{"id":12228,"date":"2019-03-26T13:42:40","date_gmt":"2019-03-26T18:42:40","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=12228"},"modified":"2025-10-29T11:05:30","modified_gmt":"2025-10-29T16:05:30","slug":"writing-bridges-for-your-songs-can-be-much-easier","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/writing-bridges-for-your-songs-can-be-much-easier\/","title":{"rendered":"How to Write a Bridge to a Song"},"content":{"rendered":"\n

Learn How to Use Contrast, Character, and Clarity to Strengthen Your Song\u2019s Bridge<\/h2>\n\n\n\n

If you ever catch me gazing out a caf\u00e9 window, it\u2019s possible I\u2019m longing for the \u201980s when guitar solos reigned supreme, saving myself the anxiety of writing a bridge for my song. But like leg warmers and huge earrings, instrumental bridges are sometimes better left to yearbooks and awkward junior proms.<\/p>\n\n\n\n

What Is a Bridge in a Song?<\/h2>\n\n\n\n

A bridge is the section in a song that typically comes after the second chorus.  Popular song structure takes us through the following:<\/p>\n\n\n\n

Verse 1
Verse 2 (optional)
Pre-chorus (optional)
Chorus Verse 3
Pre-chorus (optional)
Chorus
Bridge
Chorus<\/em><\/p>\n\n\n\n

The problem with bridges is we\u2019re often more clear about what we don’t <\/em>want them to be than what we do. We end up piecing together a rag doll of a section and apologizing for it before we perform.<\/p>\n\n\n\n

Over the years I\u2019ve learned to embrace the bridge and the demands it makes on the writer. When I know my options, I can use the bridge to create contrast, take the listener to a new place lyrically and musically, and rejuvenate their interest in the song. I\u2019ve found just a few things helpful when considering what my bridge can do. But keep in mind: all these things depend on knowing where I\u2019ve been<\/em> in the song to determine where I should go<\/em> to contrast.<\/p>\n\n\n\n

Musical Contrast<\/strong><\/h2>\n\n\n\n

Bridges offer the listener musical contrast. If I can\u2019t summarize what my music has been doing thus far in the song, I can\u2019t control the contrast my bridge will produce. To start, I look at overall dynamic. If my second chorus was already a dynamic high point in the song, the bridge can either extend that high point or exceed it. Alternatively, I could contrast by lowering the intensity of the song for a refreshing sound. To exceed the high point of the chorus I\u2019ll need to do much more than just pump up the volume. I\u2019ll make decisions that produce more<\/em> energy.<\/p>\n\n\n\n

That means I might start on a new chord, or perhaps borrow a chord from another key (think b3 major, b7 major, or 2 major) for impact. I might change chords more frequently for more motion. I might raise the pitches, use wider intervals, or shorter note lengths in the melody to make it more dynamic. I could also get more energy by anticipating the downbeats. But if I want to lower the intensity of the bridge, I could decrease the dynamic by changing chords less frequently, or even stay on a single chord for a long period of time. I might bring the lead vocal melody way down in pitch, or involve lots of rest space. Whatever I choose to do, the result should be that it contrasts in dynamic from where I\u2019ve been.  <\/p>\n\n\n\n

LEARN SONGWRITING ONLINE WITH BERKLEE!<\/a><\/strong><\/em><\/p>\n\n\n\n

Lyrical Contrast<\/strong><\/h2>\n\n\n\n

We often feel a bridge lyric needs to “say something different” to find purpose in the song. To define what “different” sounds like, I try asking myself a few questions: <\/p>\n\n\n\n