I often suggest in my songwriting posts that you learn to sing and play (or just sing ) successful songs. But why is that so important? Because you miss so much when you don’t. It’s like the difference between zooming down a highway at 80 mph versus rolling slowly along with your head stuck out the window.
When you slow down, you notice things… road signs, blue sky. You feel every bump in the road and the smells on the breeze. At 80 miles-per-hour you can feel the emotional rush; when you slow down, you can learn what the rush is made of.
I thought it might be fun for you and I to slow down and go through the process of learning to play and sing a hit song together. I chose “Hello” by Adele because, as I listen to it, the 80 mile-per-hour experience is pretty good, and something tells me that if I slow down and take a closer look, there might be some good songwriting tips I could use to create that experience in songs of my own. So, let’s take it for a drive.
This is just the kind of song that every American Idol finalist and semi-finalist hungers for—and so do record labels and publishers. The melody has a huge range, which works well for singers with big voices, and there’s plenty of passion and excitement in the lyrics. If you’re interested in today’s melodic Pop/Rock genre, this is a song that’s worth studying. It offers a master class in contemporary melody and lyric craft.
There are so many great things going on in the song “Here” by Rascal Flatts that it’s well worth spending some time looking into what makes it tick. The melody is tight, well-structured, and unforgettable. Lyrics are focused like a laser on the emotion at the heart of the song.
The chorus begins with the line “And I wouldn’t change a thing…” and ends with an emotional payoff in the final phrase “here, right here.” Notice how this phrase is set up with a short pause that gives it more weight and draws attention to it (Shortcut #96).
The pre-choruses both begin with the phrase, “I know now…” The bridge flows right out of the second chorus so it’s a little harder to spot. It actually starts with the last word of the chorus (and the title of the song): “here… in a love I never thought I’d get to.” The word “here” does double duty as the end of the chorus and beginning of the bridge, a great way to keep the song flowing forward and pull the listener right into the bridge. Try this idea in one of your own songs as a transition between sections.
I think it’s safe to say there are more broken-hearted songs written every day than happy ones. For one thing, it’s easier to sound serious and deep (and cool) when you’re singing a thoughtful, angst-y, sad song than a happy, bright bit of fluff. And, of course, who wants to shut themselves up and work on a song when the good times are rolling.
The biggest problem, though, is how to avoid the kinds of generic, happy-face clichés that are the downfall of so many of these songs. Jason Mraz definitely has a knack for writing upbeat songs that don’t sound shallow. So, let’s take a look and see how he does it.
“I’m Yours” was a No. 1 Pop and Adult Contemporary hit that spent a record-breaking 76 weeks on Billboard’s Hot 100 music chart. It has a light reggae groove, a warm vocal, and lyrics that are seem both personal and universal. The catchy chorus has a sing-along vibe and, in fact, the final chorus on the recording features a gang vocal that adds a party vibe.
Upbeat songs have a lot of audience appeal. They not only work well for radio, they’re also sought after by TV series and advertisers. “I’m Yours” has been used in half a dozen TV series, two national TV commercials, and was nominated for a Grammy Award for Song of the Year.
SONG STRUCTURE
The song has an interesting song structure with a couple of tricks you might want to try. VERSE / SHORT CHORUS VERSE / FULL CHORUS BRIDGE / VERSE 3 / SHORT CHORUS / FULL CHORUS (with Verse 1)
VERSES: The verses convey the theme of the song – “Love is wonderful.” Verse 1 begins with the line “Well, you done done me and you bet I felt it.” The first line of Verse 2 is “Well, open up your mind and see like me.” Verse 3 begins “I’ve been spending way too long checking my tongue in the mirror.”
The melody in Verse 2 is different from Verse 1 and Verse 3 although the chords are the same and it’s still recognizable as a verse. It adds playfulness and variety to the song.
CHORUS: The chorus always begins with the line “I won’t hesitate no more, no more. It cannot wait.” and ends with the title, “I’m yours.” Putting the title in the last line of the chorus is a big plus because that’s a line that listeners can hold onto and remember in the midst of this wordy lyric.
The first time Mraz sings the chorus, about 45 seconds into the song, he only sings the first and last lines. It’s almost as if he’s dishing up the best parts as a kind of appetizer. The second chorus is longer, doubling the length by adding three more lines that aren’t in the chorus the first time we hear it and rearranging the lyric so it still ends with “I’m yours.”
The final chorus is sung by a group of people who sound like they’re having a good time while Mraz sings a verse over the chorus. It creates a happy sing-along ending with lots of good-time energy.
The chorus lyric doesn’t change. It adds lines the second time around but repeats the essential first and last lines. This maintains the repeated chorus effect that listeners like to hear while building and adding shape to this upbeat song, keeping it interesting. Try something like this is a song of your own.
BRIDGE: The bridge starts with a scat vocal – “Doo-ja-doo-doo-doo-ja” – just about two minutes into the song.
– TRY IT NOW –
Listen to the song and notice where each song section begins. See if you can identify the verses, chorus, and bridge. Watch for the chorus and notice how the length and complexity changes as the song moves forward.
Songwriters: Odie Hawkins, Nate Mendel, Chris Shiflett, Georg Ruthenberg, David Eric Grohl
I was looking through the songs I’ve analyzed over the last couple years and realized I’d never done a song by Foo Fighters. Their huge presence looms over the Rock genre, inspiring dozens of top bands. Grammy wins for Best Rock Album and over a decade of hit Rock songs means that I am long overdue.
This beautiful song from 2012 is one of my favorites. And David Grohl has said that it’s one of his. The passionate chorus lyric and unpredictable but catchy melody make this song a Rock classic that will live on and on.
Watch the video. Read the lyrics.
Watch on YouTube Read the lyric Shortcut numbers refer to my books “Shortcuts to Hit Songwriting” (“Hit”) and “Shortcuts to Songwriting for Film & TV” (“Film/TV”).
GENRE
The genre is Mainstream Rock. Grohl’s gritty vocal, the layered electric guitars, and hard, punchy drums give it plenty of Rock cred. At the same time, the lyric is thoughtful and the theme serious. There’s an intimate approach to the verses that bursts into a solid, rockin’ chorus with a powerful message that landed this song at the top of the Rock charts.
The song opens with a double verse. The verses each consist of two long lyric lines broken up into short phrases. A pre-chorus (“But it’s all right…”) provides some release and begins the build up to the huge vocal leap at the top of the chorus (“Easy for you to say…”).
The overall structure is typical for a hit song up until the bridge. Grohl uses a double pre-chorus as the bridge before going into a final verse and chorus. Notice that he doesn’t return to the pre-chorus again, using just a half verse before roaring into the final chorus of the song.
