Making Sure Your Title Gives You Options

One of the most important parts of your song is the title. I usually add it last since I want to make sure I give myself as much flexibility as possible when writing. Since your hook often ends up in your title (though it's been known not to), deciding on a title first could limit where the song wants to go - which could result in a predictable, same-old-same-old song. Not what any of us are looking for on a regular basis.

So, here are a few tips for finding the title and giving yourself options:

1. Let the song help you come up with something unique - use a working title or nothing when you start. Sometimes I'll just write something like "Clock Song" at the top for a reference.


2. Keep it as short as possible, but it should still make sense. "Bridge Over Troubled Water" is a pretty long title, but it's interesting. Imagine if Paul Simon had called it "The Bridge" - not very compelling. Sammy Cahn used to try and come up with a title that hadn't already been used so when ASCAP was tracking it, they knew they should pay him and not someone else. Smart guy! But, if you try and do it, you'll come up with some interesting lines, because you're forced beyond the norm. When you think you have a title, take a quick spin on iTunes - is it there? If so, try and rework yours a bit just to see what happens.


3. And my favorite: Try to write your chorus with a hook that leaves you with some great vowel sounds in the power positions (spots like the first few words of the chorus or the end of your last line in the chorus), to give the vocalist some opportunities to add some dynamics to your song. Let's look at an examples across a few genres.

"What Hurts the Most" written by Jeffrey Steele and Steve Robson and performed by Jo O'Meara (Pop), Rascal Flatts (Country), and Cascada (Eurodance group):

The hook is in the power position at the top of the chorus, and allows for a rhyme with an long "o" sound. Creating a couplet (two lines with the same rhyme sound in a row) with the next line "is being so close." The chorus also keeps the couplet rhyme pattern to separate it from the rhyme pattern of the verse. In the Rascal Flatts version, to fully leverage the line "What Hurts the Most," the song uses a musical break to isolate the lines for a vocal rise in pitch in the third chorus. This was all set up with a strong, open vowel sound. It's interesting to see how production of a song can change the impact. Which one uses the hook the best when coupled with the production?

Jo O'Meara Pop Version:


Rascal Flatts Country Version

Cascada Dance Version (really? Dancing - really?)

Yes - and, just because I love it - tell me the hook's not good when it can be interpretted like this (go Keenan Cahill)!