Many of the writers whose songs I listen to at my workshops work long and hard on their lyrics, striving to find unique, fresh ways to tell their stories and express their concepts. But they sometimes forget that we\u2019re not writing poems, but songs\u2014and if we hope to create songs that resonate with listeners, our lyrics need to be delivered on the wings of outstanding, memorable melodies.<\/p>\n
It\u2019s often easier to identify weaknesses in lyrics than in melodies. While it might be evident that a line of lyric is clich\u00e9 and needs to incorporate a fresher, more original approach, it might be more challenging to diagnose the reasons why a melody fails to jump out of the proverbial pile or remain seared in the brain.<\/p>\n
Following are some of the melody pitfalls I most often encounter\u2014and their remedies.<\/p>\n
1. Crafting Melodies That Sound as if They\u2019ve Been Imposed Upon Predictable Chord Changes<\/strong><\/p>\n Many of the songs by current pop and urban music hit-makers are crafted by creating a music track first. In these instances, a musical \u201cbed\u201d consisting of the keyboards, bass, drums and guitars is composed and produced prior to the melody that the vocalist will sing. A vocal melody is then crafted to work with the chord changes, beats and grooves that have been established.<\/p>\n While this approach to writing is not typical in country music, there are more instances of songs being created for the Nashville market by using this method. In country, Americana, roots and folk music, although a full musical track is not typically created prior to a vocal melody, chord progressions played on an acoustic guitar often precede the melody.<\/p>\n There is no \u201cright\u201d or \u201cwrong\u201d way to write a great melody, and countless successful songs have begun with a chord progression. The problem arises when the vocal melody sounds as if it has been imposed on those chords as an afterthought.<\/p>\n In my workshops, I, too, often critique songs with melodies that sound as if they were created as the result of writers strumming predictable chord progressions on a guitar\u2014then imposing melody that works perfectly fine with those chords. There\u2019s no \u201crub\u201d\u2014no dissonance. So, you might ask, \u201cWhat wrong with that?\u201d<\/p>\n There may be nothing \u201cwrong\u201d with these melodies, but \u201cnothing wrong\u201d is a far cry from melodies that are unforgettable, fresh and original. No one walks down the street humming chord changes, guitar licks, drumbeats, grooves or bass lines. While these are all important components of successful songs, they aren\u2019t enough.<\/p>\n Giving more attention to these components than to the melody that sits atop them is analogous to a builder spending the majority of his or her time and energy on a house\u2019s foundation, then haphazardly slapping together the actual home. The foundation is crucial\u2014but not more important than the house. Chord progressions, drum patterns, guitar licks and bass lines need to be paired with fresh, original, can\u2019t-get-them-out-of-your-head melodies and rhythms for the singer to sing.<\/p>\n It can help to assess your melodies by singing them\u00a0a capella<\/em>, to be certain they stand up on their own. They should be memorable, easy to sing and should not sound as if notes are missing\u2014or extra notes have been crammed in\u2014to accommodate lyrics.<\/p>\n Remember your melody is critically important to your song\u2019s success. Regardless of how a song is begun, when it\u2019s finished, it needs a vocal melody that compels an artist, publisher, producer or an A&R executive to say \u201cYes\u201d\u2014and an audience to invite it into their hearts.<\/p>\n 2. Settling for Predictable Rhythms in the Vocal Melodies<\/strong><\/p>\n With the unprecedented amount of music available to listeners, it\u2019s more important than ever to separate our songs from the competition. Songs with melodies that rely on stock, less-than-exceptional rhythms are unlikely to command a listener\u2019s attention.<\/p>\n One of the best ways to elevate songs from \u201cgood\u201d to \u201cWOW\u201d is to write vocal melodies that incorporate fresh, hooky rhythms. Taylor Swift is a master of this tool. A listen to the verse and chorus of her GRAMMY-nominated smash, \u201cWe Are Never Ever Getting Back Together,\u201d (Taylor Swift\/Max Martin\/Shellback) reveals the enormous contribution of the rhythms within the vocal melody.<\/p>\n This technique typically includes syncopation\u2014placing the rhythmic accent on a \u201cweak\u201d beat\u2014and it can be heard in countless hits. Some great examples are: Rodney Atkins\u2019 recording of \u201cTake a Back Road,\u201d (Rhett Akins\/Luke Laird); Carly Rae Jepsen\u2019s \u201cCall Me Maybe,\u201d (Carly Rae Jepsen\/Tavish Crowe); and One Direction\u2019s \u201cWhat Makes You Beautiful\u201d (Rami; Carl Falk; Savan Kotecha).<\/p>\n Including syncopation and catchy, unique rhythms that push the envelope are among the best tools you can use to help separate your songs from the competition\u2014regardless of your musical genre.<\/p>\n 3. Lack of Contrast<\/strong><\/p>\n A common melodic problem is the failure to clearly differentiate each section of a song (i.e., verse, pre-chorus, chorus or bridge) from other sections. While melodic and rhythmic repetition\u00a0within<\/em>\u00a0a given section can be the proverbial glue that helps melodies stick in the brain, in order to sustain listeners\u2019 attention, ideally, each section should be rhythmically and melodically distinct from the parts of the song that surround it. In simple terms, you don\u2019t want the verses to sound like the chorus, or the bridge to sound like either the verse or chorus.<\/p>\n There should be no doubt when the chorus begins. You can achieve this by choosing from several different tools. One of the most effective ways to announce the arrival of your chorus is to use higher notes. The chorus often includes the highest notes in the song, and in many instances, these notes appear in the first line of the chorus.<\/p>\n Two exceptional examples of choruses that \u201cjump out\u201d are Adele\u2019s \u201cRolling in the Deep\u201d (Adele\/Paul Epworth) and Jason Aldean\u2019s \u201cFly Over States\u201d (Neil Thrasher and Michael Dulaney).<\/p>\n Another way to be sure each part of a song is distinct from the song\u2019s other components is to vary the rhythms in the vocal melodies from one section to the next. For example, if a pre-chorus is choppy and rhythmic, as a result of including a barrage of short notes (such as eighth notes), the subsequent chorus might benefit from longer notes (such as whole notes). Conversely, a verse that relies heavily on long, held-out notes might be best followed by a chorus that incorporates shorter notes for a more \u201crhythmic\u201d feel.<\/p>\n While many pop, country and adult contemporary songs include choruses that \u201clift,\u201d urban and urban-influenced pop songs often differentiate their choruses from their verses with a distinctly different rhythm\u2014as opposed to soaring high notes.<\/p>\n To keep your listeners interested, be sure to vary the range and\/or rhythms from one section to the next.<\/p>\n 4. Introducing Too Many Melodic Motifs<\/strong><\/p>\n We tend to remember that which we are exposed to over and over again\u2014and this certainly applies to melodies. If you want your melodies to stick in the brain, repetition, repetition and repetition are the top three ways to achieve this. Your listeners can\u2019t latch onto a melody and remember it if it keeps changing.<\/p>\n When I critique work from developing writers, I sometimes hear songs that establish a melody (for example, a 2-bar motif)\u2014then bring in a new melody, and yet another melody\u2014all within an eight-bar section. But when I analyze successful songs in various genres, I typically find that within any given section of a song (verse, pre-chorus, chorus, bridge) there are rarely more than two distinct melodic concepts.<\/p>\n For an example of a song that incorporates this tool, listen to Norah Jones\u2019 GRAMMY-winning \u201cDon\u2019t Know Why\u201d (Jesse Harris). You\u2019ll notice that the verse is comprised of a 4-bar \u201ccall and response\u201d melodic motif. The rhythm established in the first two bars is repeated in the second two bars. This 4-bar melody is heard four times; there is no additional melody introduced in the verse. The bridge also uses this tool by establishing a 4-bar melodic phrase\u2014then repeating it.<\/p>\n Another excellent example of incorporating repetition by limiting the number of melodic ideas within each section can be heard in the chorus of One Direction\u2019s career-breaking song, \u201cWhat Makes You Beautiful\u201d (Rami; Carl Falk; Savan Kotecha). The chorus is comprised of a 2-bar melodic phrase that is heard three times. It is followed by the 2-bar phrase that accompanies the title. This fourth phrase is a different melody and rhythm\u2014thereby distinguishing the title from the lines surrounding it. This eight-bar melody is then repeated. With the exception of one line, every line of the chorus lyric contains the identical number of syllables, allowing the melody writer to repeat the same rhythm, and\u00a0almost<\/em>\u00a0the same melody.<\/p>\n Listen to your favorite songs and you\u2019ll likely hear the same rhythms and melodies repeated over and over within each section. By incorporating this technique into your work, you can write melodies that listeners can\u2019t forget.<\/p>\n 5. Failure to Rewrite Melodies<\/strong><\/p>\n What\u2019s the chance that the very first melody that pops into your head is such perfection that you couldn\u2019t possibly improve even one note or one chord\u2014\u00a0even if your entire career were riding on doing so<\/em>? Our careers\u00a0are<\/em>\u00a0riding on composing songs that include melodies that are not just \u201cgood\u201d\u2014but exceptional. Your melodies need to edge out those written by the writers and artists who top the charts\u2014 the song crafters who have their fingers on the pulse of the current music scene.<\/p>\n To unearth the very best melodies you\u2019re capable of, challenge yourself to rewrite each verse and chorus at least three times. You might craft alternate melodies by placing emphases on different syllables, words or combinations of words. For example, if your title is \u201cI Know I Can Write a Hit,\u201d you could emphasize the words in boldface (below) by holding them out longer or assigning them higher notes:<\/p>\n I\u00a0KNOW<\/strong>\u00a0\u2013 I Can Write a Hit Explore different note choices\u2014try ascending or descending notes; try different rhythms within the vocal melody\u2014including long, legato notes and choppier rhythms. You might also see how your melody works at different tempos.<\/p>\n Yet another way to craft alternate melodies is to repeat some of your syllables, words or combinations of words. For example:<\/p>\n I Know\u2014I Know<\/strong>\u00a0\u2013 I Can Write a Hit You might also try using nonsense syllables to create an added melodic hook. For example:<\/p>\n Oh, Oh, Oh, Oh<\/strong>\u00a0\u2013 I Know I Can Write a Hit For good examples of this tool being used in various genres, listen to Feist\u2019s \u201c1234\u201d (Feist\/Sally Seltmann), Beyonc\u00e9\u2019s \u201cSingle Ladies (Put A Ring On It)\u201d (Stewart\/Nash\/Harrell\/Beyonc\u00e9) and Jake Owen\u2019s \u201cBarefoot Bluejean Night\u201d (Paslay\/Altman\/Sawchuk).<\/p>\n You can also try a variety of different chords to accompany your melodies. Sometimes, a new way of harmonizing your melody can be just the ticket it needs to bring it to life.<\/p>\n In some instances, the very first melody that flows from you will indeed capture the magic\u2014but you can\u2019t be certain of that until you\u2019ve tried to make it even stronger. After you\u2019ve explored a variety of melodies you can always go back to your first melody\u2014if that\u2019s the one you prefer.<\/p>\n Remember: If you don\u2019t give the decision-makers and your listeners a reason to choose your songs over the competition\u2014they won\u2019t. Rewrite your melodies until they are distinctive, fresh and instantly memorable. Push the creative envelope while remaining consistent with the genres you\u2019re targeting. Don\u2019t settle for less than your very best. Your career is riding on it.<\/p>\n
\nI \u2013 KNOW<\/strong>\u00a0\u2013 I Can Write a Hit
\nI Know I\u00a0CAN<\/strong>\u00a0\u2013 Write a Hit
\nI Know I Can\u00a0WRITE<\/strong>\u00a0a Hit
\nI Know I Can WRITE a\u00a0HIT<\/strong><\/p>\n
\nKnow\u00a0I Can\u2014I Can\u2014I Can<\/strong>\u00a0Write a Hit<\/p>\n
\nI Know\u00a0EYE\u2014EE-EYE-EE\u2014EYE<\/strong>\u00a0Can Write a Hit<\/p>\n