![]() Make sure it’s the central idea of your song. Pick one idea, feeling, or situation and explore it. One of the biggest mistakes we make when writing a song is to try to express TOO MUCH in the chorus. Take the listener deeper into how it feels or what you think about it. KEEP THE FOCUS TIGHT: Try keeping your chorus focused on just one feeling or idea. Read more about using images and examples to get listeners involved. Concrete examples, images, and physical sensations are the best way to make listeners experience your message and keep them involved in your song. By comparing that to what it feels like when you “let her go” listeners can understand the feeling. Listeners have experienced what it feels like when the sun goes down and the world becomes dark and cold. The singer doesn’t make a direct statement until the very end.Įxamples help us feel and experience what a song is about rather than telling us how we should feel. All of the lines in the chorus make the same point, using different examples to express the idea that we only value a thing once it’s gone. USE EXAMPLES: In “Let Her Go” the lyric lists a string of regrets. There’s a long tradition of folk songs that feature lists and riddles, songs like “Hush Little Baby,” and “I Gave My Love a Cherry.” A few recent hit songs like “Cannonball” by Damien Rice and “The Riddle” by Five for Fighting share similarities with these traditional lyrics. Try adding a pause in your melody before the final phrase of your chorus. ![]() Notice the dramatic pause before the final line of the opening chorus and final chorus, before he sings “and you let her go.” The pause sets up the phrase, giving it importance. Very simple but it works because the lines are so emotional they provide the peak moment that is so often the job of the bridge.įINAL CHORUSES: After the bridge there are two repeats of the chorus, with the final four lines being sung with no accompaniment at all. THE BRIDGE: The bridge section (at 2:48) is really just a repeat of the last line of the chorus developed through three lines of chord and melody changes. Just be sure you have a compelling chorus lyric that stands on its own without any foundation needed. It’s a risky choice to go with the chorus first. They don’t know why the singer feels the way he or she does.įurthermore, starting with the chorus doesn’t give the song a chance to build tension that can be released in the chorus. Starting the song with a chorus doesn’t give listeners this context. When you open with a verse, you lay the groundwork for those feelings, giving the listener insights into the situation and emotions so the chorus has more impact when it finally arrives. (“You only need the light when it’s burning low…”) is an unusual choice in today’s hit songs and here’s why: The chorus is the emotional heart of your song. ![]() STARTING A SONG WITH A CHORUS : Opening with a chorus. SONG STRUCTUREĬHORUS / BRIDGE (built on the last line of the chorus) ![]() Throughout, it’s his playful poeticism-and his tremulous croons, which crackle with a warm, boyish charm-that make even his saddest revelations sound so comforting.Find out more about Genres. Still, Rosenberg’s remained firmly indebted to his folk roots, letting his strengths shine in the details: the gentle fingerpicking of the aptly titled “Simple Song,” the nimble percussion of the upbeat “Anywhere,” or the cinematic string arrangements that cushion the heartbreak and enhance the sanguine reveries permeating 2019’s Sometimes It’s Something, Sometimes It’s Nothing At All. The slow-building “Let Her Go,” a bittersweet ballad of life’s inevitable ironies from 2012’s All the Little Lights, pushed him into the international spotlight-an opening spot on Ed Sheeran’s tour certainly helped, too. Since, he’s been highly prolific, releasing 10 albums in his first decade alone, carefully tweaking his sound every step of the way. He officially went solo as Passenger in 2009 with Wide Eyes Blind Love, a stripped-down acoustic set evoking the intimate storytelling of David Gray. They released just one album before calling it quits, but Rosenberg, the group’s main songwriter, stuck with the name. Upon returning to Brighton, he co-founded the folk-rock band Passenger in 2003. Born Michael David Rosenberg in 1984, the Brighton, England native took classical guitar lessons as a kid and eventually brought those skills to the streets to busk around England and Australia after leaving home at age 16. Passenger’s lightly sweetened folk-pop oozes with romance-even when he’s detailing the painful experience of letting go.
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