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I can't think of a worse way to write songs than to tweak them to maximize youtube view stats. It may be that more experienced or professional musicians like you who have released dozens of albums don't have to worry about this, but when it comes to songwriting, I'm a complete noob who barely knows what he's doing, so ANY feedback is useful information that can help me improve. I'm here to learn! You can love YouTube or hate it, but the information about how long a user listens to a song is useful information that you can't get anywhere else. It's like at a gig where you see the room emptying during a particular song and you have to think about whether or not the song works live, or how to make it work better. If I wanted to get maximum clicks, I would do rap, or covers, or rap covers.
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My church online viewers gets to the sermon then people bail out. It is the nature of YouTube.
...Deb
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I think my viewpoint is going to be a little bit different than what other people have shared.
I honestly don't give a flying flip about analyzing any aspect of what I do musically and making any plans about it whatsoever; as a matter of fact, I'm vehemently opposed to it.
I will put the climax in the the first five seconds if I feel like it. Or not. Who cares.
The world that we are currently living in is a spiritual and cultural garbage dump, a festering stinking landfill.
I don't watch or read the news and I couldn't care less whether Spotify and every celebrity in the world blows up and lands on the moon in a crater.
Music is the best place where I can go to just be myself and do whatever I feel like. I go there to experience the freedom and joy of hearing whatever comes out the other end of whatever I'm doing.
So I just do whatever I feel like and if anyone likes it that's cool and if they don't like it, again I really couldn't give a flying flip.
The way things are looking we've got another five years left before the entire thing explodes around here unless there's a massive massive change so I'm not wasting any time worrying about whether anyone is listening to my songs on YouTube for 10, 20 or 30 seconds.
I'm just doing what I feel like and I really don't care.
That's my process to songwriting and again I don't care if anyone likes it or not or has a better idea.
So there.
🙂
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Exactly how I feel David!
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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There are people who write for themselves. There are people who write for an audience. Neither is wrong. Either is fine.
I'm more in the "write for themselves" camp than not. That being said, I think my music is mostly listenable. When it's not, I appreciate the feedback I get here. Even when the listener is wrong. Ha! Hubris can be helpful, and maybe essential, for a songwriter.
I think it's fine to ask how to create music that people will want to listen to. It's teachable, and not everyone making music intuitively gets it. And THAT being said, not everyone who KNOWS how to create listeners will be able to. That's just the way it works.
A forum without friction can become a cheerleading squad. While I appreciate the positive energy, and the world could use more of THAT, cheerleading is just not entirely productive to building the songwriting craft...
Trust this is taken with the positivity intended.
ATB, Ron
DC Ron
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Ron,
I'm not sure that I agree with the premise here, or rather it would be more accurate to say that I'm not all that interested in songs that strive to be too craftsman like.
I fully realize that I'm an odd duck when it comes to the whole musical world but I find myself in a severe state of recoil whenever I can tell that someone is trying to write a clever song or please the masses or do anything that one is generally supposed to do. It literally makes me shudder.
I'm only drawn to those songs where I can genuinely tell that the person writing and singing them truly doesn't give a flying flip about what anybody else might think of their song but is writing from a place of complete originality and Independence, even fierce Independence. It is the only attitude that I genuinely respect. Now maybe that artist is only getting two people in the world to listen to their songs but still that is the only kind of songs that I can stomach. If I can tell that someone is striving to be commercial, whatever that means, I just can't listen to it for more than 5 to 10 seconds.
I enjoy listening to most songs on the forum for the most part because I know they're being created by real human beings and there's a chance for me to interact with them and the entire process.
I find it next to impossible to listen to anything commercial on any channel or source because I just don't like it, and I also am not into idolatry. I remember hating American idol the first time I saw it and was sitting there praying that Simon Cowell would burst into flames. Yes I know I'm a weird guy. I admit it.
To me the most important part of a song is something that can't be taught and it has something to do with an outrageous independence of spirit and also a kind of bravery or quirkiness.
I enjoy listening to songs on the forum because it's a quirky place full of quirky people and I admire that.
Again, and I know this probably puts me in a very small group, but the only thing that will usually make me listen to a song until the end is if I detect a sense of outrageous Independence on the part of the artist.
The second I detect commercial I hit the off switch.
But that's just me.
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..........................................................
I enjoy listening to most songs on the forum for the most part because I know they're being created by real human beings and there's a chance for me to interact with them and the entire process. Same here! I find it next to impossible to listen to anything commercial on any channel or source because I just don't like it, Again same here. and I also am not into idolatry. I thought I was your idol  My whole world just blew up in my face! Where is the Death Star when you need it  Yes I know I'm a weird guy. I admit it. That makes two of us! To me the most important part of a song is something that can't be taught and it has something to do with an outrageous independence of spirit and also a kind of bravery or quirkiness. I agree again. You know David agreeing with you so much scares the hell of out me  ...................................
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
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I'm not sure that I agree with the premise here, or rather it would be more accurate to say that I'm not all that interested in songs that strive to be too craftsman like. Well, the premise is that people are leaving this particular song because the climax is placed too late. Now, B.D. didn't say which song it was, but let's suppose it was "Not Drinking Neither". Why would people leave instead of listening to the entire song? One reason might be that he posted it on a couple of sites that have SynthV threads. If I remember correctly, he specifically told people they might be interested in listening because of the spoken part, and not because they were particularly interested in hearing the song. So after a minute, they'd heard enough to get an idea what the spoken part was, and they left. That's just a theory though. A music theory. 
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Apologies to David and anyone else I've mischaracterized or offended. The OP referenced a song of mine and where I placed the "climax". We decided (I think) that he really wanted to know how to keep listeners listening to his songs.
Popular music is popular because...people listen to it. I stopped listening to conventional popular music in about 1993 or so. (Which explains my dated sounding songs, but that's another thread) My popular music started with the folk boom of the 60's and took off with the British Invasion. While I gave up on popular music over 30 years ago, my original influencers were keenly focused on how to get played on the radio. And they were quite good at it. So what you hear from my advice is the stuff I've enjoyed listening to. This stuff is now vintage music.
Don't get the wrong idea. I also listen to offbeat stuff like The Shaggs. Brilliant, other-worldly and...there are really no words. (But this is yet ANOTHER thread)
I don't meet David's criteria in that I've written neither the lyrics nor performed the vocals for the songs I post, but I'm always grateful when he takes the time. I'm like the director with a script (the lyrics). I have a vision for how the story can be told, cast the movie, direct the actors and edit the performance. I probably mixed a metaphor or two there. So the storytelling you hear in my songs is mine, but only as an interpreter.
If someone offers advice here, they are likely going to get more than one point of view. I think this post is a great example of that. Thanks to all for the interest and investment of your time here. As I've said before, I always learn a lot...
Last edited by DC Ron; 11/07/23 03:58 PM.
DC Ron
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One reason might be that he posted it on a couple of sites that have SynthV threads. If I remember correctly, he specifically told people they might be interested in listening because of the spoken part, and not because they were particularly interested in hearing the song. So after a minute, they'd heard enough to get an idea what the spoken part was, and they left. That's just a theory though. A music theory. That's actually a pretty good theory. I completely forgot to take these posts into account. I think that solves this particular case. Thanks David  ![[Linked Image - Only viewable when logged in]](https://www.pgmusic.com/forums/images/icons/default/thumbs_up.gif) And I like the general approach (keeping the listener's attention, where you place the climax and/or chorus and why) and everything else that's been brought up here in this thread, because everyone is a little different, has different approaches, and I learn something from each of you. So, even if I haven't replied to every single answer, a big thank you to all of you!
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Interesting thread indeed. Song writing is something I very rarely did before joining the forum 12 years ago. My decades of playing in bluegrass bands was almost exclusively covers. BiaB allowed us to explore blues which we loved but had not played much. And after these more recent years of attempting to write I honestly haven’t given much thought to this topic. FWIW I think, to a less mentioned extent, engagement is dependent on the anticipated audience Here at the forum we hear genres we never listen to elsewhere. Perhaps arranging for immediate engagement and moving to a climax is necessary. But away from the forum, for us, we are preaching to the choir. Janice is fortunate to have many songs on some popular Spotify blues rock playlists. Folks coming to those playlists expect, well, blues. They know the genre and have notions of what to expect. There’s no “this isn’t my genre but.” 😀 One might think blues is so formulaic it doesn’t matter. I get that. But we aim for placement on these lists and it seems to work. FWIW After all that babble I do feel that a verbally catchy hook presented early is very effective in engaging us. And for us, fair or not, if we don’t feel the vocal has our notion of soul we don’t stay engaged. Vocally supportive instrumental fills are meaningful to us. And of course lyrics … I will say that mundane lyrics sung by a great vocals will engage us.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
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I always thought the “climax” was the end of something and everything else was a build up to it. The adventure begins by an interesting verse that captures the imagination and builds by adding little hooks that lead to a chorus that drives home the message. Whether the message is relevant to the listener is another story though.
(I can’t write for teenagers now because I don’t understand their motivation.)
🤔
So, to sum up, I think the climax belongs at the end of the journey or just before the end.
Vic
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After 50–60 years of performing, I believe that I've gotten a feel for what works or doesn't in a song. The idea of writing to a climax doesn't work for me. Good songs grab the audience, sustain attention through the middle and have a satisfactory end. This is true whether I am performing my own material or deciding if I should cut a verse or few from a hymn during a church service. The answer, as always, is, It depends.
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…….. and another thing:
It’s like any creative process. A good painting has a focal point that draws the viewer.
It could be the look in the models eye or the “enigmatic smile” or the red splodge of colour in a field of green. The rest is the dressing that allows that “climax”.
The artist is conveying a message. I can’t believe they don’t care if anyone gets it or not.
Vic
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I always thought the “climax” was the end of something and everything else was a build up to it. The adventure begins by an interesting verse that captures the imagination and builds by adding little hooks that lead to a chorus that drives home the message. Whether the message is relevant to the listener is another story though.
(I can’t write for teenagers now because I don’t understand their motivation.)
🤔
So, to sum up, I think the climax belongs at the end of the journey or just before the end.
Vic After 50–60 years of performing, I believe that I've gotten a feel for what works or doesn't in a song. The idea of writing to a climax doesn't work for me. Good songs grab the audience, sustain attention through the middle and have a satisfactory end. This is true whether I am performing my own material or deciding if I should cut a verse or few from a hymn during a church service. The answer, as always, is, It depends. I agree with both of you, and that's the interesting point of my question: - a song should build towards a climax, ideally (but not necessarily) towards the end of the song.
- the attention span of the average listener has been decreasing for quite some time, so more and more don't make it to the end and thus miss the best part.
Like Mike, I usually remove a verse (e.g. the second one if it's AABA) to have the first little reward (chorus) a little earlier and keep the listener engaged.
Of course if I start a song with a chorus, that's a completely different can of worms.
The age of the listener is important, if you're not a teenager you can't write for a teenager, unless your name is Max Martin and your favorite key is G major. Anyway... I can see it in my generation already that most people will skip the song if there's no early reward. Listening to a complete album from start to finish is a relic from the past (which may have something to do with the fact that there aren't many artists anymore who can pull of an album like this. And because the remote control was invented). Times are changing...
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…….. and another thing:
It’s like any creative process. A good painting has a focal point that draws the viewer.
It could be the look in the models eye or the “enigmatic smile” or the red splodge of colour in a field of green. The rest is the dressing that allows that “climax”.
The artist is conveying a message. I can’t believe they don’t care if anyone gets it or not.
Vic I understand what you're getting at, but I don't think you can compare a painting to a song, because a song is sequential in time, whereas with a painting you can jump to any part that catches your attention at any time. It would be an interesting art installation if a painting was linked to a song, with an eye-tracker "moving" the song musically to the part of the painting you are looking at.
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I agree.
When I say "the end", I don't mean the end of the song but the end of that part of the song.
Multi climaxes.
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Hmmmmmmmm.
Is it possible to have a multi climax in any other art form that is not a painting or a song?
And if so, where might I find it?
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True, it’s a shorter time span but it’s still “time”.
I do paint, so that’s why I make the comparison.
I was mainly making the point though, that a climax is important in a song.
Vic
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Hi David.
Watch a good movie or listen to a good storyteller.
Watch a ballet.
Vic
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Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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