songbuilder’s blueprint...songbuilder’s blueprint to make sure you’ve chosen the best...

SONGBUILDER’S BLUEPRINT

SONGBUILDER’S BLUEPRINTSongs 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•Maystandaloneandstillcommunicate•Original,fresh,alliterationaplus•Poeticphrase/artfullanguageina

conversational setting

MUSICAL INTRODUCTION “INTRO” Generally four to eight bars, establishes style, tempo,melodichook/riff,andoverall“feel”ofthe song and sets up VERSE 1

©Copyright2016NashvilleChristianSongwriters.AllRightsReserved.2

L1

•Setstone,theme,perspective•Maycontainconflict/tension/question•Somewhatgeneral,butcleartheme•ProvokesinteresttohearL2

VERSE 1 Spotlightontheme/bulkofinformationtosetup resolution in CHORUS

L2

Builds from L1•Expandsstory/thoughtprogressionenough

to peak more interest•Remainsconsistentintoneandperspective•Nonewconcepts/consistentwithone

big idea

L3

Builds logically from L2•Addstension,reflection,information•Remainsconsistentintoneandperspective•Nonewconcepts/consistentwithone

big idea

©Copyright2016NashvilleChristianSongwriters.AllRightsReserved.

L4

Leads logically to CHORUS•Completeslines1-3’sthoughtprogression/

story•Remainsconsistentintoneandperspective•Nonewconcepts/consistentwithone

big idea•Setsupthe“onlylogicalconclusion”of

chorus (if no pre-chorus is being used)•Leavesroomforpre-chorus(channel)toset

up chorus as only logical conclusion after verse/pre-chorusSETUP

3

L1

•Asksquestion/slightsidestepfromverse•Related/provocative/mayextendtension•SetsupL2 to lead into chorus as ultimate

choice, outcome, solution, payoff

PRE-CHORUS ChannelofthoughtnecessarytosetupCHORUS, usually no musical break before CHORUS

L2

•CompletesL1 thought progression•Extendstension/question•Leadsintochoruspayoffasultimate

solution

©Copyright2016NashvilleChristianSongwriters.AllRightsReserved.4

L1

•Emotionalreleasepoint(the“A-ha!”moment)•Maycontainhookassolutionhereand/or

at end •Crystallizesonebigidea•Singable,memorable•SetsupL2

CHORUS “Manypeoplesingingthesamething”-oftenmusically/lyricallycontrastingsectionfromVERSES

L2

•Mayrepeathook/maynot•Supports/solidifieshook•Nonewconceptsbutmayreveal

more insight•SetsupL3


L3

•Mayrepeathook/maynot•Maycontaina“plottwist”thatmakes

L4 unique•Oftenistheonelinethatfullyexplains/

validates hook•SetsupL4asthemostsatisfyingpayoff/

release

L4

•Mostoftencontainshook•Powerfulrelease/payoff/solution/resolution•Singable,memorable

5

L1

•Logicalcontinuanceofonebigideafromafresh perspective or new angle that further explores or enhances one big idea

•Notanewconceptoridea•Adifferentspotlightontheonebigidea•SetsupL2

MUSICAL INTERLUDE OR ‘TURNAROUND’

Generally four-bar musical segment much like INTRO to set up VERSE 2

L2

•Asbefore,butexplainsoroffersdeeperinsights

•Nonewconceptsorideas•SupportsL1 and the one big idea•SetsupL3


L3

•Maycontinueinsightsordeepentension•Nonewconcepts/ideas•SetsupL4

L4

•A“mini-payoff”thatleadstoPRE-CHORUS or sometimes back to CHORUS

•Nonewconceptsorideas•Mayresolve,reinforce,oraskquestionthat

only the one big idea answers

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

6

L1

•AphraseunusedinVERSES/CHORUS•Introducesfreshthought,butconsistent

with one big idea•Mayaskquestionorintroducefreshtension•Musicshiftsnoticeably(differentchord

progression, pace, etc)•SetsupL2

REPEAT PRE-CHORUS, OR

REPEAT CHORUS (as above)

Generally four-bar musical segment much like INTRO to set up VERSE 2

L2

•Mayextendtensionoraskanotherquestion•SetsupL3


L3

•Mayaskyetanotherquestionorbegintoresolve questions from L1/L2

•Stillsupportsonebigidea•SetsupL4

BRIDGE (“Middle Eight” or “Release”) 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

7


L4

•Resolvesquestionsorpointsbacktoonebigideaastheonlylogicalanswer/payoff/resolution

REPEAT CHORUS(ES) AS NEEDED

ENDING OR ‘OUTRO’ MusicalinterludemuchliketheINTRO that may fade or end altogether

IMPORTANT SONG BUILDING TOOLSStoryline, Thought Progression-YoursongmustleadthelistenerfromPointA(verses/pre-choruses)toPointB(thepayoff,resolution,orsolutioninyourchorus).Ajumbledorincongruent 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-Eachlineandeachsectionshouldnaturallymovetowardsthenext.Examinethethoughtprogressionandstorylineineachsection,butbesuretocheckthelast line in each section to make sure it wants to move the listener to the next building block.PatPattisonsays,“Motioncreatesemotion;knowinghowtomakestructuresmoveallowsyoutosupportyourideasonawholenewlevel.”(WriteBetterLyrics,p.2)

8


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 immediatelyprecedingand/orfollowingit.Linesbuildupononeanotherlikeajigsawpuzzle, both creating and fulfilling each other’s need for meaning and reason to exist. Readingorsingingonelineafteranothershouldflowasthemostlogical,poetic,andcompleteprogressiononthesubjectbeingwrittenabout.

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 astheirown.Examineyourlyrictomakesuretherearenowords,phrases,orimagesinconsistent with the overall theme.

Melodic Hooks, Riffs, and Motifs - A memorable vocal or instrumental hook used in theINTRO,TURNAROUNDS,andOUTROSmaybederivedfromtheCHORUS’hook,sungas“Oooooh’s,”orevenwiththelyrichookasapre-shadowingofthebigpayoffinthe chorus. These musical themes, or motifs, set the stage and keep the hook fresh and memorablebyreinforcingthemthroughoutthesong.CheckoutCastingCrowns’Thrive for an example.

Point of View (Perspective)-YourchoiceofPOV,the“voice”fromwhichthestoryistold,isimportant.First-personmeansthesingeristhestoryteller(“I,”“me”)andistypicalinlovesongs.Insecond-personmode,thesingerisspeaking“to”anotherpersonandisreferredtoas direct address (“you,” and “your”). Third-person means the singer is singing about others (“he,”“she,”“they,”“them”).POVcontrolstherelationshipwithyourlisteningaudienceandisa key factor you must control throughout your song, i.e. don’t mix perspectives.

Contrast - SongsectionsSHOULDcontrast,atleasttosomedegree,toaddinterest,movement, and freshness. A verse may have short, rhythmic lyrics and melodic phrases that arethencontrastedwithelongatedphrasesinthechorus(orviceversa).Lyricsmayalsocontrast from verses to choruses, building tension and release from negatives to resolutions. Building contrast into your song melodically, rhythmically, and lyrically makes each section freshandaddstotheoverallstrengthofthesong.Contrastispartoftheoverallcontourofthe song, helping to make each section stand out on its own power and merits.

9


Prosody-Referstothewaywordsandmelodiesworktogether,aswellastotheoverallunity,strength,andcohesivenessofyoursong.Eachphrase(lyricallyandmusically)eitheradds strength or weakens the song. As you learn to make each word, phrase, and syllable count,thesongbecomesstrongerandstronger.Editingouterrantwords,images,andeven 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.Choosingthebeststructureforyourmessageisamatterofexperienceandmaturity. 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 basicstructuresavailable,thenbuilduponyourknowledgeasyouprogress.Nowthatyou’re learning about song structure, you’ll naturally start thinking about songs on the radio in a whole new way.

10

songbuilder’s blueprint...songbuilder’s blueprint to make sure you’ve chosen the best...

Documents