Songwriter Advisor Blog

Structuring your songs with consistent rhyme patterns and phrasings is an excellent way to write cohesive, memorable songs, but you can easily end up with lyrics that sound too stiff or even manufactured.  Many times all it takes is working out each line, one by one or in pairs, so that each line flows seamlessly into the next.   

Here’s an example first draft of a first verse with the number of syllables in parentheses:

(4)  Another night
(5)  I’ll call out your name
(7)  The only one who answers
(5)  Is the pouring rain

(4)  I will pretend
(5)  I’m feeling your hands
(7)  I’ll let you have your way if
(5)  You don’t leave again

Notice the number of syllables in each section are exactly the same, i.e., “Another night,” and “I will pretend.”  “I’ll call out your name,” and “I’m feeling your hands.”  This lyric, aside from needing work to bring it more into focus, so it makes more sense and flows better, is extremely rigid because the phrasing of the lyrics is too methodical and unnatural.  When writing a first draft, look at each section (from 4 to 6 lines at a time – in this case 4), and try to figure out how to make sense of that particular section so that it sets up the next part.

What we want is something more like this:

(6)  Another restless night                  old line:  Another night
(5)  I’m calling your name                    old line:  I’ll call out your name
(7)  The only one who answers           old line:   The only one who answers
(5)  Is the pouring rain                        old line:   Is the pouring rain

This is flowing much better so let’s continue: 

(6)  Once again I’ll pretend                  old line:   I will pretend
(5)  The drops are your touch              old line:   I’m feeling your hands
(8)  I’ll let them fall all over me            old line:  I’ll let you have your way if
(6)  Until I’ve had enough                    old line:   You don’t leave again

Much better! Notice I took out the stiffness of the first line, “Another night”. The phrasing was changed from this: “Another night” (pa-dah-da-da) to “Another restless night” (pa-DEE-da  DA-da-dah). The phrase “Another restless night” flows and rolls off the tongue more naturally.

So this is what we have so far:

Another restless night
I’m calling your name
The only one who answers
Is the pouring rain

Once again I’ll pretend
The drops are your touch
I’ll let them fall all over me
Until I’ve had enough

In summary here are some ways to loosen your lyrics:

1. Pick out the most important word in each line and try to substitute it with a synonym, related word, or antonym. E.g., in the first line we have so far, I would focus on “night” because it tells us when the song is occurring. If I changed this word  to “day” (antonym), maybe my first line would be, “I’ll spend another day” or “I’ll spend a whole new day,” This would open up new ideas and ways of saying that particular line, and would quite possibly change the whole complexion of the song. One good word can guide and reel the listener in, and one misused one can lose your listener.

2.  Get into the habit of consciously trying to say and sing your lines the way you speak them naturally, and try not to force a word or words into a line because you’re stuck for a word! If you get stuck, don’t settle-move to the next line; chances are that previous line will become clearer to you and write itself!

3. In one line, write two or three words in legato style (phrasing joined together and smooth), and finish that line by pausing for a breath before singing the last two or three words staccatto style. I.e., in Flo Rida Featuring will.i.am’s big club hit “In The Ayer” the first line is simple but a great example of this but in reverse of the above suggestion, “(staccatto) Oh-hot-damn (pause) this is my jam (”this is my” has more of a “legato” feel ).  In other words, let your lyrics breathe and don’t just use too many straight quarter notes in a row unless you’re going after a certain, intentional effect! 

When the music industry refers to a musician as having an original style, it’s usually because that person has distinguished themselves by daring to be different, by consciously trying not to sound like any other musician, and by working hard to let their talent develop naturally. As a songwriter, if you really want to be successful or at the very least, musically appreciated, you should take it upon yourself to consciously try to be original. 

“Being original” in songwriting can mean anything from writing totally “off the wall” songs, to merely having a knack for amazing rhymes and wordplay, to having a certain cool vibe among so many other possibilities.  There are literally an infinite number of possibilities to make yourself a unique songwriter.  In other words, you can have your own “signature sound” by learning songwriting, and allowing yourself to develop naturally while searching for your unique voice.     

With a little patience and persistence, it’s fairly easy for anyone to learn songwriting basics and apply them quickly to your own original compositions.  Regardless of the songwriting genre you prefer, whether it be Pop, R&B, Dance or otherwise, once you have the basics down, at some point you’ll probably wonder “if, when, and how” you will develop your own, original style.     

To set yourself apart from the rest of the bunch it’s absolutely imperative that your songs stand out far above the rest.  It’s important to realize there are many great songwriters competing with you either locally or nationally, and that those songwriters are your direct competitors.  As a musician, I prefer to think of them as “friendly competition.” 

Songwriters who are your friendly competition hold so much valuable information in their heads and most of them are willing to share their knowledge through workshops and while networking through local and regional songwriting organizations just to name a few.  This is why it’s important to get out there and show your work and exchange tips and ideas through whatever type of worthwhile medium you can find.  The more influences and information you have, the easier it will be to find your own, unique songwriting style.

All songwriters have what I call a unique perspective of music, therefore they naturally and instinctively have their own inner music voice.  We all develop different “likes” and “dislikes“ when we first begin to hear music during our childhood years.  What happens?  Here’s what happens as your musical taste evolves; the music you know and love (likes) is absorbed into your brain and becomes an integral part of your being, whether consciously or subconsciously, and your mind filters out music you don’t like (dislikes).

Then, when you begin learning about songwriting, your musical tastes and influences become splattered into your songwriting like paint to a wall!  Oh, it might be a little messy at first but as you keep working hard on your craft the mess soon appears to become an actual work of original art!   

One last, important point to remember; every musician on this planet has been influenced by another musician before them.  The key to eventually being original lies in using those influences to help guide you into new, undiscovered territory!