JOHN

LEGEND
Teaches Songwriting
 TABLE OF

CONTENTS
03
MEET JOHN LEGEND
12
Sing from your soul SPECIAL SECTION
S O N GW RI T I N G 1 01

07
Creating songs of your own

13
GENIUS LOVES
COMPANY
How many people have won an
Emmy, a Grammy, an Oscar, and a ELEMENTS
Tony? Let’s just say John is a OF MUSIC
card-carrying member of one Most of the world’s songs
very exclusive club contain these three components

09
FROM ACCENT
14
TO VOCAL RANGE: ASSIGNMENT
A MUSIC GLOSSARY CREATE A
Terms that make songs tick MUMBLE TRACK

10 15
ANATOMY
ASSIGNMENT OF A SONG
ENGAGE IN ACTIVE A breakdown of John’s hit
LISTENING “Ordinary People”

1
1
17 29
GOOD TO BETTER
ASSIGNMENT TO GREAT
STUDY A SONG Advice on music editing
YOU LOVE

19 31
THE EMOTIONAL
FIND YOUR TUNE IMPACT OF MUSIC
5 steps to help you The science behind music’s
capture your unique voice soul-stirring power, and how
music theory is more intuitive
than your may realize

22
ASSIGNMENT
UNLEASH YOUR
33
MIX AND MATCH
CREATIVE JUICES The art of blending genres

23
SONGWRITING
34
SUPERSTARS ASSIGNMENT
These remarkably prolific REVERSE ENGINEER IT!
R&B and pop songwriters
made a career out of their

36
passion. You can, too

27
HOW TO
COLLABORATE
WITH OTHER ARTISTS
Tips on creating
ASSIGNMENT successful partnerships
WRITE FROM
YOUR LIFE

2
2
 MEET YOUR INSTRUCTOR
JOHN LEGEND
B
efore he became a pop-
culture phenomenon, show-
ering audiences worldwide
in cascades of soul-stirring
melody, John Legend was
just a young boy with big
dreams from Springfield, Ohio.
Born John Roger Stephens on
December 28, 1978, to Phyllis, a
seamstress, and Ronald, a factory
worker, John showed his potential
and ambition early on. In 1994, he
was named the local winner of the
McDonald’s Black History Makers
of Tomorrow essay competition,
facilitated by the famous fast-food
chain. Written when he was just fif-
teen years old and published in a
local paper, the essay stunningly
predicted the life John would live.
“I plan to impact society by devel-
oping my own character and being a
3
Sing from your soul
leader in the community by exam-
ple,” he wrote. “I plan to use my
social skills and my musical talents
to be a positive role model for my fel-
low Afro-Americans. I envision a
successful musical career that will
allow me to obtain high visibility in
the community. This, in turn, will put
me in a position of great influence,
which I will utilize in order to be an
advocate for the advancement of
blacks in America.”
John may have envisioned his
future career when he was still a
teenager, but his love affair with
music had begun much earlier. He
started taking piano lessons at age
four, and was singing in the church
choir by age six. He drew inspiration
from his grandmother, who was the
organist at her church, and the gos-
pel music she loved. John was also
influenced by R&B singers like
American songwriter and producer
Luther Vandross, along with acts like
the Supremes, Marvin Gaye, Stevie
Wonder, and the Temptations, who
recorded for the legendary Detroit,
Michigan-born soul label Motown
Records.
While attending the University of
Pennsylvania in Philadelphia, John
immersed himself in the city’s
enclaves of neo-soul—a dynamic,
hip-hop–inflected sound with deep
roots in 1970s soul and R&B. His first
big break came thanks to American
singer-songwriter and hip-hop artist
Lauryn Hill, who tapped John, still a
student, to play piano on her song
“Everything Is Everything.” The tune
appeared on her landmark 1998
album, The Miseducation of Lauryn
Hill. But John wasn’t a full-time musi-
4

cian just yet: After he graduated, he
spent three years working as a busi-
ness management consultant in New
York City while playing gigs at night.
His talent and stage presence
started to attract the attention of
fans and industry professionals
alike. American poet J. Ivy pro-
claimed that John sounded “like
one of the legends,” prompting the
emerging singer-songwriter to take
on the stage name by which he’s
known today. In 2004, John
released his debut studio album, Get
Lifted; its second single, “Ordinary
People,” catapulted him to stardom.
The album hit No. 4 on the influen-
tial Billboard 200 chart and “Ordi-
nary People” reached No. 24 on the
Billboard Hot 100. (Billboard is
America’s most prominent tracker
of popular songs.) In 2005, John
performed live at the Grammys, an
award show hosted by American
5
Left: Young John performing. Below: John at his
graduation. Next page: John with his Grammy
awards at the 2006 ceremony.
music-industry organization the
Recording Academy. The following
year, he took home Grammy awards
for Best R&B Album (Get Lifted),
Best Male R&B Vocal Performance
(“Ordinary People”), and one of
the evening’s marquee accolades:
Best New Artist.
In the years since, John has
released eleven more albums
(including solo albums, collabora-
tions, and live recordings) and
earned twelve Grammys and
thirty-three nominations. He’s also
won an Emmy, an Oscar, and a Tony
(commemorating achievement in
television, film, and theater, respec-
tively), which makes him one of just
seventeen “EGOT” winners to date
(head to page 7 for the full list).
Along the way, he’s been a coach
on American competition show The
Voice; lent his vocal talents to the
animated short film and virtual real-
ity experience Crow: The Legend; and
launched multiple foundations,
including the Show Me Campaign
and FREEAMERICA, to address
issues such as poverty, education
reform, and criminal justice reform.
John’s commitment to social
activism has often fused with his
artistic talent: “Glory,” a song that he
worked on with American perform-
ing artist Common about the Ameri-
can civil rights movement, graced
the award-winning 2014 film Selma
and netted Oscars for the two musi-
cians. In his class, John will teach
you about the intersection of music
and activism. He’ll help you harness
the power of your own voice as a
songwriter and provide you with the
tools you need to unlock your cre-
ative potential.
“If you find your voice,” he says,
“...that’s the way to establish yourself
with longevity and with real impact.”
 “WHETHER YOU
WANT TO MAKE
A MOMENT OR START
A MOVEMENT, THIS
SONGWRITING CLASS
IS FOR YOU.”
— JOHN

6
 GENIUS LOVES
COMPANY
Peek inside the EGOT club

7
EGOT
is an acronym for
Emmy, Grammy, Oscar,
and Tony—four of the
most prestigious American awards
doled out for excellence in television,
music, film, and theater (respec-
tively). The term was coined in 1984
by American actor and musician Philip
Michael Thomas, star of the television
series Miami Vice, and was popular-
ized in a 2009 episode of American
sitcom 30 Rock. There are currently
seventeen EGOT winners, with Amer-
ican composer Richard Rodgers being
the first to achieve this grand slam of
the arts in 1962.
Other highlights from EGOT
history include songwriter Robert
Lopez reaching double EGOT status
in 2018; Puerto Rican actor Rita
Moreno, the only Latinx winner,
cementing her spot in 1977; and John
joining the EGOT club in 2018 (tying
with Lopez as the youngest-ever
winner). Here are all of the EGOT
winners as of 2022, along with a few
prestigious award highlights.

Richard Rodgers
COMPOSER (1902–1979)
Achieved EGOT Status:
1962
Helen Hayes
ACTOR (1900–1993)
Achieved EGOT Status:
1977
Rita Moreno (3)
ACTOR (1931–PRESENT)
Achieved EGOT Status:
1977
* Award Highlight
Oscar for Best Supporting
Actress in West Side Story
(1961)
John Gielgud
ACTOR (1904–2000)
Achieved EGOT Status:
1991
Audrey Hepburn (1) Mike Nichols, John Legend (2)
PERFORMER, DIRECTOR, AND SINGER, SONGWRITER AND
ACTOR (1929–1993)
PRODUCER (1931–2014) PRODUCER(1978–present)
Achieved EGOT Status:
Achieved EGOT Status:
1994 (posthumous)
Achieved EGOT Status:
2001 2018
* Award Highlight
Whoopi Goldberg (4) * Award Highlight
Oscar for Best Actress in
PERFORMER AND PRODUCER Grammy for Best New
Roman Holiday (1953)
(1955–present) Artist (2005)
Achieved EGOT Status:
Marvin Hamlisch 2002
COMPOSER (1944–2012) Tim Rice
LYRICIST AND PRODUCER
Achieved EGOT Status: * Award Highlight
(1944–present)
1995 Oscar for Best Supporting
Achieved EGOT Status:
Actress in Ghost (1990)
2018
Jonathan Tunick
MUSIC DIRECTOR AND COMPOSER Scott Rudin
(1938–present) PRODUCER (1958–present) Andrew Lloyd
Achieved EGOT Status: Achieved EGOT Status: Webber
1997 2012 COMPOSER AND PRODUCER
(1948–present)
Achieved EGOT Status:
Mel Brooks Robert Lopez 2018
ACTOR, WRITER, AND DIRECTOR COMPOSER (1975–present)
(1926–present) Achieved EGOT Status:
Achieved EGOT Status: 2014, 2018 Alan Menken
2001 COMPOSER (1949–present)
Achieved EGOT Status:
2020

Jennifer Hudson
SINGER, ACTOR, AND PRODUCER
(1981–present)
Achieved EGOT Status:
2022
2
3

1 4
 FROM ACCENT TO VOCAL RANGE:

A MUSIC GLOSSARY
Read up on all of the different terms that make
a song tick,then get to work on your first (or next) hit

Accent
An emphasis placed on
specific notes or phrases
to heighten their intensity
and distinguish them from
non-accented sounds.
Bar
Also referred to as a
“measure,” a bar is a
brief segment of music
made of multiple beats;
numerous bars make up
a song and the number of
beats per bar depends on
the time signature.
Bridge
A section of a song that
typically arrives some-
where in the song’s second
half, following a chorus,
and presents something
different—a diverging
chord progression, a new
key, a meter change, or a
shift in lyrical perspective.
Chord progression
When multiple chords are
played in a sequence.
Chord progressions can
be dizzyingly complex or
remarkably simple: “Let It
Be,” by English quartet
the Beatles, consists of
four chords; “Lucille,” by
American R&B legend Lit-
tle Richard, has just three.
Chorus
The culmination of all
the big ideas in a song
and a summary of what
the entire thing is about.
The verse and pre-chorus
both build up to this
moment, and a typical
chorus serves as a
release of tension. It
recurs at least once in the
song, and it often con-
tains the song’s hook (its
catchiest lyrical or
instrumental moment).
The term can also refer
to a large choral group,
where multiple perform-
ers sing together.
Counter melody
A secondary melody that
plays alongside the pri-
mary one. While it pro-
vides harmonic support
for the main melody, a
countermelody can also
stand alone. Although not
common, it can boost a
song’s energy, as in “Scar-
borough Fair/Canticle”
by American folk duo
Simon & Garfunkel.
Delay
A production technique
by which a sound is dupli-
cated and played back a
given length of time after
the original sound, creat-
ing an echo effect.
Genre
Categories used to
classify similar artists,
albums, or songs. Songs
in a genre share com-
monalities of style, form,

9

instrumentation, and/or
mood. Examples of differ-
ent genres include pop,
rock, hip-hop, EDM
(electronic dance music),
and classical.
Intro
Like the opening shot of a
film, the intro to a song
should catch the listen-
er’s attention. The goal is
typically to establish the
song’s rhythm, tempo,
and feel, and set the stage
for the vocals.
Meter
The arrangement of a
rhythm in repetitive beats
that suggest a pattern.
Songs usually have a time
signature that indicates
the number of beats in
each bar and what notes
go into each beat.
Outro
The final moment of a
song. An outro usually sig-
nals to the listener that the
song is coming to an end;
this can be done in several
ways but is often achieved
by repeating the chorus
with a slow fade-out.
Pre-chorus
The song section that pre-
cedes a chorus and helps
heighten its impact. It
works as a transition
between the verse and the
chorus. Its lyrics can
change throughout the
song, or they can serve as
another refrain.
Refrain
The repetition of a lyrical
phrase. In pop music, the
refrain can be the chorus.
Swedish pop group ABBA
in the song “Why Did It
Have To Be Me?” uses this
technique to end all the
main verses with the same
two lines.
Reverb
Also known as reverbera-
tion, this sound effect
occurs when sound waves
from a direct source
reflect off surfaces in a
given space (or when that
sound is simulated digi-
tally). The reflected sound
creates an echo that fades
away as objects within
that space absorb it. The
range of reverb effects is
vast, from the booming
ambience of “Be My
Baby” by American vocal
group the Ronettes to the
otherworldly drum sound
in English pop star Phil
Collins’s “In the Air
Tonight.”
Rhythm
The pattern of sound,
silence, and emphasis in
a song. In music theory,
rhythm refers to the recur-
rence of notes and rests in
time. In addition to indi-
cating when notes are
played, musical rhythm
stipulates how long they
are played and with what
intensity. This creates dif-
ferent note durations and
types of accents.
A S S I G N M E NT
ENGAGE
IN ACTIVE
LISTENING
No matter where you are or what you’re
doing, you’re surrounded by noise. Yet
so much of it may escape your notice.
That’s because your brain constantly
sorts through and picks out the sounds
it’s important for you to listen to, casting
the leftovers into the background where
they’re dismissed as ambient noise.
But by making a conscious effort to
detect all of the sounds humming,
buzzing, and vibrating around your ears,
you can start actively listening to them,
rather than passively hearing them.
By using active listening to engage
with music, you have the chance to
understand the components of a song on
a more complex level: isolating specific
instruments, tracing the song’s structure,
honing in on how one lyrical phrase
bounces off another. But why stop at
music you already know and enjoy?
Active listening offers a way to unlock and
appreciate genres (learn more on page
33) of music you’ve never really explored.
Pick three songs that diverge from the
genres you listen to most and try to
distinguish the various components of
each (for instance, the different
instruments, the rhythm, or the melody).
Keep your attention focused on the
music, not your knee-jerk reactions, and
make a note of your observations. Did you
hear anything that you might you want to
carry over into your own songwriting? Did
you discover a new sound?
10
 Time signature
In musical notation, a pair
of numbers imparting two
A5 data points: The first fig-
ure indicates the number
G5
of beats per measure and
F5 the second indicates the
note value of one beat.
E5 These two numbers are
separated by a slash (e.g.,
D5 4/4) when expressed as
shorthand notation.
C5
SOPRANO B4 Verse
Preceding the chorus and
A4 pre-chorus, the verse is
typically responsible for
MEZZO-SOPRANO
G4 propelling a song’s narra-
tive. Often the second
F4 verse builds on the first,
ALTO
and each subsequent set
E4
of lyrics supports the
D4 meaning and mood of the
piece. Generally, bars in a
C4 verse are divisible by eight.
TENOR B3 Vocal range
The full spectrum of
A3
notes, from the lowest to
G3 the highest, that a vocalist
BARITONE can sing. There are six
F2 major vocal ranges, and
BASS
the classifications can
E3 vary depending on genre.
Additionally, some singers
D3 may have ranges that span
C3 multiple types. Although
certain ranges have tradi-
B2 tionally been associated
with specific genders, no
A2 range is exclusive to any
one gender.
G2
F2
11 
SOPRANO: The highest
range on the scale. It typi-
cally covers notes
between C4 and A5.
MEZZO-SOPRANO: Often
considered the middle
ground of the higher
ranges, it spans the scale
from A3 to F-sharp5.
ALTO: The classic low end
of the higher range. Most
trained altos can comfort-
ably sing from G3 to F5. A
contralto voice can go
even lower.
TENOR: The higher range
of the lower end. Tenors
have a range of roughly C3
to A4. Countertenors can
hit higher notes still;
their range is similar to a
contralto.
BARITONE: Traditionally
seen as the midrange for
the lower end, a baritone
voice typically sits
between A2 and F4.
BASS: The lowest range. A
bass singer generally sings
notes from F2 to E4.
 IAL
S P EC N
IO
S ECT

SONGWRITING
101
From understanding the different layers within
a song to finding inspiration for your lyrics, this
handy primer will help you create hits of your own

12
 SO N GWR ITI N G 1 01

ELEMENTS OF
MUSIC
Most of the world’s songs contain
these three components

> MUSIC IS Auniversal feature of human life, but humans

have a surprisingly hard time agreeing on a definition of it.
The complex, layered nature of the form means definitions can
overlap with—or contradict—each other. Still, it’s relatively safe to
say that the majority of musical expression includes these three
elements: melody, harmony, and rhythm. (Sung music brings a
lyrical component; other features include timbre and volume.)

13 
13 
WHAT IS
MELODY?
Melody, or a sequence of notes and
its rhythm, is the part of a song
vocalists sing or lead instruments
play. It consists of two primary sub-
components: pitch, which refers to
the frequency of a vibration needed
to produce a given note (a note is a
pitch that has a specific name and
frequency, such as A or F-sharp), and
rhythm, which refers to the duration
and placement of these pitches—
their division into lengths such as
whole notes, half notes, and quarter-
note triplets.
John’s writing process often
begins with a catchy melody—some
sort of hook that has a lyric—and
from there he builds out a concept
using the lyric as a theme. Often,
compositions will involve multiple
melodies working in conjunction
with one another. But before he even
jots down lyrics, he’ll use a mumble
track, or a recording in which he
mumbles or hums different sounds
in lieu of actual words, to find the
right pitch, rhythm, and sequence of
notes that will become his melody.
WHAT IS WHAT IS
HARMONY? RHYTHM?
Harmony, the simultaneous articula- Rhythm, the pattern of emphasis and
tion of multiple notes, is typically silence, is a concept that can be
analyzed as a series of chords. Think applied to vocals as well as melodic
of an orchestra: The flutist plays a G, and percussion instruments. In music
the violinist bows a B, and the trom- theory, rhythm refers to the recur-
bonist sustains an E. Together, those rence of notes and rests (silences) in
three notes comprise an E-minor time. In addition to indicating when
chord. Each element comes together notes are played, rhythm stipulates
to create the larger sonic landscape. how long they’re played. For his
With sung music, the lead vocal collaboration with American artist
line usually covers the melody and Lecrae on the song “Drown,” John
the backing vocal lines use harmony designed a melody that would ride the
to support it. John’s song “Let’s Get beat—one that felt catchy and had
Lifted” is dense with harmonies in enough pauses between the lines to
the backing vocals. Give it a listen hook the listener. Think about how
and take note of the sonic texture rests can be used for dramatic effect
created by those harmonies. and try them out when you start to
work on your own songs.
A S S I G N M E NT
CREATE A
MUMBLE TRACK
Focus on writing a catchy, singable melody; don’t
worry about the subject matter or lyrics just yet. Now
take out your recording device and hum or mumble
the sounds that come to you. Go ahead and
experiment with a few different versions. Remember:
As you begin to construct the rest of the song, less
melodic information during the chorus makes it easier
for people to remember.
14
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 SO N GWR ITI N G 1 01

ANATOMY OF A
SONG
A breakdown of “Ordinary People”

> ON JOHN’S SONG “Ordinary People,” the second single from

his debut album, he explores the intimacy, heartbreak, and desire
that suffuse romantic relationships. A powerful piano ballad with minimal
production, the song was a huge hit. It’s also a great case study when it
comes to learning more about the major components of a song: intro,
verse, pre-chorus, chorus, post-chorus, and bridge. Pull up the track on
your favorite music-listening platform and follow along with this
dissection to learn how each element contributes to the larger whole.

15 
15 
 PRE-CHORUS
INTRO POST-CHORUS
VERSE
CHORUS
INTRO
A good introduction catches the lis-
tener’s attention. John opens “Ordi-
nary People” with three emotional
chords, followed by some soft “ooo”
sounds. With no other instrumenta-
tion following, John sets you up for a
deep, intimate experience—and lays
a foundation for the narrative roller
coaster you’re about to board.
VERSE
Each verse of a song offers you the
chance to tell a story. John develops
the narrative of “Ordinary People” in
the first verse by describing a tense
conversation between the protago-
nist and their partner. Their love is
being tested, and the friction in their
relationship has escalated. Some
songwriters use the second verse to
change or subvert the meaning of the
chorus or even the entire song; in this
case, John’s second verse stays on
track with the song’s message and
emphasizes the idea that the couple
can’t count on having a happily-
ever-after ending.
PRE-CHORUS
In pop songs, the pre-chorus is usu-
ally a chord progression that transi-
tions from the verse to the chorus
PRE-CHORUS
POST-CHORUS
VERSE
CHORUS
and helps heighten the latter’s
impact. Its lyrics can change
throughout the song, or they can
serve as another refrain (see page
10). In “Ordinary People,” the two
pre-chorus sections create tension
and amplify many of the same
themes of the verses, particularly
how each partner’s behavior contrib-
utes to the relationship’s problems.
CHORUS
The chorus is the culmination of all
of the song’s big ideas. It can also
contain the hook—the catchiest part
of the song. John’s chorus on “Ordi-
nary People” is an expression of his
protagonist’s desire to slow things
down so the couple can get their
bearings. The verse has built up to
this one moment, and the chorus
reflects that release of tension. In
this song, John sings the chorus
three times, sandwiched between the
pre- and post-chorus (or the bridge
and post-chorus).
POST-CHORUS
As its name suggests, the post-
chorus appears right after the chorus
and is frequently either four or eight
bars that comprise a melody differ-
ent from the one found in the chorus.
CHORUS
OUTRO
BRIDGE
POST-CHORUS
“Ordinary People” contains three
post-chorus sections, during which
John expands on the ideas intro-
duced in the chorus—namely, that
the couple should slow their rela-
tionship down to figure things out.
BRIDGE
The bridge typically happens only
once, toward the end of a song. It’s a
change of pace that stands out both
lyrically and musically. During the
bridge of “Ordinary People,” John’s
protagonist switches his approach
and makes a confession: He’s not
sure it will work out, but that doesn’t
stop him from wanting to try. A
minor chord, the song’s first, kicks
off the section, and John ascends to
a higher, more strident register. No
wonder John calls this bridge “the
most urgent part of the song.”
EXTRA: OUTRO
An outro should signal clearly to the
listener that the song is coming to an
end. In “Ordinary People,” John exits
on a post-chorus, concluding with a
soft repetition of the last lines from
the chorus and leaving listeners to
make up their own minds about
whether or not the relationship
survived its challenges.
16
16
 A S S I G N M E NT

STUDY A SONG
YOU LOVE
Listen to one of your favorite songs and reflect on the
following. Apply your learnings to a song you’re working on

THE LYRICS THE MELODY THE CHORDS

What is the concept? Pay close attention to Produced on
What world are you the rhythm and pace polyphonic
being transported to? at which a song’s instruments (such as
Is the language poetic, pitch moves; it’s often the guitar or piano),
conversational, or the most memorable chords are two or
something else? Does part of a song. How more different notes
the song repeat any complicated or played together.
phrases or themes? simple does it sound? Think about what
Do the lyrics help you At what points does chords are being
connect to the song, the melody speed up played. How
or do they leave you or slow down? How frequently are they
wanting more? If the does this impact the changing? Do you
song has a pre- song’s progression? If mostly hear the basic
chorus, what is its the song has a bridge, three-note chords, or
lyrical function? how does the melody are they more
guide or support it? complex?

17 
18
 SO N GWR ITI N G 1 01

FIND YOUR
TUNE 5 steps to help you capture
your unique voice

> WHEN YOU BEGIN writing your own song, keep

things simple at first, then layer in complexity as you go.
Take inspiration from John and your own life, and explore
what’s speaking to you in the moment.

19 
19 
IMPROVISE A CHORUS MELODY
Give yourself a moment in a private place, with or without a musical instrument at hand, and try to
string a few notes together. Try building off your mumble track here (see page 14) and begin piecing
together something more coherent. When you have a distinct and repeatable melodic line, record it
on your smartphone or other device. You can use this melody as the foundation of a new song.

FIND THE APPROPRIATE CHORDS

Once you have a melody to play with, you’ll need to support it with chords to
build sonic progression, create harmonies, and round out the sound. Experi-
ment with different chords to accompany the melody you’ve improvised.

DRAFT EACH SECTION

Now try blocking out the rest of the song’s musical progression. Refer back to “Anatomy of a Song”
(see page 15) to brush up on pop-song structure.

ADD LYRICS
Once you have the melodies and chord progressions for each section of your
song, draft some lyrics. Remember, the verses are a place to tell your story, and
the chorus can be the culmination of the song’s emotion and ideas. Be flexible:
Not every pair of lines has to be a rhyming couplet.

PICK A TITLE
You might pull your song’s title from a memorable lyric, but there’s no wrong way to name a song.
The chorus of “Ordinary People” matches its title, while “Smells Like Teen Spirit,” by American rock
band Nirvana, has no obvious connection to that song’s lyrics.

20
20
21 
 A S S I G N M E NT
UNLEASH YOUR
CREATIVE JUICES
Songwriting is about more than raw talent; to generate new musical ideas,
it helps to follow your inspiration while establishing a structure.
These prompts can help you get your creativity flowing
• TELL A STORY
Craft a song from your own experi-
ence, or consider telling the tale of a
historical character. Let the narrative
guide you and see if you can come up
with a phrase to keep coming back to
(also called a refrain).
• EMPATHIZE
Many singer-songwriters default to
their own lived experience when
drafting lyrics. For an interesting
challenge, try writing from someone
else’s point of view. It could be your
best friend or someone you’ve never
met. Take note of ways they might
see the world that differ from your
own perspective.
• PLAY WITH RHYME SCHEMES
Lyric writing can often become
bogged down in attempts to rhyme
every line. Consider alternate rhyme
schemes—or no rhymes at all—to
free up your lyrical flow.
• START WITH A TITLE
Brainstorm a word or phrase that
would catch your eye if you saw it on a
playlist. Use it as a prompt, experi-
menting with music or lyrics that con-
tradict the expectations you might
have for a song with that title.
• WRITE WITH A FRIEND
Songwriting partners can help each
other push through writer’s block and
see existing songs in a new light. Help
a friend finish a tune they’re working
on and let them help with your song in
return.
• GET AMBITIOUS WITH
STRUCTURE
Challenge yourself to write a song
that does more than just toggle
between verse and chorus.
22
 SO N GWR ITI N G 1 01

SONGWRITING
SUPERSTARS Some of the industry’s biggest hitmakers
are the ones behind the scenes

> JOHN WRITES SONGS for himself, but he also writes for, and with,
other artists. Among the tracks he has helped pen are hits like
“American Boy,” performed by English singer Estelle and American
hip-hop artist Kanye West, and “Hallelujah,” performed by
American country singer Carrie Underwood. You, too, can find
success behind the scenes: Labels often hire staff writers to come
together and brainstorm songs for signed artists. Get to know five
songwriters working in the pop and R&B space who turned their
passion into a career, then consider if you want to do the same.

23 
23 
 “Rhythm
of the Night”
by DeBarge

“Don’t Turn
Around”
by Tina Turner

“If I Could Turn

Back Time”
by Cher
DIANE WARREN
Diane Warren may be the most prolific hit
writer in the United States. More than
eighty of her songs have held top-ten spots
on the Billboard Hot 100, and she’s written
for major global musical acts including
Elton John, Barbra Streisand, Aretha
Franklin, Lady Gaga, Britney Spears,
*NSYNC, Beyoncé, and Whitney Houston.
“How Do
I Live”
by LeAnn Rimes

24
24
 “No Scrubs”
by TLC

“Bills, Bills,
Bills”
by Destiny’s Child

“It Makes
KANDI BURRUSS
Me Ill” One of the stars of American reality-television show The Real Housewives
by *NSYNC of Atlanta, as well as the lead in her own spinoff, Kandi & the Gang (both
on American cable network Bravo), Kandi Burruss got her start cowriting
songs for her group Xscape in the 1990s before amassing fame writing
hits for major artists like Pink and MasterClass instructor Mariah Carey.

“Take
a Bow”
by Madonna

“Can
We Talk?”
by Tevin Campbell

KENNETH “BABYFACE” EDMONDS

While fans of 1990s R&B may know Kenneth “Babyface” Edmonds as
“I’ll Make Love to You”
the sensual voice behind the hit “Every Time I Close My Eyes,” writing
emotional bangers for other artists is his forte. His greatest success: by Boyz II Men
“End of the Road,” performed by Boyz II Men, one of the longest-running
No. 1 hits in American pop history.

25 
25 
 “Quickly”
by John Legend
“Bigger”
by Justin Bieber

“I Miss You”
by Beyoncé

“One Thing” FRANK OCEAN

Before he found massive success with his own solo records Channel
by Alicia Keys Orange and Blonde, American R&B star Frank Ocean entered the music
industry as a songwriter. The artist, who grew up mostly in New Orleans,
Louisiana, and moved to Los Angeles, California, in the mid-aughts, even-
tually placed some of his songs with artists like Brandy, Justin Bieber, and
John. After his own singing career took off, Ocean forged even more rela-
tionships; he now writes for pop stars like Beyoncé and Alicia Keys.

“Rude Boy”
by Rihanna

“Firework”
by Katy Perry

ESTER DEAN
American songwriter Ester Dean, who has been writing songs since the
third grade, was brought into the industry after a producer overheard her “Countdown”
singing alongside American vocalist Charlie Wilson as he performed
by Beyoncé
with the Gap Band. Her crooning landed her a gig singing demos for
other artists, and eventually she met Interscope Records cofounder
Jimmy Iovine. From there, she wrote tracks for musical heavyweights like
MasterClass instructor Christina Aguilera, Mary J. Blige, and others.

26
26
 A S S I G N M E NT

WRITE FROM
YOUR LIFE
Some of the best songs are the most
personal. Often, when songwriters
pull directly from their life histories
(relationships, dreams, grief, etc.),
they’re able to use their individual
experiences to explore universal truths.
What significant events have taken
place in your life recently? Have you
encountered any obstacles en route to
your goals? Any big changes involving
intimate partners or friends? (Needless
to say, countless great songs have been
written about heartbreak.) Think about
what you want to say, and allow these
autobiographical elements to inform
your musical style and vocal approach.
Finally, start experimenting with
melodies, record a mumble track, and
rough out some lyrics inspired by the
stories and themes you’ve selected.

27 
28
 GOOD TO BETTER TO
GREAT
“Y
ou’re not done with a song
until it feels great,” John says.
After you’ve finished writing
your lyrics, consider record-
ing your nascent song with
the help of a DAW (digital audio
workstation). Essentially a recording
studio that fits inside your computer,
a DAW can be used to edit your
audio, saving you the expense of hir-
ing a professional engineer. You can
choose from DAWs like Ableton, Pro
Tools, GarageBand, or Logic, some of
which can be accessed for free.
Once you’ve captured an idea on
your smartphone or other device,
follow John’s lead and “live with the
song a bit.” Step away for a week,
then listen to your work with fresh
ears; you may find that there are lyr-
ics you want to change or melodies
you want to tweak. After you’re satis-
fied with your written output, use
29 
Advice on music editing
your DAW and practice these editing
fundamentals to polish your track.
Create a vocal comp
When he’s recording a song, John
will usually track five to ten ver-
sions—or “takes”—of the vocal
part; during the editing process,
he’ll select the best take of each line.
Next, he’ll create a comp, or a com-
posite, of these takes, making sure
that the ones he’s chosen are not
only the best in and of themselves
but also the versions that sound
best together.
Remove unwanted noises
Even with numerous takes and a
solid comp, you may still notice
minor distractions on your track,
including noisy inhales and harsh “s”
sounds. You can clean up the track
by deleting extraneous noises and
using a de-esser plug-in to remove
those annoying sibilants.
Adjust levels
If your recording includes more than
just your lead vocals—say, instru-
ments or harmonies—you’ll want to
balance audio levels to make sure
that each component can be heard at
the appropriate volume.
Layer in effects
Many artists and engineers use
embellishments such as reverb
(page 10) and delay (page 9) to create
expansive soundscapes and echo
effects, respectively. You can also
experiment with Auto-Tune, which
corrects pitchy vocal passages (and
is often used by artists for its more
overt stylistic effect).
 “YOU WANT [YOUR
SONG] TO FEEL IN
BALANCE. YOU WANT
IT TO FEEL LIKE EVERY
MOMENT WORKS AND
IS EFFECTIVE.”
— JOHN

30
 THE EMOTIONAL IMPACT

OF MUSIC
The science behind music’s soul-stirring power,and
how music theory is more intuitive than you may realize

31 
I
t’s no secret that most songs are
designed to elicit emotion. What
is less well understood is why cer-
tain music causes certain psycho-
physiological effects—or the
mental feelings and bodily reactions
you get in response to psychological
stimuli. In recent years, scientists
have explored this question through
a number of studies and articles.
CHILLS AND TEARS
One study, published in 2017 by
researchers Kazuma Mori and
Makoto Iwanaga in the peer-
reviewed journal Scientific Reports,
concluded that humans are natu-
rally primed for emotional and
physical release when experiencing
visual art, music, and film. Music in
particular has a way of generating
what Mori and Iwanaga describe as
a “peak emotional response,” which
they define as chills and tears.
FRISSON
Another factor in the relationship
between music and feeling involves
individual notes or groups of notes
(chords), their progression (a series
of chords played in a sequence), and
their harmonic rhythm (the length of
each chord). During a 2012 interview
with American news network
National Public Radio, John Sloboda,
a professor of music psychology at
London’s Guildhall School of Music
and Drama, explained how the brain
functions when its owner listens to
music. Essentially, your brain plays a
guessing game: As you listen to a
song, your brain tracks the chord
progression and tries to predict what
comes next. If a chord takes your
brain by surprise, the result is what
Sloboda calls “emotional frisson.” In
other words, your brain intuitively
understands music theory and can
even fill in the gaps in a melody when
notes are absent or chords are
altered. Musicians play into this phe-
nomenon by changing keys and
rhythms within songs.
CATHARSIS
Some listening experiences can
activate the reward regions of your
brain—a dopamine release—
according to Mori and Iwanaga.
Others can bring you to tears, lead-
ing to feelings of calm and release.
In a report posted on the website of
American media organization Psy-
chology Today, Dr. R. Douglas Fields,
author of the book Electric Brain,
LEARN MORE ABOUT
MUSIC THEORY
A few resources for broadening
your technical knowledge
• Musictheory.net
• Soundbrenner Learn
(online series and
metronome app)
considers the theory that people lis-
tening to music cry for one of two
reasons: sadness or awe. Music can
induce a cathartic release of emo-
tion and activate the parasympa-
thetic nervous system; depending
on your personality type, according
to this theory, the ensuing tears
result either from an identification
with the song’s melancholic motifs
or from a sense of overwhelming
wonder at its beauty. Fields adds
that a mix of both is also possible.
The influence of music is so great
that it’s been used as therapy for
treating mental illness for decades,
and researchers are continuing to
explore ways in which music may
have heretofore unknown therapeu-
tic benefits.
• YouTube: Adam Neely
• Music Theory for the
21st-Century Classroom
(online textbook)
32
 MIX
MATCH
The art of blending genres
G
enre classifies musical styles
like they’re animal species,
taking stock of characteris-
tics ranging from instrumen-
tal and rhythmic signatures
to the particular time or place
a sound emerged. “Genre, a lot of
times, is about the stylistic approach
to arranging and producing the
song,” John explains. He points out
that you can make the same song
sound different by basing it on the
stylings of, say, American soul legend
Aretha Franklin versus American
folk-rock troubadours Simon & Gar-
funkel. (For reference, check out
their respective versions of “Bridge
Over Troubled Water.”) Categorizing
33 
AND
music by genre also allows you to
explore how certain styles evolved
from earlier ones, whether that’s
rock ’n’ roll’s debt to the blues or
contemporary electronic dance
music’s origins in Detroit techno and
Chicago house.
Yet genre’s utility has its limits:
It’s an abstract concept, not a direct
reflection of the messy musical
forces at work. In reality, sounds
blend (and reblend), sometimes in
difficult-to-categorize ways. In his
career, John has tapped many genres,
including R&B, soul, hip-hop, and
gospel. One strategy he uses for
mixing genres is working with col-
laborators whose styles match the
sonic fusion he’s aiming for. For
example, in 2016, John released
Darkness and Light; its somber
tracklist emerged from a team that
included American blues belter
Brittany Howard of the rock band
Alabama Shakes and Kentucky-based
indie eccentric Will Oldham. He’s
also released bossa nova with
Brazilian great Sérgio Mendes and
dance anthems with French EDM
giant David Guetta. With John’s
portfolio, the question is not which
genre influences are identifiable, but
which ones aren’t.
Ready to try your own genre
explorations? Read the assignment
on page 34 and give it a go.
A S S I G N M E NT

Reverse
Engineer It!
Select a children’s song (something like “Twinkle, Twinkle, Little Star” or “Baa Baa
Black Sheep”), and then choose two seemingly opposite genres (say, soul and
techno). Research both genres to learn about instrumentation, structure, lyrical
pacing, and tempos. Then use your voice, an instrument, or both to recreate the
children’s song in each of the genres you selected.

34
35 

COLLABORATE
Tips on creating successful partnerships
J
ohn describes himself as a
“promiscuous” collaborator.
He’s worked across genres
with artists of myriad inclina-
tions, from American rap star
André 3000 to American jazz
giant Herbie Hancock to American
pop icon Janet Jackson.
John credits his collaborations
with helping him to break through
creative ruts and forge new paths. “If
you can be sparked by another idea
from another person,” he says, “it
can push you in a direction you may
not have gone by yourself.”
Collaboration can come in many
forms. Working as a producer on
Previous page: English singer Estelle
performs with John in London, England
HOW TO
another artist’s track is inherently a
collaborative endeavor, and there
are also many instances in which
two or more artists team up to write,
record, and/or perform a song—or
even an entire album—together.
(See: American hip-hop artists
Kanye West and Jay-Z’s Watch the
Throne project, or English rock star
Paul McCartney and American
singer-songwriter Stevie Wonder’s
“Ebony and Ivory” single.)
Whatever shape your collabora-
tion takes, there are two traits effec-
tive partners must possess: empathy
and a comfort with the whole pro-
cess of creation—not only the cathar-
tic breakthroughs but also the start-
and-stop process leading up to them.
Here are John’s other tips for
being an ace creative collaborator.
Schmooze it up
Like other performing arts, music
can be interpersonally complex.
Word often travels fast when
someone talented arrives on the
scene. Still, to get work, you need
to meet the people you want to
work with—so go to shows and
jam sessions, approach power
brokers, and start to form working
relationships with the folks who
inspire you.
Get outside your bubble
When musicians from different
genres team up—like American
hip-hop trio Run-DMC and Ameri-
can arena rockers Aerosmith, or,
more recently, New Orleans hip-hop
artist Big Freedia and American pop
star Beyoncé—their creative colli-
36
Above: American singer-songwriter Stevie Wonder onstage with John
Right: John and hip-hop artist André 3000 in New York City

sions can shake the charts (and our
assumptions). According to John,
the magic is sparked by collabora-
tors who can contribute something
different—whether it’s a distinctive
songwriting approach, a virtuoso
command of a rare instrument, or a
sound that hasn’t gotten big just yet.
“It’s cool to work with people who
have different backgrounds, and can
bring something different to the
table that complements your own
skill as a writer and your own point
of view” John says. “And you can
make something together that’s
even more interesting and exciting
than what you would do on your
own.” John encourages you to be
especially open to young artists
who, in his words, “may be a bit
fresher and a bit more current.”
Stay open
When John sits down with a collab-
orator, he understands that their
collective art is an unformed thing
that might change at a moment’s
notice. He aims to remain present
within a free-flowing jam session,
allowing himself to be pushed in
new directions. “It makes me more
prolific as a writer, and it makes the
end result better,” he says.
Document everything
It’s the stuff of nightmares: the
words “file not found,” the sublime
melody conceived late at night and
forgotten the next morning. Make
sure to record every improvisatory
note, and consider using a handheld
recorder as backup. For lyrics, John
is a big fan of the cloud—specifically
Google’s—and he likes editing live
on a shared document.

37 
Clockwise from top: John, American artist and
producer DJ Khaled, and others perform at the
62nd Annual Grammy Awards; John performs
alongside American country artists Jennifer Nettles
and Hunter Hayes; John and American hip-hop
artist Kanye West in Los Angeles, California.
“ANYONE CAN
WRITE A SONG.
BUT HOW DO YOU WRITE A GOOD SONG? HOW
DO YOU INSPIRE PEOPLE TO TAKE ACTION OR
EVEN FALL IN LOVE THROUGH YOUR MUSIC?
I BELIEVE IT ALL STARTS WITH KNOWING WHO
YOU ARE AS AN ARTIST, WHAT YOUR STYLE
IS, AND HOW YOU WANT TO IMPACT PEOPLE
WITH YOUR VOICE OR WRITING.”
— JOHN

39 
40
Credits
Footage from
an interview with Common
Courtesy VIBE

Footage from
an iHeartRadio performance
From the 2022 iHeartRadio Music Awards on FOX,
live from the iHeartRadio Theater

Footage from
the Academy Awards
Academy Awards® Clips
Copyright Academy of Motion Picture Arts and Sciences