#Songwriting Hacks – Verses Need Your Hooks Too!

Multi #1 songwriter Clay Mills talks about the importance of creating both rhythmic & melodic “hooks” for verses when writing songs.

All part of the weekly lesson series for members at SongTown.

18 thoughts on “#Songwriting Hacks – Verses Need Your Hooks Too!

  1. Again, Clay gives us simple genius. Thanks bud!

    BTW, do you ever do song critiques for your viewers? After incorporating your suggestions, it would be nice to get your feedback on how well we’ve used your insights; and maybe you could use our tunes to show what worked and what didn’t. Just a thought

  2. I find this bakance between melodic hooks in verse and rhyme, content come together best when I work with a melody person/ singer on the final and initial lyrics and melody are not viewed as sacred, set in stone. Flexibilty in co-writer gets me to this point best and most often.

  3. I love these relatively short songwriting hack lessons! You can listen on a break from work or while cooking dinner or whatever. You really pack a lot of info in to a relatively small amount of time – and I appreciate it!

  4. I refer to ‘Hook Factor’ and ‘THE Hook’. THE Hook is the title line, that line of Lyric and Melody that sum up the gist of the Song and get into your head and keep playing there after the Song is over.

    But every part of the Song needs Hook Factor. The Introductory Movement may only last 10 to 14 seconds, but it is there to serve that ‘Function’ of ‘hooking’ the listener into paying attention long enough to get to the beginning of the Verse.

    The Verse has to be interesting enough in Lyrical meaning, Melodic appeal, and Rhythmic appeal to keep the listener hooked until ‘enough’ has been done to go on to the Chorus.

    The Chorus has to ‘step up’ in some way, pitch, Rhythmic ‘punch’, Lyrical meaning, Melodically, to renew interest. One of the most common Publisher rejection reasons is that the Chorus sounds too much like the Verse. The Chorus has to refresh listener interest AND get to the point of the story.

    After the Chorus the listener can hear a second Verse and welcome back that Melodic and Rhythmic hook factor they ‘learned’ in hearing the first Verse. That of course leads to a repeat of the Chorus and the listener should like hearing it again because they ‘learned’ it the first time.

    From there, Verse/Chorus, Verse/Chorus, the listener may tire of hearing those compositional components. They’ve heard them twice now. A third repeat risks monotony and the listener drifting off to other thoughts. An Instrumental Bridge can serve the Function here of renewing listener interest. The guitar solo, drum work, keyboards, something to renew listener interest.

    If the Songwriter has despaired of finding a third Verse to complete the story they may employ a Lyrical Bridge, instead of an Instrumental Bridge, a brief interlude with its own Melody and Rhythm and Rhyme-Scheme, different from either the Verse or Chorus, and Lyrical content significant to the storyline that has come before in the two Verses and Chorus. After that refreshing of listener interest listeners will welcome back a final giving of the Chorus to end.

    Each component in the composition has to have hook factor. If you can’t identify the hook factor then it may not be there and you need to ‘Craft’ it to find it and employ it to make your Song work.

    Good stuff. That kind of Song analysis is a good lesson for writers. Break down 10 Songs you think work, or don’t work, and see if you can figure out why. The lessons you learn can then be applied to your own works to bring them up to competitive standards and potentially widespread commercial appeal.

  5. Writin’ tight with The 3 R’s tonight. Alright, alright, alright! Excellent message Clay!
    Many thanks for the freebie!

  6. OMG! Clay you have changed my songwriting forever. I can’t thank you enough for all the info you so freely offer. Bless your giving spirit!
    Thank you,
    Thank you,
    Thank you!

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