Message from Coach Trina
Hello, Philpop Boot Camp Fellows! This is your Pre-Camp Lyrics Module. There are 2 topics here:
1. Song Structures
2. Components of a Winning Lyric
In preparation for camp, and for you to maximize the benefits of this experience, please explore this page, click on the links, listen to the song examples, and then go through the exercises at the bottom of this page.
1. Song Structures
2. Components of a Winning Lyric
In preparation for camp, and for you to maximize the benefits of this experience, please explore this page, click on the links, listen to the song examples, and then go through the exercises at the bottom of this page.
SONG STRUCTURES
The Verse/Chorus Form
This is the most common form used in pop songwriting. Its main feature is having a chorus that repeats, making it easier for listeners to remember and even sing along.
Components or Building Blocks:
1. Verse
Verses are meant to establish the background of a song’s story. They contain details that the chorus may not have, lines that provide context and help to develop and enhance the message.
2. Chorus
The chorus is the highlight or main part of the song and is repeated for greater recall. It should contain the main message of the song, as it is the most memorable section. The chorus is where the title almost always appears.
3. Pre-Chorus/Climb
Not all Verse/Chorus forms have this. This occurs after a verse and before a chorus to prepare the listener for the main message. So in terms of intensity – as the term “climb” indicates - it is higher in intensity and energy than the verse as it moves towards the chorus. This is usually a short segment, but one that usually introduces a pivotal idea that links the verse and the chorus.
4. Bridge
Another optional segment, this usually occurs after a chorus has already been repeated, leading towards a song’s end. Musically and lyrically, it is unlike any of the previous sections. It usually offers a new or different perspective or explanation of the message, sometimes a twist or an even stronger link between verse and chorus.
Components or Building Blocks:
1. Verse
Verses are meant to establish the background of a song’s story. They contain details that the chorus may not have, lines that provide context and help to develop and enhance the message.
2. Chorus
The chorus is the highlight or main part of the song and is repeated for greater recall. It should contain the main message of the song, as it is the most memorable section. The chorus is where the title almost always appears.
3. Pre-Chorus/Climb
Not all Verse/Chorus forms have this. This occurs after a verse and before a chorus to prepare the listener for the main message. So in terms of intensity – as the term “climb” indicates - it is higher in intensity and energy than the verse as it moves towards the chorus. This is usually a short segment, but one that usually introduces a pivotal idea that links the verse and the chorus.
4. Bridge
Another optional segment, this usually occurs after a chorus has already been repeated, leading towards a song’s end. Musically and lyrically, it is unlike any of the previous sections. It usually offers a new or different perspective or explanation of the message, sometimes a twist or an even stronger link between verse and chorus.
Some Verse/Chorus Form Examples:
|
"SHINE"
Verse - Chorus - Verse - Chorus - Bridge - Chorus |
"SALBABIDA"
Verse - Pre-Chorus - Chorus - Verse - Pre-Chorus - Chorus |
"PABILI PO"
Chorus - Verse - Chorus - Verse - Chorus - Bridge - Chorus |
Other Examples of Verse/Chorus Songs
|
|
"SHAPE OF YOU" - Ed Sheeran
"VERSACE ON THE FLOOR" - Bruno Mars "ALL OF ME" - John Legend "CLOSER" - Chainsmokers |
'SOMEONE LIKE YOU" - Adele
"INFINITY" - One Direction "SHAKE IT OFF" - Taylor Swift "CHAINED TO THE RHYTHM" - Katy Perry |
The Verse/Bridge or AABA Form
This is not as common as the Verse/Bridge Form, but has often been used in pop songwriting. The basic AABA song basically goes this way:
VERSE – VERSE – BRIDGE - VERSE
Unlike the Verse/Chorus Form which has a start-stop quality to it, this form takes on a more flowing characteristic from start to end. It requires a singular “thread” that weaves or connects the parts of the song, such as a consistent timeline, setting or viewpoint.
This form does not have a chorus that repeats, but rather a bridge that serves as a break, which also provides a pivotal idea or different perspective on the song’s main message. The hook of the song in this form usually happens at the end of each verse. This form of songwriting needs more careful planning, but when done properly, it can offer a great amount of emotional satisfaction.
Some points about AABA songs:
1. The TITLE of the song is placed in the verses. Either at the very start of it, or at the end of each verse. Or sometimes both the start and end.
2. The BRIDGE usually does not contain the song’s title.
3. The story progresses and the message of the song is further enhanced or developed as the song goes from start to finish. Here are some ways this is done:
VERSE – VERSE – BRIDGE - VERSE
Unlike the Verse/Chorus Form which has a start-stop quality to it, this form takes on a more flowing characteristic from start to end. It requires a singular “thread” that weaves or connects the parts of the song, such as a consistent timeline, setting or viewpoint.
This form does not have a chorus that repeats, but rather a bridge that serves as a break, which also provides a pivotal idea or different perspective on the song’s main message. The hook of the song in this form usually happens at the end of each verse. This form of songwriting needs more careful planning, but when done properly, it can offer a great amount of emotional satisfaction.
Some points about AABA songs:
1. The TITLE of the song is placed in the verses. Either at the very start of it, or at the end of each verse. Or sometimes both the start and end.
2. The BRIDGE usually does not contain the song’s title.
3. The story progresses and the message of the song is further enhanced or developed as the song goes from start to finish. Here are some ways this is done:
|
a. Basic:
Verse 1 – Introduce idea Verse 2 – Develop idea Bridge – Different perspective/enhanced point Verse 3 – Conclusion b. Time-based story Verse 1 – past Verse 2 – present Bridge – insight Verse 3 – future |
c. Story-telling
Verse 1 – situation Verse 2 – better/worse situation Bridge – something that ties all stories together Verse 3 – best/worst situation d. Problem-Solution Verse 1 – Introduce problem Verse 2 – Cause of problem Bridge – Discuss problem and possible solution Verse 3 – Solution |
Some Verse/Bridge or AABA Examples:
|
"HAPPY VALENTINE'S DAY"
Verse - Verse - Bridge - Verse |
"CAN WE JUST STOP AND TALK A WHILE"
Verse 1 - Verse 2 - Bridge - Verse 3 - Bridge -Verse 3 |
'MABUTI PA SILA"
Verse - Verse - Bridge1 - Verse - Verse - Bridge2 (instrumental with variation) - Verse |
Other Examples of Verse/Bridge or AABA Songs:
COMPONENTS OF A WINNING LYRIC
1. Memorable Title and Concept
Make sure your title is unique. It is the brand of your song, so make it stand out. Your title should explain, embody or at the very least hint at the overall concept of your song. Here are some past Philpop finalists whose titles and concepts were memorable:
"KONTRABIDA"
Palaging may kontrabida sa bawa't love story. May umagaw sa 'yo at naging kontrabida sa love story natin. Ngayon na gusto kitang agawin sa kanya, ako naman ang naging kontrabida.
"DUMADAGUNDONG"
Dumadagundong ang puso ko. Lyrics support the song's EDM genre; beating of the heart = beating of drums/rhythm
"BABAE SA MRT"
Love story tungkol sa babaeng kasakay sa MRT. Lyrics contain details about the experience of riding the MRT, very relate-able to commuters.
'APAT NA BUWANG PASKO"
Novelty o nakakatawang awit tungkol sa mga BER months.
"KESA"
Kesa ("kaysa") pumangit, isipin lahat ng maganda; kesa sumungit, isipin lahat ng masaya. Song about positive thinking.
"KONTRABIDA"
Palaging may kontrabida sa bawa't love story. May umagaw sa 'yo at naging kontrabida sa love story natin. Ngayon na gusto kitang agawin sa kanya, ako naman ang naging kontrabida.
"DUMADAGUNDONG"
Dumadagundong ang puso ko. Lyrics support the song's EDM genre; beating of the heart = beating of drums/rhythm
"BABAE SA MRT"
Love story tungkol sa babaeng kasakay sa MRT. Lyrics contain details about the experience of riding the MRT, very relate-able to commuters.
'APAT NA BUWANG PASKO"
Novelty o nakakatawang awit tungkol sa mga BER months.
"KESA"
Kesa ("kaysa") pumangit, isipin lahat ng maganda; kesa sumungit, isipin lahat ng masaya. Song about positive thinking.
2. A Strong Start
If your song does not catch the listeners' attention within the first several seconds, especially when you are up against thousands of other songs in a contest, they won't bother listening to the rest of it.
|
|
"PARATINGIN MO NA SIYA" opens with an earnest and desperate plea, which is also the title of the song. Notice the absence of an instrumental introduction.
"DI NA MULI" paints within just its first few lines a scenario of past happiness that is no more. This keeps listeners hooked and interested, wanting to hear more and find out details of the scenario. |
|
There are many ways to give your song a strong start. Here are just some of them:
1. Intriguing Phrase:
"May sikreto akong sasabihin sa 'yo, mayrong nangyaring hindi mo alam..."
"You must think that I'm stupid, you must think that I'm a fool..."
2. Question:
"Bakit ngayon ka lang, bakit ngayon kung kailan ang aking puso'y mayro'n nang laman?"
"Where should we run to? We got the world in our hands and we're ready to play.."
3. Situation:
"Dalawa kayo sa buhay ko at ako ngayon ay kailangan nang mamili.."
"Now I'm out here looking like revenge, lookin' like a 10, the best I ever been..."
4. Setting:
"Hatinggabi... gising pa't naghihintay..."
"The club isn't the best place to find a lover so the bar is where I go..."
And many more! Use your imagination and creativity to get your listeners hooked and wanting to hear more.
3. Skillful Rhyming
Rhymes serve as a "verbal adhesive" and makes ideas and melodies stick, which helps in terms of recall and contributes to a song's overall appeal.
Types of Rhymes:
1. End rhymes - rhyming that occurs at the end of each line. Usually 2nd and 4th lines, or 1st and third lines. Sometimes it's the 1st and 2nd, and then 3rd and 4th, depending on the music.
Example (from "Edge of the World")
Strike me down if I am talking out of line
If I speak with a voice that shouldn't have been mine
2. Internal rhymes - rhyming that occurs in the middle of lines or in between lines that contain the end rhymes
Example (from "Dalawang Letra"):
Oo... oo.. woah
Sige na please, huwag mainis
Gusto ko lang ng matamis mong Oo...
3. Perfect rhymes - have the exact same sound at the end, and sometimes even the syllables before
Examples:
pagmamahal - magtatagal
beginning - winning
4. Imperfect/Near/Augmented/Slant rhymes - have the same vowels or vowel sounds but not the same consonants
Examples:
kumakatok - lumalambot
bright - time
In the past, most songs would rhyme only few portions, like perhaps just lines 2 and 4 in a 4-line verse or chorus. Nowadays, lyricists are flexing their rhyming muscles more by end-rhyming lines 1 and 3 as well, and using a lot of internal rhyme.
Check out the end rhymes and internal rhymes in this "MONUMENTO" lyric video. Note the use of mostly perfect rhymes.
Types of Rhymes:
1. End rhymes - rhyming that occurs at the end of each line. Usually 2nd and 4th lines, or 1st and third lines. Sometimes it's the 1st and 2nd, and then 3rd and 4th, depending on the music.
Example (from "Edge of the World")
Strike me down if I am talking out of line
If I speak with a voice that shouldn't have been mine
2. Internal rhymes - rhyming that occurs in the middle of lines or in between lines that contain the end rhymes
Example (from "Dalawang Letra"):
Oo... oo.. woah
Sige na please, huwag mainis
Gusto ko lang ng matamis mong Oo...
3. Perfect rhymes - have the exact same sound at the end, and sometimes even the syllables before
Examples:
pagmamahal - magtatagal
beginning - winning
4. Imperfect/Near/Augmented/Slant rhymes - have the same vowels or vowel sounds but not the same consonants
Examples:
kumakatok - lumalambot
bright - time
In the past, most songs would rhyme only few portions, like perhaps just lines 2 and 4 in a 4-line verse or chorus. Nowadays, lyricists are flexing their rhyming muscles more by end-rhyming lines 1 and 3 as well, and using a lot of internal rhyme.
Check out the end rhymes and internal rhymes in this "MONUMENTO" lyric video. Note the use of mostly perfect rhymes.
|
Ikaw ang sumisindi
Sa aking napupunding pangarap. Lalong tumitindi Ang apoy ng pagsisikap. Ako ang pinipinta Larawang sinisintang hangarin. 'Di mo iniinda Ang pahirap sa damdamin. |
|
'UNYIELDING" uses mostly imperfect/near rhymes. You will see in this lyric video that the chorus actually uses not just one but two internal rhyming schemes to fit the song's melody. The pre-chorus also utilizes internal rhymes.
|
|
We'll climb to the mountain's peak Soar to heights we've never reached You and I just need to keep Believing, believing And we'll rise above the stars Into the light out of the dark We'll keep on trying 'coz we are Unyielding, unyielding |
4. Payoff
A payoff is what sets great lyrics apart from just so-so ones. It is the part of a lyric that makes the listener feel like they experienced something powerful and rewarding. It is that thing that makes the song worth listening to.
Some payoff ideas:
1. Having the chorus explain or summarize the song's concept
2. Having a twist at the end
3. Using powerful and vivid imagery to make listeners emotional
4. Using wit, humor, sarcasm or irony
5. Ending the song with the title, binding everything and making a point
A payoff needs to be set up very well, just like a punchline for a joke. Here are a couple of examples of songs with huge payoffs:
Some payoff ideas:
1. Having the chorus explain or summarize the song's concept
2. Having a twist at the end
3. Using powerful and vivid imagery to make listeners emotional
4. Using wit, humor, sarcasm or irony
5. Ending the song with the title, binding everything and making a point
A payoff needs to be set up very well, just like a punchline for a joke. Here are a couple of examples of songs with huge payoffs:
2013 Philpop Grand Prize Winner "DATI" has a double payoff. The last lines of its first 2 choruses go: "Ngunit ngayo'y marami na ang nabago't nangyari, kundi ang pagtingin na gaya pa rin ng dati." With this, listeners already feel "rewarded" with having the title wrap up reminiscing verses with the concept of a happy, unchanging love.
But then at the end of the song, just when listeners are convinced that the song is about a love that started from childhood and continues to this day, we hear the lines "Nguni't ngayo'y malayo ka't malabong mangyari" and they are taken aback at the realization that the singers in the song are actually not together, and merely thinking of the past and what could have been. That twist at the end serves as a huge payoff.
But then at the end of the song, just when listeners are convinced that the song is about a love that started from childhood and continues to this day, we hear the lines "Nguni't ngayo'y malayo ka't malabong mangyari" and they are taken aback at the realization that the singers in the song are actually not together, and merely thinking of the past and what could have been. That twist at the end serves as a huge payoff.
|
|
|
"SARANGGOLA SA ULAN" is a song about unending hope and believing in love against all odds in spite of all painful past experiences. Throughout the song, the lyrics paint a picture of someone who has known nothing but unrequited love from childhood into late adulthood, but still remains an optimist, however foolish.
"Ang pag-asa'y walang hanggan, pag-ibig ay walang hadlang, at lilipad ang saranggola sa ulan." The line equates love and hope with the impossible, and yet the singer believes it. Highly relate-able to people who have loved and lost. As for imagery, we all know a kite has little to no chances of flying in the rain, and we are made to imagine this representation of one's lofty dreams struggling to fly against a backdrop of gray skies.
The song ends with these lines: "Eto ako tumatandang nakahandang panindigan ang bato sa tubig ay lulutang... at lilipad ang saraonggola sa ulan." The singer may have well lost his mind, and yet we commiserate or feel sorry for him. Strong emotions, huge payoff.
EXERCISES
A. What structures were used in the following songs (click on them to view lyric videos):
B. Observe the rhyming used in the song "Attention." (You may want to list down all rhyming words.)
1. Which part or parts of the song used perfect rhyming?
2. Which part or parts of the song used imperfect/augmented rhyming?
C. Choose a popular song whose lyrics you really love and analyze it. What is the song's payoff?
Please be prepared to share your answers at camp. See you!
B. Observe the rhyming used in the song "Attention." (You may want to list down all rhyming words.)
1. Which part or parts of the song used perfect rhyming?
2. Which part or parts of the song used imperfect/augmented rhyming?
C. Choose a popular song whose lyrics you really love and analyze it. What is the song's payoff?
Please be prepared to share your answers at camp. See you!
© 2022 Trina Belamide. All Rights Reserved.