They know what the rules say? In fact, say many things about the rules, but here the two - the rules to be broken, and you need to know what the rules before you break them. While Judge Dredd can not match the first, the second is certainly true, and write no more than a song.
The structure of the song may not be the first thing you think when you start to write. Probably the work on the verse or chorus, or maybe you have a good riff, which Expand into a song. To get down and then start to think about the other parts - the introduction, as in many ways, eight middle, you want an instrumental, ending the ...
Some songs, genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you want to do this so that your song from the others. We see the sections that you will find in most of the songs and see what role they play in the song> construction.
Song Parts
Intro. Yes, it will bring in the song. It may be two, four or eight bars long or longer. Some songs have no intro at all. A pop song intro is often reminiscent of the chorus or the hook. In a song of the club, is often a good idea to have eight bars of rhythm to help the DJ mix with your song. They say that listening to music publishers typically only the first 20 seconds of a song before deciding whether to refuse, if you want to sendMaterial to a publisher, keep the introduction short and get the song as soon as possible. Save the intros 5 minutes for the CD version.
Verse. This is the preamble to the chorus. It sets the scene, certainly lyrical, and how progress often tell a story or recounting episodes of a situation, but that is not necessary. They are eight or sixteen beats and melodic, normally not so much a rule as the choir, though, once again, that it is not necessary.However, sometimes it seems as if the composer was of ideas when writing verse. One of the strengths of the Beatles songs is that verses and choruses are equally strong and most people could hum or sing their way through the song from the Beatles'. Not so, with many songs where the verses are little more than filler to get the choir.
Chorus. Everyone that is the little 'remembers, whistles and sings about. It is the strongest part of the track and is generally or includes theHook. It is eight or sixteen bars in order.
Middle eight. As a song progresses, there is a danger of boredom setting for the listener. The middle eight offers them a break and is usually after a couple of verses and refrains. Some people think a payment alternative that is a way of seeing things. Modula often a different key or introduces a new chord progression and usually is not the title of the song. But too often it is simply an excuse fortalk about a few bars. Even if you call eight half, could be four or sixteen bars.
Bridge. Many people use the center, "eight" and "bridge" as synonyms, and so popular is that their use would conflict with his children. But the difference between what a bridge is used, a short distance to see the difference between verse and chorus bridge you prefer. There can be only two or four bars long, is often used when the verse andChorus are so different that a candidate "string" together to help them.
Instrumental. This is a part of the song without a voice. Yes, okay. Is often an instrumental version of the verse or chorus, could be an improvised version of these, or you can set a completely different melody and agreements altogether. Sometimes it is part of a song to go where half eight voice would be different.
Breakdown / Break. This concept was intercepted by songs from highearly 1900, when it is customary to reduce both the instrumentation or stopped altogether, while touching a dancer would strut his stuff. The term "rupture" is still sometimes used to indicate an instrumental section. "Breakdown" is now used mainly in dance music for the area in which the percussion breaks or reduced, and you can dance is the middle eight.
Outro / Ending. Once upon a time, the songs were defined term, but half of 1950 announced in the era ofFade-out and songwriters thought he would never write an end. However, fade-out were those stereotypes to the extent that fade-out has meant that authors began to write cop out of time again. In this sense, we can, what you will, and considering that the endings of the songs we talked shortcut or by Radio DJs and club DJs across a mixed environment, you need only your artistic integrity and the listener CD. Reply Some tunes work very well with fade-out, butlooking at the songs in your genre, like other authors endings approach. But avoid anything you do, too, like the plague, the three final days.
Hook. The hook is not a song, party as such, but is the name for the part of the song describe remind people and to sing. That's what they are buying the record. Is usually the chorus, even if you do not need the entire chorus, but only two or four times. Could be an instrumental riff like Whiter Shade Of Pale, or Smoke on theWater, or treated as in the song Believe by Cher.
All Together Now
After describing the parts of a song, let's see how they are usually organized. The provision by far the most popular simple verse-chorus and repeat. Here are two variations on the theme:
Intro
Verse 1
Chorus
Verse 2
Chorus
Chorus
Outro
Intro
Verse 1
Verse 2
Chorus
Verse 3
Middle eight
Chorus
Chorus
Outro
You get the picture. However, theseConventions are held, so you can adjust the rules, modify or ignore as you see fit. But they have developed for a reason and that only the song immediately launch an appeal to the public as possible.
Listen to some of Stock, Aitken and Waterman hits of the 80s (not a must, if not) bear really and you will see that most follow the simplest form, provided the public with one shall be subjected to brainwashing, how many repetitions of hook as possible. They tend toare:
Intro (similar to the chorus)
Verse 1
Chorus
Verse 2
Middle eight
Chorus
Chorus
Outro
Note that the hook is right there in the intro, there is only one verse before the chorus, so tight that you get to repeat in the near future, and the choir usually at the end, only to remember the hook.
There are exceptions of course for these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can startBeginning and the end and work to create a form in evolution of music, not to a light / chorus structure. More genres like trance in a series of crescendos building several times during the song. Yet even this kind of song is often one or two hooks to hang your hat to the public.
Build up and downs
Since the objective of a song does not hold the phone to listen and allow them to get bored, you need diversity within the song. Easystrumming a guitar and singing verse / chorus / verse / chorus not cut the mustard when you are in a folk club. The usual method is to add a simple agreement to start and, as the song progresses.
Thus, the first verse might consist of light drums, bass and rhythm guitar. When the mouse pointer in the second stanza could be string or synth pad add. A drum fill are in the choir, which include drums busy, might have some percussion, a full agreement of the string, and perhapsa guideline. If you go to the verse, go back to simpler arrangements.
The center is usually eight to use an arrangement of light as the chorus and gives you the ability to identify, if you want. If you are on the second chorus, add backing vocals and a riff of lead. The final chorus is the climax of the song, and you can add more backing vocals, percussion and bring more additional routes.
Listen to songs in the style of writing and analyzing theirFormats to be seen to put as much deceased or other members of the traditional format. If you're with the rules and conventions that use, then you can try to break trust.
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