One thing I came across in my songwriting journey that changed my approach forever is define the spirit of the song. What I mean is find a message/feeling that the song is trying to convey (heartbreak, lust, partying at 4am, etc) and use that the drive all your musical decisions. I find when I try to use music to describe a feeling everything ends up falling into place much more smoothly. Then all I have to do is ask myself "how do I bring the spirit of the song to life?". Great video as usual Andrew, I will keep these tips in my back pocket!
That's really helpful of you to explain. I've heard that said before but it's important to me to try and get as close to an aesthetic as I possibly can.
@@icantthinkofanything798 That's right, too often we get stuck in the technical aspects of music and forget that the whole point is to get the listener to feel something. At the end of the day that's all that matters, and it's a good way to move forward when you get stuck on a song.
This cannot be understated. I especially find this idea useful when writing guitar solos - there are so many things you could play and many guitarists will just shred all the way, but when you know what you want to say you'll probably write something more original and fitting to the song.
I always find it helpful to not over think things when you’re first starting a song. Think of it as a first draft that you can always change later. But it’s easier to get some down and tweak later than trying to come up with the perfect part at the get go
I really feel that, I haven't ever personally made a song, but I have been trying to and I get so caught up in the details at the start that I burnout, definitely gonna try this. Thank you
so much agreed. I find that making something I know is bad, then making something that harmonizes with it, and then *tossing the first thing and improvising something new to harmonize with it*, can be really cool for building up the initial structure.
Alton Wright keep going. It’s really rewarding even if you’re not loving what you’re making. It’s taken me years to get comfortable writing lyrics especially. Also a little music theory can go a lonnnng way
when writing, I deliberate put a place I like to call the "brain dump" where I put any thoughts and garbage that could MAYBE be a part of the song later.
This video made me feel pretty good about the last song I finished. I used all five tricks (at least somewhat) without even really thinking about it. 1. Change the established chord - the final loop did this, though only a different mode 2. Make them wait - was the primary trick I used between parts 3. Subtract for impact - was used inside every verse, and also each verse toned down the intensity overall 4. Dip at the start of verse 2 - for me it was verses 3 and 4 which did this, but close enough 5. Shorten verse 2 - again, it was verses 3 and 4, but still It was literally the first time I've seriously attempted a song in a DAW instead of using dawless hardware methods, so I tried to make it simple... just a four-chord song with no plan in mind, merely jamming and then arranging some of the better parts into a song. But it went well, and it's helpful to see Andrew clearly articulate *why* it went well.
I'm teaching a songwriting class tomorrow and seeing the same points im going to touch on in this video kind of eases the anxiety. Maybe I do know what I'm talking about haha
Hi Andrew! I've never noticed the quieter start to the second verse, but I just listened to a bunch of other songs and that's SO COOL!!! I'll definitely be taking your class next month!!! Keep up the AMAZING work!
It's very overdone, though (that's why people call it the Eurovision modulation or the Disney modulation). It can be done in really awesome ways (“Mein Herr” from Cabaret combines it with giving the full lyrics to the choir and letting the main vocal stay in one sustained note) but modulation can be used in other fantastic ways. Two examples: “Love on Top” by Beyoncé modulates upwards SEVERAL TIMES and it's joyful and awesome. “Nemo” by Nightwish does it halfway through the SECOND VERSE.
he sounded so good! now I want a whole song based around that sound, maybe put it through some light processing with an eq or multiband slappy compressor to bring out the sharpness of the high harmonics
all these tips are awesome wow, usually when i see a “tips to improve your songs” it’s like,, “have you melody follow a question and answer pattern” or “have a part of the song that changes”, like suuuper obvious or vague stuff. this video, however, makes me feel like my songs are gonna be a little bit better just from watching this video and having these ideas in my head. andrew huang best songwriting teacher
After almost 40 years I just recently learned that there is a different version with more drums right from the beginning (th-cam.com/video/YkADj0TPrJA/w-d-xo.html ). 😵 How annoying compared to the more sparse version I was used waiting to for decades (th-cam.com/video/MN3x-kAbgFU/w-d-xo.html ). 😍
Agreed, thats what makes it so cool- it takes an ENTIRE song's length before we get to the payoff, which is the super awesome drum fill into the chorus. The parts before it though are interesting as well, so the song as a whole is great, and not just the climax part. 👏
I often use that technic (the third one I think). I always subtract elements during the build and rarely add more. The smaller the build, the bigger the drop. A sneaky method to making the drop sound bigger and louder is to subtly automate the master volume down so that the build gets quieter and goes full volume again for the drop.
Starting immediately with the chorus is also a great way to hook people. If that's a bit much for your song, you can try playing around with some elements of the chorus rather than bringing it in fully. Like taking out vocals, or playing it more softly.
Shameless plug to sign up for the online course! I did it in April. It was a wild ride but I learned a ton and now have 6 complete songs that I didn't 6 weeks ago.
One of my voice teachers suggested playing with different emotions during a song, in order to exaggerate certain qualities. Also changing from clear pronunciation to messy, changing up EQ from verse to verse etc. Thanks!
I'm not an expert but some things I've done that have helped: I got to a big moment at the end of the bridge and needed a way to get back to the verse. But it was just jarring to jump into that verse. I muted the drums for one measure of that verse then unmuted. It really worked smooth out the two parts that seemed to be in conflict with each other. I sometimes change up my effects between verses, especially time based/rhythm based effects like delay. If you have a delay set to a musical division in verse one, change it up for verse two. You can even mute the sends rhythmically to create even more weirdness. It works and from a creative standpoint, it's CHEAP. Want to create a bridge but don't know what to play? Take your melody and shift it earlier by half a measure. You can keep the first half as a pickup or just mute it. Now you have something that still works in the same key, is related, but now sounds really different. This stuff doesn't always work. But they are pretty quick to audition and see if some sparks fly. If it doesn't bog you down creatively, then use it.
I have been producing for 11 years now and I've been apart of a lot of communities but one thing I can say Is I've never seen someone so positive and so dedicated to educating people, I've taught many friends how to get started writing their own music and explaining things can be very hard It's one thing to know something and another to put it into words and I can tell you definitely put a lot of work into these videos thank you for everything you do on this channel keep it coming
When I want to have more interesting song structure I will listen to a song from a completely different genre and use that song’s structure to influence the flow of my own song. Don’t know how to transition from chorus to verse in your pop song? Listen to a transition from a rock song and go with that. Most of the time it adds a new dimension to your track. Love your tips man!
One of my favorite things I like to hear in a song is when the second verse is used as a platform for a new idea. Usually verses are not good enough to hear twice, and even beyond singing the part a little differently, I think the best songs often make the second verse so different from the first, that it's almost like you are getting 2 different bridges. I am not a fan of too much repetition generally, and capable artists can usually take a theme and run with it as opposed to reaching for a thing that works and repeating it. Play with shit, experiment. There are so many directions you can go with any given part, let your mind explore on that second verse. Make it so the bridge has to compete with how good the second verse is, then you know you are onto something.
An aspiring young songwriter here! I've been writing songs even from as young as like a little elementary kid, and now it's just a passion for me as a teenager. Back then though, I was TERRIFIED to pick an instrument. Never learned one (I know I'm weird). I've only been writing songs melodically and just, wrote them down, imagining what it could be. I discovered that I wasn't the only one and found a bunch of people who were just as afraid as I do. Fear of failure, I guess? There are so many talented people out there. I almost gave up on song writing. Andrew, though, you're one of the people who inspired me to pick up an instrument and I'm going to continue learning now. Thank you.
That first trick is such a simple one that gets me every time when I hear it. Just a change in one chord on a chorus can change the feel of the same melody in such a subtle but cool way. I would guess most people usually don't catch that, but I always love that. When I write, if I ever have a little trouble deciding on which chord should go next, after I make my decision, I try to keep the second choice in my pocket for one time use somewhere.
I really loved every moment of this video. You're probably not gonna see this, but you, Virtual Riot, and acestoaces are the people who inspired me to start producing my music back in 2016, and seeing your channel grow really warms my heart. Love from Shanghai! -Sinex
"Don't bore us, get to the chorus". This is true for most songs but I think the more important part of this quote is "Don't bore us". Some of my favorite songs to listen to have a longer 2nd verse and I think the reason it works is because their 2nd verse are interesting and not just a rephrasing of the 1st verse. In the first place, I won't be bored if I love the verses.
A rule of thumb I used when I started out writing lyrics was: describe what you want to say in the verses, then say it in the chorus. Very useful for writing chatty pop song. Eg Ed Sheeran: you need me, I don’t need you. :) hope this helps
That extra bar in “Falling Slowly” has an extra layer of added effect when you consider that the line before that pause ends with “play themselves out” ;) Great video Andrew!
Dude, I'm writing songs for 20+ years, but this was refreshingly reminding! Not just for beginners, but when you're going through the motions, nice stuff! Also, I like the sound of your songs! Sounds different and fresh!
Making us wait! Great tutorial bro. One technique that I use is to use Inverted Chords which gives a bit better color than a usual chord. Keep these videos coming
One cool trick I like to use in the same vein as "Subtract For Impact" is the "Stripped Third Chorus," where you repeat your chorus but soften the tone and strip down the arrangement. It works exceptionally well for emotional songs but I find that it can actually work for every mood if done properly. The lack of big, loud instrumentation really enhances the few things that appear on that third chorus. You can even follow it up with a bigger, louder fourth go, if you're confident it won't be boring!
you continue to be one of the best resources for songwriting and production, even when i fade away for some time. thanks for being so damn consistent when i fail to be.
Here's a thing I do! For more complex / highly produced music, I bus all my instruments together by type (which is a great idea for so many other reasons) but that allows me to treat each bus / group as a single instrument when writing. For example if I want to remove the bass parts for a section I can treat them all as one layer and do some filter sweeping/eq/other fx tricks to facilitate that transition while still keeping the song intelligible because each grouping of sounds is acting as one element in terms of arrangement. Like Andrew's video on layering: bringing it to life without cluttering it up
Here's some tricks I used in a song. I have a song from an upcoming album called Warrior Of Tomorrow. Trick 1: The second pre chorus is twice as long to bring in a new lyric. The line, "Don't shoot too high". Trick 2: The 3rd verse is longer to bring in the lyric " Shining steel can't hide the war that he's losing". Trick 3: The last pre chorus is not a thing! Trick 4: The last chorus is WAY different. The chorus vocal is merged with the outro. The outro is just a bunch of layers of percussion. I put the chorus vocal over that and as the outro comes to a close, the vocal gets filtered out to oblivion. Feel free to use these tricks in any tracks you do.
This is the exact theory-lite content I want. Broad enough to not alienate less experienced viewers but practical applications of real techniques based in theory all the same.
I used to only click on your vids sometimes but, because of the awesome community, all the positivity and the cool music, I always watch your uploads and even rang that bell.
I feel very encouraged by that video in trusting my ears and experience cause I happen to know and use these things without knowing that I do. Thanks so much!
These are amazing and every single one I was like “Oh yeah, these things really *are* everywhere!” Especially Thing #4: Dip the Start of Verse 2. I swear nearly every single pop song in existence does this. Even rock tunes in the 90s/00s would have the second verse just be bass guitar and drums for the start of it.
One thing I really like to do, which builds off of your point about taking elements away for impact: making creative use of silence. The chorus is super impactful when you take things away right before it, and there's no bigger impact between going from nothing to full-throttle. Or the opposite: going from super loud and in your face, to total silence. It's really powerful. Also, SPARKLE MOUNTAIN HYPE!
If the drop section of your song has a different chord progression it’s sometimes rly cool to take that different chord progression to the 2nd verse for a progressive feeling
Andrew, your videos are always such a wealth of information. I've created so many text files with great tips such as ones in this video. I can't thank you enough!
To add a bit to Thing 3, what I like to do leading up to my drops is put an EQ and a stereo imager on the master, then gradually cut the lows and tighten the width until right when the drop hits. Works almost every time.
I'm revamping old songs I wrote when I was 18. I actually did the shorter second verse all the time, but in many I felt there wasn't enough. So what I'm doing in the ones that I feel need more, is I completely change the second half of verse 2 into something else (or do a key change, or switch up a chord or two around the original melody) this gives it a mini bridge feel before the real bridge.after the second chorus
I like the idea of changing the chords to 'uplift' the music. I've always thought that reflecting the 'feeling' in the lyrics with the music. Such solid advice, thanks man!
Thank you for using Falling Slowly as an example here! Glen Hansard and the band 'The Frames' are probably the best Irish band ever and they have such a wide range of songs. Also, later on in the song Falling Slowly, as Glen plays the F chord leading to the chorus, you can also hear a B♮ (I guess making it a ♭5 chord?) . Anyway, that also adds to the build up to the chorus since the B wants to resolve to the tonic C, which is also the first chord of the chorus. The payoff for the listener is greatly increased, because you know where you expect the F chord to take you after hearing it the first time, but you also get that resolution of the B to C. Amazing. I strongly recommend people check out The Frames!
Often times in modern pop songs, a staple technique is bringing every hook together at once in the final chorus. Also, I always double the final chorus and build it up or change details slightly to deliver more of what the listener wants while keeping things fresh!
Mikko J. Heikkinen yeah! Sometimes, just like how Andrew mentioned changing one chord, you can change one word from earlier choruses or prechoruses and bring a whole new level of meaning to the song
@@JACKSONPRYORBENNETT Yup! I think I have to look at these more subtle changes in the future. Sometimes I tend to change full lines if it fits. But one word could be enough. Thanks for insights man !
Sidechaining using things other than the kick. Using the kick to sidechain a compressor on the bass or a pad sound is a nice trick, but if you use something other than the kick to control it (strummed guitar parts are good, or even using the bass as the sidechain trigger), you can get some interesting results.
I like to double the verse but with some change like keeping the bass guitar consistent but having the guitars play higher/different notes and/or have the drums change. Similar to adding a measure or two you can also subtract measures like from the second prechorus to make the song force the listener forward. Another trick from the emo days is having alternative choruses like quieter chorus or louder chorus with layer vocals.
I actually used the subtract to impact suspension on a track I'm working on, and then watched this video without knowing it would help. I just thought it sounded cool so I did it, lol. Thanks the the advice my dude =D.
"making u wait", like in Elysian - Moonchild, when the main part finally drops after a very long (and beautiful) break, you just wait and wait and wait for that chord change. Its such an relief when they finally change the chords and then back again. Its actually brilliant because it always makes me want to listen to the drop again
I've been hearing such in classical and exploring in my on compositions - but Mr. Bill introduced me to the term for it; Hocketing: "the rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests." This technique is SUPER easy to master when composing with MIDI note data, parsed between different instrument tracks. The result is great when you want to retain the same musical phrasing with the controlled chaos of voices trading dominance of a melody or progression.
re: switching up chords - play the /parallel major/ OF the /relative minor/ of the tonic chord for some super dramatic effect. Song is in C? throw in an A Major chord where you'd normally play an A minor. See what happens. See: Danger Mouse, Elliott Smith, Pink Floyd
One thing I came across in my songwriting journey that changed my approach forever is define the spirit of the song. What I mean is find a message/feeling that the song is trying to convey (heartbreak, lust, partying at 4am, etc) and use that the drive all your musical decisions. I find when I try to use music to describe a feeling everything ends up falling into place much more smoothly. Then all I have to do is ask myself "how do I bring the spirit of the song to life?". Great video as usual Andrew, I will keep these tips in my back pocket!
That's really helpful of you to explain. I've heard that said before but it's important to me to try and get as close to an aesthetic as I possibly can.
@@icantthinkofanything798 That's right, too often we get stuck in the technical aspects of music and forget that the whole point is to get the listener to feel something. At the end of the day that's all that matters, and it's a good way to move forward when you get stuck on a song.
This cannot be understated. I especially find this idea useful when writing guitar solos - there are so many things you could play and many guitarists will just shred all the way, but when you know what you want to say you'll probably write something more original and fitting to the song.
That is really great. Intentions stay true to the heart and and mind of the song beast😅
This helped me a lot.Thank you!
I always find it helpful to not over think things when you’re first starting a song. Think of it as a first draft that you can always change later. But it’s easier to get some down and tweak later than trying to come up with the perfect part at the get go
I really feel that, I haven't ever personally made a song, but I have been trying to and I get so caught up in the details at the start that I burnout, definitely gonna try this. Thank you
so much agreed. I find that making something I know is bad, then making something that harmonizes with it, and then *tossing the first thing and improvising something new to harmonize with it*, can be really cool for building up the initial structure.
Alton Wright keep going. It’s really rewarding even if you’re not loving what you’re making. It’s taken me years to get comfortable writing lyrics especially. Also a little music theory can go a lonnnng way
Lauren yeah that sounds like an interesting way of writing
when writing, I deliberate put a place I like to call the "brain dump" where I put any thoughts and garbage that could MAYBE be a part of the song later.
I like how you take your time to demonstrate us everything with examples! Makes it way easier to understand! Thumbs up! Super fan. Of you
:)
damn, i wish i could hang out with him someday.
Daniela Yabut got $279? Join the class!
Daniel Torres 👍🏼👍🏼
Plus he gets to flex his songs at the same time 🤷🏻♂️🔥
It always makes me feel so smart when you bring up a "songwriting trick" that I've just instinctually used without thinking about it before.
Big brain.
This! I Literally used the last one of the most recent song I wrote
Sam that’s nuts 🔥 hopefully I’ll be able to listen to your work
This video made me feel pretty good about the last song I finished. I used all five tricks (at least somewhat) without even really thinking about it.
1. Change the established chord - the final loop did this, though only a different mode
2. Make them wait - was the primary trick I used between parts
3. Subtract for impact - was used inside every verse, and also each verse toned down the intensity overall
4. Dip at the start of verse 2 - for me it was verses 3 and 4 which did this, but close enough
5. Shorten verse 2 - again, it was verses 3 and 4, but still
It was literally the first time I've seriously attempted a song in a DAW instead of using dawless hardware methods, so I tried to make it simple... just a four-chord song with no plan in mind, merely jamming and then arranging some of the better parts into a song. But it went well, and it's helpful to see Andrew clearly articulate *why* it went well.
I'm teaching a songwriting class tomorrow and seeing the same points im going to touch on in this video kind of eases the anxiety. Maybe I do know what I'm talking about haha
Yah! Teach em good!!
Hi Andrew! I've never noticed the quieter start to the second verse, but I just listened to a bunch of other songs and that's SO COOL!!! I'll definitely be taking your class next month!!! Keep up the AMAZING work!
It's very overdone, though (that's why people call it the Eurovision modulation or the Disney modulation). It can be done in really awesome ways (“Mein Herr” from Cabaret combines it with giving the full lyrics to the choir and letting the main vocal stay in one sustained note) but modulation can be used in other fantastic ways. Two examples: “Love on Top” by Beyoncé modulates upwards SEVERAL TIMES and it's joyful and awesome. “Nemo” by Nightwish does it halfway through the SECOND VERSE.
“This is low for my range” *proceeds to sound like an angel*
I think he said that not to pretend to be humble it was to say its funny how low in his range is still pretty high
he sounded so good! now I want a whole song based around that sound, maybe put it through some light processing with an eq or multiband slappy compressor to bring out the sharpness of the high harmonics
He really is a tenor for surr
The verse was clearly not working for him, but when he got to the chorus it sounded great
@@Millie-um2bi Yeah you can tell his vocal range really fits the chorus
1.99 Million! We are almost there!
Yesssir
OMG NO WAY. i am a very very beginner songwriter and just today I was searching for tips for songwriting, and then you post this? 😱
Aw good for you :) I hope you make something you're proud of
@@icantthinkofanything798 thanksss
The course is super worth it, by the way.
Welcome to a whoooole new world!
Thank you guys for all the nice comments!
all these tips are awesome wow, usually when i see a “tips to improve your songs” it’s like,, “have you melody follow a question and answer pattern” or “have a part of the song that changes”, like suuuper obvious or vague stuff. this video, however, makes me feel like my songs are gonna be a little bit better just from watching this video and having these ideas in my head. andrew huang best songwriting teacher
America says: "We love a chorus"
But don't get complicated and bore us
Though meaning might be missing
We need to know the words after just one listen
so, repeat stuff (x3)
repeat stuff (x3)
@@13372p34k repeat stuff 3x reacharound combo
this is a great comment
@@PsiVolt This thread went from Andrew Huang to Bo Burnham to Homestuck so fast I got whiplash
Homestuck? Where?
What a talent. Not only being a great singer, writer, and producer, but also a great teacher.
“In the air tonight” by Phil Collins is one of the songs that make you wait. And wait. And wait a little more.
After almost 40 years I just recently learned that there is a different version with more drums right from the beginning (th-cam.com/video/YkADj0TPrJA/w-d-xo.html ). 😵 How annoying compared to the more sparse version I was used waiting to for decades (th-cam.com/video/MN3x-kAbgFU/w-d-xo.html ). 😍
Agreed, thats what makes it so cool- it takes an ENTIRE song's length before we get to the payoff, which is the super awesome drum fill into the chorus. The parts before it though are interesting as well, so the song as a whole is great, and not just the climax part. 👏
I love it when a song brings the last chorus up a half step in pitch, just gives it that bit extra rise of energy to make it feel climatic
@fjf sjdnx A Disney modulation is going up a whole step, not a half step. Similar effect, though.
"Living on a prayer" by Bon Jovi is an awesome example of this
@@kravvall4869 Seasons in the Sun is the best example ever.
Why not a quarter step (like Jacob Collier does)
Ah is that also called a key change?
I often use that technic (the third one I think). I always subtract elements during the build and rarely add more. The smaller the build, the bigger the drop. A sneaky method to making the drop sound bigger and louder is to subtly automate the master volume down so that the build gets quieter and goes full volume again for the drop.
Hi
Starting immediately with the chorus is also a great way to hook people. If that's a bit much for your song, you can try playing around with some elements of the chorus rather than bringing it in fully. Like taking out vocals, or playing it more softly.
I stayed on the end card just to listen to the clip from Sparkle Mountain.
Shameless plug to sign up for the online course! I did it in April. It was a wild ride but I learned a ton and now have 6 complete songs that I didn't 6 weeks ago.
One of my voice teachers suggested playing with different emotions during a song, in order to exaggerate certain qualities. Also changing from clear pronunciation to messy, changing up EQ from verse to verse etc.
Thanks!
Congrats on 2 mil subs
I'm not an expert but some things I've done that have helped: I got to a big moment at the end of the bridge and needed a way to get back to the verse. But it was just jarring to jump into that verse. I muted the drums for one measure of that verse then unmuted. It really worked smooth out the two parts that seemed to be in conflict with each other.
I sometimes change up my effects between verses, especially time based/rhythm based effects like delay. If you have a delay set to a musical division in verse one, change it up for verse two. You can even mute the sends rhythmically to create even more weirdness. It works and from a creative standpoint, it's CHEAP.
Want to create a bridge but don't know what to play? Take your melody and shift it earlier by half a measure. You can keep the first half as a pickup or just mute it. Now you have something that still works in the same key, is related, but now sounds really different.
This stuff doesn't always work. But they are pretty quick to audition and see if some sparks fly. If it doesn't bog you down creatively, then use it.
I have been producing for 11 years now and I've been apart of a lot of communities but one thing I can say Is I've never seen someone so positive and so dedicated to educating people, I've taught many friends how to get started writing their own music and explaining things can be very hard It's one thing to know something and another to put it into words and I can tell you definitely put a lot of work into these videos thank you for everything you do on this channel keep it coming
CONGRATS ON 2 MILL!!!!!!!!!!!!
Oh my goodness the musical Once is why I started writing music and Andrew is why I started production! Wild to see Once come up in one of these videos
You're almost at 2 mill subs! Lets get you to the top of youtube mountain!
Thanks Jessica!
@@andrewhuang No problem! Your videos have helped me so much through my university work so a big thank you.
You and Rob Scallon should kiss you both hit 2 mil together!
Here from Roomie's post!!!
Me too
When I want to have more interesting song structure I will listen to a song from a completely different genre and use that song’s structure to influence the flow of my own song.
Don’t know how to transition from chorus to verse in your pop song? Listen to a transition from a rock song and go with that. Most of the time it adds a new dimension to your track.
Love your tips man!
Take this one step further and try to mash your favourite elements from different genres together in general. It's how powerful new genres are formed.
@@Kapin05 That's how I come up with a lot of my stuff!
One of my favorite things I like to hear in a song is when the second verse is used as a platform for a new idea. Usually verses are not good enough to hear twice, and even beyond singing the part a little differently, I think the best songs often make the second verse so different from the first, that it's almost like you are getting 2 different bridges. I am not a fan of too much repetition generally, and capable artists can usually take a theme and run with it as opposed to reaching for a thing that works and repeating it. Play with shit, experiment. There are so many directions you can go with any given part, let your mind explore on that second verse. Make it so the bridge has to compete with how good the second verse is, then you know you are onto something.
Congrats for 2 Mil!
An aspiring young songwriter here!
I've been writing songs even from as young as like a little elementary kid, and now it's just a passion for me as a teenager. Back then though, I was TERRIFIED to pick an instrument. Never learned one (I know I'm weird). I've only been writing songs melodically and just, wrote them down, imagining what it could be. I discovered that I wasn't the only one and found a bunch of people who were just as afraid as I do. Fear of failure, I guess? There are so many talented people out there. I almost gave up on song writing. Andrew, though, you're one of the people who inspired me to pick up an instrument and I'm going to continue learning now. Thank you.
@@tollboothsatmidnight2766 i didnt lol
Can’t wait for your class. I am in!! So excited
I like to add a layer in the drop to the melody and then after the drop for the melody only use that layer of synth then add more back in later
Aiden Bouc 👍🏼👍🏼
This channel has changed my life. Thank you so much Andrew 👍
That first trick is such a simple one that gets me every time when I hear it. Just a change in one chord on a chorus can change the feel of the same melody in such a subtle but cool way. I would guess most people usually don't catch that, but I always love that. When I write, if I ever have a little trouble deciding on which chord should go next, after I make my decision, I try to keep the second choice in my pocket for one time use somewhere.
I really loved every moment of this video. You're probably not gonna see this, but you, Virtual Riot, and acestoaces are the people who inspired me to start producing my music back in 2016, and seeing your channel grow really warms my heart. Love from Shanghai!
-Sinex
0:19 when jacob collier modulates to g half sharp minor for the nineteenth time
"Don't bore us, get to the chorus". This is true for most songs but I think the more important part of this quote is "Don't bore us". Some of my favorite songs to listen to have a longer 2nd verse and I think the reason it works is because their 2nd verse are interesting and not just a rephrasing of the 1st verse. In the first place, I won't be bored if I love the verses.
A rule of thumb I used when I started out writing lyrics was: describe what you want to say in the verses, then say it in the chorus. Very useful for writing chatty pop song. Eg Ed Sheeran: you need me, I don’t need you. :) hope this helps
That extra bar in “Falling Slowly” has an extra layer of added effect when you consider that the line before that pause ends with “play themselves out” ;) Great video Andrew!
That's a great observation 👍
Dude, I'm writing songs for 20+ years, but this was refreshingly reminding! Not just for beginners, but when you're going through the motions, nice stuff! Also, I like the sound of your songs! Sounds different and fresh!
Making us wait! Great tutorial bro. One technique that I use is to use Inverted Chords which gives a bit better color than a usual chord. Keep these videos coming
Man, your music sounds so vibrant and happy! I've been stuck writing bleak af music the last few years. Interesting tips for sure.
One cool trick I like to use in the same vein as "Subtract For Impact" is the "Stripped Third Chorus," where you repeat your chorus but soften the tone and strip down the arrangement. It works exceptionally well for emotional songs but I find that it can actually work for every mood if done properly. The lack of big, loud instrumentation really enhances the few things that appear on that third chorus. You can even follow it up with a bigger, louder fourth go, if you're confident it won't be boring!
Definitely agree with the last tip. I’ve noticed I naturally do that with some of my songs 💛💛💛
I'll pepper all these into my musical vocabulary, starting today.
CONGRATS ON 2MILLION SUBSCRIBERS 👍👍👍
you continue to be one of the best resources for songwriting and production, even when i fade away for some time. thanks for being so damn consistent when i fail to be.
Here's a thing I do! For more complex / highly produced music, I bus all my instruments together by type (which is a great idea for so many other reasons) but that allows me to treat each bus / group as a single instrument when writing. For example if I want to remove the bass parts for a section I can treat them all as one layer and do some filter sweeping/eq/other fx tricks to facilitate that transition while still keeping the song intelligible because each grouping of sounds is acting as one element in terms of arrangement. Like Andrew's video on layering: bringing it to life without cluttering it up
I keep doing #4 and #5 a lot even in my earlier attempts because A LOT of songs does that at it's so easy and effective
this is so clear and so good to hear examples. thanks for making these videos
Andrew's a lifesaver, just in time wherein I'm about to participate in a songwriting competition! ❤
We neeed some "Dont bore us,get to the chorus" merch
Maybe get a Roxette album? 😁
images.app.goo.gl/ZWRpjhivg3S9B6Qe8
I actually liked the overlapping vocals when you made the quick edit
I like to close my eyes when he does the high-five intro and pretend that he slaps me in the kisser.
Lately I’ve been high fiving back ✋
Some classic tips there. I use quite a few of these but really nice to see them all mentioned and explained in one video. Great work dude.
Here's some tricks I used in a song.
I have a song from an upcoming album called Warrior Of Tomorrow.
Trick 1: The second pre chorus is twice as long to bring in a new lyric. The line, "Don't shoot too high".
Trick 2: The 3rd verse is longer to bring in the lyric " Shining steel can't hide the war that he's losing".
Trick 3: The last pre chorus is not a thing!
Trick 4: The last chorus is WAY different. The chorus vocal is merged with the outro. The outro is just a bunch of layers of percussion. I put the chorus vocal over that and as the outro comes to a close, the vocal gets filtered out to oblivion.
Feel free to use these tricks in any tracks you do.
Missed the sign up for last months class but signed up for this month 20 minutes after the email wait-list notification. Super-Pumped!
Bro, your videos always drop when I need them the most! Please never stop doing these
deep cuts with the falling slowly!! now i gotta go watch once now.
this is one of your best videos to date
Sparkle Mountain is a B O P
This is the exact theory-lite content I want. Broad enough to not alienate less experienced viewers but practical applications of real techniques based in theory all the same.
Please do more videos on this topic, so inspiring!
this video left me very inspired. I also thought the quality of your production (audio and video) was excellent. Thanks!
I used to only click on your vids sometimes but, because of the awesome community, all the positivity and the cool music, I always watch your uploads and even rang that bell.
Useful information.
I feel like these tips are more related to arrangement more than songwriting. Great tips nonetheless!
This is the content i subbed for. Wow man!
I feel very encouraged by that video in trusting my ears and experience cause I happen to know and use these things without knowing that I do. Thanks so much!
These are amazing and every single one I was like “Oh yeah, these things really *are* everywhere!”
Especially Thing #4: Dip the Start of Verse 2. I swear nearly every single pop song in existence does this. Even rock tunes in the 90s/00s would have the second verse just be bass guitar and drums for the start of it.
Oh Boy! Just signed up for the course. So excited!!
One thing I really like to do, which builds off of your point about taking elements away for impact: making creative use of silence. The chorus is super impactful when you take things away right before it, and there's no bigger impact between going from nothing to full-throttle. Or the opposite: going from super loud and in your face, to total silence. It's really powerful.
Also, SPARKLE MOUNTAIN HYPE!
I'm so glad you included Falling Slowly. It's one of the most simplest songs but yet a powerful one!
If the drop section of your song has a different chord progression it’s sometimes rly cool to take that different chord progression to the 2nd verse for a progressive feeling
Thank you so much for posting this! Very helpful!!
This is really helpful! Thank you as always, Andrew! 👏🏻
Lots of valuable knowledge here, thanks Andrew
Andrew, your videos are always such a wealth of information. I've created so many text files with great tips such as ones in this video.
I can't thank you enough!
To add a bit to Thing 3, what I like to do leading up to my drops is put an EQ and a stereo imager on the master, then gradually cut the lows and tighten the width until right when the drop hits. Works almost every time.
Man every sample I hear from Sparkle Mountain bangs even harder than the last time 🤤 can’t wait for the video to drop!
I'm revamping old songs I wrote when I was 18. I actually did the shorter second verse all the time, but in many I felt there wasn't enough. So what I'm doing in the ones that I feel need more, is I completely change the second half of verse 2 into something else (or do a key change, or switch up a chord or two around the original melody) this gives it a mini bridge feel before the real bridge.after the second chorus
You have a nice voice! Don't let people tell you otherwise. Love your videos!
I like the idea of changing the chords to 'uplift' the music. I've always thought that reflecting the 'feeling' in the lyrics with the music.
Such solid advice, thanks man!
You should make this a series! I learned a lot today and would love to hear more!
Thanks for all your videos always learn new stuff from them!
Thank you for using Falling Slowly as an example here! Glen Hansard and the band 'The Frames' are probably the best Irish band ever and they have such a wide range of songs. Also, later on in the song Falling Slowly, as Glen plays the F chord leading to the chorus, you can also hear a B♮ (I guess making it a ♭5 chord?) . Anyway, that also adds to the build up to the chorus since the B wants to resolve to the tonic C, which is also the first chord of the chorus. The payoff for the listener is greatly increased, because you know where you expect the F chord to take you after hearing it the first time, but you also get that resolution of the B to C. Amazing. I strongly recommend people check out The Frames!
You always have such fantastic ideas, thank you for sharing!
Such useful and effective tricks!
“You and Rob Scallon should kiss for 2 mil” -RoomieOfficial
Coffee straw gang lol
Thank's for the tips ! and congrats on (almost) 2M ! I'll try to incorporate these in my next one
Often times in modern pop songs, a staple technique is bringing every hook together at once in the final chorus. Also, I always double the final chorus and build it up or change details slightly to deliver more of what the listener wants while keeping things fresh!
Solid advice. Also stems with different lyrics and adlibs are ways to bring more variety at the end of the song.
Mikko J. Heikkinen yeah! Sometimes, just like how Andrew mentioned changing one chord, you can change one word from earlier choruses or prechoruses and bring a whole new level of meaning to the song
@@JACKSONPRYORBENNETT Yup! I think I have to look at these more subtle changes in the future. Sometimes I tend to change full lines if it fits. But one word could be enough. Thanks for insights man !
Sidechaining using things other than the kick. Using the kick to sidechain a compressor on the bass or a pad sound is a nice trick, but if you use something other than the kick to control it (strummed guitar parts are good, or even using the bass as the sidechain trigger), you can get some interesting results.
I like to double the verse but with some change like keeping the bass guitar consistent but having the guitars play higher/different notes and/or have the drums change.
Similar to adding a measure or two you can also subtract measures like from the second prechorus to make the song force the listener forward.
Another trick from the emo days is having alternative choruses like quieter chorus or louder chorus with layer vocals.
Super songwriting ideas! Thanks Andrew!
I actually used the subtract to impact suspension on a track I'm working on, and then watched this video without knowing it would help. I just thought it sounded cool so I did it, lol. Thanks the the advice my dude =D.
"making u wait", like in Elysian - Moonchild, when the main part finally drops after a very long (and beautiful) break, you just wait and wait and wait for that chord change. Its such an relief when they finally change the chords and then back again. Its actually brilliant because it always makes me want to listen to the drop again
Great tips! I keep songwriting/arrangement ideas in my phone notes cause I’m always thinkin of them at random moments
Signed up for your class. Looking forward to it!
Loved this, thank you! 👍🏼
I've been hearing such in classical and exploring in my on compositions - but Mr. Bill introduced me to the term for it; Hocketing: "the rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests."
This technique is SUPER easy to master when composing with MIDI note data, parsed between different instrument tracks. The result is great when you want to retain the same musical phrasing with the controlled chaos of voices trading dominance of a melody or progression.
re: switching up chords - play the /parallel major/ OF the /relative minor/ of the tonic chord for some super dramatic effect. Song is in C? throw in an A Major chord where you'd normally play an A minor. See what happens.
See: Danger Mouse, Elliott Smith, Pink Floyd