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Q: How do I develop a verse from a chorus and how do I to create a strong transition between sections?
A:Â For writing a verse based on a chorus, think “contrast.” If the chorus is in a high note range, try a verse melody in a low note range. If the chorus melody has a smooth flow, try a
Q: Â I usually get stuck on the first melody that I think of but all my melodies are starting to sound the same. How can I rewrite my melody?
A: Most of use know how to rework a song lyric to make it stronger but melodies are often left out of the rewriting process. Try these tips to work on  your lead melody line:
1. Break up a series of similar lines into different lengths. Turn a long line into two shorter phrases or run two short phrases together by adding notes/words.Â
Q: Arash asks… I have written a good chorus but the verse I wrote for it sounds like it doesn’t belong to that chorus musically.. What can I do?
A: There could be a few things causing this…
1. In today’s successful songs, the chords in both the verse and chorus are usually very similar. Check to see if your chords have changed too much, if you’ve moved too far outside the key, if you’re changing chords too frequently in your verse.
Many songwriters begin their songs by strumming a chord or two. Without really thinking about it, they let the chord progression lead them through the song. If you write that way, though, you may end up spending more time thinking about what chord comes next than your lyrics and melody. You don’t hear listeners talking about how much they LOVE that chord progression. They respond to the lyric and a memorable melody. Chords are low on their list, so why should they be at the top of yours?
Let’s say you’re in love with someone and you want to let that person know how you feel. You could simply walk up to them and say, “I love you.” That might work. Or you could make an effort to create the right surroundings: The two of you take a walk along the beach, holding hands on a summer evening, a light mist floating in the air. Then, as the moon rises and hangs like a giant disco ball in the sky, you whisper, “I love you.”
Without a doubt, the second option seems more likely to convey your I-love-you message convincingly (except for the disco ball). And while it’s not guaranteed to make the other person love you in return, as a songwriter it’s definitely going to give your audience a better chance to feel what you’re feeling and believe you really are in love! And that’s what songs are all about.
When you give your listeners the details of an experience in a way they can see, feel, and touch, you draw them into the experience: they picture the beach at sunset, feel the warm air, and hear the words that are spoken. They’re involved in your situation without even thinking about it. Using the physical senses – sight, sound, smell, touch, taste – to convey emotions is much, MUCH more effective than simply telling your audience what you think or feel. Here’s how you do it.
