Genres – Some Definitions

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© I.Woloshen

(Note: This is NOT meant to be a complete list of all genres, just an example of some, so don’t be offended if I leave your favourite one out!)

Ever been asked “what kind of songs do you write?” Don’t you just hate that? Okay, maybe hate is the wrong word, but it sure is difficult sometimes to sit down and define your style. Many people use known artists to help others get an idea of what their songwriting style is, but quite often these known artists simply define the sound of how someone sings or plays their instrument rather than defining a style of music.

We all pretty much know what rock is, or folk or pop. These are relatively straightforward genres. But most songwriters are influenced, whether they know it or not, by many others before them, and that leads to sub-genres and mixtures of genres that are harder to describe.

Maybe you are really special and have created a whole new style of music! Chances are, though, that your music is also defined by the artists and bands that came before you. This is not a defeat…musical styles exist and thrive because people like to hear them! This article may not answer all of your questions, but a little research on your own will teach you a few things about where your music is coming from.

First of all, here is a list of main genres:

Alternative | Indie | Punk | Blues | Jazz | R& B/Soul | Classical | Latin | Reggae | Country | Lounge/Easy Listening | Rock | Dance | Metal | Roots | Electronica | New Age | Soundtracks | Folk | Oldies | Trad. Pop | Hip-Hop/Rap | Pop | World

Although they are considered to be at the root of all of the other styles, each of these genres came from somewhere else! Even Electronica and Hip Hop, the sounds of which are more defined by technology, have their roots. Reggae, which originally came from artists like Bob Marley out of Jamaica, is rumoured to have come from Jazz. I think a little too much ganja may have had something to do with that 🙂



Okay, let’s start with the more obvious genres:

Rock has many, many sub-genres…everything from adult rock to classic rock to folk rock. Originally, rock was actually rooted in the blues, following similar chord progressions and patterns. Classic rock artists from the Beatles to Pink Floyd, Doobie Brothers to Aerosmith, show just how diverse rock became within a very short period of time. The 70’s was considered the “Golden Age” of rock and today’s alternative and indie music are each an offshoot of rock with their own sub-genres. According to the MSN Music Webpage these are some sub-genres of rock:

Adult Rock | American Traditional Rock | Arena Rock | Blue-Eyed Soul | Bluesy Rock | Boogie Rock | British Folk Rock | Classic Rock | Country Rock | Country Rock Soul | Folk Rock | Glam Rock | Heavy Rock | Jam Bands | Orchestral Pop | Pop Progressive Rock | Power Pop | Progressive Rock | Psychedelic | Rock and Roll | Rock Soul | Rockabilly Revival | Soft Rock | Southern Rock | Surf Revival | Theatre Rock | Tin Pan Alley Pop

Beyond this, we have a number of other main genres. Pop is certainly a significant style, although it has changed over the years. It was originally born from the word popular, and really wasn’t defined by anything other than what most young people listened to at the time! Frank Sinatra would have been considered pop in his hey day, but today, Nellie Furtado is what you would think of as a mainstream pop artist. As you can see their styles are quite different, and Frank Sinatra’s music is now considered either easy listening, nostalgia or traditional pop. These days, pop is defined by a very contemporary sound and often simplistic lyrics and usually has a younger audience. Pop/Rock is where the majority of artists classify their songs, and is almost always the largest category in any online music website.

Alternative is also a difficult style to pinpoint. Originally, alternative music seemed to be a return to hard rock with it’s hard driving, often frantic pace. Grunge, or the Seattle sound begun by bands such as Nirvana was associated with alternative as well. But now we find that Indie comes closer to that definition. Arrgghh!!! To me, each of these genres doesn’t define a “sound” as much as an attitude…yeah, that sounds more like it 🙂

You’ll find the following styles associated with alternative:

’80s Modern Rock | Adult Alternative Pop/Rock | Alt. Hard Rock | Alternative Pop/Rock | Britpop | Goth Rock | Modern Psychedelic | New Wave | Quirk Rock | Space Rock/Dream Pop | Third Wave Ska Revival/Ska Punk

How confusing can it be?? 🙂 So let’s move on to something just as arguably indefinable, country. You’ll hear all kinds of discussions about country and what it is or should be! Twenty years ago when I went into a recording studio with my acoustic guitar, the studio engineers called me country. They hadn’t even heard my songs, yet because I had an acoustic guitar, that automatically made me a country artist! Country & Western was what I assumed country music to be, including artists like Hank Snow, George Jones and Patsy Cline. But in the last 10 or 15 years, it has also branched off into many directions. When country became more “mainstream” or more populist, the pop sound started to invade the more traditional sound of country music. Now you’ll find many different branches of this genre as well:

Alternative Country | Alternative Country Rock | Bluegrass | Country Folk | Country Pop | Fusegrass | Honky Tonk | New Contemporary Country | Outlaw Country | Progressive Country | Traditional Country | Western Swing

Country/Pop, contrary to what you might think, began back in the 50’s and was originally dubbed the “Nashville Sound” and included artists such as Willie Nelson, Kitty Wells, Crystal Gayle and Kenny Rogers. Today, groups and artists like the Dixie Chicks, Tim McGraw and Kenny Chesney are country stars, incorporating a “pop” sound in their music.

So is there any genre left in its pure state? I suppose the argument could be made that the only western “traditional” music left is classical and Native Indian! A recent PBS series by Ken Burns on blues music, showed how even it originally came from the slaves in Africa who chanted hymns and made up working songs as they worked long, hard hours for American slave owners. But the blues is considered by many to be American in its roots.

Occasionally, you’ll hear the term crossover which means that a song could be considered in more than one genre. This is particularly applicable to ballads…a country version and a rock version of the same ballad could be hits for different artists. The only elements that would separate them would be the arrangement and instrumentation!

The fact is that your music is often defined by the artists you were influenced by. Although it can feel like defeat to have to describe your music by naming more famous artists and bands, it really has a purpose! Most people want to know what they can expect from you as a songwriter or an artist, so don’t resent this requirement too much. Many of us write in more than one style too! As a songwriter, this can certainly work in your favour when you are trying to pitch to different publishers and artists. As an artist, it means you are diverse!

Don’t be adverse to the idea of studying genres in order to better define what yours is (or are!). I’ve heard many artists or bands who try to create a NEW genre just to make themselves stand out, only to find that they sound exactly like someone else! As an artist you can get away with this in your promotional material as a way to create a buzz for yourself, but as a songwriter, you will have to fit in more with traditional genres. As Bruce Hornsby says “That’s just the way it is…” 🙂

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Song Structure

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© I.Woloshen

Often I come across songwriters who are confused as to the labels we have for different parts of a song. Verses and choruses are obvious, I think! However, what is a bridge? A pre-chorus? Intro? Extro? Here are my definitions (I’m smart enough to know that definitions can change from writer to writer!):

A bridge is a musical and/or lyrical break in the song, often inserted after a couple of verses and choruses. It can, when written effectively, give a little change of pace to the song once the repetition begins to become obvious to the listener. Sometimes I might write a simple musical break with no lyrics, usually in the same key, but with a different chord progression. Lyrics are often part of a bridge, however. I’ve also met pro songwriters who HATE bridges and never write ’em! To each his own!

A pre-chorus is a lead up to the chorus, a kind of “build” if you will. They are not as common as bridges, but can be very effective in bridging the verse just before the chorus.

Intros are at the very beginning of a song, the introduction to it. If you are pitching your songs, better keep your intros SHORT!! Publishers, A&R reps and label execs usually don’t have the patience for long self-indulgent intros, and may give up before you even get to the first verse! Sometimes an intro can be effective by foreshadowing the chorus chords just a little, or a quick build of instruments into the song. When I’m playing live, I may stretch the intro to a song and let it build a groove before I start singing.

Extros are often mis-labeled “outros” (I hate that!)…and are the lead-outs or endings to a song. Again, they can get too long and self-indulgent. The faders on recording equipment back in the sixties and seventies lead to just about every recorded song fading out…! There’s nothing that beats a nice, tight and unexpected ending, though!

Middle Eight – this is a term you might hear that sometimes refers to a type of bridge, and other times is simply an instrumental break, usually (but not always) eight bars long. In a rock song, for instance, it might contain a guitar lead…Eddie Van Halen howling alone on his guitar for eight bars 🙂

Breakdown – sometimes about two-thirds of the way through a song, you’ll suddenly hear just the drums playing alone, or the vocals alone, or hand-clapping, etc., with nothing else in the mix. Then, there will be a build-up of instruments again. This is what is referred to as a “breakdown”. It’s more of an arragement term, rather than a songwriting one. But if you’re in a studio trying to get a good recording of your song, you might use this trick to make your arrangement more interesting.

And here’s my extro…. 🙂

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Attitude is Everything

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Even though we songwriters tend to seclude ourselves sometimes when we’re trying to come up with another tune, there does exist a community of songwriters out there. It includes professionals and amateurs, young and old, rock, country, and all of the other genres, and male and female. Each has unique perceptions and experiences to bring to their craft; each is driven by a desire to express and create something.
What I find most interesting is the attitudes expressed and how those attitudes can completely colour my response to a songwriter‘s material. Recently I remember reading a post in the newsgroup rec.music.makers.songwriting from a songwriter who began to list the subject matter that he thought “sucked” in songs. He included any songs you write in the first person, love songs, any kind of relationship songs, and the list went on and on. I was immediately aroused from my complacency, since I most often write about those very topics! It made me think about what it is in a song that appeals to me and what doesn’t, which is a completely relative experience, but I responded with a post saying that it isn’t the subject that “sucks”, but the way in which that subject is handled. What interested me even more was how this person had essentially dismissed the majority of songs and songwriters out there with his attitude. Occasionally the “dark” side of creative immaturity and competitivenss rears its ugly head and reminds me of where I came from.

We’ve all been there. That “I can write better songs than that” string of thought that temporarily boosts our egos when we hear someone else’s material that doesn’t live up to our expectations. It’s too easy to fall into that frame of mind when we’ve had to struggle with our own writing and the self-esteem gauge has dropped below zero. I’ve been to demo critiques in which the “experts” literally devastated the songwriters who were there, and others where the complete opposite has happened.

It’s a tough world sometimes, but the people I’ve admired most are those writers who seem to roll with every punch and have enough energy left to encourage and help others. And the conclusion that I’ve come to, the thought that has helped me more than anything else, is that THERE’S ROOM FOR EVERYBODY! We won’t all make a fortune from writing, or have great recognition, but the talent that exists is extraordinary! Sure, songwriters in the “business” have to compete with others to a certain degree, but it can be done with such graciousness. I’ve heard staff writers talk about sharing writing credits with a person in the room at the time a song was written because that person came up with one line or one phrase. That’s the kind of generosity and maturity we all need to emulate. Time and experience will teach us that, when it comes to the big picture, having written the best or worst song in our lives doesn’t really amount to much, that the value is in the process and in the community we build with each other. You can’t help but be lifted up when you lift somebody else up. These days, instead of trying to figure out what makes a song “suck”, I try to understand what makes it great…if I don’t like a song, rather than getting comparative, I move on to the next one…I take a step back from my ego every now and then and appreciate the process. Songs don’t “suck”…bad attitudes do!

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