You usually want the Verse to bring the Chorus, and especially the Title, into focus. Ideally in a way that’s special or interesting, or at least sincere and believable.

Let’s start with a common Title. Say, ‘You’re The One’. Let’s assume you’ve got an exciting Chorus and this Title’s working for you. (Though at this point in time, with many ‘You’re The One’s’ out there, you’d need a pretty great Chorus!)

The challenge is then to find a Verse approach that enhances the Title.
What’s the angle?

Is it simply a straightforward declaration of devotion? ‘You’re The One’.

Or – it’s a difficult relationship… but we’ll work it out; because… ‘You’re The One’.

Or does it compare the loved one to other lovers who are seen in a positive way? ‘She was great in this way… He was great in that way… But you… You’re The One.’

Is it a moment of realization? ‘I took you for granted… but now I realize… I know You’re The One’.

How about a list? ‘You’re (this)… you’re (that)… you’re (something else)… and (or but), most of all, You’re The One’.

Or… a series of lines about the singer’s life, having nothing to do with the relationship… AND (to top it off) ‘You’re The One’.

And on and on… until something clicks.

These ‘You’re The One’ options are mundane (to be kind), as is the Title, but I hope you get the idea, which is important. One way or the other you have to find an angle, and usually you need to stick with it for all the Verses. So it should be a good one, one that resonates for you.

Especially with a common Title like ‘You’re The One’, finding that angle is what can make the whole lyric come alive. And even with an uncommon Title, finding the angle is a big part of making a song work.

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A straightforward example is Adele’s ‘Rolling In The Deep’ Pre-Chorus:

The scars of your love they leave me breathless
I can’t help thinking

Then when she hits the Chorus, “We could’ve had it all… Rolling In The Deep…”, it’s incredibly effective; a textbook example of what a Pre-Chorus can do – building the feeling into a thrilling payoff.

Sometimes Pre-Choruses are there out of habit, because most songs have them and the songwriter thinks their song should have one too.

But sometimes they’re not necessary. A Pre-Chorus’s main function is to enhance other sections. If it’s not doing that job it’s useless – no matter how pleasing it is by itself – and it can be dispensed with.

The other way to go into a Chorus – the ‘old-fashioned’ way; going directly into the Chorus from the Verse – is something you don’t hear much anymore in contemporary pop. The surprise of the Chorus is what makes this a potent approach. Since there’s no section put there specifically to build into the Chorus, you’re just suddenly… there.

This smash cut, this sudden shift of consciousness… its contrast can be just as effective, in a different way, as a Pre-Chorus.

Sometimes it’s worth giving another listen to your Pre-Chorus. Or, more accurately, giving it a non-listen. If you have any suspicion that it might not be essential, try leaving it out. See what the song sounds like without a Pre-Chorus. Every once in a while it’s an improvement.

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