Lesson 2 of 18SongwritingIntermediate

Song Elements

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While great pop songs often follow a structure, there are things you can do to keep it interesting. Here, Guy discusses elements he uses to always keep a song moving forward.
Part of the courseSong Studies: The Songwriting Secrets of Guy Chambers18 lessons (1h 33m)

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What's in the course

18 lessons (1h 33m) · 1 free
    • 01. Choosing the right chords

      Free lesson

      6:58

    • 02. Song Elements

      You are here

      9:20

    • 03. A Universal Message

      3:06

    • 04. Creating a writing partnership

      5:20

    • 05. The production on Angels

      6:34

    • 06. Performance of Angels

      4:08

Lesson transcript

Music Lesson: Analyzing the Second Verse of "Angels"

Overview

The second verse in "Angels" is notably shorter than the first. Here's a breakdown of its components and why it works effectively within the song.

Second Verse Insights

  • Structure:

    • "When I'm feeling weak,
      When I'm feeling weak and my pain walks down a one-way street."
  • Melody Changes:

    • The melody differs slightly from the first verse, but the same chords are used.
  • Chord Clashes:

    • In the first verse, the chords can clash with the melody, but we decided to keep it brief in the second verse to flow into the chorus more quickly.
    • This choice helps maintain momentum, as the chorus is ultimately more important.

Pre-Chorus Transition

  • The last part of the first verse, often referred to as the pre-chorus, goes:
    • "As the feeling grows, she breathes flesh to my bones,
      And when love is dead, I'm loving angels instead."

Importance of Asymmetry

  • The asymmetry of both verses adds to the song's flow, preventing it from becoming stagnant.
  • While choruses can be the same length, first and second verses do not always have to align.

The Middle Eight

  • Need for a Middle Eight:

    • Rob, my songwriting partner, preferred fewer words for easy memorization, especially for an international audience.
  • Lyric Example:

    • "When I come to call, she won't forsake me,
      I'm loving angels instead."

Chord Exploration

  • When creating the middle eight, I seek new chords to keep the journey fresh.

    • We decided on B minor, which contributes a new feeling and tension without a key change.
  • The chord progression:

    • Moves from B minor to other chords before returning to the home key E.

Final Chorus

  • As we conclude:
    • "And through it all, she offers me protection,
      A lot of love and affection,
      Whether I'm right or wrong,
      And down the waterfall,
      Wherever it may take me,
      I know that life won't break me,
      When I come to call, she won't forsake me,
      I'm loving angels instead."

Bass Note Considerations

  • The chord "When I come to call" can significantly influence the emotional impact because of its bass note:

    • Using G# instead of the tonic creates a better lead into the next chord.
  • Lesson:

    • Always consider your bass notes for added depth.
    • Explore options beyond the root, including thirds and fifths.

The Hook

  • The little piano melody fills a gap in the melody, creating a memorable hook:
    • "I'm loving angels instead."

Melodic Choices

  • The choice of sixths over thirds enhances the emotional resonance of the melody and becomes a sing-along favorite during performances.

Final Thoughts

  • The recording session was a tight one, even as I managed a sinus infection.
    • "The show must go on" is a guiding principle in my career, ensuring I've never missed a gig.

By considering all these elements, you can better understand the artistic choices that make "Angels" resonate with its audience.

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Meet your guru

Guy Chambers

Guy Chambers

Guy Chambers is one of the UK's most successful living songwriters.

He is the writer behind songs we know from the radio, from the movies, and from the dance floor. Songs we know from our parties and our weddings. Songs that half the world can sing along to note for note. Songs that take us back in time to where we used to be. Songs that carry us forward beyond the everyday to where we wish we were; 'Angels'; 'Let Me Entertain You'; 'Strong'; 'No Regrets'; 'Millennium'; 'Rock DJ'; 'Feel' - to name but a few.

"Guy was the first person in the business who ever took me seriously" says long-standing writing partner Robbie Williams. "The first person who could see the artist that I knew I could become".

The list of other collaborators reads like pop music royalty. Over the years Guy has written and produced for Diana Ross, Tom Jones, Tina Turner (whose scorching take on 'Feel' really has to be heard to be believed), Kylie Minogue, James Blunt, Scissor Sisters, Rufus Wainwright and Mark Ronson, among many others.

He is consistently pushing himself, seeking new, creative endeavours, one of which was creating a children's folk opera based on the Oscar Wilde short story 'The Selfish Giant' - which he dedicated to his late mother, Pat. The show premiered at The Vaudeville Theatre in London's West End in 2018.

In 2019 Guy released his debut solo piano album, 'Go Gentle Into the Light' - a collection of some of the best-loved songs that he and Robbie Williams have written together, with the single 'The Road To Mandalay' reaching over 6 million streams.

He produced the BBC Children in Need official album 'Got it Covered', featuring stars such as Olivia Colman, Jodie Whittaker and Helena Bonham Carter, which reached Number 1 in the UK Charts.

Guy and Robbie Williams teamed up with Chris Heath to compose the music and lyrics for the RSC musical adaptation of David Walliams' best-selling book 'The Boy in the Dress', which opened to five-star reviews (The Independent, What's On Stage) at the Royal Shakespeare Theatre, Stratford-Upon-Avon.

Guy has produced Robbie Williams' most recent UK Number 1 album 'The Christmas Present' and co-wrote the single 'Time for Change'.

He lives with his wife Emma and their four children in Camden and in Sussex, where he enjoys "good wine, good food, cinema and pretty much everything French".

"And writing songs, of course".

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