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This is a songwriting songwriting cheat sheet.
101 Songwriting Tips & Techniques To Help You Write More Music
By: @aegiuscreator
About This Guide: This doc is an open-resource for all musicians.
*The content presented in this guide is a combination of original ideas as well as curated information through years of research and study from different mediums (Books, videos etc. credits w/ links are available at the bottom).
These are bite-sized ideas that you can immediately apply to your craft. Perhaps it will kick away any writer’s block you may have.
The flow & order of main compositional ideas is critical to a great song. Make sure to use song forms. Ex: AABA (Verse, Verse, Chorus, Verse) or ABCA’BCDC (Verse, Pre-Chorus, Chorus, Verse Variation, Pre-Chorus, Chorus, Bridge, Chorus) etc…
For song parts to stand-out, contrast must be present within everything. The layers, tempo, lyrics, harmony, rhythm, and the timbre of instruments are all examples of elements that can be manipulated to invoke a sense of contrast.
Create mood & atmosphere by using certain non-diatonic chord progressions (much like film). Ex: Two major chords a tritone apart (b5). They are non-diatonic, but provide a certain tonal quality. Experiment with different intervals and combinations of major & minor chords.
When writing, start with main ideas first (chorus and verse). This means the most important parts are done first and from there pre-choruses, transitions, intros, outros, & interludes (if any) can be completed while reinforcing the main ideas of the song.
Write intros last, you can not introduce something you don’t know.
When modulating (switching keys), shorten the preceding bar by 1 beat. Ex: if the song is in 4/4 with a key change coming in the next bar, create a transition of 3/4 to grab the listeners attention.
Use open hi-hats for increased song energy. Program or instruct drummers to switch power hands for contrast in percussion between song parts.
Use chords an octave higher (on appropriate layers) for more energy
If there is a verse that repeats quite a bit, use a key change halfway then either bring the song back to the original key in the next part or keep it in the new key.
Variate by adding new layers to parts of a song that were previously heard. This is called ‘spice’.
Remember that one great rhythm or melody can be the basis for an entire song.
Variate themes melodically, harmonically, or rhythmically.
Add layers after the song itself sounds great with the foundational instruments. Usually just vocals, guitars, bass, drums, and basic keyboards. Layers should make the good song even better, it should not make the song itself.
...or add the basic skeleton of all instruments first then embellish the parts later.
Play a previously heard theme on a different instrument for variation. Ex: Guitar melody -> Violin
Two to four verses is ideal.
Place hooks at the first line of the verse, last line of verse, or at a climatic point in the bridge or chorus.
Basic song plan: Verse 1 (V1): Introduce the idea, V2: Expand that idea, Bridge: Offer a different twist or perspective, and V3: Conclude the idea. Chorus will be the main repeating idea throughout the song (it does not have to change like the verse should).
Problem-Solution plan: V1: intro the problem, V2: elaborate (the cause), Bridge: discuss the solution, and V3: where to go from this point (IE future-oriented).
Timeline plan: V1: set in the past, V2: present, Bridge: twist of V1 and V2 (you can offer a connection of the two and how they’re related or different), V3: set in the future, much like a vision.
Or...a second timeline structure: V1: present, V2: flashback to the past, Bridge: expand V1 or V2 (reveal other hidden information), V3: return to present.
Timeline structures can use unrelated verses. They can switch who is telling the story (the lyrics), location, or any other type of setting.
An interlude is a transition between one main song idea to another main song idea. Usually only used for longer songs with clear sections.
A pre-verse can be a link section used as an interlude function between a theme and the verses.
A pre-chorus should serve a purpose to build excitement or heavily contrast with the verse and chorus. If they are too similar then it might make sense not to have one in general and just put a small variation of the verse in the last bar(s) to make it blend into the chorus.
Interludes can be created by reusing themes (with variation) and it also gives the singer space to breathe for longer songs.
Bridges introduce something new, contrasting with what has come before. Tension is resolved from the bridge by usually going to another verse (if there’s more story to tell) or a chorus (if the main idea needs more repetition).
Bridges in ABC (Verse, Chorus, Bridge) form are usually shorter or just as long as the verse, contains either lyric or solo elements, and should offer a lyric twist or explanation.
Middle-eight: Type of bridge that has a new chord progression and is 8 bars with a different rhythmic dynamic. Typically good for an instrumental solo.
Solos can be used over a variety of bridges, but soloing over the chord progression used in the chorus is also common.
Additional variation elements include: tempo, keys, and time signatures (meter).
Song a monotone rhythm so easy a 6-year old can do it. Use this rhythm for a hook or melody.
The magic method: 1st put every aspect of an idea on paper with no structure. 2nd, highlight/review great ideas. Third, take the subject out of focus. Fourth, put it into your subconscious mind. This allows the mind to take these ideas and form different outputs which usually present themselves as a great start to a song or main idea, based around what was written about. (need original source)
Intensity = lower tuned instrument in a higher register
Use an odd number (meaning not a multiple of 4) of bars to create forward motion or instability. Ex: a verse that is 6 bars or 7 and a half (2/4 time signature transition)
Map out the story of the song on paper, along with the main idea. Try to visual the best you can
Reverse engineer the story of the song. Figure out the best way to tell it and present it (compose).
Do not write on your primary instrument. Explore and experiment on different instruments.
Muscle memory kills creativity! Do not play until an idea in your mind is formed.
Think of each song part as a movie scene. How does each part support the last and the next?
Make use of unexpected rests to keep the listener engaged. Rests can also shift focus or attention.
Write on a consistent and daily basis. Practice 30 minutes a day to develop the muscle.
Use the stream of consciousness method to write lyrics. No structure, just write like you’re talking to someone deeply interested.
Know where you’ve been so you know where to go.
Contrast pitch by lowering/raising last pitch in a melody.
Contrast pitch by following/avoiding chord root notes.
Contrast pitch by changing shape: ascend/descend, up/down, counter bass movement.
Contrast pitch by using passing tones or non-chord tones (NCT’s).
Contrast pitch by using intervallic or linear (adjacent scale tone) melodies.
Contrast rhythm by syncopated/straight.
Contrast rhythm by lengthening/shortening lines.
Contrast rhythm by phrase position: before/on/after the first beat of the measure.
Contrast rhythm by long/short phrases.
Contrast rhythm by more/less rest space.
Contrast harmony by using exact repetition.
Contrast harmony by adding new chords to the beginning of a section.
Contrast harmony by changing chords less frequently.
Contrast harmony by changing chords more frequently.
Contrast harmony by rearranging chords.
Contrast lyrics by longer/shorter lines.
Contrast lyrics by using exact or internal repetition.
Contrast lyrics by using abstract, metaphorical, or direct lines.
Contrast lyrics by using past/present/future tone.
Contrast lyrics by point of view; I/you, he/she, we.
Write lyrics by humming syllables then putting words to what you think you hear. Make them flow with the music.
Write vocal melodies using a horn preset to mimic breathing.
Sing the vocal melody acapella to see if it sounds good on its own.
Don’t settle for predictable rhythm. Using syncopation (have notes in irregular places in the bar)
Contrast the vocal melody of song parts by pitch. Ex. Verses are usually lower and choruses are usually higher.
Do not use more than two distinct melodic concepts for any one song part.
Rewrite or have at least three versions of vocal melodies for each song part.
Read a line of lyric and the phrasing can be suggested by the natural speaking rhythm.
For chorus melodies: Take verse and bump it up an octave, add harmony, and slightly change the order of notes and rhythm.
Start with a basic chords, a bass line, and a vocal melody.
When the high notes move up the low notes move down.
Remember that the song really starts to materialize during the vocal writing.
Write the song concept down as a narrative and tell it like you would to someone in a normal conversation. After that, take the narrative and lyricize the story and paint the picture as you envision it as a song.
For guitars: use root, third, root (octave) chord voicing in melody. Switch between that shape and open voiced chords to create more intervallic space between notes. Root third, third (octave) voicing is also possible.
Themes on what to write about: youth, death, love, good and bad, personal change, loneliness, ambitions, betrayal, aging, loss, freedom, courage, and fear.
Transition into chorus: use a snippet of a previous to give punch to the chorus (with a change in dynamics). Ex: using just a snippet of a guitar part played solo to transition into the chorus.
Show, don’t tell when writing lyrics. Use sentences that will make the audience feel the way you feel. Don’t assume they know what you’re talking about. Show them with action sentences, immense imagery, and details.
Use onelook.com reverse dictionary for lyrics ideas, unique words, and song title inspiration.
Use weak motifs, so that when the melodies reappear, they appear in a slightly altered form or inside of a different context. Ex: the same melody being used underneath a different chord progression.
Use anticipation to create variation in rhythm in a specific melody.
Use triplets and syncopation to add extra dimension to melody.
The same thing that got you into the songwriting rut, is the same that will not get you out. Change your thinking patterns and perspective to bring about fresh ideas.
Love in the face of adversity is a powerful subject and theme to write about. It can deal with people, but it can be a love for/to anything.
Create a flow of ideas in a simple numbered format as the basic lyric map.
Map out the writeable idea for the song. This is the title plus the structure, with summary/brainstormed placeholder lyric lines for each section.
Use lyrical payoffs to give the lyrics a sense of conclusion, closure, and completion either to certain sections or the whole song
Plot development within lyrics is necessary to deliver the emotional punch a song needs to connect with a listener. Have a story like progression
According to the book Song Maps by Simon Hawkins, the seven universal song map types to lead plot development are : tension/response, problem/declaration, timezones, places, roles, twist, and literal/figurative.
Tension/response: bread and butter of song maps. Verse one: how tension is sensed, chorus 1 the response, verse 2 how the response is sensed, chorus 2 the response, bridge how I feel about the response, chorus 3 is the response.
Problem/declaration: lends itself to anthemic songs because of massive choruses. V1 the problem, C1 declaration, V2 the response, C2 declaration, bridge what it means, C3 declaration.
Timezones: good map for story telling. Timezone 1 the story starts and builds tension to the chorus, chorus 1 sums up the theme and usually contains the title, timezone 2 moves to a new situation and recolors the theme of the chorus, this moves to timezone 3 or delivering a payoff either in the bridge or third verse.
Places: also good for stories, plot unfolds in different locations (physical or mental). V1 paints and puts the listeners into the story, C1 zooms out and establishes the main idea or principle, v2 moves the story but from a different place, the bridge can either be a third place or a lyrical payoff. C3 returns to title/theme. Effective return to chorus is a must to tie the structure together.
Roles: good for telling a story with multiple characters or perspectives. V1 is a perspective that builds tension to the chorus. C1 sums of the theme of the song and is the response. V2 offers what happens after C1, are they happier, more emotional, are they going anywhere? C2 is the response. Bridge is role 3 or the lyrical payoff. C3 is the final response
Twist: using a word or phrase as the set up for the central idea (chorus). V1 is the meaning 1. C1 is the central theme, V2 is meaning 2. The bridge can be a lyrical payoff (which can emphasize a common thread between everything).
Literal/figurative: difficult to get right, but is great for telling a story. V1 starts with the literal. C1 moves to the central idea (that has to work with both literal figurative verses), V2 is the figurative verse. Bridge is a lyrical payoff in that how does it relate to the listener, is there a lesson learned? Conclude something in the lyric. Literal and figurative can also be swapped in the verses. Verses can also be just literal and choruses just figurative (or vice versa)
Use surrealism art pictures or any other form of media to trigger a story in your head. Something that you connect with.
**Use odd time signatures as transitions between sections of a song to wake up the listener. Ex: have a two bar transition going into the chorus: one bar of 5/4 and the other of 2/4 etc. **
Book Credits & Suggestions (With Amazon Links):
Arranging Songs: How to Put the Parts Together by Rikky Rooksby
The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield
Six Steps to Songwriting Success: The Comprehensive Guide to Writing & Marketing Hit Songs
This is a songwriting songwriting cheat sheet.
101 Songwriting Tips & Techniques To Help You Write More Music
By: @aegiuscreator
About This Guide: This doc is an open-resource for all musicians.
*The content presented in this guide is a combination of original ideas as well as curated information through years of research and study from different mediums (Books, videos etc. credits w/ links are available at the bottom).
These are bite-sized ideas that you can immediately apply to your craft. Perhaps it will kick away any writer’s block you may have.
The flow & order of main compositional ideas is critical to a great song. Make sure to use song forms. Ex: AABA (Verse, Verse, Chorus, Verse) or ABCA’BCDC (Verse, Pre-Chorus, Chorus, Verse Variation, Pre-Chorus, Chorus, Bridge, Chorus) etc…
For song parts to stand-out, contrast must be present within everything. The layers, tempo, lyrics, harmony, rhythm, and the timbre of instruments are all examples of elements that can be manipulated to invoke a sense of contrast.
Create mood & atmosphere by using certain non-diatonic chord progressions (much like film). Ex: Two major chords a tritone apart (b5). They are non-diatonic, but provide a certain tonal quality. Experiment with different intervals and combinations of major & minor chords.
When writing, start with main ideas first (chorus and verse). This means the most important parts are done first and from there pre-choruses, transitions, intros, outros, & interludes (if any) can be completed while reinforcing the main ideas of the song.
Write intros last, you can not introduce something you don’t know.
When modulating (switching keys), shorten the preceding bar by 1 beat. Ex: if the song is in 4/4 with a key change coming in the next bar, create a transition of 3/4 to grab the listeners attention.
Use open hi-hats for increased song energy. Program or instruct drummers to switch power hands for contrast in percussion between song parts.
Use chords an octave higher (on appropriate layers) for more energy
If there is a verse that repeats quite a bit, use a key change halfway then either bring the song back to the original key in the next part or keep it in the new key.
Variate by adding new layers to parts of a song that were previously heard. This is called ‘spice’.
Remember that one great rhythm or melody can be the basis for an entire song.
Variate themes melodically, harmonically, or rhythmically.
Add layers after the song itself sounds great with the foundational instruments. Usually just vocals, guitars, bass, drums, and basic keyboards. Layers should make the good song even better, it should not make the song itself.
...or add the basic skeleton of all instruments first then embellish the parts later.
Play a previously heard theme on a different instrument for variation. Ex: Guitar melody -> Violin
Two to four verses is ideal.
Place hooks at the first line of the verse, last line of verse, or at a climatic point in the bridge or chorus.
Basic song plan: Verse 1 (V1): Introduce the idea, V2: Expand that idea, Bridge: Offer a different twist or perspective, and V3: Conclude the idea. Chorus will be the main repeating idea throughout the song (it does not have to change like the verse should).
Problem-Solution plan: V1: intro the problem, V2: elaborate (the cause), Bridge: discuss the solution, and V3: where to go from this point (IE future-oriented).
Timeline plan: V1: set in the past, V2: present, Bridge: twist of V1 and V2 (you can offer a connection of the two and how they’re related or different), V3: set in the future, much like a vision.
Or...a second timeline structure: V1: present, V2: flashback to the past, Bridge: expand V1 or V2 (reveal other hidden information), V3: return to present.
Timeline structures can use unrelated verses. They can switch who is telling the story (the lyrics), location, or any other type of setting.
An interlude is a transition between one main song idea to another main song idea. Usually only used for longer songs with clear sections.
A pre-verse can be a link section used as an interlude function between a theme and the verses.
A pre-chorus should serve a purpose to build excitement or heavily contrast with the verse and chorus. If they are too similar then it might make sense not to have one in general and just put a small variation of the verse in the last bar(s) to make it blend into the chorus.
Interludes can be created by reusing themes (with variation) and it also gives the singer space to breathe for longer songs.
Bridges introduce something new, contrasting with what has come before. Tension is resolved from the bridge by usually going to another verse (if there’s more story to tell) or a chorus (if the main idea needs more repetition).
Bridges in ABC (Verse, Chorus, Bridge) form are usually shorter or just as long as the verse, contains either lyric or solo elements, and should offer a lyric twist or explanation.
Middle-eight: Type of bridge that has a new chord progression and is 8 bars with a different rhythmic dynamic. Typically good for an instrumental solo.
Solos can be used over a variety of bridges, but soloing over the chord progression used in the chorus is also common.
Additional variation elements include: tempo, keys, and time signatures (meter).
Song a monotone rhythm so easy a 6-year old can do it. Use this rhythm for a hook or melody.
The magic method: 1st put every aspect of an idea on paper with no structure. 2nd, highlight/review great ideas. Third, take the subject out of focus. Fourth, put it into your subconscious mind. This allows the mind to take these ideas and form different outputs which usually present themselves as a great start to a song or main idea, based around what was written about. (need original source)
Intensity = lower tuned instrument in a higher register
Use an odd number (meaning not a multiple of 4) of bars to create forward motion or instability. Ex: a verse that is 6 bars or 7 and a half (2/4 time signature transition)
Map out the story of the song on paper, along with the main idea. Try to visual the best you can
Reverse engineer the story of the song. Figure out the best way to tell it and present it (compose).
Do not write on your primary instrument. Explore and experiment on different instruments.
Muscle memory kills creativity! Do not play until an idea in your mind is formed.
Think of each song part as a movie scene. How does each part support the last and the next?
Make use of unexpected rests to keep the listener engaged. Rests can also shift focus or attention.
Write on a consistent and daily basis. Practice 30 minutes a day to develop the muscle.
Use the stream of consciousness method to write lyrics. No structure, just write like you’re talking to someone deeply interested.
Know where you’ve been so you know where to go.
Contrast pitch by lowering/raising last pitch in a melody.
Contrast pitch by following/avoiding chord root notes.
Contrast pitch by changing shape: ascend/descend, up/down, counter bass movement.
Contrast pitch by using passing tones or non-chord tones (NCT’s).
Contrast pitch by using intervallic or linear (adjacent scale tone) melodies.
Contrast rhythm by syncopated/straight.
Contrast rhythm by lengthening/shortening lines.
Contrast rhythm by phrase position: before/on/after the first beat of the measure.
Contrast rhythm by long/short phrases.
Contrast rhythm by more/less rest space.
Contrast harmony by using exact repetition.
Contrast harmony by adding new chords to the beginning of a section.
Contrast harmony by changing chords less frequently.
Contrast harmony by changing chords more frequently.
Contrast harmony by rearranging chords.
Contrast lyrics by longer/shorter lines.
Contrast lyrics by using exact or internal repetition.
Contrast lyrics by using abstract, metaphorical, or direct lines.
Contrast lyrics by using past/present/future tone.
Contrast lyrics by point of view; I/you, he/she, we.
Write lyrics by humming syllables then putting words to what you think you hear. Make them flow with the music.
Write vocal melodies using a horn preset to mimic breathing.
Sing the vocal melody acapella to see if it sounds good on its own.
Don’t settle for predictable rhythm. Using syncopation (have notes in irregular places in the bar)
Contrast the vocal melody of song parts by pitch. Ex. Verses are usually lower and choruses are usually higher.
Do not use more than two distinct melodic concepts for any one song part.
Rewrite or have at least three versions of vocal melodies for each song part.
Read a line of lyric and the phrasing can be suggested by the natural speaking rhythm.
For chorus melodies: Take verse and bump it up an octave, add harmony, and slightly change the order of notes and rhythm.
Start with a basic chords, a bass line, and a vocal melody.
When the high notes move up the low notes move down.
Remember that the song really starts to materialize during the vocal writing.
Write the song concept down as a narrative and tell it like you would to someone in a normal conversation. After that, take the narrative and lyricize the story and paint the picture as you envision it as a song.
For guitars: use root, third, root (octave) chord voicing in melody. Switch between that shape and open voiced chords to create more intervallic space between notes. Root third, third (octave) voicing is also possible.
Themes on what to write about: youth, death, love, good and bad, personal change, loneliness, ambitions, betrayal, aging, loss, freedom, courage, and fear.
Transition into chorus: use a snippet of a previous to give punch to the chorus (with a change in dynamics). Ex: using just a snippet of a guitar part played solo to transition into the chorus.
Show, don’t tell when writing lyrics. Use sentences that will make the audience feel the way you feel. Don’t assume they know what you’re talking about. Show them with action sentences, immense imagery, and details.
Use onelook.com reverse dictionary for lyrics ideas, unique words, and song title inspiration.
Use weak motifs, so that when the melodies reappear, they appear in a slightly altered form or inside of a different context. Ex: the same melody being used underneath a different chord progression.
Use anticipation to create variation in rhythm in a specific melody.
Use triplets and syncopation to add extra dimension to melody.
The same thing that got you into the songwriting rut, is the same that will not get you out. Change your thinking patterns and perspective to bring about fresh ideas.
Love in the face of adversity is a powerful subject and theme to write about. It can deal with people, but it can be a love for/to anything.
Create a flow of ideas in a simple numbered format as the basic lyric map.
Map out the writeable idea for the song. This is the title plus the structure, with summary/brainstormed placeholder lyric lines for each section.
Use lyrical payoffs to give the lyrics a sense of conclusion, closure, and completion either to certain sections or the whole song
Plot development within lyrics is necessary to deliver the emotional punch a song needs to connect with a listener. Have a story like progression
According to the book Song Maps by Simon Hawkins, the seven universal song map types to lead plot development are : tension/response, problem/declaration, timezones, places, roles, twist, and literal/figurative.
Tension/response: bread and butter of song maps. Verse one: how tension is sensed, chorus 1 the response, verse 2 how the response is sensed, chorus 2 the response, bridge how I feel about the response, chorus 3 is the response.
Problem/declaration: lends itself to anthemic songs because of massive choruses. V1 the problem, C1 declaration, V2 the response, C2 declaration, bridge what it means, C3 declaration.
Timezones: good map for story telling. Timezone 1 the story starts and builds tension to the chorus, chorus 1 sums up the theme and usually contains the title, timezone 2 moves to a new situation and recolors the theme of the chorus, this moves to timezone 3 or delivering a payoff either in the bridge or third verse.
Places: also good for stories, plot unfolds in different locations (physical or mental). V1 paints and puts the listeners into the story, C1 zooms out and establishes the main idea or principle, v2 moves the story but from a different place, the bridge can either be a third place or a lyrical payoff. C3 returns to title/theme. Effective return to chorus is a must to tie the structure together.
Roles: good for telling a story with multiple characters or perspectives. V1 is a perspective that builds tension to the chorus. C1 sums of the theme of the song and is the response. V2 offers what happens after C1, are they happier, more emotional, are they going anywhere? C2 is the response. Bridge is role 3 or the lyrical payoff. C3 is the final response
Twist: using a word or phrase as the set up for the central idea (chorus). V1 is the meaning 1. C1 is the central theme, V2 is meaning 2. The bridge can be a lyrical payoff (which can emphasize a common thread between everything).
Literal/figurative: difficult to get right, but is great for telling a story. V1 starts with the literal. C1 moves to the central idea (that has to work with both literal figurative verses), V2 is the figurative verse. Bridge is a lyrical payoff in that how does it relate to the listener, is there a lesson learned? Conclude something in the lyric. Literal and figurative can also be swapped in the verses. Verses can also be just literal and choruses just figurative (or vice versa)
Use surrealism art pictures or any other form of media to trigger a story in your head. Something that you connect with.
**Use odd time signatures as transitions between sections of a song to wake up the listener. Ex: have a two bar transition going into the chorus: one bar of 5/4 and the other of 2/4 etc. **
Book Credits & Suggestions (With Amazon Links):
Arranging Songs: How to Put the Parts Together by Rikky Rooksby
The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield
Six Steps to Songwriting Success: The Comprehensive Guide to Writing & Marketing Hit Songs
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