Songwriting techniques

{{whyLabel}}: This technique, popularized by Pat Pattison, generates raw sensory data and overcomes writer's block by focusing on concrete details rather than abstract feelings.

{{howLabel}}:

• Pick a random object (e.g., an old key, a cold coffee cup).
• Write for 10 minutes without stopping, focusing on the 7 senses: sight, sound, smell, taste, touch, body (kinesthetic), and organic (internal sensations).
• Do not worry about rhyming or rhythm yet; just collect 'sense-bound' language.

{{doneWhenLabel}}: You have at least one full page of sensory-rich descriptions.

{{whyLabel}}: A strong song needs a central message or 'hook' that summarizes the emotional core and catches the listener's attention.

{{howLabel}}:

• Review your object writing for a recurring theme or a striking phrase.
• Formulate a 'Title' that acts as the punchline of your song.
• Ensure the title is a 'Hook'—something memorable that will likely appear in the chorus.

{{doneWhenLabel}}: A working title and a one-sentence summary of the song's message are written down.

{{whyLabel}}: Structure provides a roadmap for the listener, balancing familiarity with variety.

{{howLabel}}:

• Choose the 'Verse-Chorus-Verse-Chorus-Bridge-Chorus' (ABABCB) structure for a classic, radio-friendly flow.
• Understand the roles: Verses tell the story, the Chorus provides the emotional explosion/hook, and the Bridge offers a new perspective or musical contrast.

{{doneWhenLabel}}: The structure labels (V1, C, V2, C, B, C) are mapped out on your workspace.

{{whyLabel}}: The speed (BPM) and tonality (Major/Minor) dictate how the listener perceives the emotion of your lyrics.

{{howLabel}}:

• Use a metronome to test speeds: 70-90 BPM for ballads, 100-120 BPM for mid-tempo, 125+ BPM for high energy.
• Decide on a key: Major keys generally sound happy/bright, while Minor keys sound sad/tense.

{{doneWhenLabel}}: A specific BPM and a general mood (e.g., '110 BPM, Melancholic Minor') are decided.

{{whyLabel}}: The chorus is the most important part of the song; writing it first ensures the verses have a destination to lead toward.

{{howLabel}}:

• Incorporate your 'Title Hook' into the first or last line of the chorus.
• Keep the language simple, universal, and emotionally direct.
• Use a 'Summarizing' approach: if the verses are the 'details', the chorus is the 'big picture'.

{{doneWhenLabel}}: A 4-8 line chorus is written that feels like the emotional peak of the song.

{{whyLabel}}: Rhyme schemes create patterns of expectation and resolution in the listener's mind.

{{howLabel}}:

• Select 'ABAB' (alternating) for a sense of forward motion.
• Select 'AABB' (couplets) for a more folk or storytelling feel.
• Consider 'Perfect Rhymes' (Cat/Hat) for stability or 'Additive/Family Rhymes' (Bridge/Ridge) for a modern, less predictable sound.

{{doneWhenLabel}}: A rhyme scheme is chosen and noted for Verse 1.

{{whyLabel}}: The first verse must ground the listener in the 'Who, Where, and When' of your story.

{{howLabel}}:

• Use the 'Ladder of Abstraction': stay on the lower rungs with concrete nouns (e.g., 'cracked pavement' instead of 'hard times').
• Introduce the conflict or the situation that leads to the chorus.

{{doneWhenLabel}}: Verse 1 is complete and flows logically into the chorus.

{{whyLabel}}: Verse 2 should provide new information or a change in time/perspective so the second chorus feels earned.

{{howLabel}}:

• Avoid repeating the same information from Verse 1.
• If Verse 1 was about the 'past', make Verse 2 about the 'present'.
• Maintain the same rhyme scheme and syllable count (meter) as Verse 1 for musical consistency.

{{doneWhenLabel}}: Verse 2 is complete and provides a fresh angle on the song's theme.

{{whyLabel}}: The bridge breaks the repetition of the Verse-Chorus cycle, providing a 'lightbulb moment' or a shift in emotion.

{{howLabel}}:

• Change the rhyme scheme (e.g., if verses were ABAB, make the bridge CCDD).
• Use different vowel sounds or a different perspective (e.g., moving from 'I' to 'You' or 'We').
• Keep it short: 2 to 4 lines are usually sufficient.

{{doneWhenLabel}}: A bridge is written that sounds distinct from the verses and chorus.

{{whyLabel}}: Chords provide the harmonic 'bed' for your melody.

{{howLabel}}:

• For a beginner, use the 'I-V-vi-IV' progression (e.g., C - G - Am - F). It is the most common progression in popular music.
• Experiment with 'Vamping' (playing the same 2-4 chords repeatedly) to find a rhythm that matches your lyrics.
• Use a 'Circle of Fifths' tool to find chords that naturally fit together in your chosen key.

{{doneWhenLabel}}: A sequence of 3-4 chords is chosen for the verse and chorus.

{{whyLabel}}: The chorus melody must be the 'earworm'—the part people hum after the song ends.

{{howLabel}}:

• Start the melody on a 'Chord Tone' (the 1st, 3rd, or 5th note of the underlying chord).
• Use 'Stepwise Motion' (moving to adjacent notes) for most of the melody, with occasional 'Leaps' for emotional emphasis.
• Ensure the chorus melody is higher in pitch than the verse melody to create energy.

{{doneWhenLabel}}: You can sing the chorus lyrics over the chords consistently.

{{whyLabel}}: The verse melody should feel more like 'speech'—lower in pitch and more rhythmic—to allow the story to be heard clearly.

{{howLabel}}:

• Use more repeated notes and a narrower range than the chorus.
• Focus on 'Prosody': ensure the natural stress of the words matches the strong beats of the music (e.g., don't put the 'y' of 'Happy' on a loud downbeat).

{{doneWhenLabel}}: Verse 1 and 2 have a stable, singable melody.

{{whyLabel}}: The bridge needs to sound musically different to signal to the listener that the song is reaching its climax.

{{howLabel}}:

• If your verses and chorus start on the 'downbeat' (beat 1), start the bridge on an 'upbeat' (the 'and' of a beat).
• Try using longer, sustained notes if the rest of the song is rhythmic, or vice versa.

{{doneWhenLabel}}: The bridge has a unique melody that transitions smoothly back into the final chorus.

{{whyLabel}}: Beginners often use too many 'filler' words (that, just, really) which clutter the rhythm.

{{howLabel}}:

• Read your lyrics aloud without music.
• Identify words that don't add meaning or sensory detail.
• Remove or replace them to make the lines leaner and more impactful.

{{doneWhenLabel}}: The lyrics feel tight and every word serves a purpose.

{{whyLabel}}: Non-vocal hooks (like a specific guitar riff or piano motif) make the song more professional.

{{howLabel}}:

• Create a simple 4-note motif that plays during the intro or between lines of the verse.
• Ensure this motif doesn't clash with the vocal melody.

{{doneWhenLabel}}: A recurring musical 'signature' is added to the arrangement.

{{whyLabel}}: You need a reference recording to remember the song and to hear it objectively as a listener.

{{howLabel}}:

• Use a simple voice recording app.
• Record one 'clean' take of you singing and playing the instrument from start to finish.
• Don't worry about production quality; focus on capturing the 'vibe' and the correct timing.

{{doneWhenLabel}}: An audio file exists of the full song.

{{whyLabel}}: Distance provides the objectivity needed to spot flaws in the structure or melody.

{{howLabel}}:

• Wait at least one day before listening to your demo.
• Listen for 'boring' parts where the energy drops.
• Check if the lyrics are clear and the message is understandable.

{{doneWhenLabel}}: A list of 2-3 small adjustments is made for the final version.