| You know what they say about rules?
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| | little more than fillers to get you to
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| Actually they say lots of things about
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| | the chorus.Chorus. This the bit everyone
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| rules but here's two - rules were made to
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| | remembers, whistles and sings along to.
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| be broken, and you have to know what the
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| | It should be the strongest part of the
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| rules are before you can break them.
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| | song and generally is or contains the
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| While Judge Dredd may not agree with the
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| | hook. It's usually eight or sixteen bars
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| first, the second is certainly true and
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| | long.Middle eight. As a song progresses,
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| nevermore so than in writing a song.The
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| | there's a danger of boredom setting for
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| song structure may not be the first thing
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| | the listener. The middle eight offers
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| you think about when you start writing.
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| | them a break and typically comes after a
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| You probably work on the verse or chorus,
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| | couple of verses and choruses. Some
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| or maybe you have a good riff that you
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| | people think of it as an alternative
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| want to expand into a song. So you get
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| | verse and that's one way to look at it.
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| that down and then you start to think
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| | It often modulates to a different key or
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| about the other parts - the intro, how
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| | introduces a new chord progression and it
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| many verses, middle eight, do you want an
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| | usually doesn't include the song title.
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| instrumental, the ending...Some song
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| | However, all too often it's simply an
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| genres have a fairly rigid format, others
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| | excuse for waffling on for a few bars.
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| are more flexible, and you need to know
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| | Although it's called the middle eight it
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| where you can bend the rules and why you
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| | could be four or sixteen bars
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| may not want to do so in order to make
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| | long.Bridge. Many people use the terms
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| your song stand out from the others.
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| | 'middle eight' and 'bridge' synonymously
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| Let's look at the sections you'll find in
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| | and so popular is this usage that it
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| most songs and the part they play in song
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| | would be churlish to disagree. However,
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| construction.Song partsIntro. Yes, this
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| | among those who prefer to note the
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| leads you into the song. It may be two,
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| | difference, a bridge is a short section
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| four or eight bars long or longer. Some
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| | used to bridge the gap between verse and
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| songs don't have any intro at all. A pop
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| | chorus. It may only be two or four bars
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| song intro will often be reminiscent of
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| | long and it's often used when the verse
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| the chorus or the hook. In a club song,
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| | and chorus are so different from each
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| it's often a good idea to have eight bars
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| | other that a 'joining' phrase helps bring
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| of rhythm to help the DJ to mix match
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| | them together.Instrumental. This is part
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| your song. They say that music publishers
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| | of the song without any vocals. Yeah,
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| typically only listen to the first 20
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| | okay. It's often an instrumental version
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| seconds of a song before deciding whether
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| | of the verse or chorus, it may be an
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| to reject it so if you're sending
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| | improvised variation on one of these, or
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| material to a publisher, keep the intro
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| | it may be an entirely different tune and
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| short and get into the song as quickly as
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| | set of chords altogether. Sometimes it
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| possible. Save the 5 minute intros for
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| | fits into a song where a vocal middle
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| the CD version.Verse. This is the
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| | eight would otherwise go.Breakdown/Break.
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| preamble to the chorus. It sets the
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| | This term has been high jacked from songs
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| scene, certainly lyrically, and as the
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| | from the early 1900s when it was common
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| verses progress they often tell a story
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| | to either to reduce the instrumentation
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| or recount episodes from a situation
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| | or stop it altogether while a tap dancer
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| although that's by no means essential.
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| | would strut his stuff. The term 'break'
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| They are typically eight or sixteen bars
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| | is still sometimes used to indicate an
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| long and melodically not usually as
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| | instrumental section. 'Breakdown' is now
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| strong as the chorus although, again,
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| | most commonly used in dance music for the
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| that's by no means essential. However, it
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| | section where the percussion breaks down
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| often seems as if the songwriter ran out
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| | or is reduced, and it may be the dance
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| of ideas when writing the verse. One of
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| | equivalent of the middle eight.Outro
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| the strengths of The Beatles' songs is
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| | Ending. Once upon a time, songs had
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| that verses and choruses are equally
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| | definite endings but the mid 1950s
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| strong and most people could hum or sing
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| | heralded in the era of the fade-out and
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| their way through most Beatles hits. Not
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| | songwriters thought they would never have
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| so with many songs where the verses are
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| | to write an ending again.
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