The middle eight is something that throws a lot of people, musicians included. The
term is at times used interchangeably with bridge. But, it is a different animal. The mid-
dle eight normally appears in the middle of a song and is typically eight bars long. Hence
the name. Beyond that, it’s a departure from the rest of the song. It may be in a different
key or chord pattern. Sometimes it adds energy. Other times, it slows the song down. All
in all, like the bridge, it keeps the listener engaged and adds interest since it’s often unex-
pected.
A good example of middle eight use is Sting’s Fields of Gold. After four verses, the
chords change and the verse, “I never made promises lightly ...” enters the picture. It en-
hances the tune by revealing broken promises to the singer’s lover. It’s an abrupt surprise
that adds to the story. Other times it’s not lyrical. It can be an unforeseen musical change
in tempo, key or combination of elements.
A solo is just that. It’s an instrumental solo by a single performer. The collision is
when different parts of a tune overlap. It’s generally short and designed to create a sense
of tension.
That musical theory lesson brings us to the ever-popular “hook.” It’s the part of a
song that get burned into your brain cells and, like a broken mp3 player, it plays over and
over, usually in the shower or some utterly inappropriate place, like a business meeting or
a date with a stunning woman or strappingly handsome guy. Such is the nature of a good
hook. It hooks you completely. You’re trying to concentrate and all you can think of is
that dang song. Over and over and over ...