CHORUS DIFFERENT FROM VERSES?

More songwriting tips, this time from the folks who run SongU. They emphasize the importance of contrast—in their case between verse and chorus, but really it’s possible to take it a lot further. Yes, you can have a different number of beats, and/or a different chord progression in your chorus; there are a couple of John Prine songs where he even made the verses a waltz and the chorus a two-step (and one where he reversed it, and made the verses a two-step and the chorus a waltz). You can play with the lyrics, too. I’ve got a few songs where the chorus talks about something different than the verses, and then ties it together in the last line—“I’m Giving Mom a Dead Dog for Christmas” is the classic, but “Duct Tape” and “Always Pet the Dogs” do it, too. “Bungee Jumpin’ Jesus” does the contrast thing with the music, while still keeping it classic Gospel (I used to think it was pretty subtle, but I’m no longer sure—everybody seems to recognize that “signature” riff at the beginning of the chorus that’s from the “What a Friend…” song). But do you have to do this all the time? Heck, no! The rule I’ve tried to follow (using the term “rule” loosely, of course) I ran across in some “Rules for Writing Congregational Music,” on the Muse’s Muse Website. (A lot of overtly religious writers hang out there.) Their point was you want the chorus to sing differently if you want the congregation to sing along; the slightly different music signals the congregation that the chorus is about to start. They also argue that the chorus music shouldn’t be a lot different from that of the verses, because you want the congregation to be familiar enough with the music so they can sing along. And if you don’t—if you’re expecting your congregation to just listen—you don’t need to worry about it. That advice works with any audience, not just a church congregation. And I do apply that rule—religiously, y’might say. If I think people are going to want to sing along with the chorus, I’ll make the chorus start differently, to signal them. Otherwise, I don’t bother. I have a number of songs where the verses and chorus have the same chord progression and same number of beats (and a lot of writers way more famous than I am do exactly the same). Sometimes I guess wrong: “Hank’s Song” inevitably gets an audience singing, and so does “Can I Have Your Car When the Rapture Comes?” In both cases, the chorus and verse music is identical. Does it matter? Maybe not so much. I try to incorporate two other “rules,” too. (1) I want to be predictable, because I want other people to be able to play along when they’re hearing the song for the first time. I used to “do” a lot of jam sessions before I was employed, and still hope to do so again. So I try to have chord (&c.) changes be logical, and happen at logical places, and like a good rhythm guitarist (following my role model John Lennon) I try to signal when changes are coming so people can follow them easier. And simultaneously, (2) I want every song to sound different—not only from other songs I’ve written but from songs other people have written. That’s difficult in country music—but challenges are good, right? And of 80 or so songs, I have only a few that I can’t play next to each other because they sound the same. Music at the Tillamook Library may not start up again until September, I was told today. This week, I may not get to play music at all unless I get to record songs at Jim’s shop--Friday night we’re going to a play, and Saturday night is the square dance, and I am working every other night this week. Gack. Joe