. 87, 90–91, 93

Buddy Holly S. 61, 205–206, 208

Only In Dreams S. 248

My Name Is Jonas S. 254–255

Thank God For Girls S. 147, 151, 474–475

White Town

Your Woman S. 182, 184

Whitney Houston

I Wanna Dance With Somebody (Who Loves Me) S. 226–

228, 240–241

Zero 7

Polaris S. 427

499

GLOSSARY

#1 The harmonizer is an electronic effect with which you can create new voicings from a single note or

chord played. By selecting an interval or intervals, the effect will then layer new note(s) above one(s)

you have played.

#2 Where a rhythmic hook usually consists simply of drums and percussion, a groove is played by the

entire rhythm section (drums, bass, guitar and/or keyboards), creating a vibe that bleeds into the

wider arrangement and animates the listener in a unique way. Groove elements are very clear in such

styles as salsa, funk, soul, rock and fusion.

#3 A Clavinet is an electro-mechanical keyboard instrument, in which the plucked strings are electronically

amplified by magnetic pickups. It is similar to the sound of a harpsichord.

#4 Wah-wah is an electronic effect that filters different mid-range frequencies to create unique

movement between ‘dull’ and ‘bright’ guitar tones. When changed quickly, the result is a wah-like

sound, hence its name.

#5 White noise is a constant, static sound in the high frequency range. It occurs naturally in many sound

devices, for example when an unused guitar amp is on a high volume.

#6 A kill switch is an onboard guitar effect which allows you to turn off or ‘kill’ the volume on one or

more pickup, resulting in a crackling, jerking sound. Tom Morello of Rage Against The Machine takes

this one step further by, at the same time, rubbing his hand back and forth across the strings to

create a sound reminiscent of ‘scratching’ on vinyl decks.

500

#7 The Vocoder is a device (or piece of software) that polyphonically modifies input audio based on

keyboard notes being played by the user. It is most often used to alter a sung or spoken vocal and

the resulting sound can either be mixed with the original vocal or left completely ‘wet’ (affected).

#8 The Mellotron is an electro-mechanical keyboard that allows you to play and create audio samples

using magnetic tape. Typical preset sounds supplied by the original manufacturer include: flute,

violin, wind instruments and choral vocals.

#9 The Pianet, along with the Clavinet, is an electro-mechanical piano which is electronically amplified.

It has a soft, bell-like sound.

#10 The Tambura is an Indian stringed instrument with 2-8 steel strings, which are always arranged in

pairs. The sound of the Tambura is metallic and short, and is a played using a guitar pick.

#11 A Tape Loop is an analog tape recording, which can be edited and repeated in a way similar to the

modern-day sampler.

#12 The term voicing derives from jazz and describes the different positions of a chord’s notes on the

fretboard (or keys), leading to a different sound, despite being harmonically identical.

#13 A guide track is typically the first vocal take recorded for a song, its main purpose being to guide

the musicians through the structure of the song. It is usually removed when later takes are added.

501

IN CLOSING

I hope I have been able to shed some light on the broad field of songwriting and have demonstrated that

it’s more tangible than you may think. There really is no need to rely solely on passing inspiration, where

there are countless ways to pursue creativity and craft your work consistently.

Needless to say: never get discouraged or give up.

I know all too well the feeling of writing a great song one day, only to question the entire idea the

following morning. Such mixed feelings are an integral part of the creative process where, by its very

nature, it requires true vulnerability. Following the creative path can, on the one hand, be an ordeal, yet

on the other be one of the most rewarding things you will ever do. For me at least, there is still no greater

feeling than writing a song which not only moves me, but other people too.

502

D E A T H C A B F O R C U T I E · S I L V E R S U N P I C K U P S · U 2 · T H E C U R E · I N C U B U S

W E E Z E R · T H E S M A S H I N G P U M P K I N S · L A N A D E L R E Y · T H E V E L V E T U N D E R G R O U N D

S A N T I G O L D · T H E B E A T L E S · M A D O N N A · T A Y L O R S W I F T · G L A S S A N I M A L S

A E R O S M I T H · B O B M A R L E Y · R A D I O H E A D · L A D Y G A G A · P O R T I S H E A D · R E D H O T

C H I L I P E P P E R S · B E Y O N C É · M U S E · . . . A N D Y O U W I L L K N O W U S B Y T H E T R A I L O F

D E A D · P ! N K · T H E P O L I C E · I M O G E N H E A P · I A M X · A C / D C · B L U R · M A R I L Y N

M A N S O N · M G M T · N O T H I N G B U T T H I E V E S · T W O D O O R C I N E M A C L U B · C A R L Y R A E

J E P S E N · C H A R L I X C X · C O R T N E Y B A R N E T T · E U R Y T H M I C S · K A V I N S K Y · I C O N A

P O P · J A Y - Z · J A M E S B R O W N · M E T R O N O M Y · J U S T I N T I M B E R L A K E · M E G H A N

T R A I N O R · P H A N T O G R A M · D N C E · S H E W A N T S R E V E N G E · B L I N K 1 8 2 · J O H N N Y

C A S H · K Y L I E M I N O G U E · J A C K J O H N S O N · T H E B L A C K K E Y S · T H E W E E K N D

L I N K I N P A R K · G A R B A G E · E M I N E M · L E O N A R D C O H E N · A L A N I S M O R I S S E T T E

J I M I H E N D R I X · D E F T O N E S · K L A X O N S · B R A N V A N 3 0 0 0 · N I N E I N C H N A I L S

T O M P E T T Y · P I X I E S · G R E E N D A Y · A U T O L U X · R I H A N N A · P H A R R E L L W I L L I A M S

T A K I N G B A C K S U N D A Y · L O U R E E D · L E N N Y K R A V I T Z · C O L D P L A Y · R A G E A G A I N S T

T H E M A C H I N E · N I R V A N A · A L T - J · L O R D E · D E P E C H E M O D E · S I A · W A V V E S

S I M P L E M I N D S · B O B D Y L A N · B U S H · D U A L I P A · N E R O · C H E R R Y G L A Z E R R

ISBN 978−3−00−057337−8

ISBN 978-3-00-057337-8

9 783000 573378

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HOW TO WRITE A KILLER SONG - THE ULTIMATE SONGWRITING HANDBOOK (INDUSTRY SAMPLE)

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