One of the most powerful tools of songwriting we all have at our disposal lies within chords and rhythm. Lyric and melody gain dimension through this essential pillar of a song, working in tandem with chords and groove to complete a song’s personality or character. Lyric, and often melody, will never “override” the character inherent in the chords and rhythm. Rather, the personality of a lyric and melody is completed by them.
Imagine a Latin rhythm played at a particular tempo. Those same chords, played in a country waltz style, will carry a very different rhythm, and the character we imagine singing will shift dramatically. It’s not the chord names that cause the change in character, but the rhythm. In some cases, we might call this the “groove” of the song. Songs that groove capture the essential character of the genre, potently and usually quite succinctly. Strong instrumentalists practice groove regularly. It’s part of the job description if you’re going to get hired.
We songwriters often complain of not having enough chords at our fingertips. We cycle through the same progressions because that is what our fingers and our ears “know.” When we gravitate toward familiar moves, we’re noticing our tendencies. It’s good to have tendencies, as they contribute to our style. But when those tendencies lead us to write the same song over and over again, it’s time to change them to invite new inspiration. What we often lack is a vocabulary of rhythm and chords. When we build that vocabulary, we begin writing new material.
A great way to do this is to listen to music from the perspective of groove. This means spending time with music outside our wheelhouse and, instead of focusing on lyrics and melody, paying closer attention to what’s happening instrumentally and in the production. When we stay curious and feed ourselves a broad array of musical styles, our internal vocabulary grows. Over time, those influences make their way into our own writing, shaping not only our chord progressions and tempos, but also the lyric stories we’re drawn to and the melodic shapes we sing in response to new rhythmic feels.
I have never met a musician who underplayed, a vocalist who refrained from riffing, a drummer who unnecessarily simplified fills, or a lead guitarist who held back in a solo. We almost always overplay. Stories aren’t made better by using more words, just as the strength of a song doesn’t intensify the more notes we play. With chords and groove, less is always more. We should aim for the version that most potently expresses the character. If more is needed, we should play more. If we’re unsure, we should reduce the rhythm and chord progression to its simplest form - the one that paints the character true.
A helpful practice is to sit down with your instrument and pretend to play the groove while listening to a song. Even if you don’t know the chords, try capturing the rhythm. Rhythm, even in its most basic form, establishes character and often defines style or genre. Growing this vocabulary is often enough to push artists off a plateau and into new areas of songwriting. It helps us place what we’re making into the broader musical context we already know.
Beyond capturing rhythm and groove, we can also experiment with expanding our chord progressions. That said, chord progressions don’t need to be complicated to be effective. Even adding a 9 or a 7th to a major chord can introduce a character the basic triad lacks. Substituting an inversion for a root-position chord adds further nuance. In all cases, we’re looking to enhance prosody, which is the alignment and amplification of message through music.
The chords we choose to support our words and melodies have exceptional power to reveal the emotional state of the singer or character. Practicing simplicity in our progressions is often beneficial; reduction, rather than addition, can be a meaningful goal. Writing an entire verse over one or two chords, and allowing those chords to change every two or four measures instead of every measure, can help us move beyond our habits. When chords change less frequently, our melody-writing often shifts too, either allowing more space or, interestingly, prompting more notes. Noticing these responses is key to stretching our style. Resisting the urge to simply fill space ensures we venture into new creative territory. And for those who have written music for many years, being “lost” again is rare and valuable. It’s where we respond to the moment rather than react from habit.
When in doubt, return to the basics:
- Listen to songs outside your typical style and try emulating their grooves, using your favorite song as a basis for your next one.
- Use restraint in chord progressions and grooves. Less is more.
- Explore simple harmonic changes, such as adding the 9 or 7, or using inversions.
- Alter how frequently you change chords as another way to discover new progressions.
No matter how you typically approach songwriting, don’t be afraid to change your process. If you usually start with lyrics, try beginning with chords and groove and see what words emerge in response. If you tend to start with an instrument in hand, try putting it down and writing a few words to pair with melody before heading to the keys or strings.
Most importantly, remember what it was like when music simply flowed in your life. To participate in the creation of something that runs so deeply through so many of us is a treasured thing. Each time you write, know that someone, somewhere, envies what you’re doing. And if any of us could go back in time to meet our childhood selves, that someone would be us.
I hope these articles have been helpful in suggesting exercises to unlock your next songs.
Andrea Stolpe is an American educator, author, and former staff songwriter. Now based in Basel, she works with musicians worldwide through in-person retreats and the EMC Institute, building cross-cultural networks that help artists thrive in a changing industry. Learn more at andreastolpe.com.
