But it’s also quite a song, and it illustrates the idea that sometimes you might have a good Chorus… which could be followed by an even better one that ups the ante.

If you’re willing to look beyond the mountain you’ve climbed to an even higher one beyond, what you think of as your Chorus might actually be your pre-Chorus.

‘All This Love’ is melodically and harmonically gorgeous (listen below). It starts with a Verse (‘I had some problems…’). The next section is the one that could have been the Chorus:

The Ways Of Love
And all that it has to offer
In time you will see
That love won’t let you down

I think most of us would have settled for this (as a Chorus). And been happy! Among other things, ‘The Ways Of Love’ is a pretty good title in itself.

To add a little misdirection, and for the moment holding back a reveal, before hitting us with the real Chorus he returns to another Verse followed again by ‘The Ways Of Love’ section. And then:

All This Love
Is waiting for you

This takes the whole song to another level. Without this ‘chorus beyond the chorus’ the song would never have the impact it has.

It’s worth considering, especially in a real pop song, whether the Chorus as it stands goes to the upper limit of what a song needs or can handle… or whether there’s another, higher level worth trying for.

Desmond Child did this with Jon Bon Jovi and Richie Sambora on Bon Jovi’s mega-hit ‘Livin’ On A Prayer’. They had ‘We gotta hold on… To what we got…’ as a Chorus. Then decided, “Not enough” and pushed it further into ‘Oh-oh… We’re halfway there… Oh-oh… Livin’ On A Prayer’ (read more about that one here).

Sometimes this really works!

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I’m not recommending being lazy or not trying to make a song as good as it can be. But, to pick an example almost at random, it’s like a car… If you’ve got a motor, transmission, steering wheel, axles, wheels… the thing’ll run, even if it’s dented, the paint’s chipped, the fender’s falling off, etc.

I’m suggesting that focusing first on the essentials is a good habit to get into. Get those right and you can color in the rest around them.

So what are the most essential aspects of a song?

(Keep in mind that there quite a few songs out there that don’t get all of these right and are still great because the elements that are good about them are GREAT.)

• Title/Chorus. Having a strong central idea, a phrase or section of words and music that the song is organized around.

Often I don’t start with this; many writers won’t start without it. But it’s something that I’m always keeping an eye out for as I wander through the writing process. When I find it, other things tend to snap into focus. Or the opposite – it becomes immediately clearer when things don’t fit.

Many an otherwise great song has fallen short of its potential due to a weak central idea.

• Structure. This connects directly to the Title and/or Chorus.

Am I supporting it with the right structure? Should it be a Verse/Chorus song or an AABA song; or something else? Should it have a Bridge, a Pre-Chorus, a Tag? Is the length of the Verses and Chorus right, as well as the amount of Verses? Is it the right structure for the story that’s in the lyrics, and vice versa? Too long, or too short?

This also has to do with the momentum of the song. Is it moving along at the proper pace? If not, does something need to be shortened, cut, or extended?

• Melody. The not-so-secret (but too often ignored) weapon of great songwriting.

Remember, melody has two aspects – pitches AND rhythm. Does the melody have motion in the notes AND in the rhythm? (Don’t forget that the rhythm of the notes needs variety too!) Without movement, things quickly get static and boring. Does the combination of short notes and longer, held notes feel right?

* Harmony. This starts with harmonizing the melody, which creates its emotional subtext.

But it doesn’t end there. It also includes riffs or chord progressions that go beyond harmonizing, musical signatures that can be so important to the character of the song that it’s hard to imagine it without these trademarks.

* Lyrics. Why do I put this last? Lyrics are obviously crucial to a good song. But I’d venture to say that there are more good songs with weaknesses in the lyric than good songs with weaknesses in the other areas we’ve discussed.

This isn’t true for extremely lyric-focused songs. But a song with a great Title or Chorus, appropriate structure, powerful melody, great harmony and key riffs… can get away with a mediocre lyric. Again, I’m not advocating this as a writing strategy. It just seems to me to be the case… generally speaking.

But I still include lyrics as essential. Not just the content of the words. I include the sound of the words, which in songwriting is just as important as the content. (In fact it’s the main reason why sometimes lyrics with weak content can work – because they just sound right – even if they’re not!).

So, in getting your car to run, think first about the engine, the wheels, etc. When those are in place you can spend as much time as you want on the paint job and taking the dents out of the fender.

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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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