SONGBUILDER S BLUEPRINT

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Chad McDowell
5 years ago
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1 SONGBUILDER S BLUEPRINT

2 SONGBUILDER S BLUEPRINT Songs are as much assembled as they are written. We could think of writing a song much like builders build a house they re constructed using quality materials to make the entire structure as strong and permanent as possible. A house is only as strong as its weakest component and it is that way for a song, too one weak element and the whole thing can come tumbling down. Building a great song requires the right blueprint. Use this Songbuilder s Blueprint to make sure you ve chosen the best materials and are building upon a strong foundation. This blueprint utilizes: > two four-line verses > a two-line pre-chorus > a four-line chorus > and a four-line bridge The general flow of the blueprint and the explanation of the functions of each section and lines applies to other forms, as well. HOOK/TITLE THE ONE BIG IDEA Concise, provocative, engaging May stand alone and still communicate Original, fresh, alliteration a plus Poetic phrase/artful language in a conversational setting MUSICAL INTRODUCTION INTRO Generally four to eight bars, establishes style, tempo, melodic hook/riff, and overall feel of the song and sets up VERSE 1 2

3 VERSE 1 Spotlight on theme/bulk of information to set up resolution in CHORUS L1 Sets tone, theme, perspective May contain conflict/tension/question Somewhat general, but clear theme Provokes interest to hear L2 L2 Builds from L1 Expands story/thought progression enough to peak more interest Remains consistent in tone and perspective No new concepts/consistent with one big idea L3 Builds logically from L2 Adds tension, reflection, information Remains consistent in tone and perspective No new concepts/consistent with one big idea L4 Leads logically to CHORUS Completes lines 1-3 s thought progression/ story Remains consistent in tone and perspective No new concepts/consistent with one big idea Sets up the only logical conclusion of chorus (if no pre-chorus is being used) Leaves room for pre-chorus (channel) to set up chorus as only logical conclusion after verse/pre-chorus SET UP 3

4 PRE-CHORUS Channel of thought necessary to set up CHORUS, usually no musical break before CHORUS L1 Asks question/slight side step from verse Related/provocative/may extend tension Sets up L2 to lead into chorus as ultimate choice, outcome, solution, payoff L2 Completes L1 thought progression Extends tension/question Leads into chorus payoff as ultimate solution 4

5 CHORUS Many people singing the same thing - often musically/lyrically contrasting section from VERSES L1 Emotional release point(the A-ha! moment) May contain hook as solution here and/or at end Crystallizes one big idea Singable, memorable Sets up L2 L2 May repeat hook/may not Supports/solidifies hook No new concepts but may reveal more insight Sets up L3 L3 May repeat hook/may not May contain a plot twist that makes L4 unique Often is the one line that fully explains/ validates hook Sets up L4 as the most satisfying payoff/ release L4 Most often contains hook Powerful release/payoff/solution/resolution Singable, memorable 5

6 MUSICAL INTERLUDE OR TURNAROUND Generally four-bar musical segment much like INTRO to set up VERSE 2 VERSE 2 A fresh perspective on the theme with additional information that effectively returns to the PRE-CHORUS, or sometimes straight back to the CHORUS L1 Logical continuance of one big idea from a fresh perspective or new angle that further explores or enhances one big idea Not a new concept or idea A different spotlight on the one big idea Sets up L2 L2 As before, but explains or offers deeper insights No new concepts or ideas Supports L1 and the one big idea Sets up L3 L3 May continue insights or deepen tension No new concepts/ideas Sets up L4 L4 A mini-payoff that leads to PRE- CHORUS or sometimes back to CHORUS No new concepts or ideas May resolve, reinforce, or ask question that only the one big idea answers 6

7 REPEAT PRE-CHORUS, OR REPEAT CHORUS (as above) Generally four-bar musical segment much like INTRO to set up VERSE 2 BRIDGE ( Middle Eight or Release ) L1 A momentary diversion from the verses and chorus to introduce a fresh perspective and a related, logical addition to return to chorus with greater impact and fresh ears - may be one repeated phrase from song (generally called a vamp or a breakdown where instruments drop out for drum or percussion to carry it, then building up slowly again) and may contain 4-8 lines A phrase unused in VERSES/CHORUS Introduces fresh thought, but consistent with one big idea May ask question or introduce fresh tension Music shifts noticeably (different chord progression, pace, etc) Sets up L2 L2 May extend tension or ask another question Sets up L3 L3 May ask yet another question or begin to resolve questions from L1/L2 Still supports one big idea Sets up L4 7

8 L4 Resolves questions or points back to one big idea as the only logical answer/payoff/ resolution REPEAT CHORUS(ES) AS NEEDED ENDING OR OUTRO Musical interlude much like the INTRO that may fade or end altogether IMPORTANT SONG BUILDING TOOLS Storyline, Thought Progression - Your song must lead the listener from Point A (verses/ pre-choruses) to Point B (the payoff, resolution, or solution in your chorus). A jumbled or incongruent storyline will confuse the listener. Take a moment to plot the natural thought progression your story line needs to take to make the most complete story. Your three and a half minute song is like a full-length movie in the narrative, plot, thought progression, and storyline. Movement - Each line and each section should naturally move towards the next. Examine the thought progression and storyline in each section, but be sure to check the last line in each section to make sure it wants to move the listener to the next building block. Pat Pattison says, Motion creates emotion; knowing how to make structures move allows you to support your ideas on a whole new level. (Write Better Lyrics, p. 2) 8

9 Reciprocity - The practice of exchanging things with others for mutual benefit, reciprocity is the symbiotic relationship each line of your song should have with the line immediately preceding and/or following it. Lines build upon one another like a jigsaw puzzle, both creating and fulfilling each other s need for meaning and reason to exist. Reading or singing one line after another should flow as the most logical, poetic, and complete progression on the subject being written about. Word Clusters - Assembling a cluster, or group, of words, phrases, and images strengthens the impact of your song. Using words associated with each other brings unity and consistency that allows listeners to experience your storyline and thought progression as their own. Examine your lyric to make sure there are no words, phrases, or images inconsistent with the overall theme. Melodic Hooks, Riffs, and Motifs - A memorable vocal or instrumental hook used in the INTRO, TURNAROUNDS, and OUTROS may be derived from the CHORUS hook, sung as Oooooh s, or even with the lyric hook as a pre-shadowing of the big payoff in the chorus. These musical themes, or motifs, set the stage and keep the hook fresh and memorable by reinforcing them throughout the song. Check out Casting Crowns Thrive for an example. Point of View (Perspective) - Your choice of POV, the voice from which the story is told, is important. First-person means the singer is the storyteller ( I, me ) and is typical in love songs. In second-person mode, the singer is speaking to another person and is referred to as direct address ( you, and your ). Third-person means the singer is singing about others ( he, she, they, them ). POV controls the relationship with your listening audience and is a key factor you must control throughout your song, i.e. don t mix perspectives. Contrast - Song sections SHOULD contrast, at least to some degree, to add interest, movement, and freshness. A verse may have short, rhythmic lyrics and melodic phrases that are then contrasted with elongated phrases in the chorus (or vice versa). Lyrics may also contrast from verses to choruses, building tension and release from negatives to resolutions. Building contrast into your song melodically, rhythmically, and lyrically makes each section fresh and adds to the overall strength of the song. Contrast is part of the overall contour of the song, helping to make each section stand out on its own power and merits. 9

10 Prosody - Refers to the way words and melodies work together, as well as to the overall unity, strength, and cohesiveness of your song. Each phrase (lyrically and musically) either adds strength or weakens the song. As you learn to make each word, phrase, and syllable count, the song becomes stronger and stronger. Editing out errant words, images, and even entire sections adds unity and strength, increasing the memorability and impact on the listener. Song Structure - There are many types of song structures taught elsewhere in this course. Choosing the best structure for your message is a matter of experience and maturity. As you grow as a writer, structure emerges as a natural overflow of your technical knowledge. Until then, it is often helpful to work with a blueprint like this one to gain the basic structures available, then build upon your knowledge as you progress. Now that you re learning about song structure, you ll naturally start thinking about songs on the radio in a whole new way. 10

SWEET ADELINES INTERNATIONAL MARCH 2005 KOUT VOCAL STUDIOS. Barbershop Criteria

SWEET ADELINES INTERNATIONAL MARCH 2005 KOUT VOCAL STUDIOS. Barbershop Criteria Barbershop Criteria Sweet Adelines International 1. It has four parts - no more, no less. 2. It has melodies that are easily remembered. 3. Barbershop harmonic structure is characterized by: a strong bass