Page 69The Pre-Chorus
One further refinement of the verse is the "pre-chorus", a section that sounds a step beyond the first part of the verse.
It may be a musical or a lyrical phrase that gives this feeling of moving forward. For example, if the verse has used
only the key chord, a pre-chorus could bring in IV or V or both. A classic pre-chorus chord change is to move from
IV to V repeatedly, creating the musical expectation that you are about to land on chord I at the chorus, as in 'Karma
Chameleon'. It might even feature an ascending sequence like II III IV V, which progresses firmly toward the
chorus.
The rate of chord change can increase, as in 'Got To Get You Into My Life'. The pre-chorus definitely has its eyes
and ears fixed in the direction of the upcoming chorus. It can also be a way to bring another hook into the song. The
pre-chorus usually retains the same lyrics from one verse to another, even if the verse changes. In a song that goes
verse, chorus, verse, chorus, middle eight, a prechorus can be used to get to the last set of choruses if it is felt that
putting in a third verse would delay things too much.
The Chorus
Sigh... the chorus. Okay, can I confess now? I'm in love. A great chorus is pure magic. The chorus is the
passionate, declamatory, joyous, tearful, wistful heart of the popular song. You know what I mean – it has you
walking two feet off the carpet. Put another nickel in that machine.
Musically, it's where we find the hook, the notes that lodge in your mind (and millions of other minds – you're in
good company, you know); the notes that make you want to hear the song again; the notes that drive you to your
local record shop. A hook is a catchy melodic and harmonic phrase, possibly reinforced by backing vocal,
instrumental counter-melodies, a riff, or rhythm. This is where we reach the center of the lyric's meaning. It could be
a resolution ('I'm Gonna Make You Love Me', 'I'll Pick A Rose For My Rose'), a revelation ('She Loves You', 'You're
All I Need To Get By'), a realization ('It Must Be Love'), a question ('Do You Wanna Dance?'), a metaphor ('Blinded
By The Light') or a statement ('I Want To Know What Love Is'). Lyrically, the chorus sums up the central issue
and/or expresses the over-riding emotion.
Choruses often involve repetition of words and/or the accompanying harmony. The music intensifies and focuses,
and this can be achieved in a variety of ways. You could delay chord I until the chorus, or quicken the rate of
harmonic change (chords changing twice a bar instead of once a bar). Listen to the way the chorus in Aretha
Franklin's 'I Say A Little Prayer' gains urgency as the chords change every two beats instead of every four beats as in
the verse. The same trick happens in Madonna's 'Cherish', where the chords change on the beat. You can lift the
melody to higher notes, bring in other instruments, change the key, quicken the tempo, alter the predominant rhythm,
or strengthen the beat. Great choruses really need an inspiration – this is where you pray to the Muse when
composing.
The Link
After the chorus, you have to find a way to get back to the verse. You can have no link and go straight to the verse.
Whether this will work depends on the what the melody does at the end of a chorus. Is there enough time between
the finish of that phrase and the start of the verse lyric? Does it sound rushed and breathless? Does the listener need a
break? Does the singer need a break?
The faster the tempo, the more likely it is you will need a link. A couple of bars will probably do the trick. In a hard
rock song, the guitar riff will often return at this point