Want to win The Young Songwriter 2025 competition?

Every year we get asked the questions “what type of song should I enter into The Young Songwriter competition?” and “do you have any songwriting tips?” so we thought we would put together some ideas and guidelines to help you write a winning song!

We’re looking forward to listening to your songs!  This post aims to give you an insight into what we believe are some of the important elements of a brilliant song.  Please also see our songwriting resources for young people.

The main things that we listen out for when judging The Young Songwriter competition entries are captivating melodies, evocative lyrics, a coherent structure, a catchy chorus, emotive performances, clever use of rhyme, a sense of anticipation, and strong concepts.

It’s important to say at the outset that songs which break all the rules and defy any expectation can be the biggest hits of all! Therefore, in as much as there are so called ‘rules’, feel free to bend and break them if you feel inspired to!

The power of songwriting is that no matter what inspired the songwriter to write a song, the listener interprets the song in their own unique way, and finds strength from the message and connection.

Here are some elements of the songwriting process which we think are important:

Have a strong theme/concept

One of the key components, and biggest challenges, of songwriting is trying to express common, relatable feelings in an original and interesting way. The more inventive you can be when describing your feelings or experiences (for example, the pressures and joys of growing up and living in our society), the better. It’s a great way to express yourself by talking about issues you are passionate about in an engaging way.

Young Songwriter competition entries always cover a huge spectrum of topics, from personal experiences and feelings, to wider issues involving the writer’s communities, or even the entire world. Looking back on prior years, a popular theme was the state of the planet and awareness of environmental issues such as climate change. Another theme that came up a lot was mental health, with songs exploring anxieties, depression, drugs, death and high expectations. We also received many entires that explored the need be who you are, embrace your individuality and go for your dreams. Many songs took a stand for equality and freedom from barriers. Love and heartbreak always feature highly in Young Songwriter entries, with many different spins: we broke up, we’re breaking up, we’re about to break up, we’re not going to break up, I wish I could break up with you, we didn’t break up, I wish I had someone to break up with. Also, songs about the pain of toxic relationships and unrequited love.

But not all songs have to be dramatic and poignant – many people wrote songs about aspects of everyday life, like nature, sunlight, boredom, society, the stars, anything! Through lyrics and harmony the seemingly banal can sometimes be lifted onto another plain. It is great to be able to find inspiration in ordinary things, and it’s an amazing skill to be able to present those things in a way that people find exciting.

Plested, one of the fabulous Young Songwriter competition judges gave a great songwriting tip ‘Try to find a word or a phrase that a lot of people say in everyday life but not many people have sung about”, then write a song about it.

Come up with an interesting song title

A song title is almost like a book cover, so make it interesting! Compare a heartbeat to a flashing light or the feeling of losing fear by roaring it away – the more inventive the concept around the ordinary, the better. Think of recent hits Dark Horse, Wrecking Ball, Pompeii – interesting titles and concepts talking about everyday feelings to do with fear, love and empowerment. It can also be a good way to start a song, having a strong title that sets the theme of the song can inspire more lyrics around it!

We’ve had many interesting song titles in The Young Songwriter competition past entries, including; Biting Into Ice, Concrete Sheets, Sneaks & Geeks, Dead Plants, Like Lava, T-shirt, Packet Full Of Noodles, Armour, Paperclips, Shine in the Darkness, Blue Fingertips, Burnt Peaches, Lies In Makeup, Sungrazer, Hijacked By Parasites, Reset, Little Alchemy, Dopamine, Me Myself and I, Mrs Ocean, Keyboard Warrior, Battlecry, Muddy Clear, Growing Gills, Swim Against The Stream, Muddy Boots & Messy Hair, Ode To Ego, Painting With Colour, Helvetica, Puppeteer, Head Full Of Clouds, Same Blood, Mindless Town, Can’t Buy Forgiveness, Cat And Mouse, Fading Rainbow, The Taste Of Dust.

Make the first four lines agree with your title

The great songwriter Ralph Murphy says it very well in his books on the laws of songwriting – if the first four lines of your first verse can link back to your title then you’re onto a winner. Take for example Roar by Katy Perry:

I used to bite my tongue and hold my breath,
Scared to rock the boat and make a mess,
So I sat quietly,
Agreed politely,

Now you’re gonna hear me roar.

You create an expectation, and then you fulfil it. By doing this, you never lose sight of the message of your song, you keep in mind what you’re trying to say by always referring back to the title, thus never losing your listeners’ attention or the concept you’re expressing in your song. It also helps emphasise the message of the song and helps people remember it!

Have a good song structure

Here’s an example of a great song structure:

Introduction — An opening passage, either instrumental or vocals without lyrics

Verse I — Introduces the song’s message and sets the scene

Pre Chorus — Link between the verse and chorus
— Builds up both melodically and lyrically

Chorus — Main message of the song
— Catchiest part and most memorable part of the song (normally includes a ‘hook’)
— Most dynamic part of the song

Verse II — Continuing the explanation of the song

— Solidifying the message and introducing new imagery

— Lyrics change, melody stays broadly the same as verse 1, but you can tweak it a bit to keep it interesting!

Bridge or Middle Eight — A contrasting section that brings the song to a new level

— Rhythmically and melodically the song changes

— Looking at the message from a different view point
— Can build up tension leading up to the climax of the song

Chorus — Repeat (can add hooks to the outro of it)
Outro — The closing passage. It can be instrumental or vocal

Write engaging lyrics

Young Songwriter finalists write lyrics that show the listener a scene unfolding rather than simply telling the listener how they feel. American songwriter Jason Blume, who has had hits with Britney Spears and the Backstreet Boys, says whilst there are no rules to songwriting, there are tools to help you craft that perfect hit. And all you need is a simple AID – action, imagery, detail.

Action:

Use verbs (action or doing words) to help illustrate what is going on in your song. For example, instead of saying ‘I miss you and I’m sad’, try and show what missing someone and being sad looks like :

  • ‘I wipe the tears falling from my eyes’
  • ‘I clutch a tear stained picture of you’
  • ‘I drove by where we first met’
  • ‘I couldn’t walk through the door where we said our last goodbye’

The action words are ‘wipe’ ‘clutch’ ‘drove’ ‘walk’.

And instead of saying ‘I love you’ or ‘I’m in love’, why not show what a person in love does?

  • ‘I wrote our names inside a heart, engraved upon a tree’
  • ‘I hand picked and carried home 100 flowers for you and put a vase in every room’
  • ‘I sing your name like a favourite song’

The action words are ‘wrote’ ‘picked’ ‘carried’ and ‘sing’.

Write a list of action words down before starting on your next song and try and use at least 5 of them in your next song to show what your feeling.

Imagery:

Blume says ‘whilst you cannot see heartbreak you can see the images and actions that convey that a person is heartbroken’:

  • ‘She fell to her knees, laying flowers on his grave’
  • ‘He kisses her photo’
  • ‘His tears hit the floor like a waterfall of pain’

The images are ‘knees’ ‘flowers’ ‘grave’ ‘photo’ ‘tears’ ‘floor’ ‘waterfall’. Blume also states that by including ‘tangible items’ and nouns in your lyrics like ‘furniture, clothing, a car, a house, a specific place, food’, you enable your audience to enter your song.

Along with your list of action words, try and write down a list of images and every day nouns to try and include in your next song.

Detail: 

This is the third part of AID that will help you to show your listener what is going on in your song. This time we’re searching for adjectives and adverbs to help the listener visualise your song more clearly. For example, if we were to go one step further with some of our examples from the Imagery section above and add a bit more detail to the floor, or the grave, you have something like this…

  • ‘She falls to her knees on the cold, muddy ground and lays white lilies on his grave’
  • ‘He tenderly kisses the photo of their wedding day in his old rocking chair
  • ‘His bitter tears slowly hit the wooden floor of his kitchen, like a cascading waterfall of pain’

Even with a few additional adjectives and adverbs, the scenes are much clearer to visualise; you can hear the creak of the old rocking chair, you can taste the bitter tears that fall onto the floor and see him in the kitchen, you can feel the cold muddy ground that she falls to – instantly you have transported your listener directly into the scene of your song, as if they are there with the singer, watching over what is happening.

So next time you’re stuck for lyrics, all you need is a little AID to help you on your way!

Play around with new melodies and chord sequences

Play around with different combinations until your find the melody you’re looking for. Choose a key for your song and then try out the I, IV and V primary chords as well as the  II III, VI and VII chords.

Hooks

It has been said that the most successful ABBA songs have 5 hooks in each of their songs. A hook is a musical idea, melodic instrumental part, rhythmic phrase or a vowel/consonant sound or word repeated, that catches the ear of the listener to draw them into the song and helps to create its ‘catchiness’. According to popular commercial music today, the more hooks you can introduce throughout the song, the catchier it will be, because it’s constantly enticing the listener and, most importantly, keeping them interested. Listen to the start of Dancing Queen and the vocal ‘ahh’s and piano part before the hooky first line of the chorus, or Jessie J’s Price Tag (It’s all about the money, money, money/We don’t need your money, money, money). Other songs with simple but strong hooks include One Kiss by Calvin Harris featuring Dua Lipa, or Call Me Maybe by Carly Rae Jepsen.

A lot of hooks are incredibly simple and may even be made by manipulating vocal parts, cutting them up or re-pitching them in an interesting way, songs that do this include Latch by Disclosure featuring Sam Smith, or Stay High (the Hippie Sabotage remix of Habits) by Tove Lo. Try and think about hooks for your own song, either lyrically, melodically or instrumentally. They can be incredibly simple and consist of a couple of notes, or a bit more interesting, just make sure they stick in your head!

Rhythm

Rhythm is an important part of many songs, it’s what makes people dance, or makes them nod their head and tap their feet. A solid rhythm can be a hook in itself, and it will lay the foundation on which to base the rest of your song around. It will also determine what kind of song it is, is it a fun, dancey song that makes you want to dance, like Get Lucky by Daft Punk? Or is it a slow, wistful song that people will sway along to, like Imagine by John Lennon? It could even be a fast, uptempo song that sounds exciting and triumphant, like Feel The Love by Rudimental ft John Newman.  If the aim is to make the listener dance, try writing a song to the BPM of 120. If you’re writing a romantic acoustic song, experiment with different time signatures like 6/8 as this will get people swaying along to your song!

Another thing to experiment with is using triplets, it can open up a whole new world of melodic and rhythmic possibilities! A good example that we mentioned in the previous section about hooks is Latch by Disclosure featuring Sam Smith, you’ll hear the hi hat doing triplet rhythms where traditionally for that genre you would expect an even number of hi hats (either quarter notes, eighth notes or sixteenth notes).

Beats and rhythms also don’t have to be perfectly on beat, and often a beat that makes you want to dance will be a ‘swing’ or ‘shuffle’ rhythm, this is a technique that changes the length of notes to create a more uneven but interesting rhythm. An example of a swung rhythm is Ex’s and Oh’s by Elle King, hear how some of the hits are slightly late which gives a driving feel to the song.

Production

The Young Songwriter competition entries are mainly judged on the song itself rather than the production, but there are some entries that use the production to help present their song in a stronger way. For example, a more pop/electronic entry might rely on solid drum sounds and more bass than an acoustic entry. Both are totally acceptable approaches and it’s important to note that you do not need incredible production skills and a top mix in order to submit a successful song, many of the best songs ever written would still be just as good whether they were produced fully or just played on one instrument!

Recording

We receive many different styles of recordings, many people record themselves at home, even in their bedroom with a phone! We understand that not everyone has access to recording studios or fancy equipment, and much like the production, if your song is strong it will shine even without an expensive or time consuming recording process. The most important thing is that the recording is clear enough for our judges to hear the individual parts, try to avoid recording in noisy environments that may make your recording difficult to hear, or distract from the song itself. You can record elements separately and combine them in a DAW (SoundTrap, Logic, Pro Tools, Reaper, Ableton or any other suitable software) or record with one microphone in one go, whichever you feel most comfortable with!  If recording onto voice memos be sure to sing as clearly as possible as the judges don’t want to miss out on hearing your amazing lyrics. That goes for all recordings.

THE POWER OF SONGWRITING IS THAT NO MATTER WHAT INSPIRED THE SONGWRITER TO WRITE A SONG, THE LISTENER INTERPRETS THE SONG IN THEIR OWN UNIQUE WAY, AND FINDS STRENGTH FROM THE MESSAGE AND CONNECTION.

Check out our insightful song feedback service to make sure your songs are the best they can be before entering The Young Songwriter 2025 competition!

More information on The Young Songwriter 2025 competition.

Songwriting programmes for beginners to advanced young songwriters

We run songwriting programmes tailored for every stage of the songwriting journey – from total beginners to songwriting (Vol.1), those who’ve just started (Vol.2) and those who’ve been writing songs for a while (Vol.3). Check our which programmes are best for you and read our songwriting resources to make your songs the best they can be!

Click here to check out all songwriting programmes and resources.

Residential songwriting summer camp 2024

An immersive & motivational experience for aspiring young songwriters aged 11-18

Following the huge success of this year’s songwriting camp we’ve booked dates to return next year and we’re now open for bookings! We only have 45 places available so please book soon. Click here to book your place.

Our residential songwriting camp is designed for aspiring young songwriters to develop their songwriting skills, connect & collaborate on exciting songwriting briefs over 4 days & immerse themselves in all parts of the songwriting process, from finding inspiration, lyric writing, melody improvisation and composition to producing and performing.  Our expert team of top songwriters and producers all share a passion for inspiring the next generation.

The 4 day programme includes engaging sessions on:

Creating song concepts and understanding song structure

Creative lyric writing

Chords, Melody and Harmony improvisation (with some music theory)

Ways to develop your sound and style

Recording and producing your songs

Choir & Band

How to engage your audience

How the Songwriting/Music industry works and latest trends

How to create your own brand & fanbase

Masterclasses where we give feedback on songs previously written and work in progress songs

Open songwriter/mic night

Quiz night

Special guest speaker nights with opportunity for Q&As

Performances at the end of camp showcase from 2-3:30/4pm on the last day.


Here are some highlights of the end of summer camp 2023 showcase.

Click here to book your place.

Songwriting video course for beginners

Our fun and easy to follow songwriting video course for beginners is a perfect way to write your first song.

Scarlet and Brendan from Song Academy will talk you through each stage of the songwriting process to write your own song – from start to finish – deciding on a concept for your song, writing lyrics, improvising melodies, creating chord progressions and recording your song.

You don’t need to be able to play an instrument to write your first song with our new video course as we’ve created backing tracks for each part of your song. If you do play an instrument we’ve shown you how to play the chords (on piano and guitar).

There are useful worksheets for each stage of the process to make it really easy to write your song.  For example worksheets on: suggested song structure, song map outline (blan and an example) piano chords chart, guitar chords chart, writing rhyming couplets and putting your song together.

“This is such a fun course!  Thank you!  My daughter Sara is 11 years old and loves singing, she wrote a fantastic song with your help and now spends most of her free time writing songs.  Watch out Taylor Swift!”  Paul, Father

Click here to get started!

Click here to get started!

Songwriting workshops this Autumn half-term

We’re calling all young people who love music, singing & writing lyrics!  Join our songwriting workshops this Autumn half-term.  It’s a perfect opportunity, in a condensed time frame, to write an original song with professional songwriters.  Some groups for beginner to advanced young songwriters aged 8-18.  Get creative, express yourself and find your voice! Songwriting workshops are both in London and online.

Our holiday songwriting workshops are a perfect opportunity, in a condensed time frame, to write an original song with professional songwriters. Participants will develop their lyrical & musical skills with new ideas and techniques.  They will develop their confidence and ability to express themselves…as well as meeting other like-minded young creatives and having a lot of fun!

Small groups for beginners and those already writing their own songs and wanting some inspiration/guidance.

Here are some of the reasons why parents love their children taking part in our songwriting workshops.

  • My child already loves writing her own songs in her bedroom and really benefits from the guidance and inspiration from Song Academy to make her songs the best they can be.
  • My child loves singing and loved the challenge to develop her skills and write her own songs to sing.
  • My child has been a fantastic singer, but his voice is starting to break and writing his own songs filled the void of not singing as much.
  • My child is learning a musical instrument but isn’t that motivated to practice her grade pieces. Writing her own songs and accompanying herself brings her instrument to life and it’s played a lot more.
  • My child loves music and really enjoyed the freedom of writing her own lyrics and making up melodies.  She now writes songs the whole time.
  • My child was super shy and writing her own songs in a supportive & nurturing environment has given her a boost of confidence and she’s proud of what she has to say through her songs.

Check out all details including dates and prices.

Our inaugural residential songwriting camp was a big hit!

Christmas songwriting workshops – why do parents love their children writing their own songs with us?

Calling all young people who love music, singing & writing lyrics!  Join our songwriting workshops during the Christmas holidays.  It’s a perfect opportunity, in a condensed time frame, to write an original song with professional songwriters.  Groups for beginner to advanced young songwriters aged 8-18.  Get creative & express yourself!

Our holiday songwriting workshops are a perfect opportunity, in a condensed time frame, to write an original song with professional songwriters. Participants will develop their lyrical & musical skills with new ideas and techniques.  They will develop their confidence and ability to express themselves…as well as meeting other like-minded young creatives and having a lot of fun!

Small groups for beginners and those already writing their own songs and wanting some inspiration/guidance.

Here are some of the reasons why parents love their children taking part in our songwriting workshops.

  • My child already loves writing her own songs in her bedroom and really benefits from the guidance and inspiration from Song Academy to make her songs the best they can be.
  • My child loves singing and loved the challenge to develop her skills and write her own songs to sing.
  • My child has been a fantastic singer, but his voice is starting to break and writing his own songs filled the void of not singing as much.
  • My child is learning a musical instrument but isn’t that motivated to practice her grade pieces. Writing her own songs and accompanying herself brings her instrument to life and it’s played a lot more.
  • My child loves music and really enjoyed the freedom of writing her own lyrics and making up melodies.  She now writes songs the whole time.
  • My child was super shy and writing her own songs in a supportive & nurturing environment has given her a boost of confidence and she’s proud of what she has to say through her songs.

More information and how to book a place.

How to Write Your First Song?

Never written a song before? Here are some easy steps to get started!

STEP 1 Create a strong concept for your song & engaging title

First work out what style of song you’d like to write. Listen to some songs in different genres to get a feel of what style of song and topics you want to speak up about. Check out our suggestions of songs to inspire you

One of the key components, and biggest challenges, of songwriting is trying to express common, relatable feelings in an original and interesting way. The more inventive you can be when describing your feelings or experiences (for example, the pressures and joys of growing up and living in our society), the better.

Try these two ways of starting a song:
1. Select 5 things in your bedroom i.e bed, chair, window, guitar, books – and then turn them into interesting song titles. For example: Bed – Safe Haven, Chair – Where I’ll Stay, Guitar – Broken Strings, Books – Read All About It
2. Find a quote you like. For example: “It is never too late to be what you might have been”, “an obstacle is often a stepping stone”, “to avoid criticism, say nothing, do nothing, be nothing”, “your only limitation is your imagination”.

STEP 2 Start writing!

Thinking of your object or quote, focus your senses on it and write freely for 10 minutes non-stop. Anything goes. Use all 7 senses: sight, hearing, smell, taste, touch, organic (awareness of inner bodily functions, eg, heartbeat) and kinesthetic (your sense of relation to the world around you. For example, when the train you’re on is standing still and the one next to it moves, your kinethetic sense goes crazy!)

After your 10 minute writing exercise, think more about the lyrics you’ve written and write some rhyming couplets. Remember that lyrics have a rhythm and using different rhyming schemes can help to shape your lyrics and make your songs more engaging. Here are two rhyming schemes for you to start with:
A-A-B-B
lines 1 and 2 rhyme, and lines 3 and 4 share a different rhyme.
OR
A-B-A-B
lines 1 and 3 share a rhyme, and lines 2 and 4 share a different rhyme.

Choose the one that works best for you and the song that you are writing.

Below are some examples of well known songs that use both rhyming schemes:
‘Happy’ Pharrell Williams (Chorus) in AABB form.
A Clap along if you feel like a room without a roof
(Because I’m happy)
A Clap along if you feel like happiness is the truth
(Because I’m happy)
B Clap along if you know what happiness is to you
(Because I’m happy)
B Clap along if you feel like that’s what you wanna do

‘Anyone’ by Justin Bieber (Verse 1) in ABAB form.
A Dance with me under the diamonds
B See me like breath in the cold
A Sleep with me here in the silence
B Come kiss me, silver and gold

Once your rhyming couplets have been written, you can now count the syllables in each line. If you count the syllables whilst tapping your foot (creating a tempo) you will notice that you are naturally creating a rhythm. This can be extremely helpful when working out your melody and figuring out how long your lines are going to be. From here you can improvise melodies over the lyrics singing to the rhythm you have created. The song now can start taking shape before you have even come up with the chords!

Think about creating some metaphors with the words that are connected to your song to give your song a unique twist. Write a list of 5 interesting adjectives, then write a list of 5 interesting nouns. Think about each combination and write some sentences. Write a list of 5 interesting nouns and then 5 interesting verbs. Think about each combination and write some sentences. Write a list of 5 interesting nouns and then 5 interesting nouns. Think about each combination and write some sentences. You get the idea!

Once you have loads of lyrical ideas, organise them into the different sections of your song to build your song’s story. Try using the suggested song structure below starting with the lyrics for your chorus (the ones which paint a picture of the main message of your song).

Suggested Song Structure for your song:
Verse 1 — Introduces the song’s message and sets the scene
— 4 lines
A
A
B
B
or
A
B
A
B
Pre Chorus — Link between the verse and chorus
— Builds up both melodically and lyrically
— 2 lines
A
A
or
A
B
Chorus — Main message of the song
— Catchiest part and most memorable part of the song (normally includes a ‘hook’)
— Most dynamic part of the song
— 4 lines
A
A
B
B
or
A
B
A
B
Verse 2 — Continuing the explanation of the song
— Solidifying the message and introducing new imagery
— Lyrics change, melody stays the same as verse 1, possibly with a few small changes to keep it interesting
— 4 lines
A
A
B
B
or
A
B
A
B
Bridge or Middle Eight — A contrasting section that brings the song to a new level and adds depth
— Rhythmically and melodically the song changes
— Looking at the message from a different view point
— Can build up tension leading up to the climax of the song
— 4/8 lines
A
A
B
B
or
A
B
A
B
Chorus — Repeat (can add hooks to the outro of it)
Outro — The closing passage. It can be instrumental or vocal

Check out our examples of song structure including rhyming scheme and chord movements at the end of this blog post.

STEP 3 Create a chord progression and add a melody

There are three main chord progressions for songs in popular music. First, a bit of background about chords. A chord is a collection of notes played at the same time. The most simple chord is made up of 3 notes (called a triad). Every chord is built from a scale, and each scale has 7 separate notes (for example, in the key of C major there are C, D, E, F, G, A, B). Each note of a scale has a chord built from it and the order of these chords is referred to in the Roman numerals I, II, III, IV, V, VI, VII. The sequence of chords is the same in any major scale. I is major (‘happy’ sounding), II is minor (‘sad’ sounding), III is minor, IV is major, V is major, VI is minor and VII is diminished. A triad is made up of the I, III and V notes. These are called the primary chords as there are all major (for example, in the key of C major C, E, G).
The three main chord progressions are:
1. I, IV, V (Which is C, F, G when played in the key of C Major)
2. I, V, VI, IV (C, G, Am, F in C Major)
3. I, VI, II, V (C, Am, Dm, G in C Major)

Choose a key for your song and choose one of the three chord progressions, perhaps start with the key of C, E, F or G. Play your chords and improvise different melodies for your lyrics.

It works well to have different chord progressions for your verses, chorus and bridge. Here’s an example of the different chord movements between sections for ‘Castle On The Hill’ by Ed Sheeran.
Verse 1: Standard 4 chord progression to lay the foundations and set the scene
D – G – Bm – A (I – IV – VI – V)
Pre-Chorus: Change in movement, going to chord IV here creates a lift in the song and allows tension to build towards to chorus
G – A – D – G (IV – V – I – IV)
Chorus: With tension, comes release and the song feels like it needs to resolve from the pre-chorus leading into the chorus. The pre chorus ends on chord IV and the chorus starts on chord I which in musical terms is a plagal cadence which gives us the resolve we need.
D – G – Bm – A (I – IV – VI – V)
Verse 2:
D – G – Bm – A (I – IV – VI – V)
Middle 8: Chord progressions moves to minor first which helps convey the change in perspective in the song
Bm – G – D – A (VI – IV – I – V)
Soundtrap is a perfect tool for creating your song. Add instrumental parts and beats and sing in your melodies and harmonies!

Examples of song structure including rhyming scheme and chord movements

DYNAMITE by BTS

Chords that run throughout are Bm/Em/A/D (VI, II, V, I) which proves that great songs can be written with the same 4 chords running through the song.
Verse 1 — Introduces the song’s message and sets the scene
— 4 lines
A Shoes on, get up in the morn, cup of milk, let’s rock and roll
A King Kong, kick the drum, rolling on like a Rolling Stone
B Sing song when I’m walking home, jump up to the top, LeBron
B Ding dong, call me on my phone, ice tea and a game of ping pong

Pre Chorus — Link between the verse and chorus
— Builds up both melodically and lyrically
— 2 lines (In this case the pre is in 4 lines)
A This is getting heavy, can you hear the bass boom? I’m ready (woo hoo)
A Life is sweet as honey, yeah, this beat cha-ching like money, huh
B Disco overload, I’m into that, I’m good to go
B I’m diamond, you know I glow up, hey, so let’s go

Chorus — Main message of the song
— Catchiest part and most memorable part of the song (normally includes a ‘hook’)
— Most dynamic part of the song
— 4 lines
A ‘Cause I-I-I’m in the stars tonight
A So watch me bring the fire and set the night alight (hey)
B Shining through the city with a little funk and soul
B So I’ma light it up like dynamite, whoa oh oh

Verse 2 — Continuing the explanation of the song
— Solidifying the message and introducing new imagery
— Lyrics change, melody stays the same as verse 1, possibly with a few small changes to keep it interesting
— 4 lines
A Bring a friend, join the crowd, whoever wanna come along
B Word up, talk the talk, just move like we off the wall
A Day or night, the sky’s alight, so we dance to the break of dawn
B Ladies and gentlemen, I got the medicine, so you should keep ya eyes on the ball, huh

Bridge or Middle Eight — A contrasting section that brings the song to a new level and adds depth
— Rhythmically and melodically the song changes
— Looking at the message from a different view point
— Can build up tension leading up to the climax of the song
— 4/8 lines
In this instance BTS use this section as a post – chorus to reinforce the message of their song. This is very popular thing to do particularly in the most commercial sounding songs. Another example of a song using this technique is ‘Shape of you’ Ed Sheeran when he repeats: ‘Come on be my baby, come on’.
A Dy-na-na-na, na-na, na-na, ayy
A Dy-na-na-na, na-na, na-na, ayy
A Dy-na-na-na, na-na, na-na, ayy
B Light it up like dynamite
A Dy-na-na-na, na-na, na-na, ayy
A Dy-na-na-na, na-na, na-na, ayy
A Dy-na-na-na, na-na, na-na, ayy
B Light it up like dynamite

Chorus — Repeat (can add hooks to the outro of it)
Outro — The closing passage. It can be instrumental or vocal
As you can see from the example above, each section can have a different rhyme scheme so don’t feel like you need to be restricted to one.

BONES by MAREN MORRIS

Verse 1 — Introduces the song’s message and sets the scene
— 4 lines
Verse chords: G – D – Bm – A (IV – I – VI – V) (songs don’t always have to start with the first root chord!)
A We’re in the homestretch
B Of the hard times
A We took a hard left
B But we’re alright

Pre Chorus — Link between the verse and chorus  Pre-chorus chords: G – D – Bm – A (IV – I – VI – V)
— Builds up both melodically and lyrically
— 2 lines (In this case the pre is in 4 lines)
A Yeah, life sure can try to put love through it,
A But we built this right, so nothing’s ever gonna move it

Chorus — Main message of the song
— Catchiest part and most memorable part of the song (normally includes a ‘hook’)
— Most dynamic part of the song
— 4 lines
Chorus chords D/F# – G – A – Bm (I – IV – V – VI) The chorus resolves to the root chord giving the song a perfect cadence

A When the bones are good, the rest don’t matter
A Yeah, the paint could peel, the glass could shatter
B Let it rain
B ’cause you and I remain the same
C When there ain’t a crack in the foundation (Introduces a new rhyme)
C Baby, I know any storm we’re facing
D Will blow right over while we stay put
D The house don’t fall when the bones are good

Verse 2 — Continuing the explanation of the song
— Solidifying the message and introducing new imagery
— Lyrics change, melody stays the same as verse 1, possibly with a few small changes to keep it interesting
— 4 lines
Verse chords: G – D – Bm – A (IV – I – VI – V)
A Call it dumb luck,
B But baby, you and I
A Can’t even mess it up,
B Though we both try

Bridge or Middle Eight — A contrasting section that brings the song to a new level and adds depth
— Rhythmically and melodically the song changes
— Looking at the message from a different view point
— Can build up tension leading up to the climax of the song
— 4/8 lines
Chorus chords D/F# – G – A – Bm (I – IV – V – VI)
In this instance Maren Morris repeats the chorus but varies the dynamics of the music to give the song a little twist. This is also common in pop music.
A Bones are good, the rest, the rest don’t matter (baby, it don’t really matter)
A Paint could peel, the glass could shatter (oh, the glass, oh, the glass could shatter)
A Bones are good, the rest, the rest don’t matter (ooh)
A Paint could peel, the glass, the glass could shatter (yeah)

Chorus — Repeat (can add hooks to the outro of it)
Outro — The closing passage. It can be instrumental or vocal

Now enter your songs into The Young Songwriter 2023 competition! 

We can help you can your songs ready – we offer a song feedback service and you can join our Spring Term 2023 clubs and Holiday workshops.

Turning poems into songs

Can you turn a poem into a song?  Poetry and songwriting are very closely connected – in fact, many songwriters have stated that they started out writing poems before they wrote songs, and those poems became the basis for their lyrics. 

 

So what do a poem and a song have in common? Both make use of RHYTHM and RHYME. 

RHYTHM refers to the speed and pace of words, how fast we say them, and which words we emphasise. 

RHYME refers to words that sound the same. You’ll often see rhyming words at the ends of lines in poetry. There are many types of rhymes, including single-syllable – like ‘cat’ and ‘hat’ – double syllable – like ‘missing’ and ‘kissing’ – and more. 

In poetry, rhythm and rhyme provide a flow to a poem as it is spoken or read. However, in a song, rhythm and rhyme combine with the melodies and production. The rhythm of the words contributes to the overall mood of the song, and the rhyme enhances certain lines, making them more memorable and catchy. 

Do you want to practice your songwriting? Maybe you’ve written a poem already that would make a good song? Have a go at these tasks below…

BEGINNERS

  • Find a short poem to use – 4 to 8 lines. Get a beat going – this could be you tapping on a table, or the tick of a metronome, a clock tick, or even playing chords on an instrument. Speak the words of the poem over the beat. See if you can find the rhythm of the words. 
  • If you’ve found the rhythm of the words, have a go at singing the words! Do any melodies seem obvious to you?
  • Next, try the same thing – only this time, YOU write the poem first. 

INTERMEDIATES

  • Find a short poem to use – 4 to 8 lines. Speak the words of the poem over a beat, chords, a metronome or audio loop. Once you’ve found the rhythm of the words, change it up – try faster, slower, emphasise different words. See if you can find THREE different rhythms that work with the poem. 
  • Once you’ve found your three rhythms, it’s time to add melody! Singing or playing an instrument, integrate melodies to work with your different rhythms. Now you have three different short songs using the same words. 
  •  Next, try the same thing – only this time, YOU write the poem first. 

We’d love you to enter your songs into The Song Academy Young Songwriter 2023 competition.  It’s a great opportunity to get your songs heard and connect to other young songwriters around the world….as well as winning some fantastic prizes!

All information on The Young Songwriter 2023 competition, open for entries from the 1st February to 31st March 2023.

Spotlight on the Soul & Funk song genre

The aim of our spotlights on different song genres is to make it easy for Music teachers to bring to life the different contemporary music styles.  In addition, for English teachers to have the knowledge and a great instrumental track for pupils to write song lyrics in a style of music they choose.

Soul originated in the African American community throughout the United States in the 1950s and early 1960s after rhythm and blues was born. It uses elements of Jazz, Rhythm’n’Blues and Gospel music.

We’ve looked at some of the key features of instrumentation, rhythm & beat and chords & harmonies in Soul & Funk songs.  Plus we’ve selected some Soul & Funk songs to have a listen to.  Pupils can use our demonstration instrumental track to write their lyrics & melodies over.

Instrumentation
Soul and Funk music are characterised by using modern instruments for the time like the electric guitar and the fender Rhodes but also typical jazz instruments like horns and upright bass. The organ is often present and drums of course which are important for providing the energy and dynamic, often accompanied by percussions like shakers and congas.

Rhythm and Beat
We talk about a funky groove when an instrument like the drums, the guitar or the piano plays a rhythm with many ghost notes and most of the time with straight or swung 16th notes. You will not hear a funk ballad because I am not sure they exist. Soul can also be fast but not necessarily, we can also listen to many beautiful soul ballads by Ray Charles or Etta James.

Chords and Harmonies
Soul and Funk come directly from Jazz and were most of the time played by musicians and singers who had a strong Jazz background. We can recognise it in the improvisations parts and the chord progressions that use many colourful chords with 7th, 9th and more.

Demonstration instrumental track
You can use our demonstration instrumental track below to have a go at putting your lyrics and melodies over a Soul & Funk style instrumental.  The Demo has a 4/4 feel made of several parts using organ, percussions, drum breaks, guitars riffs to create dynamical evolution through the song. The song structure of this instrumental track is:

Intro – 4 bars
Verse 1 – 8 bars
Pre Chorus – 8 bars
Chorus – 8 bars
Re Intro – 4 bars
1/2 Verse – 4 bars
Pre Chorus – 8 bars
Chorus – 8 bars
Bridge – 8 bars
Chorus – 8 bars
Outro – 4 bars

SONG REFERENCES

Following references gives you a quick idea of the authentic sound of Soul & Funk as well as more contemporary artists that recreated it.

I HEARD IT THROUGH THE GRAPE WINE – MARVIN GAYE
Marvin Gaye also nicknamed “the prince of soul” was an icon of Motown and soul music in the 1960s and 1970s. He wrote several hits songs that became classics.

REHAB – AMY WHINEHOUSE
Contemporary artist who made a big impact on the music scene with her retro style.

I FEEL GOOD – JAMES BROWN
The King of Funk was known for his energy, his dance moves and his funky songs full of hooks and grooves that make everyone dance. I feel good is definitely a classic funk song that many musicians play at jam sessions.

SEVEN NATION ARMY – BEN L´ONCLE SOUL
Contemporary French artist who also recreate a retro soul sound of the 1960s with originals songs and new interpretations of hits from different styles.

Click here to explore more of our songwriting resources for Teachers.

More information on The Young Songwriter 2023 competition, entry period 1st February to 31st March 2023

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