Writing Songs With Guitar
When embarking on my songwriting journey, I initially dismissed the importance of song structure. “Verse then chorus, verse then chorus… it’s all too predictable!” I thought. Driven by a desire for originality, I experimented with unconventional forms, creating songs that lurched from one section to the next with no discernible pattern. These sections defied labels like verse or chorus, appearing once and then vanishing, never to be heard again.
The outcome? My creations were, to put it mildly, disorganized. Listeners were left bewildered, with no hook to draw them in, nothing memorable to latch onto. The songs lacked that crucial element of familiarity that makes people want to listen again and again.
I came to realize a fundamental truth: song structure isn’t a creative constraint, but rather a vital organizational framework. Thinking of common song structures as universally understood blueprints for your songs is helpful. They guide both the songwriter and the listener, creating a sense of anticipation and familiarity. We are so accustomed to these structures in popular music that we almost instinctively know what to expect next. This familiarity, far from being a drawback, is a powerful asset. It provides a comfortable entry point for listeners, making your music instantly more appealing, even on the very first listen. This is key to writing a truly Most Popular Song.
Exploring the Most Common Song Structures
Let’s delve into the structures that form the backbone of countless popular hits, the foundations upon which many most popular songs are built.
Verse / Chorus / Verse / Chorus / Bridge / Chorus (ABABCB)
Often referred to as the ABABCB structure, this is a cornerstone of popular music. Here, ‘A’ represents the verse, ‘B’ the chorus, and ‘C’ the bridge. Its widespread use is undeniable, contributing to the success of countless most popular songs. Radiohead’s “High and Dry” is a classic example of this structure in action.
Verse / Pre-Chorus / Chorus / Verse / Pre-Chorus / Chorus / Bridge / Chorus
This structure builds upon the previous one with the addition of a pre-chorus. The pre-chorus acts as a transitional section, creating anticipation before the chorus. This structure is highly effective in building energy and impact, often found in most popular songs across genres. Katy Perry’s “Firework” exemplifies this structure beautifully. The section beginning with “You just gotta ignite the light…” serves as the pre-chorus.
In both of these structures, it’s a common and effective technique to repeat the chorus at the very end of the song. This repetition reinforces the song’s central hook, ensuring it resonates deeply with listeners and increases the likelihood of the song becoming a most popular song.
Verse / Verse / Bridge / Verse (AABA)
This structure, known as AABA, takes a slightly different approach. Here, ‘A’ denotes the verse and ‘B’ represents the bridge. Notably, this structure omits the chorus entirely. Instead, each verse typically concludes (or begins) with a refrain. A refrain is a recurring line or couple of lines that acts as a unifying element. Often, the refrain is the song’s title, remaining consistent while the rest of the verse lyrics evolve.
Due to the repetitive nature of the verses in this structure, melodic variation within the verses is crucial. This prevents monotony and maintains listener engagement, a vital consideration even when aiming for a most popular song.
The Beatles and Billy Joel have frequently employed the AABA structure in their songwriting, contributing to many of their most popular songs. “We Can Work it Out” by The Beatles is a prime example. The title line, “We Can Work it Out,” functions as the refrain within the verses. The section starting with “Life is very short…” constitutes the bridge.
It’s important to remember that these structures are not rigid templates. They can be adapted and modified to suit the specific needs of your song. For instance, in “We Can Work It Out,” the bridge is repeated, a common variation in the AABA format. This addresses a common characteristic of the basic AABA structure: it can sometimes result in a song that feels too short.
Common Song Structures Without Bridges
While the previous three structures are among the most prevalent, two other common structures exist, though they are used less frequently due to the absence of a bridge. The bridge is a crucial element for adding variation and preventing repetition, often necessary for creating a truly most popular song.
Verse / Chorus / Verse / Chorus (ABAB)
This ABAB structure is essentially a streamlined version of the ABABCB structure, with the bridge removed. It offers a simpler, more direct approach, which can be effective for certain song types, though it may lack the dynamic range of structures with bridges, potentially hindering its chances of becoming a most popular song.
Verse / Verse / Verse (AAA)
The AAA structure, also known as the strophic form, relies solely on verses. It is the least common structure among popular songs because sustaining listener interest with just one repeating section is challenging. Similar to the AABA structure, the AAA form often utilizes a refrain within the verses to provide a focal point. Bob Dylan’s “Tangled Up in Blue” is a notable example of this structure. Pay attention to the melodic variations within each verse in songs like this; it’s essential to maintain musical interest in the absence of structural changes and is a key consideration even when aiming for a most popular song.
The bridge plays a critical role in diversifying the sonic landscape of a song and maintaining listener engagement. It prevents a song from becoming a mere loop of one or two sections. This explains why structures without bridges are less frequently encountered than those that include a bridge, particularly when considering the elements that contribute to a most popular song. However, understanding these simpler structures is still valuable for songwriters.
The Distinct Role of Each Song Section
Song structure is more than just arranging sections in a sequence; it’s about understanding the specific function each section typically serves. Grasping the role of each section empowers you to make informed decisions when modifying song structures to best serve your artistic vision and create a most popular song.
Verse
Lyrically, verses are the engine that drives your narrative forward. While the chorus or refrain often maintains consistent wording, the verse is your canvas for developing your story, adding details, and exploring different facets of your song’s theme. This narrative progression is crucial for holding listener attention and creating a compelling most popular song.
Chorus
Consider the chorus as the heart of your song, encapsulating its central theme or big idea. This is why the song title frequently resides within the chorus – it acts as a summary of the entire song’s essence. Melodically, the chorus is designed to be the most memorable and catchy part of your song. It’s the element that lodges itself in listeners’ minds long after the song ends. Placing your title in the chorus is strategic; when the catchy chorus replays in someone’s head, they can easily recall the song’s name and search for it later, a crucial factor in the journey to becoming a most popular song.
Pre-Chorus
The pre-chorus acts as a bridge leading into the chorus. It typically features consistent lyrics, similar to the chorus, and musically, it often builds anticipation and intensity, heightening the impact of the subsequent chorus. Katy Perry’s “Firework” provides a clear illustration of this build-up effect, a technique often employed in most popular songs to maximize emotional resonance.
Bridge
The bridge is designed to offer a departure from the established patterns of the song. This applies to both lyrics and music. Lyrically, it provides an opportunity to introduce a new perspective, offer a contrasting viewpoint, or deepen the emotional resonance. Musically, it’s a chance to present the listener with something novel, preventing sonic fatigue and sustaining interest, especially important in longer songs aiming to be a most popular song.
Refrain
In AABA or AAA structures, the refrain is the lyrical anchor within the verses. Typically positioned at the beginning or end of each verse, it often doubles as the song’s title. The refrain provides a sense of unity and familiarity in structures that lack a traditional chorus, and still can contribute to creating a most popular song within these less common structures.
Hook
The term “hook” doesn’t denote a specific song section but rather the most captivating and memorable element of the song. Most often, the hook resides within the chorus, if the song has one. In songs without a chorus, the refrain is the most likely candidate for the hook. As the acclaimed songwriter Clay Drayton aptly stated, “A fish knows the hook… Once it’s in you, it’s hard to get it out.” A strong hook is arguably the most critical ingredient in creating a most popular song.
These are the foundational principles of song structure. While you have the creative freedom to adapt these common structures to your specific song, understanding them provides a valuable starting point. They not only bring a sense of familiarity to your songs, making them more accessible and appealing, but they also offer a practical roadmap for organizing your musical ideas and increasing your chances of writing a most popular song.
Anthony Ceseri is a songwriter and performer dedicated to gathering the best songwriting knowledge and advice. From courses and workshops at Berklee College of Music in Boston to Taxi’s Road Rally in Los Angeles, Anthony has learned from leading songwriters, producers, and performers in the music industry. For more in-depth songwriting insights, download your FREE EBook here: http://successforyoursongs.com/freeoffer/
For Information on the USA Songwriting Competition, visit: http://www.songwriting.net
