guaranteed songwriting tips

17 Guaranteed Songwriting Tips To Make Better Songs

Guaranteed Songwriting Tips and Techniques

This is a compilation of songwriting tips and tricks that will surely give a good head start for anyone new in songwriting. For those who are already writing songs for some time now, you may find the following concepts to be a reminder or a breath of fresh air into your collection of tips and tricks.

In connection to these guaranteed songwriting tips, you also need to know what effective songwriting habits you must have to be a better songwriter. Go read the link if you want to know more about it.

Perfect Rhyme Is Not Always Easy To Sing

To start our series of songwriting tips for this article, we will begin with our words or lyrics. Lyric writing and poetry have only one significant difference. Lyrics are meant to be sung. Sometimes, when we write a word, we find it perfectly rhyming and fitting into the structure, but it is challenging to sing

A lyric that is hard to sing is more likely bad to listen to either. 

Although the average listener can’t tell what is wrong with your words, it’s there.

So to solve or avoid such problems, choose words that will communicate your message, and easy to sing at the same time.

Your Main Message Should Be In Your Chorus

songwriting tips - your chorus is your main message

guaranteed songwritingtips to make better songs

Your chorus should contain the central message of your song. It is called the chorus because many people are singing it. Hence, it is something people would want to sing and easy to understand.

Your chorus should be singable by many or easy to remember.

Do not get too busy thinking and writing the verses that you miss delivering the main point in your chorus.

Some songs even start with their choruses. They want to hit home the message right away.

Consistent Imagery

A metaphor is to use something to represent or symbolize a message or an object. The heart represents love, a snake will symbolize a traitor, and the mailbox represents an incoming message.

Keep your imagery consistent. Never stray from that metaphor or else you run the risk of losing focus and interest with your lyrics.

The song jar of hearts is all about sadness and a person breaking other people’s hearts. It would be very unfit to include apples, or cute puppies in the imagery

You are building a world of imagery around a single metaphor, in this case, the jar of hearts.

A Picture Is Worth A Thousand Words

guaranteed songwriting tips - imagery

Guaranteed Songwriting Tips – Imagery

To write a song is ideally like telling a story, and in every story, it’s the details that capture your audience’s attention. Details that you sprinkle in your verses, in the chorus, and all across the entire song.

These details can take the form of an image or a picture. The expression "A Picture Is Worth A Thousand Words" is definitely right for songwriting.

You throw an image to tell something to your audience, and your listener begins to use their imagination. This helps your listener engage more in-depth into your song.

Jim Croce in his classic “Time In A Bottle” tells us in his lyrics that if only he could put time in a bottle, he’d be doing something else he’d never done before.

You can’t literally put time in a bottle, but by painting a picture of time as something you put in a bottle, he brings the listener in a different aspect of looking at time in his song.

The last line of your chorus is a big opportunity 

The last line of your chorus is a perfect opportunity to write the hook of your song. Most of the time, the arrangement of the music always leads to or highlights the end of a chorus. A songwriting tip to remember here is that choruses have endings that contain hooks.

Bon Jovi’s “It’s My Life” shows this method to be very accurate. The music of the chorus leads to a build-up of the last line of the chorus, which is the title itself – it’s my life.

The end of your chorus is a very noticeable spot, and learning to take advantage of this knowledge will give you a boost in engaging your listeners.

The first line of the chorus is equally noticeable too and is a perfect spot to place the hook of your song. These lines, when used properly, is very satisfying for the listeners. 

Your First Line Can Also Be Your Last Line

When you find yourself thinking of how to end your song, a good option would be to end it with how you began.

Try using your first line as the last line of your music. This may not work every time, but when it does, it works as something to remind the audience what the song was all about.

It brings the message of the song full circle as you end with the same words you started with. This approach serves as a reminder to your audience how the song began.

Sometimes, nonsense makes sense at all

Sometimes, nonsense words are the most sensible thing we could do with our song.

Remember the song Mmmbop by The Hansons?

You are bombarded by nonsense words of mmbop dubi dap bop du woap…

I honestly don’t understand a word they were singing, but it works for me. A lot of listeners likes to listen to the song.

Guaranteed Songwriting Tips – nonsense words makes sense

Another example of a song using nonsense words is Uptown Funk. The opening lines go like Dot, dot do dop dot do dop…

These words make your songs memorable. So memorable that people would follow along to the tune regardless of the gibberish we sometimes put into the lyrics. It’s one of those guaranteed songwriting tips and techniques you should remember.

As a songwriter, we need not forget that we can make use of simple to nonsense words to deliver our point. 

Yes, it may take a moment for your listener to digest what you wrote, but it is totally fine as long as it works. 

Keep Your Rhyming Interesting and Don’t Overdo It.

For ages and time immemorial, rhyming has always been a very crucial device that songwriters use over and over again. It’s designed to make your lyrics sound more exciting and easy to memorize.

Taking advantage of rhymes help you get inside your listeners mind much more natural, and the words stay longer.

You may want to consider adding variations to your rhyme but not doing it too much that becomes cheesy for your listener.

Keep the format or your rhyme scheme in similar sections. You may want to use an AABB format for the first verse, and do the same with your second verse.

It’s totally up to you on how you will use rhymes to captivate your listener’s attention.

Try switching lines, verses, or parts of a song.

When we are still constructing our song, we really don’t know what works yet. We keep writing stuff that flows from our minds hoping we could make sense of things later.

There will be moments when we realize that switching our verses, a few single lines, choruses or whatever parts of your song may actually help it get more traction.

We can either switch the verses or the chorus and bridges.

Simplify Your Song Structure

guaranteed songwriting tips - structure

guaranteed songwriting tips – structure

The structure of your song can ease listener experience and help them understand better what your song is all about.

When you have too much going on in your song, your listeners may tend to lose interest or have a difficult time following your song’s intent.

If you already have a verse, pre-chorus, and chorus, you may consider not adding a bridge and a coda anymore.

I’m not saying that it is wrong, but sometimes, simplicity can do the trick for you.

Although things will still follow a songwriter’s preference, it will sometimes help to realize that having too much detail or enormous structures can lead to uninteresting results.

Find Symmetry In Your Structure

It’s easier for your listener to follow along if you have symmetry in your song. Symmetry is beauty in itself.

Your verse one should be similar to verse two. I’m not saying the verses should contain the same words, but they must have the same structure. The same number of lines and the rhyme scheme.

You choruses also must have the same number of length. It is possible to have different lyrical content in your choruses but keep it in a way that it is symmetrical with the other choruses you have in your song.

If you dive deep into music theory and song form, you may find that there are several ways how to write and structure a song. For a start, just remember that symmetry is good. 

Learn What Your Strengths Are In Songwriting

We all have our biases, and we can’t deny it. If you are a guitarist, you tend to think of songwriting from the perspective of a guitar player. That may mean, you would like to do more of your guitar music than that of your song lyrics.

That may not be true all the time, but definitely whatever we are used to will eventually sip through our music.

Learn what your strengths are in songwriting and find co writers whose skill sets complement yours.

The more you make music and songs with other people, the more you will realize where you are good at, and it’s an advantage.

Knowing the areas where you are weak simply means you have an opportunity to improve on it. That is only possible if you work with other people.

Be Open To Suggestion While Keeping Your Identity

Suggestions and opinions often times makes us feel uncomfortable when it goes against our own way of thinking.

Don’t close your doors to it. Take a perfect look at any opinion or suggestions given to you. There are things we may never have tried before, and it may seem awkward at first, but don’t turn it down.

Listening to new ideas can help you become a better songwriter. 

Try and write something you’ve never done before. Explore areas that you have never tried or approaches that you’ve never thought of doing before.

It can be surprising to something you have written which is totally different from what you usually write. It’s one of those guaranteed songwriting tips that won’t fail you.

Even though it can be a bit uncomfortable in the beginning, tell yourself to be open to new possibilities and always have a free line and an open ear to suggestions.

If People Can’t Sing It, Don’t Write It

guaranteed songwriting tips - singability

if people can’t sing it don’t write it – guaranteed songwriting tips

When you are composing the melody of a song, be sure to make it singable. Don’t set the bar too high that only a few singers can hit the notes of your song.

Remember, you want people to enjoy your song and be able to sing it. What good is a song if it's only written for a diva to perform and the vast majority of listeners can't appreciate it.

Also, don’t try to write a melody that even singers are having a hard time performing. You will have trouble producing a song which is too rangy. Don’t make it overly challenging. 

Another one of those guaranteed songwriting tips you should be remembering is this. If singers and listeners are having difficulty singing your melody, then you have a problem. It’s an indication of a bad melody.

This is definitely true if you are still seeking to gain traction and followers for your music. Make sure your songs aren’t placed too high for singers to perform it. One of those very important songwriting tips to have in your arsenal.

Bridges Offers A Different Angle Of Your Song

The main goal of writing a bridge is to give your song a different look and a different musical perspective. It helps you and your listeners step away for a moment – both in lyrics and in music.

You are still telling the story of your song while giving it a different touch or texture. The bridge sheds new light on your narrative.

You can try to change the tonal center of your music in the bridge to bring your audience into a different sound away from the original tonality of your song.

The bridge also acts as a preparation for the peak of your song, which is the final chorus. It helps create build that tension that ultimately resolves to your final chorus where everything is bursting into a finale.

Alternatively, you can choose to make your bridge an instrumental instead. It will give a different touch to your song. A break from the words and bring your audience to a little musical treat. This is one of those guaranteed songwriting tips you should try.

Don’t Follow Trends – They Will Fade

guaranteed songwriting tips - don't follow trends

guaranteed songwriting tips – don’t follow trends

A good addition to our collection of guaranteed songwriting tips that will have a lasting effect is to not chaste after trends. Write something that moves you. If you can’t learn to appreciate your own material, you can’t expect people to love it also.

If you are swayed to write what the latest trend is, chances are you're already too late. What may be trendy today will soon fade into oblivion tomorrow.

Songs that last often are not following the trend. They were written by songwriters who at the moment was deep into things that moved them. Hence, their songs moved their listeners.

Songs that last are songs that were written by heart, not by trend.

A Song Can Only Say So Much

Don’t try to write everything in one song. You only have roughly four (4) minutes more or less in today’s standard. Don’t write everything your mind speaks of.

Choose what works for you, but sometimes it's saying less that says a lot. 

You can’t possibly try to say everything unless you are writing an oratorio.

First of all, today’s listeners have very short attention spans. Unless you write a hit like Bohemian Rhapsody, try to keep it short and concise. Deliver the point as soon as you can, don’t try to say too much.

Follow The Structure Of Your Favorite Song.

This is not plagiarism. Our favorite songs are songs that have worked and have made their mark in the music industry. Why not learn from these songs? They are already guaranteed songwriting tips waiting to be picked and be used for creating songs.

Use these songs as a reference and a guide in how you will do your work. These songs have already been successful, and it’s a perfect blueprint for you to follow and understand what made it work.

Figure out how the songs where segment and try to write the same format. It's an excellent way to learn songwriting.

We all had someone to look up to and imitate before finding our own voice. It’s not a bad thing to take inspiration from already successful materials. 

If You Want To Publish For Radio Then Don’t Write Long Intros

In today’s market, having a long intro in your song doesn’t do very well. You have limited time to say things in your songs, let alone have time to do a long intro.

Back in the days where only the rich can afford to record songs in big studios, listening to songs with long intros were totally fine. You only have a handful of songs to remember, so people had time to listen to.

In today's very competitive market where everyone can just write and produce songs in their bedroom, you need to get to the point as soon as possible.

Get to the singing part and don’t waste precious time doing an intro, especially if you are publishing for radio.

You can do two versions of your song. A short version for radio edit and an extended version for your official release.

I hope you find these guaranteed songwriting tips and techniques useful, here are 10 more new ideas you can explore.

effective habits to improve your songwriting skills

13 Highly Effective Songwriting Habits To Improve Your Songwriting Skills

Habits To Improve Your Songwriting Skills


or someone to succeed in, he has to develop a set of good habits that will prepare him for success. A boxer prepares for a match by doing all the routines he needs to be in shape.

To win competitions, athletes need to develop good practice habits and consistently stick to the plan.

That should be the same attitude even for songwriters. The way we approach songwriting affects our output in ways most of us don’t even realize.

To be a better songwriter, you have to develop good practice habits. Here is a list of beneficial songwriting habits that will help you how to improve your songwriting skills.

habits to improve your songwriting skills - confidence.

Be Confident And Believe In Your Gift

An essential habit that one must cultivate in any given craft is confidence. Accept that you are a songwriter and don’t be shy about it.

Yes, you may not have your hits on the radio right now, and no one knows about your songwriting skills yet. This should not stop you from writing your own music.

Understand This

Believe in yourself! The moment you start creating songs, you are already a songwriter. 

It’s only a matter of time and good practice until you start writing something that people will love to listen to.

Every journey starts with that one simple step, and you have to decide to take that step.

Do you want to start making your own songs? Start writing!

Make Time To Write

Don’t wait until you have time to write – make time to write. Songwriting is already challenging, don’t make it even harder by trying to make uninterrupted time.

Don’t wait to have a huge amount of vacant time because you might find yourself pretty occupied with your daily activities.

Remember This Tip

Practicing less but often is way more effective than practicing for two hours once a week. This concept applies to songwriting too.

Start writing a little every day, believe me, it will all add up. It’s called songwriting endurance and consistency, which you’ll never have if you try writing less frequent.

Find A Place To Write

Find a place where you can start writing uninterrupted. It may be at the comfort of your home, along a riverbank, or some secret hideout where you can find solitude to focus on your songwriting.

An Important Point

It doesn't have to be a big space, even a small desk or chair in the corner of your living room can be a haven for your creativity.

Dedicate a space in your home or your favorite place and make sure your writing tools are available. That can be your guitar, laptop, or the classic pen and paper.

Avoid Inactivity To Be More Productive

Study shows that inactivity kills more people than obesity in Europe. Well, you don’t have to be obese or to be in Europe to find that this is true even for songwriting.

Inactivity kills your creativity for songwriting.

When we practice our mental muscles, we get good at whatever it is we’re doing – in this case, songwriting.

Ponder on this

Writing a title a day keeps your songwriting mind active. 

Doing so also gives you a list of titles you can refer to when you ran out of ideas. 

Also, writing a title a day is definitely more achievable than writing an entire song.

Write For Short Periods Daily (As Often As Possible)

It doesn’t have to be five minutes, it can be ten, six or many minutes you want to commit. The point is, set a realistic amount of time daily where you can engage in songwriting.

It’s not every day that inspiration will come to you naturally. There are days where motivation is nowhere to be found. If nothing happens after five minutes of trying to write, you have nothing to lose. At least you have worked your mental muscles.

There’s no point in making yourself miserable by trying to sit down for hours and not having anything worth writing.

habits to improve your songwriting skills - muscles

Condition your songwriting muscles.

There is a term in psychology that is important in having a sound songwriting mind – it’s called conditioning.

When we repeatedly do something, it then becomes a habit. Our muscles (especially our neurons) remember such repetitions, and we get better at it.

The Secret

The key to any kind of craft is repetition or conditioning. We condition ourselves by repeating proven methods that work.

The more songs you write, the more you become consistent and efficient. That is how you condition your songwriting muscles.

Don’t Try To Achieve Perfection Especially In Your First Draft

When you are in a writing session, try not to achieve perfection, especially on your first draft. It may be gratifying if that approach works, but more often than not, it doesn’t.

Understand This

Perfection is a dead-end, it's humanly impossible. Strive for excellence.

When starting out and writing your first draft, write everything that comes to mind, and don’t hit that backspace button yet.

You can always come back to what you have written and polish it. That way, you don’t interrupt the flow of your creativity by correcting every error you see in your first draft.

Remember, momentum is your friend. Don’t ruin it by trying to be perfect all the time.

Organize unfinished ideas

More often than not, we tend to finish songs in multiple sessions. Yes, there are times when inspiration strikes you so hard that it only takes us a few minutes to complete a song (so they say).

Worth Trying

Always keep your unfinished songs in an organized manner.

Doing so will help you return to whatever you’ve written much easier. 

You don’t want to come back to a bunch of scribbles, going up and down your notes trying to figure out where you left.

It’s incredible how a few days or weeks can give you a different perspective on an unfinished song. Try to make it easier to come back to it by organizing your unfinished ideas.

Being organized is a great addition of habits to improve your songwriting skills.

Record random and spontaneous song ideas.

A lot of our creative process tends to be spontaneous. You find yourself doing something very random, and suddenly a melody or lyrics come to mind.

Never Forget This

Don't let these random creative juices go to waste. Record them! 

Don’t make the mistake of not recording them because they are forgotten just as fast as they come to you.

Ten years ago, people would suggest having a recorder with you so you can record random ideas when you are writing a song. Today, you can just grab your phone and do just that.

You can always come back to these recorded ideas later, and make a masterpiece out of it.

Record a rough demo of your song

Just as you need to record spontaneous ideas and inspirations, you also need to capture a rough demo of your song. 

Once you’ve finished writing a song, forgetting how it goes is an easy thing to happen. You wouldn’t want something like that to happen after all the efforts you’ve done to finish a song.

Note To Self

Get the habit of recording your song after you've finished them. This way, it will help you remember how a song goes.

Your phone or laptop can do the job for you. Also, it would be easier for you to produce that song later if you decide to have it published.

work with other songwriters

Work with other songwriters

There are so many great benefits when working with other songwriters.

A Powerful Thought

Remember, having two or more brains working together is way more powerful than trying to finish a project on your own.

You will never know what possibilities await when you try to reach out and write with other songwriters. You learn new things, a new approach, and a lot of stuff which is not possible if you work alone.

You will also have the privilege to see things from the perspective of another artist. This will give you insights to ideas you’ve never thought of before.

Attend workshops and learn new materials

Learning is a lifelong process. As long as your breathing, learning never stops. It is definitely true in songwriting. When you think you’ve done it all, you’ll realize that you still have more to learn.

Remember This

Another benefit of learning new materials is that it gives new light or a fresh perspective on things you have already known before.

Attending workshops does precisely all of these things.

You learn new insights and reinvigorates your passion for songwriting.

What’s more amazing about workshops is that it introduces you to new groups of people.

Show people what you have done

It’s pretty pleasant and gratifying to have written a song or two. It’s also very fulfilling if we have learned and improved our craft over time.

Notice This

All of these are for nothing if you do not have an audience to consume your music. You need people to hear what you have done.

Hearing other people sing songs that you’ve written brings a new level of satisfaction to your songwriting career.

If you are someone who desires to get a record deal out of your creation, then you should have your songs published.

Find ways to advertise and have people listen to your songs. Doing so will slowly build your audience and followers who would like to hear more from your arsenal of original songs.

It won’t come easy. I promise you, publishing and letting people know about your songs will eventually lead you to more significant opportunities.

Consistency Is Key On How To Improve Your Songwriting Skills

These are all great habits to improve your songwriting skills. Now, all that’s left to do is to implement these songwriting tips into your workflow.

Not every songwriter has the same approach to songwriting. Not all of the ideas mentioned above will work for you, but if it does, make sure you do it.

Finally, be consistent with your habits. Don’t do things right for a day and start forgetting it the day after. Consistency and perseverance will produce great results in your songwriting skills if you commit to any of the following tips.

Happy songwriting!

crucial skills needed to be a songwriter

5 Crucial Skills Needed To Be A Songwriter

Songs can send messages far more effective than written words. Time and time again, songs have captivated the listeners’ emotions. Songs were written to make us cry, laugh, and love. It’s those who write such songs that have mastered the skills to move people through music and words. There are 5 crucial skills needed to be a songwriter.

To write a song, you need to have a lyric and a melody. The words you use for your song are the lyrics, and the tune or the notes that go with the words is the melody.

To be a songwriter, you need to have a way of taking your thoughts, ideas, and passion and putting them all together in a song. 

5 Crucial skills needed to be a songwriter

Is this your first time to write songs? You’ve already written a few perhaps and would like to improve more on your songwriting skills.

Whatever skill level you are right now with your songwriting, you need to know what skills you’ll need to develop and learn.

Inspiration or spark of ideas

Just like poetry or any other form of art, we all need to start from an idea – an inspiration so to speak. First of the crucial skills needed to be a songwriter.

The urge to create and realizing that you have something to express – in this case, a song.

Inspirations can be artistic, political, emotional, even anger, or anything that moves you to write.

Someone compiled a list of songs inspired by classic books from book riot. It’s an example of where to get your inspiration which obviously, the list of popular songs did.

Another good example is the song “Vincent – Starry Starry Night” by Don Maclean. The song is inspired by an actual real-life story of a painter who goes by the name of Vincent Van Gogh.

Inspiration is very relative and personal. No one will stop if you want to write a song about cheesecakes or hamburgers; those songs are really useful for advertising.

If you want to write something that will connect with your audience, you need to be inspired by something that people can relate to.

Musical Ability & Lyrical Ability

In songwriting, the ability to play an instrument or by being able to sing is essential. You really don’t need to be an excellent pianist or guitarist to be able to write songs.

Although being able to play an instrument is a great advantage, it is not entirely necessary to have both to be able to write songs.

Musicality simply means a general understanding of what makes music work. For example, having a good sense of rhythm and making really engaging melodies or tune.

Songwriting doesn’t only exist for those who can play an instrument. It also requires the skill to write lyrics.

Lyrical ability is the gift of painting mental ideas, scenarios, and pictures with words. It is also the ability to articulate what you are feeling through writing.

It is also worth noticing that lyrical ability is understanding which words sound good when sung or the best rhymes put together. These are two additional crucial skills needed to be a songwriter.

Do I need to have both musical and lyrical ability?

Yes and No.

Yes, it is an excellent advantage if you are someone who can play an instrument pretty well and at the same time, write words to your music.

No, you don’t have to have both to be a songwriter. There are a lot of songwriters who specialize in one or the other.

That is where the beauty of collaboration shines most.

What Is Songwriting Collaboration?

Some people don’t have it all. In fact, most don’t. So to complement your songwriting skillset, you need to collaborate or work with other songwriters. It’s also part of the crucial skills needed to be a songwriter.

Some are exceptional at writing lyrics. Lyrics that are really moving and poetic for the listener.

While others are gifted with the ability to create excellent melodies and are outstanding instrument players.

A perfect example of a popular song produced by great people who collaborated is Uptown Funk. Yes, it’s easy to remember Bruno Mars, but in case you don’t know, these are the following names behind the words and music of uptown funk:

  • Jeffrey Bhasker
  • Devon Gallaspy
  • Phil Lawrence
  • Bruno Mars
  • Mark Ronson
  • Nicholas Williams

These people literally built the Uptown Funk and made it the hit we know of today.

By the way, I made an Acappella arrangement of Uptown Funk for Choir, and you can download it from this link.

Benefits of collaboration

The more you write with other people, the more you realize where your strength lies. 

You may find out that you are someone who is a gifted lyricist. Maybe you are a songwriter who can create moving melodies. Either way, you start to identify your strengths and capitalize on them.

Collaboration also offers you the chance to improve on areas where you aren’t that good at – yet.

Lyrics and Melody Aren’t Enough

never enough

It is vital to realize that having an inspiration to write lyrics and music is not enough.

You should learn the ins and outs of songwriting. Experience is the best teacher they say, and gaining on lots of it is crucial to improving your songwriting skills.

Songwriting is a craft. It is the skill to channel your ideas and inspirations together with the words and music into a song. The song that you write must be able to deliver or convey your message in the most effective way.

If you are all about inspiration and no craft, then most probably you won’t connect with your listeners. The same is true of the opposite.

Think of a potter or someone who weaves or any craftsman in any discipline. It all starts with taking the raw material they need to create their masterpieces.

A piece of wood is only a piece of wood, but to a craftsman, it can be made into a lovely table or chair or any piece of furniture with great value.

In a songwriter’s case or in your case, you turn ideas and inspiration into something beautiful that people will love – your song.

Understanding the Structure

crucial skills needed structure
Crucial Skills Needed To Be A Songwriter – Structure

Beauty is not chaos. Songwriting starts with the turmoil inside your head, having too many ideas and making sense out of it.

The human mind is wired to appreciate structure or form, more so with a beautiful composition.

Songwriting is also about structure. These are the verses, pre-choruses, choruses, and bridges to mention a few.

The structure of a song allows songwriters to control the pace and momentum of their song. You can also take advantage of a song’s architecture to bring your listeners to an emotion you want them to feel at the right moment.

Start Writing Now

It takes constant excellent practice to master something, in your case – songwriting.

The skills mentioned in this article are crucial to your journey as a songwriter. I hope by now, you already have a grasp of what you need to focus on with your songwriting.

Besides, there are no absolute ways or formula to write a perfect song – only useful guidelines.

Now, ask yourself, what skills mentioned above do you have or lack? What things are you good at and do you consider collaborating with other songwriters for that matter?

What do you think should be added in this list of crucial skills needed to be a songwriter?

discovering time signature for beginners

An Easy Guide On Time Signature For Beginners

Discovering Time Signature for Beginners

Every piece of music has a pulse or a count that keeps it in time. The number of beats in each measure usually remains the same in the entire piece. This underlying beat per measure is called TIME SIGNATURES or METER SIGNATURES. This article provides a simple and clear explanation about discovering time signature for beginners.

A Time Signature is made up of two numbers. It always appears at the beginning of every piece of music. Below is an example of what time signatures look like.

Note: Remember, these numbers are not fractions so we do not read them like fractions. We simply say four-four and not four- fourth.

What the numbers mean

There are two sets of information that time signatures give us.

  • The number above tells us how many beats there are in a measure
  • The number below tells us what type of note receives one beat.

Take, for example, this image of a four-four time signature. The number 4 above tells us that there are four beats in every measure. The figure below tells us that a quarter note receives one beat, or you can say that there are four quarter notes in a measure

The image above is also called a common time signature. A common time signature can also be replaced with C in the staff.

Let us look at another example of a time signature

This is a three-eight time signature. The number above tells us that there are three (3) beats in a measure. The number eight below represents an eight-note and tells us that an eight-note receives one beat. You can also say that there are three eight notes per measure.

The image below shows a three-four time signature. A three-four time signature means 3 quarter notes per measure. The number 4 represents a quarter note. Hence, a quarter note gets one count in a three-four time signature.

Discovering time signature for beginners

Simple Meters

Our discussion so far focuses on simple meters or simple time signatures. It means that all of our meters can be subdivided into two (2).

The upper numbers of simple meters usually are 2, 3 and 4 basic pulses. Let us look at the image below to show you what I mean

Here we have an image of a three-four time signature which can be divided into a group of eight notes or sixteenth notes. The first subdivision is a subdivision of 2 eight notes for every one-quarter note. The last part of the image shows a subdivision of 4 sixteenth notes for every quarter note.

Let us look at another example.

The image above shows a three-two time signature. It means that there are three beats per measure but a half note receives one beat. A half note can be divided into two (2) quarter notes or four (4) eight notes.

The basic pulse of every simple meter is something that notes a dotted note.

Counting Method For Simple Meters

Counting a simple time signature for beginners. It is helpful to know how to count your meters. A good and effective way is to count aloud and clap the rhythm at the same time.

The value of doing such a method is that it transfers your counting to your brain until everything is just mental.

Although there are several systems out there on teaching you how to count simple meters, I would recommend the following.

Simply count and clap the basic pulses until you are comfortable doing it. Remember to keep the tempo steady.

This image is an example of a three-two time signature. Clap and count aloud until you are comfortable doing it.

Now, when you are presented with eight notes, you just count as presented in the image above. You use the word “and” in between the numbers of your count.

You can see in the example above the use of the word “and” in between the numbers to count in a three-two time signature using quarter notes.

When counting sixteenth notes, you can employ the use of the added letters e and a. This will help you count your time signature when using sixteenth notes.

Compound Time Signatures or Meters

In compound meter, each pulse is a dotted note, which is divided into groups of three parts – a compound subdivision.

The image above gives us an example of a six-eight time signature which is a compound time signature. A six-eight time signature is equal to 2 dotted quarter notes per measure.

Remember dotted notes? My discussion on Notes and Rests clearly explains what dotted notes are. Head over there if you need to.

Just a review, a dot before a note add half of the value of that note. Refer to the image above.

Note: In a compound meter, the basic pulses will be some kind of dotted notes.

In a 6/8 meter, there are two basic pulses, in a 9/8 meter there are three and a 12/8 meter has four basic pulses.

Duple, Triple and Quadruple Meters

Both the simple and compound meter will have two, three and four recurring pulses. A meter is considered duple if it has two basic pulses. A meter is called triple if it has three basic pulses, and a quadruple meter has four basic pulses.

Counting Method For Compound Time Signatures

Remember how we counted simple meters? The same applies to count compound meters. We use the same numbers except that the notation is different.

Let me show you an example.

The example above shows a compound meter of six-eight (6/8) and is subdivided into two basic pulses – 2 dotted quarter notes.

A 6/8 meter means there are six eighth notes in a measure. A dotted quarter note in a 6/8 meter is equal to three eight notes.

Asymmetrical Time Signatures or Meters

Asymmetrical means not equal or is not symmetric. These are meters that cannot be divided into two, three, or four primary pulses. The upper numbers of an asymmetrical meter are usually 5 or 7.

Here is an additional source for discovering time signature for beginners. Did you find this article on discovering time signature for beginners helpful?

[tqb_quiz id=’12760′]

ways how to judge a singing competition accurately

9 Ways How To Judge a Singing Competition Accurately

How many times have you watched a singing competition?

Have you ever guessed who the winner was?

Were you always surprised why the judges chose a different winner from the one you thought would win?

Here are 9 ways how to judge a singing competition accurately.

9 Ways How To Judge A Singing Competition Accurately

Above All, Sing In Tune

sing in tune

Let us face it. We all started somewhere. In this case, it’s your first time judging a particular singing competition. Yes, you are most likely scared at the thought of doing it. Don’t worry, remember these 9 ways how to judge a singing competition accurately.

Singing is like acting, but with music and especially on pitch. You convey a message using pitch and rhythm.

Singing should be and must be at all times in tune. That is one of the essential criteria for judging.

Remember, before you even start thinking about technique, character, and other stuff in singing.

Always prioritize intonation.

Do not even consider thinking of giving singers a good score just because of his or her gimmick on stage.

Make sure that they always sing on pitch. That is very crucial on how to judge a singing competition.

It takes practice and an excellent ear to check for pitch issues.

That is your top priority as a judge. Do not let a singer win if he or she cannot even hold a single note properly.


Understanding Vocal Quality

You should know that we all have a different facial bone structure. It affects the sound we project. So for every singer, the timbre or the quality of the sound is always different.
Vocal quality is affected by how a singer produces sound. Is the sound big and dark? Maybe it sounds thin and airy?


understanding voice quality

How do you score vocal quality?

Simple! Of all the contestants, the one with the most pleasing sound gets the biggest score.

The only problem with that is when you have judges who have different opinions on what is good or bad.

This scenario only happens when you hire judges who don’t know what they are doing.

A singer’s vocal quality is affected by his or her technique. Vocal placement is one of the most prominent factors that affect a singer’s voice quality.

Uniqueness Does Not Mean Quality

We all respect the opinion of every judge or individual. Respect does not mean you have to agree with the decision of the other judges. There were competitions in which I heard judges that they like a particular singer because of her or his unique sound.

Unique is a vague word. It can be many things. Be more specific with your judging criteria. Overall, you need to find the best sounding singer in the competition. That is the best kind of unique you want to see.

To see unique and good quality performances, you can visit and subscribe to Gensan Artists.

Voice Range

voice range

Never give a good score based on vocal range alone. What do I mean by that? Winning competitions is not only through belting. That should not be the case all the time on how to judge a singing competition.


Yes, it is awe-inspiring when a singer can reach high notes and show off his or her vocal range. However, you want to look for a singer who can maintain an impressive quality on all ranges of the voice.

First, the low range. Can you hear the singer well when they are in their lower range? Most singers would sound mumbling in this range. Good technical singers can be heard quite clearly, even at this range.

Second, the mid vocal range. This range is where singers are most relaxed. The problem with this range is that it makes the performance a little dull when used too often.

The third is the high range. When not correctly executed, this can be an annoying part of a singer’s performance. One should know the difference between belting and mixing.


Stage Presence And Performance

Don’t sing like a dead branch! That is what I always say to a contestant during a competition. You don’t want them standing on stage for the entire performance.


stage presence

Also, moving too much can be a distraction. If the contestant sings a ballad and dances on stage like crazy, then it’s inappropriate. The same is true if you do the opposite.

Stage presence starts even before entering the stage! The charisma, the aura that a singer emits matter – their confidence on stage is critical. Don’t confuse a shy person with being humble. In a competition, you need someone who can deliver and project the message to their audience.

They need to connect with their audience! I don’t like a contestant entering the stage and looking down or up. Contestants who never make eye contact with the audience will most likely lose in the competition unless they sound outstanding.

Judges are always looking for that edge a contestant has over the other performers.


Song Choice of the Contestant

song choice of the contestant

Another reason why contestants do not win competitions is their choice of songs. Each singer has a specific sound that matches a particular genre. As a result, certain songs match specific singers.


Yes, versatility is a good thing. Being able to perform different genres of music is an advantage.

Still, one should not be careless about choosing a song for a competition.

As a judge, you must be able to see if the singer’s voice and performance match the song.

That should be crucial and part of the 9 ways how to judge a singing competition accurately.

Diction and Enunciation

Enunciation is the act of pronouncing words, while diction is the style of enunciation in speaking or in singing.

Many singers choose a song in a different language. The most common choice would be an English song. If a contestant decides to sing an English song, then it is his or her obligation to enunciate the words well in the English language.

Singing a song with a language that you are not comfortable with will most likely get you eliminated in the competition. This aspect should be within your top 9 ways how to judge singing competition accurately.

How a Singer Uses A microphone

how a singer uses a microphone

A singer should be able to use the microphone on stage properly. Sometimes, the singers don’t get to be heard correctly because of the way how they use their microphones.

Some singers tend to cup the microphone instead of holding it properly. Others sing too close to the mic, making their voice sound too loud for the audience.

Just like a microphone in a recording studio, it is your best friend on stage. Learning how to maximize the use of a microphone is a huge advantage.

Here are 5 ways on how to use a microphone properly.

Audience Impact

audience impact

A Singing Competition is for the best and the talented, not the charismatic alone.

Audience impact is something most singers and even judges do not understand. It may be related to stage presence and performance, but it does not have much bearing on the overall score.

A singer may have many friends or family in the audience cheering for them. It should not confuse your judging when people are cheering for a particular singer.

Sometimes, it’s just their friends cheering them on and nothing more.

As a judge, you must not decide based on the cheering crowd alone.
If a singer has such charisma but fails to sing in tune, then that singer should not be winning competitions.

Competitions are for the best and the talented, not the charismatic alone.


It all boils down to your preference.

What others may find pleasing could be pretty annoying for you.

Still, the things mentioned above are standard practices for finding the best deserving contestant for a singing competition.

What other things you think should be included in this list of ways how to judge a singing competition?

Let me know in the comments.

accidentals in music

Intervals and Accidentals In Music Lesson 3

Accidentals in music – this article discusses the lesson on accidentals and intervals. You must learn previous topics before this discussion to better understand the materials in this article. You may read the topic about rest and note values or the fundamentals of music theory.

By the end of this discussion is a quiz to assess your understanding of the topic. I urge you to take the quiz and see how well you have understood everything that this article covers.

Understanding Accidentals in Music

Accidentals are symbols placed before a note to indicate the raising or lowering of a pitch. The use of the word accidentals started around the year 1651. I find it also a bit weird why they would call it accidentals when the change in pitch is deliberate.

  • Sharp – raises the note a half step
  • Flat – lowers the note a half step
  • Natural Sign – cancels the previous sharp or flat sign and returns to the natural, unaltered pitch
  • Double Sharp – raises the note a whole step or two half steps
  • Double Flat – lowers the note a whole step or two half steps

Here is an example of how accidentals are used.

Putting an accidental after the note is too late and is the wrong way of writing music. Placing accidentals before the note makes it easier to read the notation.

The effect of an accidental symbol stops at the measure where it appears. However, within the measure, this symbol affects the note in whichever octave.

Once the measure is passed, the accidental is no longer valid, returning the state of the notes in concurrence with the key signature.


Accidentals in music open up so many other topics and notions in music theory. Starting with intervals.

Interval is the relationship or distance between two tones or pitches. In western music, the half step is the smallest interval.

Always remember that the letter C can be found adjacent to two black keys. You can then identify other notes on the keyboard once you have identified where your letter C is.

Whole Tones and Semitones

A semitone or a half step is any two adjacent keys on the keyboard. Below is an illustration of how a staff notation is located in the keyboard of a piano.

A whole tone or whole step is made up of two semitones. On the keyboard, a whole tone is any two keys with one white or black key in between.

Note: It is important to note that between the adjacent degrees (i.e., semitones), there are no white or black keys. For example, the distance between C and D is not a semitone because there is a black key that separates the two keys.

Chromatic and Diatonic Semitones

A diatonic semitone is composed of two sounds following each other and not bearing the same name.

diatonic semitone
diatonic semitone

The image shown above is a diatonic semitone. Each measure shows two sounds following each but is not the same letter name.

A chromatic semitone is composed of two notes with the same letter name with one being altered by an accidental.

Enharmonic Equivalents

Enharmonic Equivalents are tones that have the same pitch but have different spelling (written differently).

Look at the image above on the first measure. You have two notes, a C sharp and a D flat. If you look at a keyboard, a C sharp and a D flat is found on the same key. Use the keyboard below for reference.

This concludes our topic for accidentals in music and intervals. The knowledge of interval will later lead us to the study of triads and harmonies.

Visit this website to see a more in-depth explanation of accidentals.

[tqb_quiz id=’12619′]
a clear way to explain notes and rests

A Clear Way To Explain Notes and Rests Lesson 2

A clear way to explain notes and rests

This article will explain notes and rests in music. If you haven’t read the article on the fundamentals of music theory, I strongly recommend that you read it first before continuing with this article.

This article discusses the concepts of notes and rests. Their functions and how they are used in music notation. So, let’s get right into these musical notes and rests.

Notes in Music

To explain notes and rests, we need to pick them apart. First let’s start with notes.

The notes you see on a staff have two main functions

  • Pitch – how high or low the sound of a note is.
  • Beat or Rhythm – how long or how short a note’s duration is.

Types of Notes

For someone who wants to learn how to read music notation, remembering the faces and names of these note symbols is very important.

Assuming that we are in a common time signature (I’ll explain in another article) the following holds true.

  • Whole Note – 4 counts or beats
  • Half Note – 2 counts or beats
  • Quarter Note – 1 count or beat
  • Eight note – 1/2 count or beat
  • Sixteenth note – 1/4 count or beat

Starting from a whole note which has 4 counts or beats, it would take two (2) half notes to create one whole note.

It would take two (2) quarter notes to create one (1) half note, and 4 quarter notes to make two half notes.

If we make a diagram base on the number of beats listed above, the structure would look something like this.

If you analyze the structure, every group of notes is a subdivision of 2 from it’s previous note with a bigger value. Look at the image below to see what I mean.

Every note with a smaller value is a subdivision of 2 from the previous note with a bigger value.

Parts of A Note and Beams

A note consists of three main parts – the note head, the stem and the flag. A whole note is only made up of a note head.

Parts of a note

To simplify our reading of note values or duration, we will use beams to connect the steams of a note.

Beams are used to avoid writing too many note flags. It also makes reading easier.

Quiz on About Note Values

[tqb_quiz id=’12530′]

Musical Rest and Their Values

Music is not all about sound, it also involves silence or rest. The use of rest makes music more interesting. You wouldn’t want to hear a singer sing without stopping. The singer does need to take a break every now and then.

Let’s find more of this clear way to explain notes and rests.

Types of Rests

Notes have their equivalent rests. These are the different types of rest.

  • Whole rest – 4 counts or beats
  • Half rest – 2 counts or beats
  • Quarter rest – 1 count or beat
  • Eight rest – 1/2 count or beat
  • Sixteenth rest – 1/4 count or beat

It takes two (2) half rests to equal the value of a whole rest.

It takes two (2) quarter rests to equal the value of a half rest. It also takes four (4) quarter rests to make 2 half rests.

Following the mathematical subdivision of rests, we are lead to this this diagram.

The diagram shows us that just like notes, rests are subdivided by two counts when we go lower into the picture. Unlike notes, rests don’t have stems and flags, so you can’t beam them together.

Dotted Notes and Rest

So far, we’ve covered the regular subdivisions of the value of notes and rests. There is another symbol that affects the value or duration of a note or a rest. It is the dot placed after a note or a rest.

A dot adds half of the value of a given note. Let us look at an example.

a dotted whole note

The image above is a dotted whole note. From our previous discussion, a whole note gives a value of 4 counts or beat. A dot adds have the value of the whole note. Half of 4 is 2.

Hence, the value of a dotted whole note is 6 counts.

Let’s look at another example.

a dotted half note

The image above shows a dotted half note. There are 2 counts to a half note. Adding a dot to half note means adding half of the value of a half note which is a quarter note or 1. So, a dotted half note is equal to 3 counts or beats.

Dots can also be added to rests. Here is an example.

a dotted quarter rest

We can see from the image above that a dotted quarter rest is equal to a quarter rest plus an eight rest. One (1) beat plus 1/2 beat is 1 and a half.

A second dot can be added

Yes, you can add another dot after the first dot. It means that we add half of the value of the first dot.

2 added dots to a note or rest

Quiz About Rests

[tqb_quiz id=’12549′]

For teachers, this is a clear way to explain notes and rests, here’s an additional source of information about this topic. If you find this article helpful, don’t forget to give it a like and leave a comment.

fundamentals of music theory

The Easiest Way To Learn The Fundamentals Of Music Theory 2020

Fundamentals of Music Theory

Many thinks that reading music is hard. In my experience, it’s not. It only takes a few minutes of your time to understand the basic concept of standard music notation. What takes time is the sight reading skills of an individual.

This article discusses the fundamental elements of music notation and ends with a quiz. I strongly recommend you take the quiz at the end of this article.

The Staff

Music is written on a staff (plural staves) which is five (5) horizontal lines on top of each other. These lines create four (4) spaces in between them.

Blank Staff
Blank Staff

These lines and spaces are numbered from the bottom up.

Remember this! – When things are being counted in music, staff lines, degrees of a scale, intervals and even the strings of a guitar, they are always counted from the bottom up.

Bar Lines, Double Bar Lines, and Measures

The staff can be divided into smaller sections for the purpose of making it easier to read. The lines that divide the staff into small sections is called Bar Lines.

There are two types of bar lines – single bar line and double bar line.

Think of bar lines as punctuation marks: you don’t hear them but you see them making it easier for you to read. The spaces or sections between bar lines are called measures. You can also call them bars. To avoid confusion, we can just call them measures.


Ledger Lines

Most notes are written inside the staff, but some notes go high above the staff or even below the staff. When this happens, you will see small lines drawn above or below the staff – these lines are called ledger lines.

Ledger lines make it easier for us to identify the notes that are above or below the staff.


Space Notes and Line Notes

The notes on a staff will either fall on a line or a space. Notes that have lines through them are called line notes while notes that are in between lines are called space notes.

Notes that are between ledger lines are also called space notes while those that have ledger lines drawn across them are also called line notes.

space notes
line notes

Remember, space and line notes alternate one after the other. After a line note is always a space note and after a space note is a line note.



Webster defines pitch as the property of a sound and especially a musical tone that is determined by the frequency of the waves producing it. Not really helpful for beginners who are learning the fundamentals of music theory.

What that means is that pitch is the highness or lowness of a sound or a note.

It’s very easy to identify pitch on the staff. If a pitch of a note is higher than another note, then it will be written higher on the staff. If the pitch of a note is lower than another note, then it will be written lower on the staff.



Clef is a french word which means key. Clefs are the symbols you see in the beginning of a staff. Clefs didn’t show up until around the mid 1500s.

In early music, a letter was written at the beginning of a plainchant. Around 1000 AD, someone thought of drawing a line from the letter all the way across the page. Then a guy called Guido De Arizzo added more lines and now we have four of them.

Overtime, the letter just became the symbol we now know of as clefs.

G clef or Treble Clef

The G clef or Treble clef is an ornate letter G. What that means is that it came from the letter G and overtime transformed into the G clef we now know of.

F clef or Bass Clef

The f clef or bass clef was derived from the letter F. The bass clef establishes the note F on the staff – on the 4th line. The dots are place below and above the 4th line indicating that it’s the letter F.

The Grand Staff

Together, the bass clef and the treble clef combined makes the grand staff.

Letter Names

Notes on the staff are named after the first seven letters of the alphabet.

Here is an image showing the letter names and the use of ledger lines.

How to identify letter names on the staff

There is a technique to help you read and remember the letter names on the staff much easier. Our goal in learning all of these symbols of the fundamentals of music theory is to be able to read the notes on the staff.

Notes on Lines and Spaces for the Treble or G clef

For the G staff (staff with a g clef) remember the words Every, Good, Boy, Does Fine and take only the first letters of it. The first line is E, the second line G, the third line B, the fourth line D and the 5th line F.

For spaces, just remember the letters of the word FACE. The first space is F, the second space is A, the third space is C, and the fourth space is E.

Notes on Lines and Spaces for the Bass or F Clef

For the F staff (staff with an f clef) remember the words Good, Boys, Deserve, Fudge, Always. The first line will be G, the second line B, the third line D, the fourth line F, and the fifth line A. As for notes on the spaces remember the words All Cars Eat Gas. The first space is A, the second space C, the third space E, and the fourth space G.

You can check my blog for other interesting contents. A good resource to follow-up our discussion about the fundamentals of music theory is in this link.

Did you find this article (fundamentals of music theory) helpful? How well did you do with the quiz? Let me know what you think by writing a comment below.

what music arrangers do

6 Interesting Things That Explains What Music Arrangers Do

Everyone loves to listen to music. We all have our favorite song, but the vast majority of listeners do not understand what music arrangers do.

Ever since I left employment and ventured into the world of freelancing, I’ve been having a hard time explaining to people what my day job is.

The conversation would go something like this.

Person: “What do you do for a living?”

Me: “Oh, I’m a music arranger and a producer.”

Person: (Raises his or her eyebrow) 

 “What on earth is that?”

Understanding What Music Arrangers Do

A musical arranger, simply put, is someone who enhances the musical ideas of a song. He reimagines everything from a musical perspective and adjusts the elements that shape the beauty of a song.

We can begin to understand what music arrangers do by taking a look at the following.

Setting The Music Format Of A Song

A music arranger can change the flow of a song as he sees fit. Today’s songs follow a particular format.

A common example would be:

Intro – Verse 1 – Refrain – Chorus – Verse 2 – Refrain 2 – Chorus 2 – Bridge – Final Chorus – Coda.

A music arranger improves the structure of a song. He can tell you to omit the intro and go straight to the chorus.He may tell you to do just one chorus, or make the chorus your intro.

He can actually juggle all the parts of a song as he sees fit. 

Hence, arranging.

Deciding On What Chord Progression To Use

Deciding what chords to use is also part of an arranger’s job. He determines the chord progression of your music.

Some songs work with a simple chord progression, while others have a more exciting sound.It’s the musical arranger who is in charge of determining this technical aspect of a song or music.

There are arrangers who prefer to keep it simple by using very minimal number of chords.

Then there are those who likes to explore the various interesting sounds of chord progressions.

Use of Instruments and the flow of the music

Your favorite song on the radio may only have one instrument. It can also be a full band or an entire symphonic orchestra.

A good example is the hit song “More Than Words” by Extreme.

The guitar is doing all the orchestration of the song. 

It is also worth noticing that the chord progression of the guitar in the song “More Than Words” is absolutely stunning.

A musical arrangement can also have a full band performance.

A good example would be songs from bands like Journey, Guns and Roses, Air Supply and the list goes on and on.

Changing the melody, rhythm, and tempo

In most cases, arrangers do not change the tune of a song or a composition. 

Arrangers have tremendous freedom of re-imagining a given melody or tune of a song. They can alter a specific part of the melody if they feel the need to.

An arranger may speed up or slow down the tempo and change portions of the rhythm of a music. This is an integral part of what music arrangers do.

Enhancing The Vocals and Adding Harmonies

The single most crucial element of a song is the lead vocals. The vocals convey the message of the song.

An arranger can alter the parts of a vocal performance.

He may want to ask the vocalist to belt out a specific line in the chorus or sing softly at the coda.

The addition of vocal harmonies is also dependent upon the arranger. Vocal harmonies take many forms.

A duet, trio, quartet or an entire choir ensemble.

Making the vocal line attractive to the listener is an arranger’s job.

Finding The Right Key Signature, Styles, and Genre

A singer should always sing in a comfortable range and within the limits of his or her vocal prowess. 

That’s where an arranger is very helpful – determining the right key signature for a singer.

An arranger is especially helpful if a singer is competing. The arranger matches the music to the singer’s vocal range and singing style.

I wrote an article discussing how singers should prepare for a competition. Go visit the 8 Essential Steps To Prepare For A Singing Competition.

As I mentioned before, a song can start out as a lullaby and end up being a rock material.

Any song can have any genre or style of singing all thanks to your musical arranger.

The Music Arranger

Everything you’ve read so far is the technical aspect of an arranger’s job.

Think of your musical arranger as your house interior designer. An interior designer’s job is to make designs look pleasing to the eyes. Your musical arranger’s job is to make a song pleasing to the ears.

You can also learn more about the role of a music arranger from this article.

Amazing Acappella Version Kilometro Sarah Geronimo 2019

General Santos Philippines – talents from the city of Champions posted their original a cappella arrangement of Kilometro Sarah Geronimo. It is truly an amazing Acappella version of Sarah G’s Kilometro!

Last November 27, 2014, Philippine’s Princess of Popular Music released her song Kilometro in her album perfectly imperfect. Her album won the coveted award – ALBUM OF THE YEAR for the 28th Awit Awards held last December 9, 2015.

Amazing Acappella Version Kilometro Sarah Geronimo

The group’s name is Southern Rhapsodies. All of them are members of the General Santos Youth Choir. They are mostly seen performing for city events and festivals. Also worth mentioning, three of their members are winners and finalists of the General Santos City Pop Idol Program.

The man behind this arrangement is Fernan Globen Talonding a.k.a Bem of Bem Orchestrator Productions. He is a musical arranger from the southern part of the Philippines.

Support your local musicians because our top stars in radio and tv started as a local musician. Share this truly amazing acappella version of Sarah G’s Kilometro.