#i could definitely try learn an instrument and ive been learning towards guitar but i feel like to get the best out of it u need a teacher

[obitoslay]

eheheheheheye i want a new hobby even tho im gonna be so busy so 👍 gonna try get into art

[souichieatr]

wanna be yours, ch2

suna x freader , foxy boy

where in which two opposites fall in love

a/n: for everyone who commented on the posts youve been added sorry i cant reply <//3 if you're interested in being in the taglist send me an ask, i was thinking of making a playlist for the au would anyone be interested? lmk !! sorry if there are any mistakes or if its bad this is my first writing <3

ch1. this voice im hearing rn? , hey bestie

word count: 2,090

the first song- The Ghost of You- my chemical romance

second song- I Bet on Losing dogs- mitski

third song- Crybaby- destroy boys

pocketing her phone after reading tendous message, she opens the door waving to a couple friends and offers friendly smile taking her seat. a pair of pale green eyes follow her. after yesterday suna did a little research about her y/n y/l/n the bassist and youngest in the band called 4u, she has quite a big following on twitter, she's really nice and interacts with the fans. looking at her now you can't imagine her on stage suna thought. breaking away from his thoughts as the teacher walks in. spouting for about what feels like hours and the students taking notes, finally lunch approaches. y/n jumps from her seat grabbing her case she walks to the third year hallway. waving to her friends they walk to her, tendou wrapping his arms around her “y/n!!!!!! i missed you” laughing as she hugged him back “tendou!!! i missed you toooo.” she turns to the grey haired male, “semisemi!!” she says giving him a hug, he rolls his eyes and hugs her back “and ushi!!” she turns to the brunette to which he pats her head “good afternoon y/n.” as they go to the lunch room to grab their lunch, they walk to one of the music rooms they usually occupy. a beep from her phone grabs her attention seeing her friend atsumu asking if him his twin and their friend can join for lunch, “hey guys you dont mind if atsumu and his friends come join us?” she says setting down her case against the wall. “nah you can invite them, atsumu is our biggest hype man” tendou says, grabbing his drum sticks from his back pocket. texting him its cool she goes to unzip her bass. “oh ms lady ive missed you” she says hugging the instrument, “i can't believe you two and always wanting to play, dont yall have any other hobby?” semi says, grabbing the schools given guitar setting the speaker up for y/n. tendou gives a scoff “semisemi dont act like you hate hearing us play i see you listening to our covers alllll the timeeeee” he says “yeah semi besides we have a concert soon and it wouldnt be bad to have an audience” y/n says walking to semi to connect her bass to the speaker when the door opens, entering is atsumu in the middle, osamu on his left, and a mystery guy in the back. setting her bass down running up to the blond “tsumu!!” giving him a hug “y/n!!” he hugs her back, she waves to osamu, who shes met on an occasion. looking towards the dark haired guy she walks up to him, noticing shes seen him somewhere. “youre suna right? we're in the same class?” she says giving him a hand and a awkward smile, nodding at her words. “hope its okay im here” he says taking her hand giving a slight shake. “nah dont worry its nice to have a different face, seeing tsumu is getting boring” turning around to the male. “what she means to say is we could use practice in front of new people” the grey haired male says giving a small laugh when tendou scoffs at him, both guys walking towards the small group. “this is semi and this is tendou” she says introducing them. when the introductions are over the two males go back to setting up, y/n walks the newcomers to the sitting area “here you guys can sit, im sure you all know ushijima” on hearing his name he looks up from his name giving a small head bow. they all sit “any recommendations tsumu?” y/n says walking to her bass making sure everything was good, looking towards the small group. “y/n you know my favorites” atsumu says stealing one of his brothers onigiri. y/n laughs and rolls her eyes, turning to tendou “anything you wanna try tori?” tendou looks at her with a smile “y/n lets show semi whatweve been working on” hearing this semi looked at them “what do you guys mean? what did you two do” y/n chuckles at the grey hairs doubtful expression “mr semisemi you know your favorite mcr song” when she sees him nod she continues “me and tori learned it” she says pushing him lightly. semi looked at her with wide eyes then at tendou, looking at semi tendou flicked his drum stick between his fingers with a nod. “wow semi cant believe you, we spent so much hours perfecting a my chemical romance for your sap self and he doesn't believe us y/nie i might

” tendou says fake sniffing. the little group in the back beyond confused, atsumu clearing his throat “have you three forgotten us already, wheres our show” ushijima nodding his head “yeah why are you guys being so vague” tendou snickers “dont worry you three and wakatoshi we have decided to play a new song or well cover i should say” “yeah and its semi’s favorite band you know the one that he wears on his shirts?” ushijima looking towards the girl after hearing her statement he nods. “okay can we play now ive been waiting to show my skills and get our lovely semi's opinion” y/n says removing her pick, both boys giving a ‘yeah’. finally tendou does the countdown. suna looks at all three of them with slight excitement in his stomach, ‘is this a new song im going to hear?’ before he could think of anything else, semi started playing a few chords by himself and y/n starting to add her own strums then tendou adding drums. sunas eyes widen at how well all the sounds blended together, freezing in his spot when semi started singing, when hitting the chorus y/n joins him. suna looking at her, he felt like he had been put in a trance, feeling like theres a spotlight on her when she starts nodding her head seeing her tongue sticking out when stringing the instrument. towards the end you can see y/n lose focus and her eye twitches, ending the song she sighs. “hey sorry about the end” waving to the guys to her left with a frown. hearing applause from the group the frown doesnt last long. “WHOOO!!!!! THAT WAS MY BESTIES GO SEMI! GO TENDOU! GO Y/N!!” atsumu gets up and yells. “that was so good what the hell that was yer first time too?” he says going up to the group, high-fiving y/n. “i mean me and tendou practiced together but semi basically has every song by them memorized but together? yeah our first.” tendou getting up to get his water that was next to ushijima. semi joining the fake blond and the girl, patting her on her back “that was a good first for us i can tell you and tendou worked hard, we're definitely adding it to the set list.” getting a laugh from both of them semi walks to the small group. “hey man that was really good, you have a nice voice” suna says as semi approaches, semi turned to him surprised “oh thank you im glad you enjoyed, do you listen to our stuff?” he says taking a seat next to him. “ive recently just started, i hope that doesnt sound too weird” the dark haired suddenly getting a little embarrassed, chuckling “its not weird i promise, well its good you listen to us or im sure it would've been awkward to just be here” nodding along to what he said. tendou going back to the drums “are you cowards tapping out now?” “COWARDS?!?!” y/n yells back turning around “i am no coward tendou satori i'll make you eat those words semi get over here” she said grabbing semis attention and shooing atsumu back to his seat. chuckling as he sat back down, turning to suna “howd ya like em? theyre good huh?” suna rolling his eyes “im not going to help inflate your ego tsumu” “yeah tsumu yer big ego is not cute” gasping to their remarks “you guys are so mean to me, i introduce you to nice music and even the artists and this is the thanks i get” before any could respond tendou starts clicking his sticks. starting this one is tendou with a slower sound, y/n entering second then semi with vocals. y/n leans down to mess with something by her foot turning a notch noises like static come out adding to the music, coming up fast she starts adding her vocals complimenting semis. pressing on the box she leans down as more noises come out. atsumu leans over to sunas ear “thats a pedal that holds other sounds and can help stretch other sounds” suna giving him a nod. towards the end y/n reaches down to the pedal again adding a distorted sound before adding her last bit of ‘oohs’ before the song ends. everyone clapping as the members stay still for s bit before y/n dramatically bows “youre so welcome lovely audience” she says blowing kisses to them, laughing at her atsumu jumps up and down pretending to be a crazy fan “oh y/n you were so go

od i love you y/n!!!” y/n laughing at him. “hey atsumu what about me!” tendou asks swinging his hand “howd i do?” “oh tendou you were so good, i love you too tendou!!!” he says swinging his arm back. tendou satisfied with his response nods his head, “and with that lets play one more i still want time to actually eat before we play again later.” “yeah lets try ‘crybaby’ we haven't done that in awhile” semi says getting in position.“remember y/n you do the verses” y/n nods clearing her throat “go tori” she says and tendou starts the counting again. starting the counting fast he gets one beat then y/n starts off with singing, swinging her bass back she grabs the mic. suna cracks a smile nodding his head a little as he remembers this song on their youtube, atsumu whistling when y/n dips down her mic as she sings, letting the boys have a solo in between verses she bobs her head. the last few seconds of the song she swings the instrument back as she steps on the pedal creating feedback, as semi goes to vocals she starts getting a solo with tendou playing, y/n leans forward and her and semi sing the rest of the song. after the last note they all look out of breath. clapping for them again letting them catch their breath, y/n starts laughing “i forget how hard that song is towards the end” laughing with her tendou nods “its literally the last 50 seconds that get the hardest” “alright lets clean up” semi says laughing at both of their bored looks they send him. finishing up they all go to the group whove are talking among themselves. sighing as she sits y/n takes the seat next to suna, “so howd you like the songs?” she says with a smile “they were good though i only recognized the last one” he replies, “tsumu told me you started listening to us recently so i thought or well semi thought wed show off a bit with our best song being that” she says with a smile grabbing her bottle. a small smile appears on his face “oh hey tsumu told me youre like really good in your classes and i really need help in history and since we have that group project coming up do you wanna pair up?” she says setting her bottle down grabbing a bag of chips. “yeah i dont mind as long as you actually do something and i can help you study if your grade is that bad” he says. “thatd actually help me out a lot i really appreciate it” she lets a breath out. after that the two spent all lunch just talking, the conversation coming easy for both of them. hearing the bell ring y/n hugs her friends and walks with suna to their class, pairing up in the project the teacher had given them in their period. after class before y/n rushed out she passed him her number with a wink “text me for the deets foxy boy.” ‘foxy boy? suna thought to himself shaking his head texting her with a simple ‘hey its suna’ and heading home.

facts !

during lunch when suna and y/n we're talking the followed each other on twitter

semi was really touched they learned the mcr song

the 4u concert is at a small venue but no one really cares about the other groups going there

osamu and atsumu almost started fighting over the onigiri until suna said something about ushijima being right there

atsumu was watching suna and y/n talking

osamu actually really enjoyed being there during lunch

—taglist

@applekenm , @xhanjisungiex , @astronomyturtle , @sirachano0dles , @yn-tingz , @killmepls-uwu , @bakugouswh0r3

[mccoys-killer-queen]

This Week’s Playlist (2/14)

Not sure how I got hooked on this idea- but this week I’ll be focusing entirely on 70s songs (and next week I’ll do 80s). Disclaimer: I’m not saying these are my favorite songs of the 70s (believe me that would be WAYYY too hard to narrow down), I’m just filling this week’s list strictly with songs released in the 70s.

I’ve also created a spotify playlist made up of all the songs I’ve used on playlists! I’ll update it every week (before I even post the playlist, so if you check at the right time the songs will be there!)

1.) London Calling- The Clash (1979) I like to define this song as the song that started my descent into classic rock. When I was in 7th grade I had this music teacher who would always play pop music of the late 20th century for class. This song was one of the first songs she showed us, and it became a trademark of the class. We used to get this song played at dances and stuff- so there’s a lot of middle school memory there. Guess we all wanted to be punks- and this is a great boppy song just for that.

2.) All Right Now- Free (1970) Am I being typical for picking this song...? Perhaps (because honestly, at least where I’m from, this is the only Free song anyone knows... yikes. It’s overused in media sometimes imo). But that doesn’t meant it’s not great! It’s got everything! An epic guitar riff that frames the lyrics, a sick beat, funny rhymes, a killer musical interlude with bangin piano and a guitar solo- all while being undeniably CHILL. This one of those chill summer songs to me; the kind you listen to on a hot, quiet, and sunny car ride through the country with the windows down while wearing sunglasses. That’s just the aesthetic I’ve always associated with this song.

3.) Rock’n Me- Steve Miller Band (1976) Just try not to bop. I dare you. This is a real dance-a-little-in-your-seat song with a GREAT, smooth flow to it. Killer rhymes and a fast, subtle beat you can’t avoid even if you try. Steve Miller Band is one of my favorite groups of the 70s and I wish they got more appreciation in general. I could’ve picked so many of their songs already for these playlists, but this one stood out to me this week because I feel like it’s very recognizable (I always heard this song as a kid and I feel like maybe some people on here did too). It’s so damn catchy that it’ll just stick with you, so listen and get ready for an earworm. Also a great road trip song.

4.) Once Bitten, Twice Shy- Ian Hunter (1975) No, this isn’t Great White!! This is the song we all know and love but this one’s the original! I feel like I need to educate anyone who’ll listen about this! *scoff* god, now I can see why Joe Elliott’s always shoving Ian Hunter in everyone’s faces- because he’s worth it! Maybe I’m a little biased, but I personally prefer this version over Great White’s for a bunch of different reasons. For one thing, I think this version focuses more on telling the story rather than trying to make the music over the top. The instrumentals of this one ROCK, but the way it’s constructed with the lyrics makes the story more understandable- essentially, it’s just more raw, and I like the raw sound to it, but that’s just me. You all probably know how the song goes at this point, but after listening to this version you’ll see just how much of it Great White changed. You take it upon yourself to decipher the meaning of the lyrics ( ͡° ͜ʖ ͡°) I think we all know what “rock and roll” means at this point...

5.) Lovin’, Touchin’, Squeezin’- Journey (1979) I don’t like to acknowledge Valentine’s Day, nor was I going to mention it in any way on this playlist- but let me tell you a story: last year on VD, I was driving home from school, and this song came on the radio. Then it hit me- I had completely forgotten about ANTI-Valentine’s Day songs! This is a PERFECT example of one. It tells of an unfaithful someone who gets bitten in the ass by someone else’s unfaithfulness. Talk about a SICK burn! This has gotta be my favorite Journey song as well. It’s like a flash-fiction song; telling a huge story while barely saying anything at all. My favorite part of this song by far is how each instrument has a crystal clear part, and you can very easily pick out each one. The intro of this song is just excellent. You can clearly hear the bass, drums, guitars, and piano all introduced in different ways. It’s just a gorgeous song through and through, and those 189 “na”s at the end just tie it all together (and yes, I counted). You’ll have all the words down before you know it.

6.) You’re All I’ve Got Tonight- The Cars (1978) Like I said last week, The Cars are one of the perfect combos of rock and pop. If you think about it, this one can be another anti-Valentine’s Day song. The lyrics have a sloppy and desperate feel to them- kinda like the speaker is drunk and throwing themselves at someone because they’re that desperate. “I don’t care if you hurt me some more, I don’t care if you even the score”- like oof man, you just sound desperate. This song is a banger in every way and let’s face it- the keyboard at the chorus is just the absolute best part. Strong points for these guys are always keyboards and guitars. It’s got this rock hard chill 80s vibe to it (despite it being a 70s song- new wave, you know), you’ll feel that you need to be doing something cool while listening to it.

7.) Rock and Roll- Led Zeppelin (1971) It’s so cliche of me to use this I know I know I KNOW- but can you blame me? On Sunday in a record booth at the market I found an original Zeppelin IV and I feel like this song has been following me all week because of it. This is unarguably one the most recognizable and famous rock songs of all time- because it was so expertly crafted in every way imaginable- just like everything else Zeppelin’s ever done. It’s ALWAYS the drums that do it for me in this song. l That filler at the end is- without question- the best part of the whole song. Bonzo just KILLS it. Overall, it’s a short-ish song that uses its time extremely well; it’s like all four of them went “let’s maximize every single element that goes into a bop, and make a song like that”. In some ways, this song is objectively perfect. If you want pure rock and roll in all its glory- what better song to choose than Rock and Roll itself?

8.) Keep Yourself Alive- Queen (1973) Another objectively perfect rock and roll song with a killer drum solo. I’m super biased towards Queen- but I cannot believe I never heard of this song until I was prepping my brain to see Bohemian Rhapsody! Honestly, who thinks it’s okay to keep this hidden? It’s the leading song off of their very first album- so this is almost like the song that INVENTED Queen fans! It’s a Brian May baby- and hell yeah does it show. I think everyone needs to know this song for artistic and historical reasons. It’s pure, power rock Queen through and through- despite being one of the earliest of their songs.

9.) Cum On Feel the Noize- Slade (1973) NO, it’s not Quiet Riot!! This is the song we all know and love but this one’s the original!! Again, I feel like I need to educate anyone who’ll listen about this! I get so angry sometimes that Quiet Riot gets all the credit for songs like this one and Mama Weer All Crazee now. Slade was super popular in England in the 70s- ahead of their time for sure but definitely one with the glam rock movement- but not as big in America. I never knew these guys existed until about five years ago and damn I felt like I had to be blind before learning that. Just listen to this song and then I think the sound of it’ll make a lot more sense, like “oh yeah- Quiet Riot’s version kinda DOES sound like it could be a glam rock song from the early 70s!” Just goes to show what geniuses these guys were, because their songs can be both glam rock AND heavy metal and work either way. Once you hear this version, though, I believe there’s no going back.

10.) Roll With the Changes- REO Speedwagon (1978) This was my favorite song for a few months when I was 16- it’s absolutely EPIC. The speaker is bursting at the seams with accepting a new found moral understanding of how they feel about trying to please or win over an apparent lover. They come to the conclusion that the other person just needs to keep on “rolling with the changes” and that they’ll be there for them whenever they decide to accept that perspective. The KEYBOARD is to D I E  F O R GUYS. Neal Doughty is a motherfucking SAINT- and SO IS GARY RICHRATH. This song sounds like it’s the finale of a musical or something! Possibly the biggest bop REO has ever created. It’s a groovy, extremely poetic, fast, theatrical, very slightly operatic rock and roll song and I’d highly recommend this to any person on the planet I love it that much. It’s lovable in every possible way.

[theparaminds]

It’s not as though Natalie Green knew what this year held in store or what would exist at the end of the road. Though, at every step of the way, he kept going. Embodied in both his music and his story of perseverance, is a rare example of an artistic soul that found peace where few would ever dream to look. It took months of learning and continued questioning of himself and what he wanted to be. But in the end, it resulted in a man anew.

With a new project taking shape in studio sessions that contrast his earlier life, Natalie Green is finding a voice he previously was nervous to share, speaking louder than before. The ideas, memoirs and anxieties he hopes to express have become clear. With every note, he continually finds himself as much as he does connect to those who battle the same confusions.

Natalie Green now stands with a new asset he hadn’t held prior, the ability to embark on the path he wants, not the one life throws him upon. He can stand and become the artist he visualizes, the artist he knows is essential to reveal to the world. For the first time in a while, Natalie Green is in control, with a steering wheel in hand and a road of possibility on the horizon.

Our first question as always, how’s your day going and how are you?

Things have been hectic, but good. Good busy you know? There are different kinds of busy and this one has been all positive.

On your last EP last year, it sounded like you weren’t fully at peace, do you find that you are now after a year of personal introspection?

Yeah for sure, when I was writing the EP, I was in a really terrible place physically, emotionally and mentally. It was a passion project when it came out, I didn’t have to think about it. Whereas now, I’ve got a place, I’m not just in my car anymore, I emotionally feel a lot more centered, I have my head on straight. I’ve found friends and people that I love to surround myself with. Everything’s been a thousand times better.

When you’re looking within this shift you’ve undertaken, where do you think you’ve personally grown the most, whether artistically or as an individual?

I think I’ve gotten more empathetic towards people. All people. As well, I feel more self-aware. What I realized when living in my car was that I didn’t know myself. Living in a house again with roommates made me, in a new way, learn more about myself, and where I needed to spend a lot of time mentally. As far as musically, I feel more confident, I think that’s apparent in my vocals and instrumentation, they’re far more personal in that sense.

With the new year in season, being a time of reflecting upon the past year, do you have any memories that stick out to you as positive through the difficult and turbulent times?

There’s a lot. I don’t know if there’s one specific moment, but definitely moving into the apartment. I also got to play a private show in my friend’s backyard for all my close friends. That was a big moment for me. There’s a lot of moments where I had friends reassure me, and believe in me when I wasn’t doing so myself. One of my best friends from back home came to live here a little while ago, that was really special to have him back. The whole tour with Roy, of course, was inspiring, to see him do all that and becoming closer to everyone I went on tour with will forever be in my memories.

With that tour, and even more so working on Cat Heaven, happening while you were working on your own projects, did they influence the way you approached your new work?

There are certain things I learn from other people I can implement in my own music later. There will be something I’ll figure out while I’m working with someone, be it a sound or a new style, I can kinda pull out later. A lot of it is just talking to others and learning their inspirations and how that reflects in their music. Then turning and comparing that to my own influences and seeing how I do the same. It’s all just inspiration.

To touch on that idea of inspiration, you’ve mentioned in the past how you have a wide range on influences in your life in terms on music, but in the last year, which artists have really been influencing the work you’re putting out?

There’s been a lot of really great artists I just got into this past year-ish, but a big one is Michelle Zauner, who’s the singer for Japanese Breakfast. I’m hugely inspired by her, the fact she directs her own music videos and does all her own creative output, it’s really amazing. I’ve also loved the movies of Michel Gondry and the writing of Charlie Kaufman, anything they work on is amazing and so intoxicating.

With this new album you’re ramping up to release, has there been a difference in approach to how you wrote songs and lyrics? And how does that process look like?

I mean it’s been different for almost every song, I tried to do the album the same way I did the EP, and it wasn’t working right. Every song I wrote just felt lacklustre or the same. So to change it up, I had to change my methods, like the first song I wrote, I did two guitar parts first and then I sang, then produced over. That is very different to the EP which was songs first then lyrics. There are certain songs where before I recorded, I had a guitar riff and just wrote the song in a very traditional way, just chords and singing. Maybe loops would be first at times, and then they’d be built off of. Everything has been different.

It’s interesting because it sounds like you’ve really been adding more to your skill set as an artist, would you say that if you had a tool belt of music, that you’ve been adding towards it in the last while?

Yeah, definitely. I’ve been doing that my whole life honestly. I started in bands, not knowing how to produce or anything, but I could play guitar and from then I learned the bass just to add of that. Then I learned production, and that is forever useful. Now I’m working more to be an artist and learn what that entails and requires. Every time I learn something new I really take that and hold onto it until needed.

If you could create your ideal music creation space, where would it be and how would it look like?

That’s interesting, It would really just need to be a secluded place. A place I could disappear and a place I could be as loud as I want as late as I want. No interruptions, all the equipment I needed. Some food, drinks and a bathroom, that’s all I need.

Over the year you’ve posted some concerts you went to, like Paramore in the summer. Are there other shows you saw live that really had an impact upon you and maybe changed the way you approach live shows yourself?

Well, of course, the tour with Roy, he’s been super inspiring in general and watching the man work is amazing. He has a lot of fantastic ideas and he goes through with them. I saw Daisy as well, and they’re so good live. Solange was also amazing with her stage design and her choreography. I also saw Soccer Mommy pretty recently, and it wasn’t too extravagant but it was so well done and exciting to see as a fan of the music.

When you’re on stage, even something like the backyard show you mentioned earlier, what’s the emotion you’re trying to achieve and what is the mindset that you find yourself within at that moment?

When I played that private show, I realized all my songs were pretty mellow and hard to dance or move to. All except for Beachwood didn’t translate very well. So with this new project, I want them to translate really well live, to feel energetic, to feel lively. The songs are just fun. But I keep that emotion in and make sure that I don’t lose what made the earlier work so special and important.

What’s been the overall message you’re trying to pursue this new work and what is it you’re hoping to convey?

I kinda just want to tell my story. Or a story of mine. If people learn things from that, its great, but I’m just saying what happened in my experience. What I realized is that there’s a lot of shitty things that happened to me in my life, but the truth is that things could be a lot worse, so far they’ve been pretty good for the most part. While I had those tough days, I’m still here kicking it.

I apologize if it’s a repeated question, but with the topic of your story, what’s the meaning behind the stage name you’ve taken upon yourself?

It is and it isn’t part of my story in a way. A big part of that choice was that I wanted to separate myself from my old name and work. I wanted this to be super new. The name is taken from two names of people I am very inspired by. And it also, to me, sounds like the quintessential hot girl from a high school, the girl in the coming of age movie they all go after.

If you had a message to artists out there who may find themselves in the same space as you have previously found yourself within, those who may feel as unsure, what would be your lesson to pass on?

I think it doesn’t matter if you’re as confident or as talented as you want to be, as long as you recognize what sounds good to you, just put out the song. It doesn’t matter if you think your voice was bad, just keep progressing as an artist. If you wait for that progression you’ll never put stuff out, you’ll never be happy. With whatever you have right now, just start putting something, anything, out.

Follow Natalie Green on Twitter and Instagram

Listen on Soundcloud and Spotify

All Photos by Guthrie King

[davidowensblog-blog]

David Owens - Asleep Again

Pop Songs That Will Make Your Car Audio Burst With Life

When it comes to writing pop songs, there's a general formula that's used for the song structure. However, before we approach the particular arrangement of a pop tune, it is important that you know the purpose of a pop tune because it assists in making the most of the construction.

Goal of a pop tune

The purpose of the pop song is to get the song hooked to listeners whenever possible and to keep the listener stay interested as long as possible in a period of about 3 to four minutes. This is the age of consumerism in which people purchase, then get exhausted, then buy , then get bored again, and so forth etc. It's a cycle. The same goes for pop music today. Folks listen from finding exceptionally ear grabbing music, then get bored, so they hear new songs, they then get bored . Hence that the pop song basically requires three things: familiarity, variety, and a hook.

Structure

So with understanding that we need the tune we all write to hook onto listeners, how does that translate into the structure of a pop song? We must figure out what doesn't work first, then lead up to what works and what works well.

Here's a question. Would a song that was all verses work as a pop song? I don't think so. Why wouldn't it work? It wouldn't work since you would get bored of the David Owens - Asleep Again song quickly. The verses could be catchy, but if there isn't anything to change this up, it is going to get old quick. So what do we do? Add another section.

So the lesson here is to bring variety to the song and stray away from having the song too mundane.

But on the flip side, having too much variety wouldn't work either. For instance, if you introduced a new section every time without repeating a section, it would be hard to take in the song. Let's say I had a song that had the structure A - B - C - D (each letter represents an individual section.

For the listener to acquire some feeling of familiarity, he or she will have to hear the song again probably for a couple times even if each section was catchy. But if you had a song that reintroduced sections like A - B - A - B, the listener can gain familiarity within one or two listens. But keep in mind that the song has to keep the listener interested with the hook.

The general structure of a pop song is A - B - A - B - C - B aka verse - chorus - verse - chorus - bridge - chorus. This works so well because not only does it add a feeling of familiarity by repeating sections A and B, there is a sense of variety with the accession of section C. Then familiarity is reinforced with keeping a feeling of freshness by ending the section with B. This structure of a pop song is effective when the hook is carried in the chorus section where lyrics stay the exact same each time the section is sung.

A pop song comes from pop music which is typically understood to be a commercially recorded music. It is frequently driven towards the youth and it is composed of relatively short, simple songs but with eccentric technological innovations. It's Meant to encourage listeners to dance with the music or it uses beats, percussions or rhythms that are dance-oriented.

The goal of songwriting is to make listeners get hooked to the song as much as possible in a span of 3 to 4 minutes. A pop song basically needs familiarity,variety, and of course, a hook.

The critical elements to keep in mind in writing a pop song are melody, chord progression, beat and rhythm, genre and fashion, concept, "hook", lyrics, song sections, arrangement, and length. These are the common threads that make a song successful.

In the making of a song in this genre, a pop songwriter ought to be able to bring in variety to the song but being conscious not to put too much selection. If a song had a structure, A-B-C-D, with each letter representing an individual section in the song, the listener should find that familiarity as the song progresses. However, the song must also get the listener's attention and get him hooked.

The general structure for a pop song which is verse - chorus -verse - chorus - bridge - chorus or A - B - A - B - C - B. Even though the repeating sections A and B increases the listener's familiarity of the song, the addition of C section gives variety to the song. The structure is quite effective since it has been test-proven by many great pop icons like Michael Jackson, Madonna, and Prince. The hook is carried since the lyrics remain the Exact Same whenever a Specific section is sung from the singer.Other Kinds of pop song structures are:

If you would like to know how to write a pop song, let me first tell you that there's not one single set way to writing a pop song. I am pretty certain that the songwriters who've had their songs played on the radio did not write their songs with the exact same exact strategy. If that was the case, we might get a deeper "every song sounds the same" problem.

The following is just one of numerous ways in which you can write a song.

1) Song Structure

The very first thing you might want to start off with is the song structure. For instance, a number of pop songs use the format verse-chorus-verse-chorus-bridge-chorus or even a variation of the pattern. A variation could be necessary in case you have a essential lyric that should be fit into the song to complete it or maybe you feel like the song is too brief. An illustration of a variation is Jay-z's 'Empire State of Mind' where an additional verse and chorus is included. The song arrangement goes verse-chorus-verse-chorus-verse-chorus-bridge-chorus.

When adding additional verses or choruses, make sure that the song does not get too long. I count any song over 5 minutes as a long song.

2) Lyrics

Lyrics in pop songs should be relevant to popular culture. What's popular in our culture? It's whatever you see on TV, movies, and even in other songs. Songwriters are definitely influenced by other songwriters' songs.

There's really an unlimited amount of themes you can use. Eminem raps about his real life experiences, Lady Gaga sings about the celebrity life, and everything else is about sex, drugs, and rock & roll :)

When writing a pop song, the lyrics should fall into a general structure. You want to set a specific number of lines for each song section. As an Example, you can set your verse to have four lines, the chorus to have four lines, and the bridge to have six lines. If you would like, you go as far is setting the amount of syllables.

3) Chords

Many pop songs share the same chord progressions or patterns. A very popular one is I - V - vi - IV. (If you want an explanation of the Roman numeral numbers and examples of popular chord progressions and popular songs that use them, you can find an explanation at songwriters123.com) This pattern in the key of 'G Major" would look like this: G - D - Em - C.

You can use the exact chords for your verse and chorus if your melody and lyrics contains enough variety. If you feel as though your melody and lyrics of your verse and chorus are too similar using the same chords, you should change the chords to one of the sections so the song may breathe with a feeling of variety.

4) Melody

You can now write your melody to your lyrics. When you're coming up with a melody for a pop song, you want to make sure you have a 'hook'. A hook is a melody line that is painfully difficult to get out of your head. Usually, the hook is used in the chorus.

One word of advice- do not make your entire song the hook. When you start off with a really catchy verse, it actually takes away the bang from your chorus. It's like that saying "You know what is good only because you know what is bad". I sort of reworded it, but you get the point.

These four steps aren't the "standard" of writing a song. It's just 1 way. It is possible to start writing a song by having a random melody stuck in your head (which could potentially be the hook of your chorus). Or maybe you wrote what you thought a brilliant set of lyrics that may be a prospective verse to a song and you build from there. Be creative and have a blast writing your song.

Among the greatest ways to understand how to play easy pop songs on guitar is to simply make a list of some of your favourite songs which you think might be within your grasp, then find out the chords. It really is as simple as that to get going.

The internet is an amazing tool and takes a lot of the hard work out of trying to figure out the chords. All you need to do is Google the song you'd like to play and see what comes up. Chances are you already know all the chords, but should youn't it's no huge thing. The whole point about learning an instrument is to improve. If there are some chords you've not come across before then have a go at learning them.

If you're a bit impatient and can't quite get the hang of them, just move onto the next song on your list. You can always come back to the tricky ones later. I often discover that things that seem difficult the first time you try them, somehow seem easier the following day. It's almost as if your hand and brain take in the new shapes overnight and the next time you try it, things seem much easier.

You will be amazed by how easy many songs are. There are plenty out there which have only 3 chords. Sweet Home Alabama is a clear one (D, C and G all the way through). Lou Reed apparently once said "One Chord is fine. Two chords is pushing it. Three chords and you are into jazz." Now that may not be wholly accurate but you can really go a very long way with just a couple of option chords under your belt. Pink Floyd's 'Wish You Were Here' has 5 chords, but they are all simple to play open chords without needing to use barre chords. (C, D, Am, G, using a little Em in the middle)

If you're able to master most of the simple open chords (C, D, G, F) and their minor versions, you are going to be in a great place to begin. You then are able to explore 7ths, minor 7ths etc.. Barre chords are a bit tricky when you first start but when you've built up some strength in your hand they will become easier. What's more, they'll open up a whole new world of chords to you and allow you to play pretty much any song you can think of. There are so many easy pop songs to play on guitar that you ought to be able to build up quite a repertoire in no time in any way.

When you get going, the next step is to play together with your chosen song. This can either be the original version of the song or among the many 'learn to play' videos out there online. In the event you chose easy pop songs to play on guitar you'll also develop your ear the more songs you learn. After a while you might find that you could work out the chords yourself as you start to recognise familiar chord sequences that are used over and over again in countless songs.

The very first time you hear it, it's fantastic. Even the third time and the seventh. But after twenty-two times? This little song has come to be the annoying repeating track in your head as you wheel the trash to the curb or go to pick up your mail. Come On! Can't you guys play anything else? They're playing it in Walmart. And if it comes on the radio now, you change the station. You're embarrassed that you actually downloaded the cd. The Pop Song.

Did the audio change? Did the lyrics change? Nope, still the same little song. It's just become Common.

So let's say you're a painter. You've just had one of those great experiences where the painting painted itself - you were in the flow. You nailed it. Terrific composition. Values and color are perfect. You know from experience that it's very likely to sell readily. All of your painting buddies assure that this one is as good as sold. And you're considering making a print of this puppy. Scan it and print on demand... No telling how many you can sell...

Now let's say you're a collector. You've been around art. You've bought quite a bit. You've developed a good eye. You see a painting in a gallery window - great composition, values and color are perfect. Well done. Price is inside your comfort zone. You go inside - and there's the exact same darned image hanging on the wall! One of them is a reproduction and it makes no difference which one. As a collector you don't spend buy an image to get exactly what anyone else can have, too. Imitation may be flattery, but reproductions would be the kiss of death. For all you know, Walmart might have some of these in their dorm room furniture aisle.