Songwriting

Songwriting 101: Goodbye

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For this song, I used one of the most common and effective pop/rock forms:

A – B – A – B – C – B

Where:

  • A = verse

  • B = chorus

  • C = bridge

In plain terms, the structure is:

Verse → Chorus → Verse → Chorus → Bridge → Final chorus

This form works so well because the verse and chorus establish familiarity and momentum, while the bridge provides contrast before returning to a final, stronger chorus.

Verse – creating space for the vocal

The verse uses a simple two–chord loop:

  • G major → C major

In the key of G, this is:

  • I → IV

Rather than adding more harmony, I focused on arrangement to shape the section.

During the verse I use:

  • a lightly swinging feel,

  • palm-muted guitar,

  • and a complete stop in the middle of each verse.

This creates space and pulls the listener’s attention toward the melody and lyrics.
By reducing rhythmic and harmonic density, the vocal line becomes the clear focal point.

(If you want more help specifically on melody writing, I cover that in my 3 Tips for Writing Strong Melodies post.)

Chorus – increasing energy and harmonic motion

For the chorus, I remove the palm muting and switch to a more upbeat and open rhythm.
I also expand the harmony from two chords to four:

  • G major, C major, E minor, D major

In the key of G, these function as:

  • I – IV – vi – V

The chorus progression is:

G – Em – C – D – G – D – C

Rather than being harmonically complex, this progression works because it is:

  • longer than the verse loop, and

  • more active in its motion.

That added movement helps the chorus feel larger and more emotionally open than the verse.

Melody approach in the chorus

The chorus melody is created by taking a portion of the verse melody and giving it its own variation. This helps maintain familiarity while still making the chorus feel new.

One small technique I use is note length.
For example, I hold out the notes on the words “hate” and “goodbye” to make those lyric moments feel more emphasized and emotionally weighted.

Bridge – variation without leaving the sound world

For the bridge, I wanted to preserve the general energy of the chorus but still introduce contrast.

I keep:

  • a similar upbeat feel, and

  • the same overall chord set.

However, I change:

  • the rhythmic groove, and

  • the order of the chords.

The bridge progression is:

G – D – C – G – Em – C – G – D – C – Em – D – C – D

In the key of G, this uses the same functional chords:

  • I – V – IV – vi

but rearranges them to create a fresh contour.

Using color tones in the bridge

To help the bridge stand out, I also introduce color tones near the end of the progression.

By “color tones,” I mean emphasizing notes such as:

  • the 7th or 9th of the underlying chord in the melody (and occasionally in the guitar voicing).

These notes go beyond the basic triad and create brief moments of tension and warmth before resolving back into the chord. The color tones appear in the last four chords of the bridge progression to subtly increase intensity before the final chorus.

Lyrics and interpretation

Here are the lyrics:

Verse

Every day, I know what you’re thinking
“I’m a saint, living life still believing
In a fate,” well I think I found a reason to try and change.
Rest assured, something I’ll never be cause
Lines blur, you love to hate the demon
Little words, can best describe the feeling “I’m free at last.”

Chorus

But I’ll remember every single time
And I will never hate that life
But now it’s over, I’m looking for my voice
Just to say goodbye

Verse

It’s kind of hard, speaking the same old language
From the start, “10 candles light the way when
We fall apart,” just wash the pride away and find a heart
You are, the enemy of reason
Cross scarred, can’t seem to breathe when thinking
In the dark, hands on the tree of treason to trust in fate

Chorus

But I’ll remember every single time
And I will never hate that life
But now it’s over, I’m looking for my voice
Just to say goodbye

My approach to lyric writing

I believe effective songwriting leaves room for the listener’s own interpretation.

For example, phrases like:

  • “hands on the tree of treason”

  • “enemy of reason”

are intentionally suggestive rather than literal. They point toward an emotional situation without fully explaining it.

My goal is to find a balance between:

  • being clear enough for the listener to follow the emotional story, and

  • being open enough for the listener to project their own meaning onto the song.

Striking that balance helps keep the listener curious and emotionally engaged.

Final thought

This post is the first in a series of Songwriting 101 articles.
For now, I’ll be breaking down my own songs, but in the future I may also analyze well-known songs.

One of the fastest ways to grow as a songwriter is simply to dissect real songs and ask:

  • Why does this section feel bigger?

  • Why does this lyric stand out?

  • Why does this transition work?

That kind of focused listening is one of the best tools you can develop.

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