Structure Your Songs to be Memorable | Stefanie Potter | Skillshare

Structure Your Songs to be Memorable

Stefanie Potter, Music Artistry Channel

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11 Lessons (51m)
    • 1. Introduction

    • 2. Main Point

    • 3. Lyric Content

    • 4. Song Structures - Part 1

    • 5. Song Structures - Part 2

    • 6. Rhythm - Part 1

    • 7. Rhythm - Part 2

    • 8. Rhyme

    • 9. Melody - Part 1

    • 10. Melody - Part 2

    • 11. Final Thoughts


About This Class

Would you like to write songs that people remember? Songs that connect; songs that stick? Songs that stay with a listener well beyond the hearing?

I've been a songwriter for decades, developing my craft and learning from some of the best.  While there is no absolute formula for good music, there are countless techniques that can help a song go from mediocre to memorable. If a song is structured with intention, it will go a long way toward connecting in a way that sticks.

This class takes a deep dive into contemporary songs. I will share tips and tricks to write and assess your original songs, focusing on how to craft lyrics and melodies that are remembered. 


1. Introduction: welcome to structure your songs to be memorable. My name is Stephanie Potter and I have been writing music for about 20 years now. I've learned from some of the best out there through professional courses and as an artist , I call myself an artist of the heart, which means that I try to get past the surface of things and really connect with people's hearts. So that means I've grown in the ability to make my songs more memorable, so I have a lot to share with you today. Let's talk through the overview of the class First will go over the main point of your song and how your lyric content will flow from that main point. Then we'll go into song structures. Now I'm mainly going to be talking about contemporary songs in the pop ish genre, um, things that the majority of people will listen to either on the radio or on their favorite APS today. And then we'll go into rhythm and rhyme and how we can structure those things to help your song be more memorable to the listener. And finally, we'll talk about some tips for making your melody stand out. Now this is a class mostly on vocals, which includes lyrics and melody. I'm not going to go into the instrumental parts of a song, so just look for that as your focus. Some of my own songs are less memorable, and I'm going to say, Does that make them less valuable? It does not, Um, but memorable songs are good way to connect with people now. This is not an end all be all class for writing good music, but it is a start toe understanding how to write songs that people will remember. Your class project will be to edit a song that you have already to make it more memorable or to take a new approach to a song idea that you have had in the past. Maybe write a new song based on that same topic so that you can practice thes skills of making your song more memorable. Uh, make sure to challenge yourself with this, to write an even better version. From whatever point you started with. We can always learn, and we can always grow, So let's dive in together 2. Main Point: when you're writing a song, you want to make sure that you have one main point, not multiple, but just one main point to get across that main point to be made memorable should be a simple hook. Maybe it's kind of catchy that Hook could be sung in a chorus or as a tag to the end of your versus something that expresses exactly what your point is that people can hold on to think of a one line tweet on Twitter, something that people can remember singing their heads. And it gets across the point you want to say this main point in a new way. Try to avoid cliches, things that we've already heard over and over again. Say things in a new way and you want to repeat that hook. Make sure it's not just said once or twice in your song, but over and over again. Why do we focus on this? So there is so much music available now, with all the possibilities of the Internet and social media, it's made it it so much easier for musicians who are not signed to a major label to get their music out there, get it heard. But that also means that the market is a lot noisier. So think about how your voice can be heard. It's gotta be unique. It's got to be loud and clear. This is the way to attract listeners, attract shares if your message of your song comes through loud and clear, So throughout the course I'm gonna use a couple of songs to give you examples. So I just released a seven song GP, and these two are my most memorable songs on my last CD, the ones that I hear over and over again our people's favorites, the ones that they sing in their minds, Um, as they're going about their day now love can make away is my 1st 1 point being that no matter how hard a is in a relationship, no matter what we have gone against us, we can rely on the actions and the presidents of love to make a way to make that relationship work So love can make away is my hook. And it said in a simple chorus, You're not good enough and I'm not good enough said plainly, in a way that people can relate. Teoh, but maybe in a way that nobody has actually said before. It's so simple, it's memorable and it's repeated throughout the song. Uh, four times. I think so. Here's another example, um, above the clouds. It's always a sunny day above the clouds. So that's our hook. That's my way of saying, Look above the circumstances to see that the light is still shining. There still hope when all I see his reign remind me and my pain. So it's a simple hook. It's always a sunny day above the clouds. I repeat it three times in the chorus and then that courses sung a few times, and it's sung in a different way. I'm not saying the obvious of there is always hope, and sometimes there is a good way to say that, and sometimes you need to just say it straight up. But this is an image that people can connect with and remember in their minds. Maybe as they see a cloudy day, they'll think of Hey, it's always a sunny day and then hopefully they'll relate that to their everyday life, their circumstances toe look above the clouds. All right, so your turn to practice this memorable main point write down. What is the one main point of your song? Just one, not multiple. That's one of the biggest mistakes I see from new songwriters is they try to say so much in one song, but you have time to write other songs. Just focus on making your one song the best that it can be once you have that one main point of your song brainstorm ways to say it. It might have a metaphor involved, like my above the Clouds example. Or it might just be said plainly, but in a different way in a new way that people haven't necessarily heard before. Like love can make away and then think about how and where you want that hook to be repeated. Will it be your chorus will be a tag at the end of your verse? How are you planning to have that hook be repeated in your song so that people can grab onto it and remember the main point of your song? 3. Lyric Content: one to have decided on the main point of the song that you're writing, you can start to develop the rest of the lyrics, which should flow naturally from that main point. Now I found that the most memorable songs tend to be once that use vivid imagery, consistent metaphor and repetition. So let's dive into vivid imagery. Think about where you are in this song. What is around you? How can you engage the five senses with the lyrics that you're writing? Start a brain storm these visuals to include in your songs? What does it feel like? What does it sound like? What's going on around you? This really helps it come to life for the listener. It helps to tell the story and puts us in this song in the scene that you're describing. So here's an example from love can make away again. The point is, love can make away, even in hard times. So flowing from that, I use Verse two to set up the hard times imagery, which is ship in stormy seas. You see waves tossing around a ship coming down in the dissents, wind blowing all around us and holding on to that anchor, so that's a lot of good imagery to start with. But remember, we might lose people along the way if we go from that ship to the mountain into a flight to growing to the darkness. Teoh peaceful place. Um, especially if it's within the same verse. So memorable lyric content needs consistent metaphors to be the strongest that can be. So again, stop to think. Where are we? What are we doing or experiencing there? If the metaphors were a story, does this story make sense? Songs don't give enough time to do too many metaphors unless all the metaphors point toe one key concept in a verse you might use simile like this example. Uh, it's different metaphors, different similes, like a fish without fans, like a Sky without Blue, like a sail without wind. That's me without you. But even that keeps us in one scene. So we want to be as consistent as possible with our metaphors. Now I did a great job of having that strong hook love can make away. I have lots of great vivid imagery, but I did not keep a consistent metaphor in this song. Thankfully, the memorable hook that gets people thinking makes up for it. So if I were to redo the song, I might work on just staying in one scene, probably going with the ship metaphor, since it's such a strong image in the second verse. But as you see, there's shattered hearts divided homes growing deep and then the verse two ship metaphor. So that's probably what I would change if I have were to edit this song. I think I did a better job at consistent metaphor in my vivid imagery in my song Above the Clouds. So you see the sun above the clouds. We're seeing rain, and that's in the chorus. And then verse one. We're talking about gray skies, contrasting light and verse two. We're talking about looking up into the sky, so I was much better at keeping that metaphor consistent and above the clouds. Now let's talk about repetition if there's no repetition, unless your lyrics are just mind blowing something that people have never heard in their entire life. We're done so creatively that we just can't get over how creative it ISS No repetition in your song makes it easy to forget, because there's nothing really toe latch on to repetition helps us remember, but we don't want so much that it's boring. So our goal is to make a pattern and then break a pattern. So here's an example from above the clouds. As you can see the 1st 2 lines of the chorus, I make that pattern. It's always a sunny day above the clouds. It's always a sunny day above the clouds. Then I break the pattern when all I see his reign remind me in my pain. And then I returned to the pattern that it's always a sunny day above the clouds. Now this is just done in the context of the chorus. It's gonna got that Blue Z gospel e feel. This is probably my only song that does it just within the chorus, but that's the idea that we want for our overall songs. If we can't do it in our chorus, all right, so your turn, go back to your main point. Think of what is the main seen or metaphor that you want to use to bring people into your song from their brain. Storm the imagery and use the five senses. What is your story? What is your response in it? What is the key phrase that expresses your main point? This is the thing that we want to repeat. It may or may not have specific imagery in it, but you want to repeat that hook, so decide where you're going to repeat that hook and structure your song around it. 4. Song Structures - Part 1: Let's talk about how to structure your song to be more memorable, based on contemporary song structures that tend to be out there on the radio on APS that we listen to music through. Remember, this isn't the end all be all, but we want to start by knowing the rules so that if we break them, it's with intention. Typical contemporary song structures will start with a verse and then go to a chorus and then Verse two and then chorus and then Bridge. And then another chorus notice the repetition already built in to the song structure that helps people to remember a three minute song. The chorus or the hook almost always includes the main point of your song, the simpler, the better. For a memorable chorus, Verse one sets up the story 1st 2 continues the story, and the bridge looks at the main idea and expands on it from another angle. Here's that same structure, with some optional parts built into it. You might have an instrumental toe lead people into that verse one, and that can be repeated after the first chorus. And then again, at the end, there might be a pre chorus If you feel like the verse and the chorus needs something to bridge that concept, and it doesn't flow naturally from verse to chorus, you might need to say something else in the form of a pre chorus. So once again notice the repetition built in. We can always break the rules, but that repetition helps the song to be memorable. So here's an example of love can make away. It's pretty standard, but without those instrumental portions. So I start with verse one, setting up the story of the division and relationships around us, those discouraging circumstances. And then I start to question, Are we doomed for this fate which leads us into that hook of Hey, I don't have to be good enough. You don't have to be get enough, but we can trust that love can make away Verse two goes into the idea of tough times within our relationship, and it again ask that question of Are we gonna be ableto make this last and then the answer is the same. You're not good enough. I'm not good enough, but love can make away. Then the bridge is addressing my husband in this case that hey I believe this wholeheartedly that love can make away trials make a strong We're gonna make it. Our love is going deep And then it goes back to that chorus a couple times toe help that chorus to really sink in and be remembered. So that's an example of a pretty sand erred song structure now above the clouds. I totally broke the rules of this and put things out of order based on what felt right. I still use a lot of repetition, but I started with that hook because I felt like that was the strongest part of my song. And to start that would actually draw people in to the story better than starting with verse one. So I start with that chorus hook. Then I go into Verse one. Of course, there's an instrumental before the chorus, but Verse one is telling the story of how things look around me, how things feel around me when I go back to that chorus of holding on to hope that I dive in diverse, too, again waiting on hope, looking up for hope, and then I go into an instrumental where I just do a little guitar solo over the chorus court to keep that familiarity of this song. Um, but I felt like I already said everything that I needed to say, so I didn't need to say anything else, and it could be best expressed actually through my guitar instead of through my words. So I express those emotions through my guitar and then went back into that chorus hook. There's some repetitive parts at the end, Um, with the modulated chorus, I repeat that ending part of the chorus when all I see is rain, Mind me and my pain when LSE is rain, shine your light so I can say that it's always a sunny day above the clouds. So here's an example of where I totally broke the rules, but it's still works because of the intentionality of the repetition and where I put things 5. Song Structures - Part 2: All right, So your turn with this start with your chorus, which again always includes that main point of your song, and the simpler the better for memorable chorus. Next, highlight the best stuff that you brainstormed and decide what concepts will become each portion of the song. This is when you make an outline of your song again. Verse one. Setting up the story What images will serve your story And how can you say these things in the simplest way possible so that people can understand you? Once you're done with that? Can you take out even more words to make it even more simple? Then verse two. What will you say in Verse two That's different than Verse one, but still continues that same story. What's another part of the story? You want to use the same structure from Verse one to write Verse two, which will go into more on that leader in the class but basically use the same number of lines. Usually at least four use the same rhythm, same rhyme, and then the bridge looks at that main idea and expands on it from another angle. So think about what else needs to be said to make this song complete. Once you're done with this simple outline, you can add some more. If it needs anything else, do the versus go easily into the chorus, or do we need something to lead us there in a pre chorus? Will the pre choruses say the same thing or something different from each other, yet still, with the same pattern of rhythm? And how do you want to start your song? How do you want to conclude your song? Will it circle back around to the concepts from Verse one or conclude with the chorus or instrumental? Does your song need to break any rules on order or how you structure it with intentionality ? Do you have more verses that need to be sung because you haven't fully expressed the point of that chorus? Instrumental portions might come as you put it all together with the music, but just a tip on that. Remember to repeat memorable hooks with your instruments as well 6. Rhythm - Part 1: let's dive into rhythm structures that make our songs more memorable. So this will help you to create your rhythm patterns in each section of your song to help your son be remembered. Now this is especially important for versus you. Want to establish that pattern in verse one and repeat this pattern in the other verse. If you switch up the rhythm a lot, it'll make it less easy to catch on harder to remember. So let's look at an example from love can make away. This is one of the versus, and the lines in this to the left of the lyrics represents a less emphasize syllable, and the exes represent a more emphasize syllable. So if you notice there's an a pattern which goes waves, they come toss around and it's repeated again in the third line. When did blows far too long. Then there's a B pattern. We have seen a ship come down. Will our anchor keep strong? So the number of syllables and where they're emphasized is a consistent pattern, So it's easier for people to catch on and sing along to once they learn the words. This A B A B rhythm is used in both verses of love can make away. The other verse isn't perfectly exact, since it adds a quick syllable before lines two and three. But it follows the same pattern once that first beat is hit. So broken dreams shattered heart. And then that's where we add a quick syllable. Another family torn a parked and then back to a divided homes always fall, and that had a quick syllable before it. And then, b, is there any hope at all? So what still follows that same pattern of how maney syllables and where it's emphasized? But in order to say what I needed to say, I added a quick syllable before a couple of the lines, but I still kept those emphasis in the same place. Let's take a look at the bridge, so this one has a pattern of with you. I'm not afraid. We'll make it all the way Our love is growing, I'll tell you belief. So it has that same exact thing going on now. We want to emphasize the right words instead of filler words like a the of, and we also want to try and sing every word, like the way that we say it like, believe versus believe. We want to sing it the way that we say it. So let's take a look at what would happen if we switched the emphasis of just the 1st 2 and the last two beats of every line. So pay attention to the exes and lines here on the right. Now the first word is not as important as the second word in the lines. If we say it with this rhythm written right here, it'll say with you, I'm not afraid will make it all the way. Our love is growing deep. I'll tell you. Ah, believe and that ends up emphasizing words like the and with and saying afraid and Gro wing and believe, which is pretty awkward, so saying at the other way with you, I'm not afraid will make it all the way our love is growing deep. I'll tell you why. I believe that that makes it a lot more natural because we're singing it the way that we would say it in real life. So pay close attention to that. Don't emphasize any of those filler words. Make sure you're not saying words in weird ways. um, you know, there's always songs that make exceptions to these rules, but this is a good way for your song to the more memorable. So in the bridge you'll see that idea of making a pattern and breaking a pattern. We have established this pattern in the 1st 4 lines, and then we switch to a slightly different pattern, although the exes remain in the same spot throughout the rest of it. So if we had stayed with the same exact pattern for eight lines, it would be boring. But here we've switched it up just enough to make it a little bit more interesting to listen to and allow me to actually say things that need to be said instead of worrying more about syllables. But it still follows that same flow. So going from Line four, which establishes the pattern, I'll tell you why. I believe that trials make us strong. We've only just begun, but we are gonna make it. We are gonna make it. And there's more emphasis on those last two limes as a buildup. So that's an example of how, especially when you have a longer section, you want to make a pattern and then break that pattern to keep it interesting. Another way to make a pattern and then break a pattern is to go from staccato rhythm, which is those quick short rhythms to llegado where you're singing syllables longer. In this example, you have staccato on the chorus, you're not good enough, and I'm not good enough. And then it moves to Lo Gatto. But love can make ah way so again, that's making a pattern and breaking a pattern in the way that things are some. We can also think about this idea from moving from a verse section to chorus if you notice a lot of power hooks in big power. Ballad songs have these huge belting llegado lines in the chorus after a build up of staccato. So start to pay attention to these things in the songs that you're listening to to get an idea of how people make those songs more memorable. 7. Rhythm - Part 2: We can also look at where we start the phrase as faras changing up our rhythm structures. So we make a pattern and then we break that pattern. So pay attention to where the beats fall. So here the chorus you're not good enough Starts on beat one and then the versus start on beat four If you're counting your song 12 three waves they come So that fell on the four. So this is a way that I use that idea of make a pattern, break a pattern and where I start the phrase this should be varied by section because if we start every section on beat one or on the same exact beat, it will start to sound tired. You may not even realize why it feels tired until you pay attention to things like this. So make a note of that and just make sure that your varying where your lyrics come in from section to section. Alright, your turn to build your rhythm structure and again make a pattern, break a pattern, go through each section of your song and figure out a defined rhythm pattern in each section that can be repeated then figure out. Do you break that pattern At some point after it? It's established, and that's not required, but it often helps. I kept the pattern in my versus exactly the same because it was only four lines. But then, within the bridge within the chorus, rhythms change to help. Things not be may not miss but to actually be remembered. So go back through eat section. After you have written these lyrics and figure out, Are you emphasizing the right words and the right syllables? Do you emphasize the most important words in each line with the rhythm that you're using? Do you say any words weirdly because of that rhythm? Is there any thing you can do to make it better? Sometimes you need to switch up a rhythm to serve the line that you're singing. But remember, having that consistent rhythm structure is what helps in grain that pattern in people's minds as their listened to this song, so weigh the consequences of what you want to say versus having a memorable rhythm assess. Does each song have a different rhythm? Does each section start on a different beat? It doesn't have to be all this way but it's a good thing to pay attention to. Maybe you can ask Hey, how would the melody shift to make it more interesting if you change? What be it started on? Is there a place in your song where that might help? It's amazing how just changing where your lyrics come in can change the whole melody and feel of a section of your song. So pay attention to those things and do some experimenting. Another thing you want to check is make sure that your line by line rhythm of verse one is pretty much the same. Inverse to that helps people toe latch on to the rhythm of your verses. The choruses are easier for people to latch onto because they're repeated Verse one and verse two. You need to hang on to that structure to make it memorable. 8. Rhyme: rhyme is an essential part of music. However, we don't want to sacrifice content for rhyme. I'm a big believer that your point is more important than perfect rhyming. Some songs start to say things in awkward ways just to get a rhyme, and that makes the song not quite as good. But we can't let ourselves get lazy because of this. There's all sorts of options. If we can't get a perfect rhyme like the examples on the right away Grey say, Stay. We can use slant rhymes, which are close enough to sound good together, afraid and way deep and believe strong and begun. And then the last two lines use the same exact words were going to make it. We're gonna make it rhyming dictionaries, like Be rhymes dot com are great resource for this. But even if slant rhymes don't work and you need to keep those lines, as is for the song meetings, sometimes it's just better toe Let it go. So here's some different rhyme structures. As an example. If we look at the last word of each line, well, you'll see that it's structured a BB, so the 1st 2 lines are the a rhyme around and down slant rhymes again. And then the last two lines are the B rhyme long and strong, so those are perfect rhymes in another part of the song. To break that pattern, you may want to do an A B a B rhyme structure or add in a sea lying, which is just another sound that you've rhyme with. It's another instance of where we can make a pattern and then break that pattern to make a better song. You can think of some really great songs. For instance, a lot of rap songs air really great at rhyming and so those we can look to as good examples of how to make some great rhymes that are memorable. So do what you can to have great rhymes in a structure where you make a pattern and then break that pattern, but at the same time, do not sacrifice content for rhyme. Alright, your turn go through each section of your song. Decide. Do you like this structure of your rhymes in the words that you've chosen to rhyme? Is there anywhere that you're sacrificing content of the song to make a rhyme? And if there is. Is there a slant rhyme that you can use in its place that will fit better really? Assess thes things and figure out what can be improved here and feel free to ask questions as he posts your song. See if anybody else has any ideas of ways to make those sections of your song stronger. 9. Melody - Part 1: So what should your song sound like? This goes beyond the genre, and it gets us to think about things like the tempo of the song, what instruments you're using, the style, the feel and what your song is. Four. And if you forget everything else, remember the melody should match the mood. Are your lyrics happy or sad? Are they angry, passionate, peaceful, trusting? There's your starting point of how to sing them. Memorable melody tends to be simple, singable and repeated. They are catchy songs that people can sing along to, even if not well. Those kind of songs do the best to connect with people in a memorable way, and I'll say it again. Use repetition. The most important is that chorus hook. But again we want to make a pattern and break a pattern with our melody, just like we do with every other aspect of the song that we have talked about so far. So, for example, the chorus of love kid make a way. We make a pattern. You're not good. Uh, I'm not gonna And then I break a pattern. Go to a different part of the voice, sing it more llegado love can make away super simple hook, easy to sing, its repeated throughout the song. That rhythm that we set up ahead of time helps a ton, and I use that repetition. You're not good enough and I'm not good enough sung in the same way. And then I break that pattern. Another thing that memorable melody does is uses different parts of the voice, so that includes range. A lot of songs, especially from beginner writers, tend to stay in the same range throughout this song, which is basically singing close notes throughout the whole song. So if you're starting the first on, uh, maybe you start the course on, uh in the Burj on Ah, so there's not a lot of range there. Some of the most memorable songs I've heard intentionally build dynamics of the range so that it looks more like this. This is just one example of what part of the voice to use for each section. We don't all have to be Mariah Carey, but the idea is that the song doesn't sound exactly the same throughout the whole thing. We use a range from low in the verses, toe high in the bridge and we use some repetition so we might sing the versus down here in this part of the voice and then billed to the chorus in this part of the voice and back tone to the verses em back up to the chorus and then billed to the bridge and then back down. You could even use that idea within just one section of a song. So even in my 1st 2 lines here I have this kind of call in response. So always sunny day above the clouds, which is kinda in my lower register, and then I do this response to that call a pie. It's always a sunny day above the clouds, so that differentiates and uses different parts of the voice. 10. Melody - Part 2: Another thing that memorable melody does is it uses dynamics, and that is how loud and how soft you're singing your songs. So again, a lot of songs. I here are pretty linear in loudness and softness. But some of the most memorable songs I've heard intentionally build dynamics so that they look more like this. This is just one example of how loud and soft each part could be. But the idea is that the song ends up in a different place than it started, which is the goal. If you want people remembering your song, you're taking them on a journey from where they started to having something on their mind after they've heard your song. Of course, when you recording your song, mastering brings everything more to level sound. But the instrumentation and passion of vocals helped to build this illusion of things getting louder and louder and bigger and bigger, this dynamic feel that you'd get in a live setting. This is kind of a good formula to start with on the screen here, but again, you can break the rules once you know them. There are some memorable songs that don't follow these rules because they do the rest so well. So again, it's not a hard and fast rule, but just some things to think about, because I do see so many songs starting off as just so linear. Not a lot of dynamics, so be mindful of that. Okay, Your turn. We're talking about mood range and dynamics that build a memorable melody in each section. Read your song lyrics. Think about what is the mood, what naturally comes out and melody when you sing it. You might experiment with different chords behind it and singing it in different parts of your voice and starting it at different rhythms and all that to come up with a melody that best expresses Thean motion behind your song. So go back to what is that mood? The mood should match how you sing it. Think through what should be a quieter or lower part of your voice and what parts of your song should be emphasized by singing at louder or more in your upper range. Something to kind of bring people out of that same linear thing. Think about the sections and your overall vision for this song, and then get to the nitty gritty. Are there any lines that can be highlighted in this way in a specific section? So you might even pull out one line of your second burst to sing louder and higher than you did in the first verse Because it's building to a bigger chorus. Try singing your lines in different ways, starting on different notes, even going back to different rhythms and starting beats if need be. And feel out what really tells a story that you're trying to get across with your lyrics again, make a pattern and break a pattern. Play around with this stuff and think about the mood, the range and the dynamics for how you sing the lyrics in a way that expresses what you're trying to get across. 11. Final Thoughts: thanks for taking the time with me to dive in to what makes a memorable song. I truly hope this help dio and that you've grown as a result of it as a review of we've talked about how your song should have one main point that all of your lyric content, your visual beautiful, expressive lyric content should flow from. We've talked about song structures and how to build them in a memorable way. And within those songs structures we've talked about rhythm, rhyme and melody and how to make those memorable. The most memorable songs are simple, singable and have a unique perspective. They use repetition to their favor. Remember to make a pattern and break a pattern within all of these aspects of the song. Once again, your class project is to edit a song that you've already written to make it more memorable or to write a new song. Bonus points. If it's a similar topic, toe one you've written before to challenge yourself to write an even better version of that point, upload it for feedback for me and your fellow classmates, and if you're editing a song, I'd love to see the before and after of that song to see how much you have improved that song. And if you liked this class, I do have some other classes on my music artistry channel that I'd love to meet you over there and guide you through some other concepts regarding songwriting and music. Artistry is a hole and all sorts of topics that are coming up so hope to see you in another class and looking forward to seeing your projects.