![]() There are artful reasonings for leaving out 4 bars or for having strong phrases next to each other. ![]() You of course do not have to concern yourself with this. This is often alleviated by having 4 bars of instrumental music in between getting the flow back. A strong phrase and then a weak phrase.īy leaving off the last set of 4 bars you come up against the last phrase of the chorus being strong, and then the beginning of the next verse also being strong. A strong measure and then a weak measure. You’ll have a strong beat then a weak beat. The rules I like to break are within instrumentation, approach, and subject matter. ![]() Structural rules are rules that I like to adhere to. I know it's the easiest thing for most composers to say, just write what sounds good to you, which most often is a noble sentiment, but if you really want to nail a certain feel or style, I think it's important to abide by some framework of unspoken rules. That means getting rid of filler and making sure every part of the song is the most effective it can be. The goal for most pop songs is to be within the 2-4 minute range. ![]() Maybe the first chorus is most effective with only the first 4 bars while the rest of the choruses are played out in full. The chorus usually appears 3 or 4 times throughout the average pop song, and remember there is always room for variation if you have 3 or 4 choruses to get through. Some general thoughts about pop in particular. A lot of times you should try both ways to see which sounds more natural. Your number one goal here is to make it sound natural. ![]()
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