Oi! Songwriting Advice

This is not another polite songwriting checklist. This is the loud mate at the bar who actually knows chords and will tell you when your chorus is boring. If you want clever metaphors that do nothing, scroll somewhere else. If you want real tools that write better songs faster and get them heard, keep scrolling and bring coffee or an energy drink or your feelings. We will be blunt, funny, and useful. That is the deal.

Everything here is written for artists who are sick of vague advice and want concrete moves they can use in practice. We will cover idea selection, melody, lyrics, hooks, prosody which is how words match the music, structure, working with other writers, paying the bills with sync which stands for synchronization licensing and means your song in TV or ads, demo strategy, and how to pitch without sounding like you want credit and cookies. We will explain every term and acronym so you do not need a translator. You will finish with a plan you can apply today.

Oi! What Does Oi Mean

Oi started as a shout in pubs and on streets and then became a UK punk subgenre in the late 1970s. Oi songs are direct, raw, and usually about working class life, friends, fights, and pride. For this guide Oi is also shorthand for Hey you pay attention. We want your songwriting to punch through like an Oi chant. Short lines. Big hooks. No nonsense. Use the energy and attitude whether your music is indie pop trap or punk.

Core Promise First

Before chords before melody before your ego, write one short sentence that states your song promise. A promise is the single feeling or idea that the listener can say back after one chorus. Make it blunt. Make it specific. If it reads like a tweet from your ex, you are close.

Examples

• I left the key under the mat and I will not cry about it.
• We danced like we had fake IDs and free lives.
• He changed his name but not his phone number.

Turn that sentence into a working title and keep it visible while you write. The title is your north star. If you lose it you will make a song that sounds like ten other songs and no one will call it yours.

Structure Choices That Actually Work

Structure is architecture. You want doors that open and rooms that change light. Here are fast structures that get results.

Structure A: Verse Pre Chorus Chorus Verse Pre Chorus Chorus Bridge Final Chorus

Classic and reliable. The pre chorus escalates tension and the chorus releases like a proper payoff. Put the title in the chorus and repeat it. Short is better than clever.

Structure B: Verse Chorus Verse Chorus Post Chorus Bridge Chorus

Hook early. Use a short post chorus to hammer the earworm. Great for streaming where immediate payoff is currency.

Structure C: Intro Hook Verse Chorus Verse Chorus Middle Eight Double Chorus

Start with a signature motif. Middle eight offers a twist. The double chorus at the end is your moment to pile on harmonies and ad libs.

Hook First Mindset

A hook can be melodic rhythmic or lyrical. The fastest way to a good hook is to pick one of those and make it obvious. If your chorus has both a melody and a lyrical hook you are doing well. If it has one strong hook you are still winning.

Hook checklist

• Short phrase that is easy to hum
• Repetition or a ring phrase where the chorus begins and ends with the same words
• A melodic gesture with a small leap or extended vowel that is satisfying to hold

Write a chorus in three lines or less. If you are doing more than that you are describing a novel. Songs want slogans.

Melody Basics

Melody is your topline which means the main sung line that sits on top of the music. You can write melody alone or over a loop. Two reliable methods.

Vowel Pass

Sing nonsense vowels over your loop. Ooh aah la la. Record two minutes. Mark the gestures that feel like repeats. Humans remember vowels more easily than words when melodies are new.

Rhythm Map

Tap the rhythm of the line you like. Count syllables where the strong beats are. This map becomes the grid for words so the natural spoken stress meets the music. That is prosody. Prosody is the match between word stress and musical stress. If prosody is bad the chorus will feel off even when the words are good.

Verse Craft That Shows Not Tells

Verses are where you create scenes. Use objects times and tiny actions. Put the camera on a detail. Do not explain the feeling. Let the listener infer. Real life example.

Before: I miss you every day.

After: Your coffee mug sits backward on the shelf and I still make two cups.

The after line gives the listener a full image. That saves three sentences of explanation and still hits the same emotional note.

Pre Chorus and Bridge That Move The Story

The pre chorus raises energy and points to the title without saying it. Use shorter words quicker rhythms and internal rhyme to tension the ear. The bridge is your perspective change. It can be a confession a threat or a tiny reveal that makes the final chorus mean more.

Rhyme and Language Choices For Modern Songs

Perfect rhyme can feel campy when used all the time. Mix perfect rhymes with family rhymes which are near rhymes that share vowel or consonant families. Use internal rhyme and rhythmic anchors to make lines feel slick without sounding like a nursery rhyme.

Family rhyme example

• late stay save taste take

Use a perfect rhyme only at emotional payoffs. That will make the line feel earned.

Prosody Rules You Must Follow

Speak your lines out loud like you are texting a friend. Mark where your natural stresses are. Match those stresses to the strong beats in the music. If a strong emotional word falls on a weak beat change the melody or change the word. The listener will unconsciously notice and it will feel wrong even if they cannot say why.

Harmony Choices That Support The Song

You do not need complex chords. Pick a palette. Let the melody do the color work. Common pop progressions are safe because they let the top line shine. If you want slight lift borrow a chord from the parallel key. Parallel means same tonic different mode like C major and C minor. That borrowed chord is a spice. Use it sparingly.

Production Awareness For Songwriters

You do not need a degree in production but a few production terms will make you smarter in the studio.

• DAW stands for Digital Audio Workstation. That is the software you record in like Ableton Pro Tools Logic or FL Studio. Think of it as the kitchen where the song is cooked.
• BPM stands for Beats Per Minute. It is how fast your song is. Pick it before serious arrangement so tempo dependent decisions lock in.
• Headroom means leaving volume space in your mix so the final engineer can polish without clipping which is when audio distorts because the level is too hot.

Real life scenario

You show up to a cheap studio with a great topline and a beat that is set to 120 BPM. The producer wants to drag the tempo to 100 BPM for groove. If your vocal melody sits tight in the pocket at 120 it may feel sleepy at 100. Ask for a quick demo at the new tempo before committing. Small tempo changes can shift the whole vibe.

Collaborating And Credit Basics

Writing with other people will speed output and sometimes make you richer. It can also be a trust exercise. Use clear rules and write them down before you trade private melodies and heartbreaks.

How To Split Credits

There is no one correct split. Common practice is equal split among credited writers unless someone contributed far more. If you cannot agree do an equal split to start and adjust later. The sooner you document splits the fewer fights later.

PROs Explained

PRO stands for Performing Rights Organization. These are companies that collect performance royalties when your songs are played publicly on radio TV streaming services and live venues. In the United States common PROs are ASCAP which stands for American Society of Composers Authors and Publishers BMI which stands for Broadcast Music Inc and SESAC which is a private PRO. Sign up with a PRO so you get paid when your song plays. Different countries have their own collection societies. Research the one for your location.

Split Example

You co wrote a chorus with two people and the producer created the beat. Writers agree to four way split fifty percent to writers and fifty percent to producer as writer share. Document in a single email that everyone replies to. Keep it simple and keep proof. If someone later gets big this email might save you time and lawyers which are expensive and unfun.

Demo Strategy That Gets Plays

Your demo should communicate the song clearly. It does not have to be polished. It must be memorable. Focus on a clean topline and a chordal or rhythmic bed that supports the hook. For vocal demos use minimal effects. Producers want a clear performance they can work with.

• Keep the vocal intimate and present for verses
• Double or add bigger vowels for the chorus
• Include a short lyric sheet and a simple timestamped map of sections so listeners can find the chorus fast

Real life tip

If you send a demo to a publisher playlist editor or A and R person put the hook before the one minute mark. Attention is a currency. If they skip before your chorus you do not get the job.

Pitching Without Begging

Pitch like a grown person. Be concise respectful and provide context. Explain who you are what the song is and what you want. Include streaming links or a private link to a demo and give a timestamp where the chorus hits. Do not attach huge files. If you pitch to a music supervisor which is the person who picks songs for film and TV include mood references scenes and the chorus time. They are busy and appreciate clarity.

Sync And Licensing Basics

Sync means synchronization licensing. It is the license that allows a song to be used with visual media TV film commercials and video games. Sync deals can be extremely lucrative and also fast to negotiate for independent artists. Two basic licenses exist for songs used in media.

• Master license for the recorded version
• Publishing license for the songwriting composition itself

If you own both the master and the publishing you control the deal. If you do not know what you own check your contracts. Many early contracts signed for cash give up master rights which limits your ability to control sync placements. Learn the difference early.

Performing The Song Live

Live performance sells the recording and the brand. Keep arrangements playable and interesting. Strip parts back for an acoustic set and add energy for the full band. Use a live adlib as a signature move. Fans will copy it and post videos and that is the best kind of marketing because it is free and real.

Common Mistakes And How To Fix Them

We will be ruthless. Here are mistakes we see five times a week and how to fix them.

Too Many Ideas

Fix: Choose one emotional promise and make every line orbit it. If a line introduces a new idea delete it or save it for another song.

Vague Language

Fix: Replace abstractions with things you can smell touch or photograph. A line that is a camera shot will stick.

Chorus That Does Not Lift

Fix: Raise the melody range widen the rhythm and simplify the lyric. The chorus should feel like a step into sunlight not a recitation on a couch.

Bad Prosody

Fix: Speak lines in conversation. Move stresses to strong beats. Re record the melody if necessary. Prosody is not optional.

Overproduced Demo

Fix: Strip it back to the topline and a simple bed. Let the hook and lyrics be heard. Too many effects hide songwriting weaknesses rather than mask them gracefully.

Quick Drills To Write Faster

Use these timed drills when you are blocked or lazy or both.

• Object Drill Ten minutes. Pick an object near you. Write four lines where it appears and does something surprising.
• Time Stamp Drill Five minutes. Write a chorus that includes a specific time and a weekday. Make it matter.
• Vowel Pass Three minutes. Sing nonsense vowels over a loop until a repeatable gesture appears. Record it even if it sounds silly.

Melody Diagnostics Checklist

• Does the chorus sit higher than the verse
• Is there a small leap into the chorus title followed by stepwise motion
• Do the stressed syllables land on strong beats
• Can a stranger sing the hook after hearing it once

Real World Scenarios

The Co Write On A Plane

You have a two hour flight. You and a co writer are both awake. No sessions booked. Do this. Set a 30 minute timer. Pick a core promise in one sentence. Do a vowel pass for five minutes. Fix the hook. Draft a verse. By landing you have a demo that is more valuable than a sad sleep. Document credits in your phone and send it to the co writer. If you both like it open a split. If one of you bailed file the draft with the other person as a demo and move on.

Song For A TV Cue

A music supervisor wants a moody song for a cafe scene at 8 PM. They ask for low instrumentation and intimate vocal. Deliver a stripped demo with the chorus by 35 seconds. Provide lyric context and tempo. Be clear about rights. If they like it you will need to negotiate sync licensing for master and publishing. If you do not own the master make that clear. Honesty here keeps your reputation alive.

Action Plan You Can Use Today

1. Write one sentence that states the song promise. Make it sharp and ugly if that helps honesty.
2. Create a two chord loop. Do a two minute vowel pass until a hook appears.
3. Place the title on the most singable vocal moment. Keep the chorus three lines or less.
4. Draft verse one with a camera detail time crumb and an action. Use the crime scene edit which means remove every abstract word.
5. Record a demo with clear vocal minimal bed and the chorus before one minute.
6. Send the demo to one trusted person with one question. What line stuck with you. Do not explain the song. Be quiet and listen.
7. Document writer splits in writing immediately.

Oi! Songwriting FAQ

What is a topline

A topline is the sung melody and the words that sit on top of the instrumental. Writers who make toplines are often hired to write hooks and choruses for producers. If you are hired to write a topline you are writing the part the audience hums in the shower.

How do I know when a chorus is finished

A chorus is finished when the title is clear the melody is repeatable and you can perform it cleanly three times without adding new information. If you add a new idea in the fourth repeat you should call that a bridge or a second chorus variation. Stop adding until you have to say something new.

What is a PRO and why do I need one

PRO stands for Performing Rights Organization. These organizations collect royalties when your song is publicly performed on radio live venues TV and streaming. Sign up with the PRO in your country to collect those payments. Do not let money sit uncollected because you did not sign up.

How do splits work in a co write

Splits are percentages of songwriting ownership. They determine how royalties are distributed. Common practice is to agree to splits in writing before you leave the room. Equal splits reduce drama. If someone contributed more negotiate that before the song goes live. Email confirmation counts as proof.

What is prosody and why does it matter

Prosody is the match between the way words are naturally stressed and the musical stresses. Poor prosody makes lyrics feel off even when they read well. Speak your lines at normal speed and mark the stresses. Align those stresses with strong beats. That will make the vocal feel natural and powerful.

How do I get my songs into TV and film

Start by building relationships with music supervisors and publishers. Have clear demos and stem files which are the separated parts of your recording. Tag your emails with mood tempo and where the chorus is. If a supervisor likes a song they will ask about rights. Own your master and publishing or be honest about who does.

Do I need a producer to finish a song

Not necessarily. Many songwriters create finished demos that get placements and labels. A producer helps shape arrangement and sonic identity. If you cannot afford one learn basic DAW skills to make professional sounding demos that communicate your idea. Later you can invest in a producer to elevate the track for release.

What is a stem and why should I provide one

A stem is an exported sub mix like vocals drums bass or guitar. Stems allow a music supervisor or mix engineer to adapt your demo quickly. When pitching for sync include stems if you have them. They make your song more usable and increase the chance of placement.