How do you write a bridge part for a song? Is there some sort of music theory that applies?

NovaAngel said:

To me, a bridge is a bridge only in that it deviates from the standard chord progression of the chorus and/or verses.

Therefore, a bridge can be a break, where just the drums and one instrument play, or it can be a complete deviation from the original song - chords, tempo, whatever. Most of the time, if I'm pressed for a bridge, I'll just kick the song up to the IV (i.e., if it's in G, move up to C). OR, just stay on the I without going into other chords -- and do that for awhile - 4 bars, 8 bars, whatever.

It's really up to you. Switching to minor chords is a good way to go sometimes.

Take "Sex Machine" by James Brown. he just moves the main riff up to the IV and stays there until he calls the turnaround to drop back down to the I.

Ditto on KISS, right after "little girl Wendy's parade".

Though a bridge ain't always necessary - When Doves Cry, America, Let's Go Crazy, Purple Rain - no bridges. A LOT of P's stone jams don't go into bridges.

otan said:

God it's good to hear you say that! My Bass prof. at my Univ. is always pressing me to write one for my pieces. I thought I was weird cuz I hardly ever write one. It's not like none of them have a bridge, I just don't hear it sometimes.

NovaAngel said:

Thanks for the info. BTW.

Great feedback otan!
*takin' notes*

NovaAngel said:

Me too. If I don't hear it, then it's not there. A while back, I thought about how sometimes I don't really have a chorus either. Like my track Move. The chorus is like the second half of the verse, but the words are different each time I sing it. I noticed that Neil Finn does that a lot in his Crowded House tunes, so I don't feel so strange anymore.

VinaBlue said:

BUT! Be wary of a song without a hook, chorus, or SOMETHING that comes around over and over. When you have a song that's unique from start to finish - unique in that NOTHING repeats, lyrically/melodically, you'll lose a lot of the audience. They'll hear the song, and then once it's over, there's little to recall because nothing was burned into their memory.

I understand the idea of creating something that breaks the rules and goes above standard structure, etc, but keep in mind that these kind of guidelines are not set in place by some men black robes high up on a podium - things like a hook and chorus and bridge are naturally attractive elements to a song. When used, they can push your song above other's songs because yours will be memorable, whereas other folks' WONT.

Not saying your song wont be good without all those elements - I'm saying you'll have a harder sell - to the audience, radio, whoever you're hoping to hear (and remember) your songs.

BUT there are always exceptions - Sinatra's "Fly Me To The Moon" for instance - LYRICALLY, there's nothing that repeats - and there's no bridge. However, the melody line repeats three or four times, and THAT is what sells the song to the listener.

Sorry I keep getting up on the podium to lecture. You guys all have great stuff, don't stop. My dad once told me "learn the rules and then learn HOW to break them".

Bridges are cool, but I don't really prefer them in my songs. I have a bridge on some of my tunes, but not all. Sometimes I like to keep on a "dry, flat highway"...lol. Bridges refer to a chord change in your song that usually leads up to a chorus and tells a story musically an/or vocally.


Peace,

JD

otan said:

I know, silly! Seriously though, I'm aware of good melody and everything you said. I also know that some people, (like Tori Amos), don't always follow "rules" that make things popular or radio-friendly. Obviously these songs don't become singles, but some do become audience favorites.