Members VengefulTikiGod Posted April 25, 2007 Members Share Posted April 25, 2007 Lately all I can think of for a bridge for any upbeat major key song is this lame, cliche progression: IV V I vi IV V I IIV V I viIV IV V V I'm always tempted to start bridges on the IV chord, but as soon as I do that, I get sucked into the above progression... Ooh, actually it just occurred to me one could substitute with the relative minors of the I, IV, and V in certain places. But other than that, any thoughts? Am I doomed to half-baked bridges? Link to comment Share on other sites More sharing options...
Members tamoore Posted April 25, 2007 Members Share Posted April 25, 2007 You're thinking too much. Throw the theory out, and just concentrate on writing a good bridge. If it follows a 'standard' progression, so be it. If it's good, it'll stand regardless of the progression. That's my thought anyway. Link to comment Share on other sites More sharing options...
Members eeglug Posted April 25, 2007 Members Share Posted April 25, 2007 I write stuff by ear. I don't even try to figure out what key the melody is in so the harmonic relationships you outline are never floating in my head when I write a song. So I have to agree with tamoore that you're overthinking it. It seems to me that you're taking a very methodical approach to songwriting and letting 'the rules' get in the way... Link to comment Share on other sites More sharing options...
Members blue2blue Posted April 25, 2007 Members Share Posted April 25, 2007 Bridges are my weakest spot, for sure. While I share our friends' surmise that you might be over-thinking this, it's clear that having a starting place/approach can be helpful when all you need is that last little bit of something to take the song to where you think it wants to be... If you come up with anything... let me know. Link to comment Share on other sites More sharing options...
Members eeglug Posted April 25, 2007 Members Share Posted April 25, 2007 I wish I could be of more help... Some bridges unobtrusively fit the mood and key of the rest of the song while others crack open into a whole new world...and then there's some that're in-between. It might also be helpful to not just think of harmony but focus also on rhythm - break up the rhythmic phrasing differently than what appears in the verse/chorus. I ramble... Link to comment Share on other sites More sharing options...
Members blue2blue Posted April 25, 2007 Members Share Posted April 25, 2007 No, those are good ideas... it's just that a bridge can be so many things in pop music, from a breakdown to a full out aria... Link to comment Share on other sites More sharing options...
Members Floophead3 Posted April 25, 2007 Members Share Posted April 25, 2007 well if you're approaching it from the theory standpoint, definetely try using some modulations or even a key change. Parallel minor would be very interesting, also you can use the minor chords in a major key (for example Bb C D in D). Also don't forget about the diminished 7th, especially first inversion. Very powerful chord and a substitute for V in many places. Link to comment Share on other sites More sharing options...
Members seahorse Posted April 26, 2007 Members Share Posted April 26, 2007 Try using part of a totally different unfinished song. It's like killing two birds while one's stoned. Link to comment Share on other sites More sharing options...
Members kurdy Posted April 27, 2007 Members Share Posted April 27, 2007 From my experience, "anything goes" in the bridge. That's the part of the song where you can really go nuts and be the most creative,--if you choose to write one (some songs don't need them). One rule of thumb I've always followed is to start the bridge on a chord that isn't used elsewhere in the song. Using chords that don't occur elsewhere provides contrast, which is part of the bridge's function, anyway. But really, there are no hard and fast rules--do whatever sounds good to you. I agree with everyone here--don't over think it, just experiment and have fun. Link to comment Share on other sites More sharing options...
Members willie the wimp Posted April 27, 2007 Members Share Posted April 27, 2007 honestly the only progression i know is a 12 bar blues progression. you think too much. just go with what you feel, monkey around with lots of different chords. i don't know any of the theory stuff but it doesn't stop me from writing songs. if anything i wind up writing a bridge better than a chorus so i swap them or ditch the chorus all thogether. Link to comment Share on other sites More sharing options...
Members JailTime Posted April 27, 2007 Members Share Posted April 27, 2007 Try using part of a totally different unfinished song. It's like killing two birds while one's stoned. Indeed. I love smashing 2 ideas together. Sometimes it doesn't work and sometimes it does. When it does, it makes the song something completely differnet than you might have expected. The freshness can be envigorating. Link to comment Share on other sites More sharing options...
Members Marckus Posted May 2, 2007 Members Share Posted May 2, 2007 sometimes i find myself just fliping about a couple chord progressions, or adding a III chord or a flat VII chord they crack open tons of weird, but awesome things or try using your what you want (but hate):IV V I vi IV V I IIV V I viIV IV V V....in a key of the fifth or fouth ie: if the key of the song is C do one of those chord progresions in G or F Link to comment Share on other sites More sharing options...
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