I want to write a sequel to Reba's "Why Haven't I Heard From You" because it's basically obsolete (operators? Call collect? Call forwarding? Call waiting? Telephone wires? What are these things? The kids don't know).
But, like, a sequel to WHIHFY would basically just be like "I can see you everything you tweet / So I know you ain't too busy to meet." And that would just suck.
Welcome to PLΔTINUM TIPS with Jackson. Many of you have been struggling with some of the basics of songwriting these last few rounds, so I'm going to create a series of easy tips and tricks you can implement in your writing so you can start focusing on the details of your song rather than the big stuff. There will be SIX parts. Feel free to implement or not implement anything I tell you. At the end of the day only you know what's best for your song (not really but I feel like I have to say that).
TIP #1: METER
TIP #2: STRESSING
TIP #3: RHYMING
TIP #4: STRUCTURE
TIP #5: METAPHORS & IMAGERY
TIP #6: ATMOSPHERE & EMOTION
Meter is the most basic and fundamental element of a song's structure and the first element of what makes it flow. So what is it? Meter refers to the number of syllables per line in a section. To make your song flow well, the syllabic count of your sections should be consistent.
Now, that DOESN'T mean each of your lines has to have the same number of syllables. In fact, that would probably just make the structure of your song boring and basic. The most common meter in music, in fact, is 8686, meaning the first line of the song has 8 syllables, the second has 6, third has 8, fourth has 6, and so on. Variations on this could be 10/12/10/12, 6/9/6/9, etc. Other common meters follow an AABB, AAAA, or AABA structure. Here's an example of common meter. You'll notice as you read it aloud the words flow off your tongue naturally. When we talk about a line disrupting the flow of your song, we're usually referring to the fact that a line has the incorrect amount of syllables, which creates a hiccup in the "natural" meter you've created.
One thing to remember is to NOT obsess over making every line perfect in fitting your meter. Often, a syllable can be added or taken away and still fit the flow of the song. Look at the verse of The One That Got Away, the best song of all time.
Summer after high school (6)
When we first met (4)
WE make our in your mustang (7)
TO Radiohead (5)
The words "we" and "to" act as almost introductory syllables to the lines, so although the exact syllable count deviates from the meter, it actually follows it with just as much accuracy. Just like we tell you with forced rhymes, don't force a line into a song just so it fits the meter. Content will always trump technicality, and there is almost always a way to incorporate both.
Additionally, make sure to mix up your meters between sections of your song to make things interesting. Don't make every single line in your song 10 syllables, and don't be afraid to switch between meters in general. Your verse could be 5/8/5/8 and your chorus could be 10/10/12/12 for all we care. Remember these guides are here to help you grow, not limit or scare you, so only take on what you feel comfortable with. The goal is to make your song more natural, not contrived.
I think I have meter down pretty much though, except I've been trying to make them all have the same amount of syllables idk it just feels choppy if I dont
Just as important as the meter of your song is the stressing. Stressing is the natural emphasis placed on certain syllables in a word or phrase. For example, in "Platinum Hit", there's an emphases on PLAT and HIT, while "inum" is unstressed.
If you need an audio representation of this, watch a minute or two of this video
Going back to The One That Got Away, part of the reason the line works even with an uneven syllable count is because the stressing is consistent throughout the verse. In this example CAPS denotes a stressed syllable.
SUMmer AFter HIGH school
when WE first MET
we MAKE out IN your MUSTang
to radIoHEAD
The added syllables in the third and fourth line are unstressed, and the rest of the line follows the same stressing pattern, causing the song to still flow. Stressing is especially important at the end of a line, particularly in a rhyming word. Say we were trying to write a song about our Season 7 winner traveling the world. Lovesong and Hong Kong appear to rhyme on paper, but due to the different stressing in each name the rhyme would appear forced. Lovesong has emphasis on the first sylalble, while Hong Kong puts emphasis on both. Let's look at the in the context of a full couplet.
THIS WORKS
Temporal ran out of pads
Now his v is tampon clad
THIS DOESN'T
Matty Tacos has talent
But talent doesn't pay the rent
You can tell simply by reading that one has flow and one doesn't even sound like lyrics. To make the second line flow, you have to read the first with emphases on the "lent" part of talent, which reads unnaturally. The best way to tell whether your stressing is right is to read your lyrics out loud. If it sounds like it flows to you, it probably will to the judges too.
DON'T pull an Unconditionally. Traditionally, the word would read as UNconDITionally. In Katy's song it reads as UN-CON-dit-ION-ALL-Y, with stress on almost every syllable, causing the line to sound awkward. And as I said above, try to make your ideas fit the flow. Don't let your meter, stressing, and rhyme scheme dictate what you're saying.
NOTE: Platinum Hit is global. As such, there may be differences in stressing based on your regional or national accent. That's why sending your song to others is important in order to find issues you may not notice if you don't have your flow down yet.
idk it just feels choppy if I dont
