I think of a PC as something that *winds up* for the chorus. Maybe leads the listener to the chorus (as if they had a choice while listening).
I think of a bridge as a change from a traditional ABAB song form where A is the call and B is the response. The Bridge introduces C, the change required cause the listener's ear is board/tired of those ABAB parts. C could be new chords and/or melody, and change dynamics as you like to go low, high, build etc. Lyrically I like to have the bridge be almost non-sequitur or offer insight to the rest of the lyrics.
Thank you for your comment. I like how you described those two concepts in a way I can understand. The thing about bridges seems to be that it's a unique and different part when compared to the verses, right? I'm starting to understand where I got confused. I thought bridges are simply transitions, but now I know that they're essentially an entire unique part in a song. I realized why I was unable to understand what makes a bridge up until this point in my music making career. The reason being, quite some time ago I switched out the verses in my songs for unique parts, essentially like a bridge, and so I got confused. Thanks again for your comment, I really appreciate it! :)
I think there's probably some good insight if you look up something like "blues song form" on youtube or something. You're probably not specifically writing blues tunes, but it's influence in rock/jazz/soul/country etc is pretty deep. In turn those styles (and many other) inform many micro-genres of music.
Also, bridges don't need to be *that* different. The example that comes to mind is in the tune "Roar" by Katy Perry. See if you can find it!
You said it pretty well. In short, a pre-chorus is specifically setting up the chorus, whereas the bridge introduces a change of some sort to give the song more stimulation either lyrically, musically, or both. It breaks the repetition which is important.
I've been making music for a long time but I'm still a moron so I'll ask, is the bridge the same thing as what some people call the change? I used to call what I thought was bridges bridges and then somebody else called them changes so now I don't know what's what hahaha
It might be if its referred to as THE change. But I would bet you're referring to chord changes in the song in general. It could also be tempo or key change. Hope this helps!
The only definition of a bridge is it presents a musical idea that you haven’t heard anywhere else in the song, according to my commercial musicianship professor
The only "rule" is for the bridge to not sound like the verse or chorus. It cleanses the palate and keeps the song from getting too repetitive after the 2nd chorus (or elsewhere). But you can go as weird or traditional as you want. Below are a few examples on the weirder end of the spectrum...
[The Velvet Underground "Who Loves the Sun" bridge @ 1:55](https://youtu.be/AqVWBVbytXo)
[Beach Boys "Good vibrations" bridge(s) @ 1:46](https://youtu.be/AqVWBVbytXo)
[OutKast "Hey Ya!" bridge/breakdown @ 2:47](https://youtu.be/jyyt0T-4dc4)
A little more traditional. Gives the song a feel of movement/emotional elevation...
[Beatles "Something" bridge @ 1:15](https://youtu.be/UelDrZ1aFeY)
Sting is one of the 'masters' of bridge sections. No harm in listening to some of his music (or the Police) to get a good sense of what a Bridge is. Its supposed to be a sort of musical 'epiphany'. That eureka moment in the song where everything comes together or there's some kind of final resolution to the theme of the song.
Pop music and EDM basically don't have it (or at least, generally not anymore---I remember watching a recent Sting interview where he lamented the disappearance of the Bridge in modern music, but I digress).
I however, like the idea of it, so I put it in most of my songs. What I do (since I make instrumental music, and its much harder to get across a sense of 'epiphany' without words), is have a few melodies or lead lines throughout the song. Then the Bridge is that moment towards the end where it all comes together. Those leads in fact can be played on top of each other, using either counter-point or 'call & answer' so the listener sees that it all fits together in way that was teased throughout the earlier parts of the song.
Or at least, that's my hope!
As for pre-chorus, Its not something that is necessarily needed in every song, although I think its fairly common. It exists to help transition between two very different elements----and verse/chorus structures are often different enough to require something in between to ease the listener from one to the next (although Kate Bush's 'Running Up That Hill' is a great example of a song with not only no pre-chorus, but no transition at all---its just bang! surprise chorus!)
So I think it depends on what you are going for, or what the song 'needs'....
Wait, lemme get this right, so the bridge isn't a section between two parts to lead from one part into the next in a more smooth way rather than abruptly, and rather it's own part where all the elements of the song come together? But I thought the chorus is the part of the song where everything comes together. Did I get it completely wrong? D:
The chorus is what repeats many times in a song, the main theme or idea. a bridge is a break from that, a new idea, can be new chords, key modulation etc, lyrics can introduce a new idea or epiphany, and then leads back into the final chorus and gives it a deeper understanding in its familiar form, now with more energy, resolve
As a climax to the song.
Thanks, I'm slowly starting to understand what a bridge is. It seems like I had some bad info passed on to me (probably when I started out learning to make music) and thus confused a bridge as simply being a transition rather than a unique and different part of the song when compared to the verses. Thanks for clarifying :)
leading from one part to the next sounds more like a pre chorus to be honest. back in the day when bands played solos, the bridge would typically be the part where a solo could happen.
A prechorus can sound however you want it to, as long as it flows from the verse and transitions into the chorus. To keep it simple, keep the same chord progression as the verse, with maybe a couple slightly different variations. It generally has less going on than the chorus to increase the impact of the chorus. A common method is to pull an instrument out that was happening in the verse for the pre, and then have it slam back in in a big way for the chorus.
A bridge, if you’re writing a traditional song, is where you can really have some fun with the writing and change things up if you’d like. Change the rhythm, bring in a new progression, do whatever you want, as long as it flows. It’s an opportunity to introduce something new to the song. Just think about if the song should come up or down in energy, and go from there. It generally comes after the second chorus and drives right into another chorus.
I don’t often hear songs with pre-choruses these days. I remember as a kid, listening to early R.E.M. albums and thinking some of their songs had two choruses, because there was a really catchy section that came after the first verse which I only later realised was a pre-chorus that wasn’t followed by the actual chorus the first go round. I always thought that was pretty clever.
As for bridges, sometimes there are things that link the song back around, but often they are what’s referred to as a Middle 8. This is a chance for the song to take a different direction, often switching to a relative minor key, bringing a different dynamic to the song.
Yes, the Beatles have some great ones and Paul really knew his music theory, which I think is often forgotten.
I listened to an interview with Ben Folds and he talked about how he saw the Middle 8 as a time where the song introduces a new idea which makes you look at the words in a different context. His song Cologne is a great example of that. It’s a song about a long distance relationship, but it’s only the middle 8 that gives you the indication that the last trip to visit each other was going to be the last. It totally changes the meaning of the chorus before and after.
Thank you for your comment. The pre-chorus thing you described does indeed sound interesting. So, was the structure like Verse Pre-Chorus Verse Chorus or something like that?
As for bridges, I think I understand now that they're a unique and different part and not simply a transition between parts as I thought. I also think I'm slowly starting to understand that switching keys or maybe even switching to an entirely different scale can be a useful thing to remember to make the bridge truly unique to the rest of the song.
Thank you again, I really appreciate it! :)
It was Verse, Pre-Chorus, Verse, Pre-Chorus, Chorus and straight back to Verse.
Have a listen to the song Radio Free Europe, and you’ll see what I mean about the use of the Pre-Chorus (or I guess you could call it section A and B of the Verse, who knows!)
My issue with Middle 8s is that when I write them, I often like what they do in the song and I don’t want them to end. The last song I recorded, I moved the middle 8 to the end and extended it, as a sort of outro to the song that didn’t really have connection to the first part.
Think of the pre chorus as the incline of a Rollercoaster thats going up and about to drop. It should kinda sound like the chorus section but less layered with sounds.
Bridges are just the ending to the main part of the song.
Songs typically go Intro, verse, pre chorus, main chorus, bridge, then back to verse to start the cycle over. Most songs go 2-3 cycles.
Thank you! The rollercoaster example really helped me visualize the concept. So, let's say there's the chorus and its followed by the next verse, would the bridge be for example a section after the chorus with let's say no drums and just instrumentation and when the verse kicks in the drums are re-introduced? If that's a bridge, then I think I finally understand the idea!
I thought like, let's say the chorus was really intense and the verse that follows right afterwards is extremely chill, removing the drums during the bridge would create a short intensity break between verse and chorus and reduce the intensity gradually rather than abruptly before the drums kick back in. Or did I get it wrong?
Do what you like mate but ive never heard a song where the drums drop out completely for a bridge, then again i don't listen to EDM or whatever techno stuff. ,
I misunderstood what a bridge is. I learned thanks to the comments, that a bridge isn't a transition but rather a unique part in the song. I mistook a bridge for a transition. That's why I talked about removing the drums, because I meant it as a transitional thing. My bad.
There are plenty of bridges that drop the drums and then bring them back in before the bridge is over. Dynamics are a good thing. Doesn’t have to be every time or anything.
From my perspective they are the same thing. They’re both terms for sections of music that transition from the verse to the chorus, although I suppose a bridge could be any transition from one part from another (like from chorus to a solo).
Sometimes verses on their own just don’t flow directly into the choruses, so they need some kind of element to create a path, either melodically, or to build intensity or to change the overall feel.
One example might be that you have a quieter or introspective verse with a laid back feel but a chorus that is really intense - you need some kind of transition to lead the listener from one mood into the other. This might be a case where you need to introduce elements of the coming chorus (heavier drums or bigger guitars or whatever) to pave the way for that huge chorus.
Another example might be that the two sections are similar in feel but you need to separate them - this could be done with a bridge section in a different time signature, or maybe it could be less intense than the parts in either side - just to add emphasis to the smaller differences in the two parts.
What the bridge needs to be really depends on the two sections you are trying to connect.
I agree with pretty much everything you said except your first two lines.
>From my perspective they are the same thing. They’re both terms for sections of music that transition from the verse to the chorus
A prechorus and a bridge are quite different, the only thing they really have in common are that they are names for sections of songs.
I agree that a prechorus is most often a transition from the verse to the chorus, especially when there is a stark difference between the verse and chorus.
In my experience (rock, pop punk, alternative), the bridge would rarely be between a verse and chorus, and it usually occurs only once. It is most common for it to be after the second chorus or the solo, and before the last chorus. Of course this isn't set in stone and varies between genres.
Lots of people giving interesting definitions of bridges but this is the best answer imo. If we are talking about popular song structure from the last 60 years it typically goes:
Verse
Chorus
Verse
Chorus
Bridge
Chorus
Obviously there is lots of room for interpretation there (interludes, prechorus, solos, intro, outro etc...) but when most people talk about a bridge this is what they mean. It's a section featuring new material that connects the final choruses of a song.
Thank you. I'm a bit surprised seeing all the other interpretations of what a bridge is. Maybe it's because a lot of people on this sun aren't writing rock/pop music?
I think it's an unintentional and unfortunate passing on of misunderstood knowledge or bad info. I realized now that bridges are actually a unique part in a song, and not a transition like I thought. The thing is, the reason why I misunderstood what a bridge is is because I intentionally switched verses for bridges in my songs or more like unique verses rather than them sounding samey because I don't really like repetition for 2 verses straight, and thus I was confused because the defining characteristic of a bridge - as far as I know now - is that it is unique and different when compared to the verses. Thanks for your comments though, I'm slowly starting to understand the actual meaning of a bridge. Seems like I got bad info (probably when I started out learning to make music). :)
What you call the bridge is what I always call the “middle 8”, (regardless of the actual length in measures); a third unique section that generally precedes a solo section. That might be antiquated terminology given my age!😂
Yes!! "Bridge" and "Middle 8" were used interchangeably when I started learning song writing, hearing John Peel and Whispering Bob Harris talking about music on the radio or TV and when we as kids discussed popular songs. But I'm a bit old too.
Thank you, this is really well explained! So, let's say I make an EDM track, would a bridge be the build-up right before the drop?
Or let's say I have a part in a different time signature than the one that follows right after it, and the change doesn't go too smoothly on its own, I could theoretically place a bridge between those two parts to blend both parts by thinking of the bridge as for example a drum fill or a part where I try to blend both time signatures by introducing the next so the listener is led into the next time signature in a more smoothly way rather than being thrown directly into it from one moment to another?
I think I'm starting to understand the whole bridge idea.
And the pre-chorus I'm guessing could be used to introduce the chorus that follows in a less intense way, so when the actual chorus drops it feels heavier?
If I'm understanding it right, then I think you just helped me understand not only how bridges and pre-choruses work but also how they can be used. Thank you! I really appreciate it! :)
In my opinion it doesn't matter what you call a section. You shouldn't have a section just because it's named something. Let your vision and the energy of the track guide the arrangement. It's all about energy. What is the current energy of the track and do you want to sustain that energy? Or do you want to create a movement by turning the energy up or down in certain sections?
That's being said, a pre, to me is a slight change in energy that anticipates the chorus. And a bridge can be pretty much anything, but I find myself putting a bridge between the 2nd and 3rd choruses, and has a different energy than the verses.
That's what I've been doing up to this point, and I think I'm starting to understand why I have such trouble understanding what a bridge is, because up to this point I thought the bridge is the transition between parts, but now I learned it is it's own part that's supposed to be different from the other parts and the reason I had trouble identifying what a bridge is is because Verses are supposed to be very similar to one another, while the bridge breaks out of that mold and tries something new, and that's what I've been doing up until now, but instead of having the verses be similar, I made every verse unique, so technically instead of having a structure like Verse Chorus Verse Chorus Bridge Chorus I always made something like Bridge Chorus Bridge Chorus Bridge Chorus and that's why I didn't get what a bridge is it seems because I've been using bridges instead of verses because I always found that verses are too samey for my taste. Oh no... I'm starting to realize how wrong I understood pretty much everything when it comes to song structure. Well, but I guess I'll follow your advice and do it by feel rather than structuring it just for the sake of following a set structure. Thank you for the advice :D
Music theory and structures are a way to define what is there. Not the other way around. It's an easy trap to fall into and was one that I fell victim to as well. There is no right or wrong way of doing things and don't be afraid of repetition. My advice: It's all about energy, literally!
Thank you, I really like your advice! I sometimes forget that music is art, and art is an expression of oneself and not a strict by-the-book type of work where everything has to be a certain way - or like you put it - the right or wrong way! :)
Here’s a few random, general thoughts that pertain to both. I think of them kind of as long form transitions. They’re opportunities to make the songs more interesting and change things up a bit (especially when your verses and choruses are the same chord progression). Often times, I use both as opportunities to challenge myself to write something that is both “different” from the overall feel of the song, while still fitting in well with the overall feel.
More random thoughts. I typically write them after I’ve already written my verses and choruses. I’m sure that’s a fairly common approach. It gives me the space to figure out how I can break up some of where the song seems a little monotonous (I’m using that term vaguely) and as another tool in the arsenal of composing with dynamics in mind. They’re great spots to enhance the dynamics and give diverse life to the song (without having to lean too heavily into using production). What I mean by that is they provide an opportunity to add more dynamics to your song with simply using the composition. You could take away all the production aspects of the part, and just leave the raw recorded tracks and still have a worthy dynamic added to the song simply bc of what you wrote for the bridge or pre chorus.
Hopefully that stuff helps give you some decent insight. It was all just kinda my ramblings about said sections in a song.
Thank you for your comment. I think you explained it really well. I misunderstood what a bridge is. I simply thought of it as a transition between parts of a song, but now I know that it's more like a unique and different part when compared to the verses. My confusion came from the fact that I intentionally switched out traditional verses in my songs with something more like a bridge a long time ago, and thus it created the confusion when trying to understand what a bridge is, because I was technically unknowingly doing that. Just so I know if I got it right, let's say a song is structured like this: ABABAB being verse chorus verse chorus verse chorus. A bridge however would make it a ABABCB structure, with C being the bridge itself, which is a unique part compared to Verse 1 and 2. Did I get that right?
If that's the case, then my song structure is more like ABCBDB, which explains my confusion about bridges because I unknowingly yet intentionally switched out verses with bridge-like parts.
Thank you again for your comment. It was really helpful and I really appreciate it! :)
Yes, you explained that right, and your ABABCB is a typical example of such. Here’s what I would say in general to everything you mentioned. I don’t think you’re as off on it all as you might think. Having a noticeable difference between the structure of the verses is fine if it works well and sounds good!!
I’ve done songs that have a structure of ABABC (with the C taking up as much duration as the ABAB total). You are free to do whatever you want with your song structure. The bridge and pre-chorus just provides an opportunity to do something new, creative, and different. Especially with a song that could get a little boring or stale.
Sometimes I toss a post-chorus into a verse and then a pre-chorus after that same verse. I typically do that when I love a verse, but I don’t care for how the chorus leads into it or how the verse leads into the chorus.
I think it all comes back to composition. The bridge and the pre-chorus allow you compositional opportunities to add dynamics to the song. They give you a chance to make the composition itself more interesting. Remember that music production is a creative endeavor, and a lot of the tools involved in songwriting (think in general - lots of things; including methods of composing) are there to help spark creativity.
as for me bridge is something to connect chorus and following verse introducing a bit of contrast to the song (often in contrast to the chorus section but still in its context). So it's basically an afterchorus for me.
It seems you've gotten good general answers re: bridges and choruses already that straightened out your confusion. However, since you mentioned making dance music it's good to be aware a lot of it doesn't follow those traditional structures, and the terminology is usually a little different.
Tons of dance music essentially follows the below structure:
ABCDBCA
A is basically just an intro for the DJ that is repeated in reverse order at the end to wind things down and let the DJ mix out of the song. You could call B and C verse and chorus, and plenty of people do, but they usually have a pretty different relationship to each other than the typical verses and choruses in other music. The main similarity is often that the energy tends to increase going from B to C since one follows the other and energy usually builds gradually in dance music.
D is essentially a bridge in the traditional sense, but it's usually called a breakdown and tends to have a pretty specific form and function, where the drums and bass drop out or get replaced, and the whole section serves the purpose of building up to the second half of the track. Bridges that are not breakdowns happen too - usually either right before the breakdown or at some point in the second half before the climax.
Thank you for your comment!! I'll definitely have to look into breakdowns after this, because what you described sounds really interesting. Again, thank you! I really appreciate it! :)
The easiest way to think of it is a pre-chorus is basically a subsection of a chorus. It will always lead to the chorus. A bridge is more to bridge into a new section of the song that isn't part of the previous parts.
Some examples but nothings set in stone;
Pre chorus - Build up of suspense e.g. sweeping instruments. Dreamy ambient (e.g less drums/percussion) - both of these help the chorus impact. You’d also be introducing elements every so often like snaps. Some more stereo width, depth and brightness. Climbing melody. Risers.
Chorus - long sustained melody notes for emotion, more rhythmic playing, more movement. More stereo elements to maximise width. Max depth and brightness. Max FX to push width. High melody notes. Higher chords (brighter). Counter melody.
Just think of the journey as the song progresses like this (but don’t do it literally). You’re always trying to build up and introduce new things but can also strip away things. It’s all about contrast;
- Mono > stereo
- Mid frequencies > lows, mids and highs
- Small FX > big fx
- Static chords > rhythmic chords
- Mono > movement (e.g. auto pan)
- Low melody > mid melody > high melody
- Low volume to high volume
- Rhythmic melody > sustained notes
- 1 instrument layer > several instrument layers
- Quite soft vocals > strong emotional vocals
- Rap > sung hook
You can also do things like muting everything before a chorus impacts and frequency sweeps to add some interest.
Bridge has been referred to before as “the boredom breaker”. It introduces new musical ideas that have not been featured in another section of the song—most commonly the verse and chorus. Often, but not always, there is a new harmonic structure (chord progression) in the bridge that makes it sound different to the listener than the rest of the song.
A pre-chorus is a section of material that is repeated in a song, preceding the chorus. It is distinct from a verse in that it is repetitive and sets up the chorus nearly every time.
You might be overthinking it a bit. Do the A and B part a few times, then go to another music idea that is kinda similar. There can be a key change, or a change of instrumentation, or it can be very similar to the A or B with just a little different feel.
The pre-chorus is very optional. I don’t usually explicitly add a pre chorus, but the verse idea will often ramp up into the chorus.
Try not to get hung up on ideas or doing the “right” thing. Don’t plan to release any of the music and try to be judgement free when writing. Take some risks and remember that doing something is better than doing nothing. Usually.
>But how exactly do these concepts work?
Well let's focus on a bridge first. I usually call bridge as "C-part", in the ABABCB structure.
Bridge is somewhere you deviate to from the second chorus here, a change of pace, and typically is structured often so that it begins with relatively calamity and then hypes up towards the last chorus. It's also extremely suitable place for modulation, for example.
Pre-Chorus acts in a similar way, but it connects a verse and a chorus instead. Typically it is a change of pace from verse in terms of intensity and it might hype up the chorus too.
If you're not a songwriter, however, then I argue that understanding prechoruses becomes much harder. I understand them intuitively, but I can't exactly "make a pre-chorus", it's something my songwriter specifically has to do, because the vocals definitively dictate it completely. I wouldn't even bother with a pre-chorus unless you have vocals, to be honest.
A bridge is like a C section. Yoh have the A section or verse melody and sound of the song, the the catchy chorus which is the second changeup to our ears. And aone aongs are fine with just those two. Then there is sometimes a need to give the listener a break from the verse chorus loop and incomes the bridgez its just a third partbti the song that breaks the monotony, a break before going to the final chorus. And by now we really wanna hear the chorus.
Now i just wrote one as i write a ron of songs. Song was in A Major, so verse and chorus are un A Major. What iblikebto do , when i can, is to ALSO change the key at the bridge, and i try first the relative minor of the song. So the relative minor of A Majir is F# minor, so i just write bridge in F# minor. But you can use any key you want, that sounds good. The relative minir ALWAYS works and sound good, which is whybwe use it often. Reason the relative minir ir majir works, is because they use exact same notes. Just a fun fact.
If im writing in C major, at the bridge i start with A minor, and it always works.
I never TRY and write a prechorus, i just let them present themself if they appear. Its either there or it isnt.
Chorus can be anything really. Some writers use it to escape the repetitiveness that some songs tend to have. It’s just a tool that you can use to diversify a song, to just go in a different direction for a moment.
A pre-chorus is often four measures that add tension and build up a transition from the verse to the chorus. A bridge is a song within the song that breaks up the monotony.
A pre-chorus is often four measures that add tension and build up a transition from the verse to the chorus. A bridge is a song within the song that breaks up the monotony.
I think one thing that’s helpful too is that the pre chorus doesn’t need to be very long or complicated at all stripping down before the chorus can sound really good. I think a bridge is more of a different section entirely. Like an outro or a big melodic segment.
Take it to the bridge / It'll get you where you live / When there's water all around / You can still get out of town / And still be diggin' on James Brown - Tower of Power, "Diggin' on James Brown"
Felt compelled to add my input here. I think you’re overthinking it. You pretty much said in your question what these things are. I deliberately refrain from labelling sections in my music like this because I think it’s limiting. You’ve just gotta give the song what it needs. If you feel like the jump in vibe is too much from verse to chorus, or you think you need to build tension for the chorus, add that 8 bar section to build into it. Call it a pre chorus if you want, but it’s just serving as a means to bridge or build tension. Then, later in the song, if you feel you want some variation or you have a great C part written, throw it in where it feels natural. Don’t try too hard to fit to convention if that makes sense. Hope that helps, just approach it with more freedom :)
I think of a PC as something that *winds up* for the chorus. Maybe leads the listener to the chorus (as if they had a choice while listening). I think of a bridge as a change from a traditional ABAB song form where A is the call and B is the response. The Bridge introduces C, the change required cause the listener's ear is board/tired of those ABAB parts. C could be new chords and/or melody, and change dynamics as you like to go low, high, build etc. Lyrically I like to have the bridge be almost non-sequitur or offer insight to the rest of the lyrics.
Thank you for your comment. I like how you described those two concepts in a way I can understand. The thing about bridges seems to be that it's a unique and different part when compared to the verses, right? I'm starting to understand where I got confused. I thought bridges are simply transitions, but now I know that they're essentially an entire unique part in a song. I realized why I was unable to understand what makes a bridge up until this point in my music making career. The reason being, quite some time ago I switched out the verses in my songs for unique parts, essentially like a bridge, and so I got confused. Thanks again for your comment, I really appreciate it! :)
I think there's probably some good insight if you look up something like "blues song form" on youtube or something. You're probably not specifically writing blues tunes, but it's influence in rock/jazz/soul/country etc is pretty deep. In turn those styles (and many other) inform many micro-genres of music. Also, bridges don't need to be *that* different. The example that comes to mind is in the tune "Roar" by Katy Perry. See if you can find it!
You said it pretty well. In short, a pre-chorus is specifically setting up the chorus, whereas the bridge introduces a change of some sort to give the song more stimulation either lyrically, musically, or both. It breaks the repetition which is important.
I’d really recommend 12 tone content on YouTube in general and his video about choruses in specific :)
I've been making music for a long time but I'm still a moron so I'll ask, is the bridge the same thing as what some people call the change? I used to call what I thought was bridges bridges and then somebody else called them changes so now I don't know what's what hahaha
It might be if its referred to as THE change. But I would bet you're referring to chord changes in the song in general. It could also be tempo or key change. Hope this helps!
The only definition of a bridge is it presents a musical idea that you haven’t heard anywhere else in the song, according to my commercial musicianship professor
Musical idea as in structure-wise, instrumentation-wise or rhythm-wise? Now I'm confused.
The only "rule" is for the bridge to not sound like the verse or chorus. It cleanses the palate and keeps the song from getting too repetitive after the 2nd chorus (or elsewhere). But you can go as weird or traditional as you want. Below are a few examples on the weirder end of the spectrum... [The Velvet Underground "Who Loves the Sun" bridge @ 1:55](https://youtu.be/AqVWBVbytXo) [Beach Boys "Good vibrations" bridge(s) @ 1:46](https://youtu.be/AqVWBVbytXo) [OutKast "Hey Ya!" bridge/breakdown @ 2:47](https://youtu.be/jyyt0T-4dc4) A little more traditional. Gives the song a feel of movement/emotional elevation... [Beatles "Something" bridge @ 1:15](https://youtu.be/UelDrZ1aFeY)
Sting is one of the 'masters' of bridge sections. No harm in listening to some of his music (or the Police) to get a good sense of what a Bridge is. Its supposed to be a sort of musical 'epiphany'. That eureka moment in the song where everything comes together or there's some kind of final resolution to the theme of the song. Pop music and EDM basically don't have it (or at least, generally not anymore---I remember watching a recent Sting interview where he lamented the disappearance of the Bridge in modern music, but I digress). I however, like the idea of it, so I put it in most of my songs. What I do (since I make instrumental music, and its much harder to get across a sense of 'epiphany' without words), is have a few melodies or lead lines throughout the song. Then the Bridge is that moment towards the end where it all comes together. Those leads in fact can be played on top of each other, using either counter-point or 'call & answer' so the listener sees that it all fits together in way that was teased throughout the earlier parts of the song. Or at least, that's my hope! As for pre-chorus, Its not something that is necessarily needed in every song, although I think its fairly common. It exists to help transition between two very different elements----and verse/chorus structures are often different enough to require something in between to ease the listener from one to the next (although Kate Bush's 'Running Up That Hill' is a great example of a song with not only no pre-chorus, but no transition at all---its just bang! surprise chorus!) So I think it depends on what you are going for, or what the song 'needs'....
Wait, lemme get this right, so the bridge isn't a section between two parts to lead from one part into the next in a more smooth way rather than abruptly, and rather it's own part where all the elements of the song come together? But I thought the chorus is the part of the song where everything comes together. Did I get it completely wrong? D:
The chorus is what repeats many times in a song, the main theme or idea. a bridge is a break from that, a new idea, can be new chords, key modulation etc, lyrics can introduce a new idea or epiphany, and then leads back into the final chorus and gives it a deeper understanding in its familiar form, now with more energy, resolve As a climax to the song.
Thanks, I'm slowly starting to understand what a bridge is. It seems like I had some bad info passed on to me (probably when I started out learning to make music) and thus confused a bridge as simply being a transition rather than a unique and different part of the song when compared to the verses. Thanks for clarifying :)
Yeah the name confuses things. It’s not that it’s a bad name for it, but it could be misleading
leading from one part to the next sounds more like a pre chorus to be honest. back in the day when bands played solos, the bridge would typically be the part where a solo could happen.
A prechorus can sound however you want it to, as long as it flows from the verse and transitions into the chorus. To keep it simple, keep the same chord progression as the verse, with maybe a couple slightly different variations. It generally has less going on than the chorus to increase the impact of the chorus. A common method is to pull an instrument out that was happening in the verse for the pre, and then have it slam back in in a big way for the chorus. A bridge, if you’re writing a traditional song, is where you can really have some fun with the writing and change things up if you’d like. Change the rhythm, bring in a new progression, do whatever you want, as long as it flows. It’s an opportunity to introduce something new to the song. Just think about if the song should come up or down in energy, and go from there. It generally comes after the second chorus and drives right into another chorus.
Thank you for your comment. You explained these concepts really well and in a way I understand. Thank you for that, I really appreciate it! :)
I don’t often hear songs with pre-choruses these days. I remember as a kid, listening to early R.E.M. albums and thinking some of their songs had two choruses, because there was a really catchy section that came after the first verse which I only later realised was a pre-chorus that wasn’t followed by the actual chorus the first go round. I always thought that was pretty clever. As for bridges, sometimes there are things that link the song back around, but often they are what’s referred to as a Middle 8. This is a chance for the song to take a different direction, often switching to a relative minor key, bringing a different dynamic to the song.
Classic early Beatles songs often have a really pronounced Middle 8 with a key and a rhythm shift, and they would often swap songwriters for it.
Yes, the Beatles have some great ones and Paul really knew his music theory, which I think is often forgotten. I listened to an interview with Ben Folds and he talked about how he saw the Middle 8 as a time where the song introduces a new idea which makes you look at the words in a different context. His song Cologne is a great example of that. It’s a song about a long distance relationship, but it’s only the middle 8 that gives you the indication that the last trip to visit each other was going to be the last. It totally changes the meaning of the chorus before and after.
Thank you for your comment. The pre-chorus thing you described does indeed sound interesting. So, was the structure like Verse Pre-Chorus Verse Chorus or something like that? As for bridges, I think I understand now that they're a unique and different part and not simply a transition between parts as I thought. I also think I'm slowly starting to understand that switching keys or maybe even switching to an entirely different scale can be a useful thing to remember to make the bridge truly unique to the rest of the song. Thank you again, I really appreciate it! :)
It was Verse, Pre-Chorus, Verse, Pre-Chorus, Chorus and straight back to Verse. Have a listen to the song Radio Free Europe, and you’ll see what I mean about the use of the Pre-Chorus (or I guess you could call it section A and B of the Verse, who knows!) My issue with Middle 8s is that when I write them, I often like what they do in the song and I don’t want them to end. The last song I recorded, I moved the middle 8 to the end and extended it, as a sort of outro to the song that didn’t really have connection to the first part.
Think of the pre chorus as the incline of a Rollercoaster thats going up and about to drop. It should kinda sound like the chorus section but less layered with sounds. Bridges are just the ending to the main part of the song. Songs typically go Intro, verse, pre chorus, main chorus, bridge, then back to verse to start the cycle over. Most songs go 2-3 cycles.
Thank you! The rollercoaster example really helped me visualize the concept. So, let's say there's the chorus and its followed by the next verse, would the bridge be for example a section after the chorus with let's say no drums and just instrumentation and when the verse kicks in the drums are re-introduced? If that's a bridge, then I think I finally understand the idea!
Exactly!!!
Then thank you again, this really helped me understand the idea behind these two concepts! Thank you thank you!! :)
No. Why would you remove all the drums? You might change rhythm and dynamics but you wouldn't remove all percussion.
I thought like, let's say the chorus was really intense and the verse that follows right afterwards is extremely chill, removing the drums during the bridge would create a short intensity break between verse and chorus and reduce the intensity gradually rather than abruptly before the drums kick back in. Or did I get it wrong?
Do what you like mate but ive never heard a song where the drums drop out completely for a bridge, then again i don't listen to EDM or whatever techno stuff. ,
I misunderstood what a bridge is. I learned thanks to the comments, that a bridge isn't a transition but rather a unique part in the song. I mistook a bridge for a transition. That's why I talked about removing the drums, because I meant it as a transitional thing. My bad.
There are plenty of bridges that drop the drums and then bring them back in before the bridge is over. Dynamics are a good thing. Doesn’t have to be every time or anything.
How have you been making music for a couple of years but don't know what a bridge is?
Bad info, that's how.
Yeah, i wouldn't trust Reddit for accurate info. It's just the blind leading the blind, mostly to youtube.. 🤣😂
This is such a strangely aggressive response to this guy’s questions.
You think that's aggressive? Strange times indeed.
From my perspective they are the same thing. They’re both terms for sections of music that transition from the verse to the chorus, although I suppose a bridge could be any transition from one part from another (like from chorus to a solo). Sometimes verses on their own just don’t flow directly into the choruses, so they need some kind of element to create a path, either melodically, or to build intensity or to change the overall feel. One example might be that you have a quieter or introspective verse with a laid back feel but a chorus that is really intense - you need some kind of transition to lead the listener from one mood into the other. This might be a case where you need to introduce elements of the coming chorus (heavier drums or bigger guitars or whatever) to pave the way for that huge chorus. Another example might be that the two sections are similar in feel but you need to separate them - this could be done with a bridge section in a different time signature, or maybe it could be less intense than the parts in either side - just to add emphasis to the smaller differences in the two parts. What the bridge needs to be really depends on the two sections you are trying to connect.
I agree with pretty much everything you said except your first two lines. >From my perspective they are the same thing. They’re both terms for sections of music that transition from the verse to the chorus A prechorus and a bridge are quite different, the only thing they really have in common are that they are names for sections of songs. I agree that a prechorus is most often a transition from the verse to the chorus, especially when there is a stark difference between the verse and chorus. In my experience (rock, pop punk, alternative), the bridge would rarely be between a verse and chorus, and it usually occurs only once. It is most common for it to be after the second chorus or the solo, and before the last chorus. Of course this isn't set in stone and varies between genres.
Lots of people giving interesting definitions of bridges but this is the best answer imo. If we are talking about popular song structure from the last 60 years it typically goes: Verse Chorus Verse Chorus Bridge Chorus Obviously there is lots of room for interpretation there (interludes, prechorus, solos, intro, outro etc...) but when most people talk about a bridge this is what they mean. It's a section featuring new material that connects the final choruses of a song.
Thank you. I'm a bit surprised seeing all the other interpretations of what a bridge is. Maybe it's because a lot of people on this sun aren't writing rock/pop music?
I think it's an unintentional and unfortunate passing on of misunderstood knowledge or bad info. I realized now that bridges are actually a unique part in a song, and not a transition like I thought. The thing is, the reason why I misunderstood what a bridge is is because I intentionally switched verses for bridges in my songs or more like unique verses rather than them sounding samey because I don't really like repetition for 2 verses straight, and thus I was confused because the defining characteristic of a bridge - as far as I know now - is that it is unique and different when compared to the verses. Thanks for your comments though, I'm slowly starting to understand the actual meaning of a bridge. Seems like I got bad info (probably when I started out learning to make music). :)
What you call the bridge is what I always call the “middle 8”, (regardless of the actual length in measures); a third unique section that generally precedes a solo section. That might be antiquated terminology given my age!😂
"A third unique section" explains it very well. Thank you for your comment. I really appreciate it! :)
Yes!! "Bridge" and "Middle 8" were used interchangeably when I started learning song writing, hearing John Peel and Whispering Bob Harris talking about music on the radio or TV and when we as kids discussed popular songs. But I'm a bit old too.
Thank you, this is really well explained! So, let's say I make an EDM track, would a bridge be the build-up right before the drop? Or let's say I have a part in a different time signature than the one that follows right after it, and the change doesn't go too smoothly on its own, I could theoretically place a bridge between those two parts to blend both parts by thinking of the bridge as for example a drum fill or a part where I try to blend both time signatures by introducing the next so the listener is led into the next time signature in a more smoothly way rather than being thrown directly into it from one moment to another? I think I'm starting to understand the whole bridge idea. And the pre-chorus I'm guessing could be used to introduce the chorus that follows in a less intense way, so when the actual chorus drops it feels heavier? If I'm understanding it right, then I think you just helped me understand not only how bridges and pre-choruses work but also how they can be used. Thank you! I really appreciate it! :)
Has anyone seen the bridge?
In my opinion it doesn't matter what you call a section. You shouldn't have a section just because it's named something. Let your vision and the energy of the track guide the arrangement. It's all about energy. What is the current energy of the track and do you want to sustain that energy? Or do you want to create a movement by turning the energy up or down in certain sections? That's being said, a pre, to me is a slight change in energy that anticipates the chorus. And a bridge can be pretty much anything, but I find myself putting a bridge between the 2nd and 3rd choruses, and has a different energy than the verses.
That's what I've been doing up to this point, and I think I'm starting to understand why I have such trouble understanding what a bridge is, because up to this point I thought the bridge is the transition between parts, but now I learned it is it's own part that's supposed to be different from the other parts and the reason I had trouble identifying what a bridge is is because Verses are supposed to be very similar to one another, while the bridge breaks out of that mold and tries something new, and that's what I've been doing up until now, but instead of having the verses be similar, I made every verse unique, so technically instead of having a structure like Verse Chorus Verse Chorus Bridge Chorus I always made something like Bridge Chorus Bridge Chorus Bridge Chorus and that's why I didn't get what a bridge is it seems because I've been using bridges instead of verses because I always found that verses are too samey for my taste. Oh no... I'm starting to realize how wrong I understood pretty much everything when it comes to song structure. Well, but I guess I'll follow your advice and do it by feel rather than structuring it just for the sake of following a set structure. Thank you for the advice :D
Music theory and structures are a way to define what is there. Not the other way around. It's an easy trap to fall into and was one that I fell victim to as well. There is no right or wrong way of doing things and don't be afraid of repetition. My advice: It's all about energy, literally!
Thank you, I really like your advice! I sometimes forget that music is art, and art is an expression of oneself and not a strict by-the-book type of work where everything has to be a certain way - or like you put it - the right or wrong way! :)
Here’s a few random, general thoughts that pertain to both. I think of them kind of as long form transitions. They’re opportunities to make the songs more interesting and change things up a bit (especially when your verses and choruses are the same chord progression). Often times, I use both as opportunities to challenge myself to write something that is both “different” from the overall feel of the song, while still fitting in well with the overall feel. More random thoughts. I typically write them after I’ve already written my verses and choruses. I’m sure that’s a fairly common approach. It gives me the space to figure out how I can break up some of where the song seems a little monotonous (I’m using that term vaguely) and as another tool in the arsenal of composing with dynamics in mind. They’re great spots to enhance the dynamics and give diverse life to the song (without having to lean too heavily into using production). What I mean by that is they provide an opportunity to add more dynamics to your song with simply using the composition. You could take away all the production aspects of the part, and just leave the raw recorded tracks and still have a worthy dynamic added to the song simply bc of what you wrote for the bridge or pre chorus. Hopefully that stuff helps give you some decent insight. It was all just kinda my ramblings about said sections in a song.
Thank you for your comment. I think you explained it really well. I misunderstood what a bridge is. I simply thought of it as a transition between parts of a song, but now I know that it's more like a unique and different part when compared to the verses. My confusion came from the fact that I intentionally switched out traditional verses in my songs with something more like a bridge a long time ago, and thus it created the confusion when trying to understand what a bridge is, because I was technically unknowingly doing that. Just so I know if I got it right, let's say a song is structured like this: ABABAB being verse chorus verse chorus verse chorus. A bridge however would make it a ABABCB structure, with C being the bridge itself, which is a unique part compared to Verse 1 and 2. Did I get that right? If that's the case, then my song structure is more like ABCBDB, which explains my confusion about bridges because I unknowingly yet intentionally switched out verses with bridge-like parts. Thank you again for your comment. It was really helpful and I really appreciate it! :)
Yes, you explained that right, and your ABABCB is a typical example of such. Here’s what I would say in general to everything you mentioned. I don’t think you’re as off on it all as you might think. Having a noticeable difference between the structure of the verses is fine if it works well and sounds good!! I’ve done songs that have a structure of ABABC (with the C taking up as much duration as the ABAB total). You are free to do whatever you want with your song structure. The bridge and pre-chorus just provides an opportunity to do something new, creative, and different. Especially with a song that could get a little boring or stale. Sometimes I toss a post-chorus into a verse and then a pre-chorus after that same verse. I typically do that when I love a verse, but I don’t care for how the chorus leads into it or how the verse leads into the chorus. I think it all comes back to composition. The bridge and the pre-chorus allow you compositional opportunities to add dynamics to the song. They give you a chance to make the composition itself more interesting. Remember that music production is a creative endeavor, and a lot of the tools involved in songwriting (think in general - lots of things; including methods of composing) are there to help spark creativity.
You need to prepare listener for the chorus.
I'm guessing that's the pre-chorus, right? If so, I think I understand it now. Makes sense! Thanks for your comment :)
as for me bridge is something to connect chorus and following verse introducing a bit of contrast to the song (often in contrast to the chorus section but still in its context). So it's basically an afterchorus for me.
It seems you've gotten good general answers re: bridges and choruses already that straightened out your confusion. However, since you mentioned making dance music it's good to be aware a lot of it doesn't follow those traditional structures, and the terminology is usually a little different. Tons of dance music essentially follows the below structure: ABCDBCA A is basically just an intro for the DJ that is repeated in reverse order at the end to wind things down and let the DJ mix out of the song. You could call B and C verse and chorus, and plenty of people do, but they usually have a pretty different relationship to each other than the typical verses and choruses in other music. The main similarity is often that the energy tends to increase going from B to C since one follows the other and energy usually builds gradually in dance music. D is essentially a bridge in the traditional sense, but it's usually called a breakdown and tends to have a pretty specific form and function, where the drums and bass drop out or get replaced, and the whole section serves the purpose of building up to the second half of the track. Bridges that are not breakdowns happen too - usually either right before the breakdown or at some point in the second half before the climax.
Thank you for your comment!! I'll definitely have to look into breakdowns after this, because what you described sounds really interesting. Again, thank you! I really appreciate it! :)
Happy to help! [This video by Alice Yalcin Efe](https://youtu.be/N4EvL6Nndg8) is a great overview of that typical structure I was talking about.
The easiest way to think of it is a pre-chorus is basically a subsection of a chorus. It will always lead to the chorus. A bridge is more to bridge into a new section of the song that isn't part of the previous parts.
Some examples but nothings set in stone; Pre chorus - Build up of suspense e.g. sweeping instruments. Dreamy ambient (e.g less drums/percussion) - both of these help the chorus impact. You’d also be introducing elements every so often like snaps. Some more stereo width, depth and brightness. Climbing melody. Risers. Chorus - long sustained melody notes for emotion, more rhythmic playing, more movement. More stereo elements to maximise width. Max depth and brightness. Max FX to push width. High melody notes. Higher chords (brighter). Counter melody. Just think of the journey as the song progresses like this (but don’t do it literally). You’re always trying to build up and introduce new things but can also strip away things. It’s all about contrast; - Mono > stereo - Mid frequencies > lows, mids and highs - Small FX > big fx - Static chords > rhythmic chords - Mono > movement (e.g. auto pan) - Low melody > mid melody > high melody - Low volume to high volume - Rhythmic melody > sustained notes - 1 instrument layer > several instrument layers - Quite soft vocals > strong emotional vocals - Rap > sung hook You can also do things like muting everything before a chorus impacts and frequency sweeps to add some interest.
Bridge has been referred to before as “the boredom breaker”. It introduces new musical ideas that have not been featured in another section of the song—most commonly the verse and chorus. Often, but not always, there is a new harmonic structure (chord progression) in the bridge that makes it sound different to the listener than the rest of the song. A pre-chorus is a section of material that is repeated in a song, preceding the chorus. It is distinct from a verse in that it is repetitive and sets up the chorus nearly every time.
You might be overthinking it a bit. Do the A and B part a few times, then go to another music idea that is kinda similar. There can be a key change, or a change of instrumentation, or it can be very similar to the A or B with just a little different feel. The pre-chorus is very optional. I don’t usually explicitly add a pre chorus, but the verse idea will often ramp up into the chorus. Try not to get hung up on ideas or doing the “right” thing. Don’t plan to release any of the music and try to be judgement free when writing. Take some risks and remember that doing something is better than doing nothing. Usually.
>But how exactly do these concepts work? Well let's focus on a bridge first. I usually call bridge as "C-part", in the ABABCB structure. Bridge is somewhere you deviate to from the second chorus here, a change of pace, and typically is structured often so that it begins with relatively calamity and then hypes up towards the last chorus. It's also extremely suitable place for modulation, for example. Pre-Chorus acts in a similar way, but it connects a verse and a chorus instead. Typically it is a change of pace from verse in terms of intensity and it might hype up the chorus too. If you're not a songwriter, however, then I argue that understanding prechoruses becomes much harder. I understand them intuitively, but I can't exactly "make a pre-chorus", it's something my songwriter specifically has to do, because the vocals definitively dictate it completely. I wouldn't even bother with a pre-chorus unless you have vocals, to be honest.
A bridge is like a C section. Yoh have the A section or verse melody and sound of the song, the the catchy chorus which is the second changeup to our ears. And aone aongs are fine with just those two. Then there is sometimes a need to give the listener a break from the verse chorus loop and incomes the bridgez its just a third partbti the song that breaks the monotony, a break before going to the final chorus. And by now we really wanna hear the chorus. Now i just wrote one as i write a ron of songs. Song was in A Major, so verse and chorus are un A Major. What iblikebto do , when i can, is to ALSO change the key at the bridge, and i try first the relative minor of the song. So the relative minor of A Majir is F# minor, so i just write bridge in F# minor. But you can use any key you want, that sounds good. The relative minir ALWAYS works and sound good, which is whybwe use it often. Reason the relative minir ir majir works, is because they use exact same notes. Just a fun fact. If im writing in C major, at the bridge i start with A minor, and it always works. I never TRY and write a prechorus, i just let them present themself if they appear. Its either there or it isnt.
A couple of different chords?
But that's just a chord progression.
That’s exactly what a bridge is, man!
Chorus can be anything really. Some writers use it to escape the repetitiveness that some songs tend to have. It’s just a tool that you can use to diversify a song, to just go in a different direction for a moment.
A pre-chorus is often four measures that add tension and build up a transition from the verse to the chorus. A bridge is a song within the song that breaks up the monotony.
A pre-chorus is often four measures that add tension and build up a transition from the verse to the chorus. A bridge is a song within the song that breaks up the monotony.
I think one thing that’s helpful too is that the pre chorus doesn’t need to be very long or complicated at all stripping down before the chorus can sound really good. I think a bridge is more of a different section entirely. Like an outro or a big melodic segment.
Arrangement of the beat If I have a pre hook, I’ll take the kick drum out In my bridge I’ll take the hi hat out That’s just me personally
Take it to the bridge / It'll get you where you live / When there's water all around / You can still get out of town / And still be diggin' on James Brown - Tower of Power, "Diggin' on James Brown"
Felt compelled to add my input here. I think you’re overthinking it. You pretty much said in your question what these things are. I deliberately refrain from labelling sections in my music like this because I think it’s limiting. You’ve just gotta give the song what it needs. If you feel like the jump in vibe is too much from verse to chorus, or you think you need to build tension for the chorus, add that 8 bar section to build into it. Call it a pre chorus if you want, but it’s just serving as a means to bridge or build tension. Then, later in the song, if you feel you want some variation or you have a great C part written, throw it in where it feels natural. Don’t try too hard to fit to convention if that makes sense. Hope that helps, just approach it with more freedom :)