Difference between revisions of "Write a Song with Guitar Chords"

[[Category: Songs and Song Writing]]

#*Of course, no rule says that you must start with lyrics before composing the music. So if you wake in the night with a snatch of melody in your head, feel free to skip ahead to Part 2 and start from there.<ref name="rf1">https://www.ultimate-guitar.com/lessons/songwriting__lyrics/easy_guide_on_how_to_write_a_song.html?no_takeover</ref> But having a firm grasp on the story you want to tell can make critical choices easier when composing music.

#*Even if you only aim to create an instrumental piece, consider keeping a story in mind to guide you. Classical composers would often do this for inspiration. For instance, Dvorak scored the second and third movements of his ninth symphony, “From the New World,” to a poem by Henry Wordsworth Longfellow.<ref name="rf2">http://culturecatch.com/music/dvorak-ninth-part-I</ref>  

#Flesh your story out in verse. Songs are typically structured into verses and choruses. A traditional verse is composed of four lines, with the second and fourth line forming a rhyme. Build your characters here and develop your story.<ref name="rf3">http://takelessons.com/blog/how-to-write-a-song-guitar-z01</ref>

#Encapsulate your theme in the chorus. While verses develop a story, the chorus sums up the situation. Use the chorus to hammer home the point you're trying to make.<ref name="rf1" /> It can be expressed in a single line that’s only sung once, a single line that’s repeated for emphasis, a rhyming couplet, or four lines, just like a traditional verse.

#Consider including a middle-eight. A middle-eight (also known as a bridge) is a unique piece of music within a song. Usually it comes before the last verse and chorus, offering the audience a fresh change in sound. Lyrically, they serve as a means to express a significant change in the story, whether it's a change in perspective for the characters or a new turn in the narrative. However, middle-eights are not necessary, so don’t feel obligated to write one.<ref name="rf3" />

#Choose a key to play in. C, D, E, G, and A lend themselves well to the guitar.<ref name="rf4">http://www.guitarworld.com/acoustic-nation-write-stuff-chord-progressions-get-you-started</ref> Certain keys tend to elicit specific emotions from the audience. Choose one that complements the tone of your story.<ref name="rf1" />

#*Use major keys to elicit happier responses from audiences, and minor keys to evoke sadness.<ref name="rf5">http://link.springer.com/article/10.1007%2Fs11031-005-4414-0</ref> To hear the difference between major and minor, listen to John Williams' original “Imperial March” from the ''Star Wars'' movies. In the movies, it's played in G minor and sounds exactly like the terrifying war march that it’s supposed to be. However, you can find other recordings online where it's played in G major instead, which makes it sound more like a pleasant little parade march for a sunny afternoon.  

#*Listen to the following songs, which have been grouped by keys.<ref name="rf6">http://www.pianoscales.org/songs-by-key.html</ref> Gauge your own reactions to them, and decide which ones you wish to replicate: '''A''': “Out on the Weekend,” by Neil Young; “Wild Thing” by Chip Taylor  '''C''': “Imagine,” by John Lennon; “Don’t Look Back in Anger,” by Oasis  '''D''': “Free Fallin’” by Tom Petty; “Should I Stay or Should I Go,” by the Clash  '''E''': “Mrs. Robinson,” by Simon & Garfunkel; “Take a Message to Mary,” by the Everly Brothers  '''G''': “Sitting on the Dock of the Bay,” by Otis Redding; “Eternal Flame,” by the Bangles

#Determine the harmonized chords for your key. Chord progressions are expressed numerically (for example: I-IV-V) with each chord being a degree in your key scale. The “one” or tonic chord is always the key you’ve chosen to play in. Roman numerals map out the other chords in that scale: uppercase numerals denote major chords; lowercase numerals, minor chords. A numeral followed by “dim” indicates a diminished chord.<ref name="rf4" /> A I-IV-V chord progression played in the key of D, for instance, would run D-G-A.

#Choose how many chords to play in your progression. Two-chord progressions may sound simple, but they are limited, which means you may have to employ some extra tricks and nuanced playing to make your song stand out.<ref name="rf7">http://www.guitarworld.com/acoustic-nation-write-stuff-tips-writing-one-or-two-chord-songs</ref> Three- and four-chord progressions are perhaps the most common in popular music.<ref name="rf4" />

#* *For reference, listen to the following songs, which have been grouped by the number of chords in their progressions: '''One chord:''' “Get Up, Stand Up,” by Bob Marley; “Coconut,” by Harry Nilsson<ref name="rf7" />  '''Two chords:''' “My Generation,” by the Who; “Wrong Way,” by Sublime<ref name="rf7" />  '''Three chords:''' “Twist and Shout,” by the Beatles; “Let My Love Open the Door,” by Pete Townshend<ref name="rf4" />  '''Four chords:''' “With or Without You,” by U2; “Peace of Mind,” by Boston<ref name="rf4" />

#Start with a basic three-chord progression, such as I-V-IV or I-IV-V.<ref name="rf4" /> This is a pretty popular chord progression in pop music and perfect for beginners. Let's say you’ve selected the I-V-IV for your intro and verses; for the chorus, try switching to the V-IV-I progression.<ref name="rf3" />Tinker with various chords and progressions until you find a combination that matches the mood of your lyrics.

#*Listen to the following songs, which have been grouped by their respective chord progressions:<ref name="rf3" />  '''I-IV-V:''' “Knockin’ on Heaven’s Door,” by Bob Dylan; “Sweet Home Alabama,” by Lynyrd Skynyrd  '''I-V-IV:''' “Rock around the Clock,” by Bill Haley & His Comets; “Margaritaville,” by Jimmy Buffet

#Explore melodies. Countless melodies can be played over a single chord progression.<ref name="rf3" /> Sing or hum your lyrics as you play until you find a melody that complements your story.

#*Remember: there is a thin line between imitation and plagiarism. When using other people’s works as inspiration, honesty is the best policy; Kurt Cobain admitted that Nirvana’s “Smells like Teen Spirit” was a rip-off of the Pixies.<ref name="rf8">https://www.upvenue.com/article/1467-the-story-behind-smells-like-teen-spirit.html</ref> The music to the Smiths’ “Rusholme Ruffians,” meanwhile, was so directly influenced by Elvis Presley’s “Marie’s the Name (of His Latest Flame), the band would open their own song in concert by playing the first couple of verses of Elvis's; you can hear both the similarity and the subtle differences between the two on their live album, “Rank.”

#Add a hook. Spice your chorus up with an extra musical or lyrical phrase to make it more catchy. Lyrically, this could be the “Yeah, yeah, yeah” in the chorus to the Beatles’ “She Loves You.” Musically, it could be the Edge’s guitar lick in U2’s “With or Without You.” Either way, it’s an extra flourish to the chorus that creates an expectation for repetition in the next chorus; by fulfilling that expectation, the hook creates satisfaction in the listener. As with writing lyrics and melodies, embrace the trial-and-error process. The right hook might come to you immediately, or you may have to work your way through several before finding the right one. <ref name="rf3" />

 

 

*Alternate techniques (for example, switch between fingerpicking and strumming) to add more complexity to your sound.<ref name="rf7" />