MODERN ELECTRONIC SONGWRITING 1

Running head: MODERN ELECTRONIC SONGWRITING

Modern Electronic Songwriting: The Composition Process

Catherine S. Haggerty

Glen Allen High School

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Introduction

Since the prehistoric times, humanity has expressed itself through music. Worldwide,

music is used to connect people to a common emotion or idea. Over time, music has evolved and

the technology era has impacted how music composers write their songs. The rise of electronic

music has introduced new methods and strategies for creating songs that appeal to the mass

audiences. Between the harmony, melody, and rhythm, there are many commonalities among

electronic songs used to enhance them to professional-quality. A good composer knows these

rules and uses them as guidelines, ultimately relying on what sounds good to the ear for writing a

good song. In this paper, these different techniques will be examined, revealing the secrets to

writing a professional-quality electronic song.

The Planning Period

The first action a new composer will want to take is to begin coming up with the actual

notes and riffs they will use in their song. However, without a planning period, the song could

turn out disorganized and somewhat nonsensical. By working through the preliminary details, a

composer can create a more powerful song with a directed purpose and effect.

Determine a Theme

On his website, World of Songwriting, Spain advises to determine a theme or attitude

as the very first step. Deciding the songs theme includes choosing a point of view, timeframe

(past, present, etc.), and a subject, such as a lover, location, or life event (2016). Figuring out

what this emotion should be will help guide the rest of the song and allow the composer to

continuously check whether their song has the intended impact. As many popular songs have
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similar themes, the classic love theme has become too clich; the trick is to choose a unique and

original theme for the song to stand out from the others.

Structuring the Song

After the theme, a songwriter should at least roughly decide a song form to follow. Most

modern songs tend to follow verse-chorus form, alternating sections between verses and

choruses with various minor sections in-between. The chorus is the primary module with

heightened musical intensity and the most memorable melody; the verse contains the main

narrative text, working up to the buildup of the chorus. The bridge tends to be a transition and is

almost always followed by the chorus, usually appearing as a variation of the verse or an

instrument solo (Shaffer, Hughes, & Moseley, 2016).

Aside from these standard sections composers include, there are other minor modules to

assist in transitions. The prechorus, significantly shorter than the other modules, is an optional

energy gain before the chorus meant to give a buildup to the chorus if the verse lacks the

energizing effect. While the prechorus helps transition the verse to the chorus, the postchorus

does not transition the chorus to the next verse. Instead, the postchorus serves as a closing

remark to the chorus, meant to provide a resolution to the verse-chorus cycle if the chorus is

insufficient. A full cycle including all of these elements would follow verse, prechorus, chorus,

postchorus, and repeat (Shaffer, Hughes, & Moseley, 2016).

Additionally, electronic songs tend to have their own types of modules that composers

can utilize. The most common modules are: the intro, breakdown, buildup, and the drop (IBBD

form). The intro of a house song is usually percussive and sets the theme for the entire track.

Following the intro is the breakdown, which is the most mellow part of the song. In the
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breakdown, the melody is introduced, but the energy is saved for the buildup. The buildup should

have a smooth transition from the breakdown, incorporating the same melodic ideas only

gradually increasing intensity. The buildup is the increase of energy to lead to the drop, which is

the most energetic and memorable part. The drop should also contain the best and catchiest

melody. After all sections are created, a composer can practically copy and paste the

breakdown, buildup, and drop after the first drop. This style is the basic format and structure for

an electronic song1 (Simon, 2017).

Both verse-chorus form and IBBD form have similar concepts, so it is important for a

composer to know both. Using sections with contrasting amounts of energy is an important

feature for all music, because that is how a song entertains the listener. Planning out the form of a

song before composing allows the writer to understand the purpose of the certain sections and

have an idea of how it should sound. Even though the exact song form may evolve in the end, it

is still important to know where to begin when going into the composition process.

The Composition Process

After the planning period, a composer enters the composition stage. In this stage, the composer

creates the musical content that will be used in the song. An effective composer utilizes the

inclusionand exclusionof the following components: the melody, harmony, and rhythm.

Creating the Harmony

World of Songwriting describes the harmony as the structure, relationship, and

progression of chords within a song (Spain, 2016). The chord progression and key should be the

first thing decided when writing a song. Since most chord progressions tend to be tried-and-
1 For a good example of IBBD form, listen to Tsunami by DVBBS & Borgeous. This song clearly
outlines each module and follows the standard structure discussed above.
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true, the best method for a beginner songwriter is to choose a common progression 2 such as I-

IV-I-V and I-vi-IV-V and work with that in their chosen key.

However, as these chord progressions have been used in so many songs already, there are some

strategies for mixing them up and making them original. An easy way to change up a chord

progression to use the relative minor in place of one of the chords in the progression. Since the

minor has the same key signature but has a different root, the progression will sound more

interesting. Another tactic is adding jazz tensions, which means including the 7 th, 9th, 11th, and

13th of a chord (Neely, 2017). Using these extensions in the chord progression will add more

color to the chord progression and give the composer more autonomy when creating the

harmonic foundation for their song.

In an electronic song, the chord progression is often highlighted by keyboard imitating a

strings tone. In his video How to Make EDM, YouTube user Hlecktro advises that the proper

way to incorporate chords is with two different synthesizersa plucky synth and a trance

synth. The plucky synth will emphasize the articulation of the chords, while the trance synth

will fill it the extension of the chord. These synthesizers will fill in the song, giving a wholesome

sound to the harmony. After configuring the synthesizers, giving the chords some pulse and

rhythm will give the song the electronic energy it needs (2016).

Another large component to the harmony of the song is the bass. In another YouTube

video, How to Make Synthpop P1, Hlecktro says that the easiest way to make a good bassline

is with repeated sixteenth notes with a couple of the notes removed (2012). Since it is common

2 For a more complete list of common chord progressions:

http://www.storycompositions.com/2008/06/common-chord-progressions.html.For making original chord
progressions based on chords that work well together: http://www.storycompositions.com/2009/07/chord-
progression-theory.html.
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music knowledge for the bass to reinforce the root of a chord, the repeated sixteenths could

easily be the tonic of each chord in the progression and sound pleasant. In the same YouTube

video, Hlecktro chooses to reinforce the bottom note of a chord progression (2012). Therefore, if

a chord is inverted once or twice, the bass may not be covering the tonic after all.

Writing a Catchy Melody

The melody is the most memorable part of a song, so it is a crucial step in the

songwriting process. In a series of blog posts, Smith lists various strategies for creating a good

melody, the first of which being to keep the melody within the notes in the chord. This is why the

chord progression should be the first step; a composer would find it difficult to create a melody

without having some sort of foundation (2010). However, keeping the melody limited to notes in

the chord could sound boring, so adding passing tones, or notes outside of the chord

progression that resolve to the tonic would mix up melody and keep it sounding interesting

(PlayPianoTODAY.com, 2012).

Another tip for creating a melody is jumping notes. Jumping a whole tone up and

resolving down or jumping a whole tone down and resolving up are both simple ways to vary up

the melody. Smith also recommends jumping either up or down to the sixth for an especially

impactful melodic line. However, jumping should be used with caution, as Smith warns that the

Western ear is not accustomed to atonal music that jumps around a lot. Limiting the movement

and variation of the melody in this way is a key component to writing songs similar to the

modern hits (2010).

For writing specifically electronic melodies, Hlecktro recommends copying the upper

line of the chord progression up an octave and varying up the notes just slightly. After changing
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the notes, he suggests reinforcing the melody with another synth or piano to bring it out more

above the mix (2016). Using this strategy, a composer is sure to create a melody that will fit in

nicely with the chord progression.

Writing Song Lyrics

Lyrics can be written at any time after the theme is decided, but best fit into the process

with writing the melody. Spain recommends approaching the lyrics based on the songs structure.

Writing lyrics specifically intended for the verse or chorus will help each module match its

intended purpose. Spain also advises writing more lyrics than necessary, because not all lyrics

will carry the same wit (2016).

The World of Songwriting also informs about using open versus closed rhymes when

writing lyrics. Open rhymes are words that end with a soft consonant, like grow. These kinds

of rhymes are good for holding extended notes. However, closed rhymes, which are difficult to

sustain, end with a hard consonant, like bed (Spain, 2016). Knowing the difference between

these rhymes can help composers write lyrics that fit well with their melody.

Setting the Rhythm and Beat

Writing a drum beat requires a composer to already have a good idea of how the song

will go. This especially includes the melody and song structure. The function of the drums is to

lay down the beat and give the song pulse. Spain emphasizes that the drums should

complement the song as a whole instead of compete with it. The busier the song, the simpler

the drum beat should be. However, if the song is open and exposed, the drums can liven the song

up (2016).
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When writing a drum beat, Spain recommends starting with the snare drum, since it

almost acts as the metronome for the song and sets the pulse. Following the snare, add the bass

drum for special emphasis on certain sections. The bass drum doesnt have to be a single hit; it

can also be a double hit to vary up the beat slightly. After the bass drum, the songwriter should

add the toms and cymbals. Since in an electronic song the drums would likely be made with a

computer program, slight imperfections in the timing can humanize the track (2016).

Mixing Tracks

After the composition process is complete, a composer must mix their tracks so that they

align and complement each other. The purpose of mixing is to blend the harmony, melody, and

drum beat together to form one coherent idea. If the song has been composed correctly, its

specific structure and theme should be clear, allowing the song to be easily mixed according to

these ideas.

Synthesis Explained

One of the beauties of electronic music is that it opens up a whole new world of possible

sounds and effects unable to be made on conventional instruments. Synthesizer keyboards and

computer programs called Digital Audio Workstations (DAWs) are used to recreate the sounds

we hear. All synthesizer sounds are made up of waves with harmonics, which occupy the low,

medium, and high pitches you hear (Rise, 2017). These pitches are facilitated by oscillators,

which allow us to control the movement of these waves (Sievers, n.d.). There are two main

different types of synthesis used to alter the sound: subtractive and additive synthesis.

Subtractive synthesis takes away parts of the harmonics in the waves to change the

sound. For example, subtracting lower harmonics makes the wave sound brighter. Additive
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synthesis is the opposite, where it adds waves to alter the sound. In theory, if enough waves are

added, a synthesizer can perfectly replicate a wind instrument; however, to do so would require

so many waves and be extremely difficult (Rise, 2017).

There are also different waveforms that can be used to create the desired sound. The most

basic waveform is a sine wave. All of the other waveforms are created by adding sine waves

together.3

Another common waveform is the sawtooth or saw wave. A saw wave has a very strong, clear,

buzzing sound (Sievers, n.d.). These waves look choppy, like a saw, and are often used to

imitate a brass section.

3 A more detailed explanation (with diagrams) on how sine waves are added together can be found at
http://beausievers.com/synth/synthbasics/.
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The third most common type of waveform is a square wave. Square waves blend the

purity of a sine wave with the buzz of a sawtooth wave. Many old Mintendo games incorporated

square waves into their soundtracks (Sievers, n.d.).

Sine, saw, and square waves are the most commonly used types of waves that composers

use to program synthesizers. Knowing these waves and the types of sounds they produce is

especially important so that an electronic music composer may create their desired sound.

Mixing Features Defined and How to Use Them

One of the hardest parts to creating electronic music is the learning curve for not only

how to properly mix tracks, but also what each feature on a DAW controls. A composer will find

their job much easier once they know exactly what their software is capable of.

The volume and gain both serve similar purposes, but the volume controls the loudness of

the track, while the gain controls how much sound is picked up from the channel. The gain is

best for balancing tracks together and making sure the melody is easily heard. The volume

control is better for increasing the overall loudness of the song, like at the chorus where more

energy is needed.
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The reverb puts things in a space, making the track sound atmospheric (Simone,

2014). Adding reverb to the trance synth and piano covering the melody in an electronic song

is important to create the mass synth sound most people associate with electronic dance music

(Hlecktro, 2015).

The pan controls the stereo vs. mono feature, allowing the composer to adjust which

speaker, the left or right, the music comes out of. Panning the tracks of a song will make the

sound seem more surrounding, adding depth and is also a way to separate sounds that are on the

same frequency range to avoid them messing with each other (Suhonen, 2011). When panning

tracks, the goal is to make tracks sound as if they are in the place they would be in if the song

was being performed live, so where each instrumentalist would be positioned. For example, the

kick drum should be panned in the middle, where a drummer would be (Suhonen, 2011).

However, it may be a good idea to also pan instruments according to their purpose in the song.

Since the bass and kick drum tend to be the driving forces of the song, one could also pan the

bass in the center and pan the various synths to all sides to fully surround the listener (Suhonen,

2011).

The equalizer, one of the most important components when mixing tracks, is the feature

many composers disagree on how to adjust properly. The equalizer manages all the various high,

middle, and low frequencies in the song and can be controlled on individual tracks. In How to

Make EDM, Hlecktro recommends cutting out some of the mid voices, since the trance and

plucky synths will take up a good portion of those frequencies and may cause clipping (2015).

Clipping is when the output has passed its maximum threshold for sound, often because a song is

too loud. The song should be mixed so that clipping will never occur in the final product. For

similar reasons, in Mixing and Mastering Tips for Your Mixes, Sell insists to cut out the very
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lowest frequencies in the drum and bass tracks to avoid having unnecessary frequencies

cluttering up the sound (2015).

Another important feature are the envelopes, which control how the articulation and

extension of a note sounds. Envelopes are composed of four different adjustments: the attack,

decay, sustain, and release. DAWs usually indicate just the first letters of each.

The attack is how fast the envelope will start or the initial entrance of the sound. The

lower the attack, the sooner the sound begins. The decay indicates where the sound will die

out. The higher the decay, the longer the notes. The sustain is a level that controls how high the

final output will be after the initial decay. While the other controls monitor time-based

variables, the sustain represents a level of intensity. The release indicates when the note ends

after it is released from a keyboard. The higher the release, the longer it will take for the note to

end. There are three different types of envelopes, each controlling the duration of either the

amplitude, filter, or modulation. The same ADSR concepts apply to all three (Hydlide, 2017).

The Finishing Touches

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After a composer has written their musical content and properly mixed it, their song

should sound fairly close to the professionals. However, an important step to finalizing the

product is mastering the song, which is where the song is adjusted so that it will sound pleasant

and balanced to any speaker it may be played on. The mastering process is a quick but tricky

process that most professional composers and producers hire a mastering engineer to do. A

composer/producers can do some mastering themselves; however, since the mastering process is

usually for professionals who want to put their song on the radio, sending it off tends to be the

safest bet.

Concluding Remarks

Each stage of the entire songwriting processpreplanning, composing, mixing, and

masteringis important to the creation of a professional-quality electronic song. The tips and

strategies in this paper outline merely the guidelines for each stage. Knowing these guidelines as

a beginner composer, will allow one to develop their skill and learn which rules can be broken.

Ultimately, songwriting decisions are still up to what the composer likes the best, as there really

is no exact textbook for writing good music.

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References

[Hlecktro]. (2015, Jul 10). How to make edm. [Video File].

Retrieved from https://www.youtube.com/watch?v=WAMY09XGHoo

[Hlecktro]. (2012, Sep 10). How to make synthpop p1. [Video File].

Retrieved from https://www.youtube.com/watch?v=wI21J9WtsMk

[Hydlide]. (2017). Attack decay sustain and release.

Retrieved from https://www.reasonexperts.com/attack-decay-sustain-and-release.html

Neely, A. (2017, Feb 6). Extreme jazz fusion reharmonization. [Video File].

Retrieved from https://youtube.com/watch?v=JXfQsHT5c30

[PlayPianoTODAY.com]. (2012, Mar 2). Piano lesson How to create solos on the piano or

keyboard. [Video File].

Retrieved from https://www.youtube.com/watch?v=hMDKqrDWFpE

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Rise, S. (2017). The Synthesizer Academy.

Retrieved from http://synthesizeracademy.com/

Sell, B. (2015, Feb 1). Mixing and mastering tips for your mixes. [Video File].

Retrieved from https://www.youtube.com/watch?v=h6vRDKw26sY

Shaffer, K., Hughes, B., & Moseley, B. (2016). Open Music Theory.

Retrieved from http://openmusictheory.com/

Sievers, B. (n.d.). A young persons guide to the principles of music synthesis.

Retrieved from http://beausievers.com/synth/synthbasics/

Simon, M. (2017). How to make edm music Song structure.

Retrieved from http://www.producerspot.com/how-to-make-edm-music-song-structure

Simone, J. (2014 Sep 26). 6 tips for better edm buildups and drops. Pro Audio Files.

Retrieved from https://theproaudiofiles.com/tips-for-better-buildups-and-drops-in-edm/

Smith, J. (2010). Seven steps to writing memorable melodies.

Retrieved from

https://music.tutsplus.com/series/seven-steps-to-writing-memorable

melodies--audio-21726

Spain, C. (2016). World of Songwriting.

Retrieved from http://www.world-of-songwriting.com/

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Suhonen, P. (2011). Couple of guidelines on mixing electronic music.

Retrieved from

http://howtomakeelectronicmusic.com/couple-of-guidelines-on-mixing

electronic-music