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Build-A-Song Part VIII: Finishing Touches
By Mary Dawson
This is the eighth and last in a series of articles called Build-A-Song
which present a step-by-step method for creating a song. By no
means is this "the only" method for writing songs. In fact, the
approaches to songwriting are as many as the writers themselves.
But our Build-A-Song series offers a sequential template for
covering the basics of successful songwriting. I hope you will
follow along and perhaps even try this method as you create
your own. If you missed the other articles in the series,
you may find them in the
articles archive.
Part VIII -- Finishing Touches
If we were building a house instead of a song, we would be
almost ready to move in by now! We've been careful to lay a
strong foundation comprised of our Great Idea and the Hook.
We have carefully planned and constructed the framework of the
Lyrics and the Melody. We have used crafting tools like Cadence
and Rhyme to make the rooms fresh and interesting without
sacrificing comfort and familiarity. It's time now for the
wallpaper and the curtains. This is the fun stuff ... so read on!
A Bridge -- Yes or No?
The song we have been constructing in this series is a
Verse-Chorus song -- probably the most dominant song form in
contemporary hit music. Most Verse-Chorus songs have two verses
with two repetitions of the chorus (once after each verse) --
sometimes a third chorus concludes the song. There is, however,
an additional section that may be added to the song between the
second and third choruses...it's called the Bridge.
The Bridge of a song functions much like any other bridge. It is
a transitional feature that moves a person from one place to
another. In this case, the Bridge moves the listener from the
second to the third chorus, providing contrast and building
toward the grand finale -- that last repetition of your
unforgettable hook and chorus. The Bridge can also be called
a release or a break because it provides relief from the
repetition of the verse and chorus melodies and helps to hold
the listeners' attention all the way to the end of the song.
A Bridge differs from a chorus in that:
- it usually occurs only once in the song
- it usually does not contain the hook
- it is transitional (rather than conclusive) in both the melodic and lyrical feel, leading once more back to the chorus
- it is optional -- not all Verse-Chorus songs need one
Perhaps the most distinguishing feature of an effective Bridge
is that it departs from the rest of the song -- both musically
and lyrically -- to provide contrast. It is a great place to
really "make a point" in the lyric and to provide a completely
different perspective which will once more conclude with the
powerful hook and chorus. The lyrical cadence and even the
rhyme pattern can and should change at the Bridge. Musically,
also, the Bridge should move to a new place by using a different
melody, different harmonies and perhaps even different rhythms.
Often, composers choose to use a key change either going into the
Bridge or at the end of the Bridge as a powerful transition into
the last chorus. You may even decide to make your Bridge an
instrumental-only section, providing you as a musician or a
member of your band an opportunity for an instrumental solo.
But whatever musical or lyrical departures you decide to take
in the Bridge to provide contrast, you must be careful not to
get so "far afield" that you do not arrive back at the last
chorus. REMEMBER: The purpose of the Bridge is to provide a new
and fresh approach to the repeated and now familiar chorus which
contains the "1-2 Punch" of the hook and the Great Idea.
Since the Bridge is an optional feature (much like crown molding
or wallpaper in a house), aspiring songwriters often puzzle over
the question of whether or not their song really needs one. Here
are some considerations:
- Is the song too short? Does it go by too
quickly? -- Most commercial songs should be at least 2 1/2
to 3 minutes in length. If the song is uptempo, two verses and
three choruses may simply not be quite enough to make the song
a standard length. A Bridge can be an ideal "song stretcher" to
add a few seconds. On the other side of the coin, if your song
is already almost 4 minutes long, you may decide not to include
a Bridge.
- Is the Bridge saying something new? -- If the Bridge is
simply re-stating something that has been said before in the
verses, it is probably best to omit it. Remember…the Bridge must
contrast with the rest of the song and bring your "Songwriter's
Camera" to a new angle on the Great Idea of the song that is
stated in the hook. (In my opinion, one of the most beautiful
Bridges ever "built" occurs in the wonderful Gerry House/Don
Schlitz song, The River and the Highway, recorded by
Pam Tillis.
It is worth the price of the CD to study this stellar example of
what a great Bridge can do!)
- What is your "gut" telling you? -- It has
been my experience that almost every song I have ever written
takes on a "life of its own" as I write it. Most songwriters
will simply begin to sense intuitively if the song really needs
a Bridge or not. If you are collaborating with another writer,
this decision would be one you would want to discuss as the song
takes shape both musically and lyrically.
Secondary Hooks -- otherwise known as "Ear Candy"
In earlier Build-A-Song articles we spent a great deal of time
developing the concept of the song's main hook as the most
unforgettable musical and lyrical line. It's that one line that
the listener cannot forget even long after the song is over.
It's the line that usually contains the title and that "grabs
the listeners by the ears" -- catching, holding, and
sustaining their interest to the end of the song and
pulling their emotions
into the experience.
(
Build-A-Song/Part 2)
There are some other techniques, however, that can effectively
assist the main hook in its task of engaging and maintaining
listener attention. Secondary Hooks are simply supplementary
and often unexpected auditory "treats" that delight the ear and
keep the listener tuned into the song. Here are some to consider:
- The Riff -- Riffs are melodic phrases or
sequences that are not part of the main melody, but that are
so memorable that they become part of the song's identity and
sustain listener interest throughout. Often a riff first appears
as part of the introduction of the song, and then continues to
reappear at intervals throughout. The repeated bass line
sequence in Message in a Bottle by the Police is a great
example of an effective riff.
- The Pre-Chorus -- Also known as a channel
or a climb. The
pre-chorus is a part of the verse that immediately precedes
the chorus. The melody of each pre-chorus is the same; the
lyrics may also be the same or can change with each verse.
The pre-chorus builds tension into the chorus and helps to
increase anticipation for the payoff of the hook and the
chorus. Shania Twain and her husband and partner, Robert "Mutt"
Lange, used a very effective pre-chorus section in their 1998
smash hit, You're Still the One. (It's the part
that says, "They
said 'I'll bet they'll never make it/ But just look at us holding
on/Still together, still going strong... ")
- Repeated Lyrical Sounds -- As you tweak your
nearly finished song, look for opportunities where you can
strategically choose words that employ the tools of Assonance
and Alliteration. In case you've forgotten your high school
English definitions, here's a simple meaning for each of these terms:
Assonance -- Repeated vowel sounds -- without
repetition of similar consonants. As an example, here's a line
from one of my lyrics that employs a repeated long O sound:
Looking through old photos, frozen moments of our lives
I could have said:
Looking through old pictures, all those memories of our lives
Same meaning, but I would have missed the subtle cohesiveness
that assonance provides.
- Alliteration -- Repeated consonant sounds in two
or more neighboring words or syllables. Recently, I wrote a
song about a woman whose "biological clock" was eliminating
her desire to have children. Notice the alliteration...
-
This is Priscilla, professional and pretty
She's climbed the ladder that leads to success
But a week ago Friday, Priscilla turned forty
As she blew out her candles, she had one request...
I could have made the lady's name Maria, which would have
had the same stressed syllables and cadence, but I would
have missed the opportunity for alliteration with the words,
professional and pretty that occurred by simply changing the
name to Priscilla. Similarly, in line three... I could have
easily made the day of her birthday, Thursday...but I would
have missed the alliteration with the word, forty. These are
small details, but like the accent pieces in a beautifully
decorated home, they can add that finishing touch that makes
all the difference.
And that brings us to the end of our Build-A-Song Series.
It's time now to just enjoy the results of your artistry and
diligent crafting. Move in -- get comfortable with your new
song. If you see some areas that need a little rearrangement,
it's not too late to shift the furnishings a little bit and
try some different ideas. When your song is finished, you will
know it and it will be time to invite the world in to enjoy
your song with you.
Just a word of warning, though. Before you know it, you will
pass a billboard…hear a phrase….or get an idea that will start
the process all over again. That's the life of a Song Builder!
**From her earliest childhood years writing simple songs
Uand poems with
her father, through her twelve years as an overseas
missionary, to her present,
multi-faceted
career as an author, lyricist/songwriter and conference speaker,
Mary
has always been adept at using words to communicate her heart to
others.
She is the President of
CQK Records &
Music of Dallas, Texas, a company which creates and
produces songs in a panorama of musical styles for a
variety of audiences,
She is also the host of "I Write the Songs,"
a nationally syndicated radio talk show,
especially created to
inspire and instruct the more than 25 million aspiring
songwriters in the U.S. "I Write the Songs" is
broadcast over the Internet
from
www.lyricalline.com,
and is the only on-air songwriting workshop either on radio or
the Internet.
Mary is a frequent public speaker and seminar lecturer on songwriting.
She is a Contributing Editor for The Internet Writing Journal
®, and is a regular columnist for
Independent Songwriter Web Magazine.
Mary's commitment to discovering and mentoring talented new
songwriters has given her extensive experience in song
analysis through adjudicating songwriting competitions
and conducting songwriting workshops across the country
and around the world. Because of her role as president
of an independent music company, she is also well
qualified to instruct aspiring songwriters on the various
business aspects of the music industry.
She is married and a mother of four. She resides in the Dallas
area.
You can reach Mary
at: mary@cqkmusic.com
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