In songwriting, there’s something called form (or “structure”).

This is basically just the structure of your song, the order in which the sections happen and then when they’re repeated.

Here are a few songwriting structures to get you started – these are the most common song forms in popular music…

This is the most common chord progression in pop music. Turn on the radio and most songs will have this structure.

This is simply a variation on the first song structure, so it’s also common to hear this in pop music.

A refrain is basically a hook AKA a one-liner that is usually also the title of the song. This is a more common song structure in singer-songwriter music. It lends itself nicely to story-driven songs.

You can do a lot with just four chords. Listen to some of the most beloved songs in modern music – they probably use about four chords, maybe fewer.

As an example, let’s look at the top songs on the Spotify Charts for the first week of November 2022:

1. Taylor Swift – “Anti-Hero”: A – E – B – C#m
2. Drake (feat. 21 Savage) – “Rich Flex”: Dm – Am
3. Sam Smith (feat. Kim Petras) – “Unholy”: C# – D

And on and on.

Granted, this is pop music, which is known for keeping things simple. But if you look at the folk/singer-songwriter genre, you’ll still see simple chord progressions. These songs may have more chords than pop songs on average, but still not a crazy amount.

Let’s look at the top songs on the Spotify Charts for the first week of November 2022, but just folk:

1. Stephen Sanchez & Em Beihold – “Until I Found You”: G, Bm, C, D, G7, Cm
2. Noah Kahan – “Stick Season”: A – E – F#m – D
3. Hailey Whitters – “Everything She Ain’t”: D, A Bm, G, Em

“Stick Season” went viral on TikTok, and it’s literally the same chord progression the entire way through, even during the bridge.

My point is, you don’t have to overcomplicate things. Start with a simple chord progression.

Here are the most common chord progressions in popular music (with examples in the key of C major):

• I – IV – V (C – F – G)
• I – V – vi – IV (C – G – Am – F)
• vi – IV – I – V (Am – F – C – G)
• I – IV – vi – V (C – F – Am – G)
• I – vi – IV – V (C – Am – F – G)

What makes a good melody?

Well, “good” is subjective. And remember what I said at the beginning: songwriting has no rules.

That’s the beauty of music.

But, there are common characteristics of the melodies that stick around.

Melodies that get stuck in people’s heads, move people to tears, and get passed on through generations have certain elements. Elements you can include in your song.

So let’s talk about what those elements are…

Humans are rhythmic creatures, which is why we latch onto melodies with memorable rhythms and phrasing.

Not only does a catchy melody groove, but the lyrics and melody are also perfectly married.

Your melody will be catchier if you repeat it. Your melody will be catchier if you repeat it. Your melody will be catchier if you repeat it.

See what I did there?

Repetition is a powerful tool, both in the melody and the rhythm.

This is why the cadence/phrasing of the lyrics needs to be somewhat consistent.

For example, let’s look at The Beatles’ “Here Comes The Sun.”

The phrasing of the melody is consistent from one line to the next (in each respective section). The melody also repeats, but not too much that it gets old.

The bold lyrics below have the same melody and phrasing. The italicized lyrics have slightly different melodies, and the second line has one less syllable:

Little darling, it’s been a long cold lonely winter
Little darling, it feels like years since it’s been here

Similar enough that it’s memorable, but different enough that it’s interesting.

If you have to, I’d suggest counting out the syllables in your lyrics.

You may think I’m being nit-picky, but focusing on repetition — in melody and lyrical phrasing — will go a long way.

So if you’re in the key of G major and your melody starts on G, a sideways melody would go to either the A or F#.

Sideways melodies work well because they’re easy to sing and remember.

Now, to surprise people (and yourself), use a leap in your sideways melody. This would be skipping the adjacent note.

You can skip a single note, jump to the next octave, or go anywhere in between.

The goal here is to have a singable melody that also catches people off-guard, keeping it interesting.

Contrast is one of the most important aspects of a memorable melody.

This is when you present the listener with one thing, then give them a whole new thing that still fits with the first thing.

Maybe you have a verse melody with a chunky rhythm and then a soaring chorus melody.

Maybe you surprise people with a leap in your melody.

Or maybe you change keys.

Whatever you do, add some variation to your melody.

I’m not going to tell you what lyrics are the “best” kind of lyrics. Writing the words to a song may be even more subjective than the melody.

You can write whatever the heck you want.

But if you want more people to resonate with your lyrics, here are some tips…

What would you say if you had just one sentence to summarize what your song is about?

This is your thesis. This sentence must direct your whole song.

Sum up your song in one sentence. You’ll end up with more focused lyrics.

The SOC method is when you write, write, write without stopping.

Don’t stop typing. Don’t stop moving the pencil.

Whatever’s in your brain, let it come out. Even if it doesn’t make sense.

After about 5 minutes of this, look through what you wrote and find an interesting phrase, word, or overall idea.

Use that as a starting point.

Write to your title. It will help you find more focus in your songwriting.

Every line, every verse needs to point toward the chorus.

The song needs to go somewhere (the chorus), so we need a road (the verses).

Ask yourself, “Does this line and verse support what I’m saying in the chorus?”

The chorus is the most memorable part of a well-written song.

So it’s a good idea to put your more relatable lyrics in your chorus. Use what’s called “universal language.”

The verses, on the other hand, can be more personal to you if you want. Some people may relate to the verse lyrics.

But most people will stick around for the chorus.

I almost always write the melody before I write my lyrics.

I like doing this for two reasons:

1. It makes the lyrical phrasing flow much more smoothly
2. The melody can tell you what lyrics feel right

Now, I’m not saying you can’t adjust the melody if you realize you need an extra syllable or two.

But fit the lyrics into the melody rather than the other way around.

Things will feel much more natural.

Paul Simon said he discovers songs rather than invents them.

What he means is, he starts with a seed of an idea (a lyric, a title, a general feeling) and follows it.

Following whatever lyrics come out.

Then by the end, he has a better picture of the song’s story, and he’ll go back and edit/refine it.

So if you’re wondering, “What should I write a song about?” — figure out what to write about as you’re writing.

I’ll hand the mic over to Taylor Swift for this tip…

Take your favorite song and rewrite it. If this were your song, how would you say it?

You don’t even need to re-work the chords or melody.

Just sit down and re-phrase the lyrics in your own words.

It may inspire an idea of your own.

You don’t have to rhyme. But rhyming helps you and the listener remember the lyrics better.

There’s something about rhyming that gives the brain exactly what it expects.

And satisfying the brain like that can lead to some rewarding lyrics.

Just to get you started, here are three songwriting templates to try. I’ve provided the song structure and chords, but it’s up to you to write the melody and lyrics and choose the time signature and tempo.

Verse

C – F – G – C (x4)

Chorus

F – C (x2)
F – C – G – C

Bridge

Am – F – C (x2)
G – C

Verse

Bm – G – D – A (x4)

Pre Chorus

Bm – G – Bm – A

Chorus

Bm – G – D – A

Bridge

Bm – G – Bm – A

Verse

G – C – Am – D (x4)

Refrain

C – G – D – G