Moderately, wistfully = 98
in Bb major
a song about
Words and music by
after Irving Berlin
The ballroom. Two, five, one: the move half the standards are built on. Smooth, grown-up and a little smoky.
Mix a title, a picture, a character, a feeling, a trick from the great songwriters and a chord colour. Pin what you love, shuffle the rest, or write your own. There are more than 408 billion combinations, so the idea you get is yours alone.
Moderately, wistfully = 98
in Bb major
a song about
Words and music by
after Irving Berlin
The ballroom. Two, five, one: the move half the standards are built on. Smooth, grown-up and a little smoky.
Beside every line: another one, write your own, or pin it so New idea keeps it.
Read the six rows as one small scene. The picture is where the song happens, the character is who it happens to, the feeling is what it means, and the title is what the chorus finally says. Play the chords and sing over them until a tune turns up; then use the trick to make your first real decision for you.
Shuffle anything that doesn’t ring true and lock anything that does. Two rows that don’t seem to belong together are often the best part: a lighthouse keeper and a music box that only plays when the house is asleep is already a song. Click any line to put your own words in its place.
Plain words for big feelings. Irving Berlin said he aimed to write “in the simplest way… as simple as writing a telegram”, and the songbook writers around him wrote about what everyone goes through rather than about themselves (Galenson, 2007). Every feeling here is written that way: no “heart”, no “fire”, just something that happens to people.
An ordinary place, a little strange. “The secret to successful songwriting is the ability to paint a picture,” Paul McCartney writes in The Lyrics, and Eleanor Rigby is drawn in one detail: she picks up the rice after somebody else’s wedding (The Guardian). Penny Lane is a barber, a banker and a fireman on a real street, made slightly dreamlike. The pictures and characters here are built the same way: everyday things with one detail that tells you everything.
Wonder with a sadness in it. When You Wish Upon a Star opens with a leap of an octave and ends on a note that isn’t home, which, as the Library of Congress’s essay on it puts it, reflects the unfulfilled nature of dreams and wishes (James M. Bohn). Bowie lifted the octave leap of Over the Rainbow for the chorus of Starman. Those devices are in the tricks, with the song each comes from.
Chords that say what the words don’t. Brian Wilson called God Only Knows the only song he wrote that isn’t in a definite key: the verse keeps shifting under “I may not always love you” and only finds solid ground at the title (Gary Ewer). In My Life leans on John Lennon’s favourite minor four chord (Alan W. Pollack), and Yesterday keeps sliding toward its sad relative minor, so every brave face it puts on gives way (Pollack). The chord colours are those moves, ready to play.
New ideas tend to come from two things that don’t normally meet; the writer Arthur Koestler called it bisociation in The Act of Creation. Cole Porter set a trip to the moon beside a shrug, and Harry Nilsson wrote about the father who left him in songs as bouncy as a nursery rhyme. A machine that throws a picture, a person and a feeling together hands you that collision for free.
The limits help too. A review of 111 studies found that constraints go with more creative work on balance, not less (Damadzic and colleagues, 2022). Six rows decide the hardest part, what the song is, and leave you the best part: writing it.
All 406 of them, if you’d rather pick by hand.
Shown in C major or A minor. The generator moves each one to a key that suits it. A chord written with a slash, like Am/G, has the second note in the bass.
The wishing turnaround
The old songbook circle: warm, hopeful and a little old-fashioned.
Verse: C A7 Dm G7Chorus: F G7 Em A7
The minor four
A major chord turns minor for a moment, like a memory. John Lennon's favourite, all through In My Life.
Verse: C F Fm CChorus: Am F Fm C
The falling line
One note slips down a step at a time inside the chords, like something gently letting go.
Verse: C Cmaj7 C7 FChorus: F Fm C G7
The flat-seven sunrise
A chord from just outside the key that feels like sun breaking through, like the long goodbye at the end of Hey Jude.
Verse: C Bb F CChorus: F C G C
The shadow key
The song keeps leaning toward its sad twin, the relative minor, the way Yesterday does.
Verse: C Bm7 E7 AmChorus: F G C Am
The bright two
A major chord on the second step lifts the line, then turns somewhere you don't expect. A Beatles habit from the start.
Verse: C D7 F CChorus: Am D7 F G
The dreaming sevenths
Soft major sevenths that float instead of landing.
Verse: Cmaj7 Fmaj7 Cmaj7 Fmaj7Chorus: Am7 Dm7 Fmaj7 G
Wander, then land
Unsettled chords in the verse and a clear home in the chorus: the shape of God Only Knows.
Verse: Dm7 Em7 Fmaj7 GChorus: F G C C
The rising wonder
One note climbs inside the chord like a held breath before something marvellous. Showtune magic that Bowie loved.
Verse: C Caug C6 C7Chorus: F Fm C G7
The lullaby
Three chords and the gentlest walk home. As simple as a telegram, as Irving Berlin put it.
Verse: C F C GChorus: F C G C
The old-time sixths
Sweet sixth chords, straight out of the songbook era.
Verse: C6 Am7 Dm7 G7Chorus: F6 Fm6 C6 G7
The falling steps
Four chords stepping down: minor, cinematic, a little like a tango.
Verse: Am G F EChorus: F G Am Am
The minor reach
A minor key that keeps reaching for the light.
Verse: Am F C GChorus: F G C E
The warm minor
A minor key with one surprisingly warm major chord in it.
Verse: Am D Am DChorus: F G Am D
The amen
Four to one, the soft amen at the end of a hymn: comfort, not drama.
Verse: C Em F CChorus: F C F C
The long way home
Two chords from outside the key step round the circle to home, the way the bridge of Here Comes the Sun does.
Verse: C Eb Bb FChorus: Eb Bb F C
The circle
Each chord pulls to the next round the circle of fifths, like walking gently downstairs: the songbook's road home.
Verse: Am Dm G CChorus: Em Am Dm G
The street corner
The fifties ballad: four chords round and round under a street-corner harmony.
Verse: C Am F GChorus: C Am Dm G
The borrowed six
A chord borrowed from the minor key passes like a cloud across the sun.
Verse: C Ab F CChorus: Am F Ab G
The hero's return
Two borrowed chords stride up to home, bold and cinematic.
Verse: C Ab Bb CChorus: F G Ab Bb
The passing diminished
A diminished chord slips between two others like a half step on the stairs. Pure songbook.
Verse: C C#dim Dm G7Chorus: F F#dim C G7
The ballroom
Two, five, one: the move half the standards are built on. Smooth, grown-up and a little smoky.
Verse: Dm7 G7 Cmaj7 Cmaj7Chorus: Em7 A7 Dm7 G7
The sigh
Suspended chords that lean, then settle, like a breath let out.
Verse: Csus4 C Gsus4 GChorus: F C Gsus4 G
The front porch
Three dominant sevenths: a little blues and a lot of front-porch warmth.
Verse: C7 F7 C7 G7Chorus: F7 F7 C7 G7
The old minor song
A minor key with a major five, the way folk tunes and lullabies have always done it.
Verse: Am Dm E AmChorus: F Dm E E
The Picardy light
A minor song that ends on a major chord, like a window opening at the very last moment.
Verse: Am F Dm EChorus: Dm E Am A
The sun comes out
A minor verse that opens into its relative major for the chorus, like clouds parting.
Verse: Am Em F GChorus: C G F C
The minor falling line
The bass sinks a half step at a time under one minor chord: the sorrow of My Funny Valentine.
Verse: Am Am/G# Am/G Am/F#Chorus: F Dm E Am
It builds an idea from six rows: a title, a picture, a character, a feeling, a trick from the great songwriters, and a chord colour in a key and tempo. New idea shuffles every row you haven't pinned. Beside every line is its own shuffle, a pencil to write your own words, and a pin. With 96 titles, 80 pictures, 64 characters, 80 feelings, 58 tricks and 28 chord colours, there are more than 408 billion combinations, so the idea you get is almost certainly yours alone.
No. Nothing on this page is generated by AI and it never writes a song for you. Every ingredient is written out in advance; the page only chooses and combines them, and the song you write from an idea is yours. Song Cage uses no generative AI anywhere.
A picture and a feeling, more than a subject. Love is a subject; a lighthouse still turning its light for no one, sung by someone who waits up for a person who isn't coming, is a song. Start from one ordinary thing you can see, give it a person, and let the feeling come through what they do.
Yes, that is what they are for, and changing them is encouraged. In the US, titles and short phrases are not protected by copyright (US Copyright Office, Circular 33), and chord progressions like these are shared by thousands of songs. The melody and the lyric you write are yours.
Because the devices behind the songs that last are learnable. When You Wish Upon a Star opens with a leap of an octave and ends on a note that isn't home; God Only Knows keeps its verse unsettled until the title lands; Penny Lane makes an ordinary street a little strange. Each trick names where it comes from, so you can go and listen.
A short progression with a character of its own, like the minor four (a major chord turning minor for a moment, all through In My Life) or the falling line (one note slipping down inside the chords). Each comes with four chords for the verse and four for the chorus, in a key that suits singing and guitar or piano. Press Hear it to play them.
Yes. No account and nothing to install, and Hear it plays the chords in your browser. In Song Cage, every new song can open with a starter like this one, and Start this song puts its title, key, tempo and chords into the song, with the picture, character, feeling and trick kept beside it while you write.
Every new song in Song Cage can open with a starter like this one. Press Start this song and the title, key, tempo and chords are in place, ready to play, with the picture, character, feeling and trick kept beside the song while you write. Free for one song in your browser. No credit card required.
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