i am looking for any tips you may have in your song creation process within BIAB to differentiate the different sections of a song. I have just been using the A and B parts BIAB alternatives and have gotten feedback that i dont have enough contrast in the chorus.
Try using Multiriffs. Multiriffs are very popular with PG staff developers that create the BIAB demos. I have around 9,000 styles listed in StylePicker and nearly 1,000 are PG Multiriffs. To search the StylePicker for Multiriffs, type the + into the search bar. Many PG Multiriffs are midi indicating they've been around for a long time. BIAB songs can have up to 24 MultiStyles in them. Users can use pre-made PG Music MultiStyles or create their own.
When using RealTracks, dynamics and more complex arrangements can be done using the RealTracks Medley Maker. The Medley Maker allows you to change out instruments on a track and program them to play in many different ways. Instruments can be played using alternating patterns determined by number of bars, chorus numbers, whether to play sequentially or to play simultaneously.
Another tip is to increase the Chorus tempo by one or two beats and then revert back to the normal tempo when another verse begins.
This is a good question. I was thinking of this just today as I work on a new project. But while playiang style can be a big part of this, my thoughts are more on Chord Structure. There must me some "theory" regarding how the chorus should be structured compared to a verse. And while we are on this topic how about the bridge or other song parts. What are strategies for chord selection to add contrast to differentiate this parts. Lets see what Mother Google has to say about this topic.
Add instruments in chorus. Maybe even use the same RealTracks again on additional tracks.
Sing at the lower end of your range in verse, at a lower level then sing at the higher end of your range and belt it out in the chorus.
I read somewhere that the best approach is to build your chorus first with lots of instruments, volume, fx, etc. Then remove stuff for the verses.
Another suggested technique is to have steps/levels of building your song. The steps/levels just refer to overall energy/volume/complexity/etc.
So, your first verse might be level 1 and your first chorus level 6. Then verse 2 is level 3 and chorus is level 8. Then bridge might drop all the way back down to level 2 while the final chorus goes to 10.
There must me some "theory" regarding how the chorus should be structured compared to a verse.
No, there is not. Listen to as many different styles and variations as you can till it becomes one of those things you know when you hear it. I mean everything — Bach, Gilbert & Sullivan, Blues, John Philip Sousa where he goes to the Trio, Wagner, Puccini, Gershwin, Beatles, Disco…
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The best way to differentiate the verses and the chorus is in the chords and rhythm you use in each part.
So for example.... the verses might start on the 1 chord.... (root) and use the 1, 4, 5, chords in it... and it might have a slow meter to the melody line.
When you enter the chorus, start on the 4 chord and make the melody line a faster meter. Deliver the words with a more rapid feel.... Here's an example: https://www.youtube.com/watch?v=WKSNHcsqqKM Bellamy Bros, Let your love flow. Note the chorus starting on 4 and the different meter between the verses and the chorus.
Essentially you want to make the 2 parts sound like they are different while still retaining the cohesiveness of being one song.
I like to write the chorus in such a way that repeating it fits the different stories told in the verses.... a great example of this is Tim McGraw - Don't Take The Girl. https://www.youtube.com/watch?v=-vn6QdqxK3g
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
There must me some "theory" regarding how the chorus should be structured compared to a verse.
No, there is not.
If there was, it might be quite a good idea to do something different anyway, rather than following convention. Surprises are good.
BTW, I presume you realise that you can change style for yourself for the chorus (well, anywhere really). You don't have to stick within the A-B or within the built-in MultiStyles. F5.
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Yeah, exactly. Why even bother with a chorus... Just use the old tried and true AAA writing method. It worked extremely well for Robert Zimmerman on a ton of songs. In his case it was often AAAAAAAAAA
Last edited by Guitarhacker; 01/01/2205:41 AM.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
Yeah, exactly. Why even bother with a chorus... Just use the old tried and true AAA writing method. It worked extremely well for Robert Zimmerman on a ton of songs. In his case it was often AAAAAAAAAA
Do I sense something is blowin' in the wind here?
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i am looking for any tips you may have in your song creation process within BIAB to differentiate the different sections of a song. I have just been using the A and B parts BIAB alternatives and have gotten feedback that i dont have enough contrast in the chorus.
I got one advice from an Instagram profile I follow (Cosmisacademy) - make your Chorus "GRAND", make it sound good and make sure it stands out.
...and I always add - make your Chorus memorable. Make sure that the first thing you remember of your own song, is the Chorus. As a listener you should always be absolutely certain when you are listening to a Chorus.
One thing you can test when you arrange your song - how many times can you sing or listen to each part of your song, before you feel that it's time to move on. My rule of thumb is, that you should be able to repeat your chorus far more times, than ny other part of the song, without getting bored or growing tired of it. Having said that, I usually limit myself to a max of 3 Chorus per song (and max repeating the Chorus 3 times before or during Outro).
...and as pointed out elsewhere - just make it sound good.
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