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Momentum In Your Lyric: Part 2

Momentum In Your Lyric: Part 2

CONTINUED FROM: Momentum In Your Lyric Part 1


In this article we’ll take a look at the Chorus and Bridge rhyme patterns.

We’ll focus not only on how the rhyme works within each, but also how the rhyme patterns end up working for or against the song’s momentum as the listener moves through the song.

Momentum In The Chorus


The pattern is a classic sonnet structure initially E / E / E / F / F – which is great to set up a thought with the triplet [ E / E / E ], then resolve with the couplet [ F / F ].  If the next verse used the [E] or [F] rhyme, it would act as a catalyst to the next segment of the story.

However, with the introduction of a new rhyme sound, the listener moves to the next series of sounds – great to move the song forward, but the addition of three lines using a prior rhyme sound, with no forward connection serves to slow the song.  The backwards [E] rhyme confirmed by the backwards [C] rhyme from V2 tends to draw the song pace in the opposite direction of where it should be going – forward.

To move the song forward, the additional three lines could be removed with a more concise chorus created with the 5 line structure, and the linked pattern of triplets continued using the [F] rhyme of the last two lines of the chorus.


Momentum In The Bridge


Sometimes the song just knows what it wants.  The bridge is a triplet, so mimics the verse structure, which is nice.  Changing up the rhyme pattern to make it sound different is a handy trick, and in this case, begins that way.

A pattern of [ J / J / J ] would have worked better to be:

  • Less disruptive to the listener’s ear in the last line of the bridge
  • Put the song in a reflective pause – which is never bad for a bridge, and
  • Allowed for a link back to the chorus by either using the [J] rhyme for a new take on the last two lines of the chorus, or using [ F / F / F ] to create a more solid tie to the last two lines of the chorus where the hook would reside.

While you might have thought Whitman was boring when you were in English Lit class, there are a few handy devices in poetry’s meter and rhyme theory that have been used throughout time to remember and tell stories when the written language was limited to a few.

There’s no reason we as songwriters shouldn’t take full advantage of them!


Tick Tock

by Stephanie Gilvrey – (c) 2013



I walk into the room                          [A]

And boy, its crowded                         [B]

But I lock eyes with you                   [A]

Like lookin’ at the sun                        [C]

The spark is blindin’                           [D]

Looks like it hit you too                    [A]



Tick tock, Tick tock, baby                        [E]

There’s no time for “maybe”                 [E]

Let’s jump right in with both feet        [E]

Who knows?  This could be love          [F]

Somethin’ we’ve both dreamed of       [F]

Come figure it out with me                     [E]

At least let’s have some fun                    [C]

Tick tock                                                         [G]



I picture me and you                            [A]

In slow motion                                      [C]

Dancin’ like we’re alone                    [H]

It’s gettin’ hot in here                          [I]

My heart is molten                              [C]

I want to make you my own              [H]





Maybe I should wait, slow this down, learn you name;   [J]

What if you’re here with a date?                                              [J]

No, there’s no mistaking that look in your eyes . . .        [K]




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