Some writers make the mistake of using a pre-chorus purely as a way of linking the last line of the verse and the first line of the chorus. A pre-chorus is optional, of course, but if you’re going to use this device, you have to make sure it’s much more than just a short melodic bridge between the verse and the main chorus.
Although a pre-chorus is usually a two or four-line section that is rarely more than four bars long, it should be used to create a powerful melodic tension at the end of the verse that is only resolved when the chorus kicks in.
Like the bridge section later in the song, the pre-chorus melody should be distinctive and different from the preceding lines of the verse. It is meant to provide a musical ladder that enables the lower notes of the verse melody to climb up to the higher and more powerful pitches used in the all-important chorus and hook. The pre-chorus melody should be the same every time, although the lyrics may change as the story builds.
Hit songwriters use this technique to add a burst of extra energy. It can increase excitement and tension, and create a feeling of anticipation before propelling the listener into the chorus.
That’s why the pre-chorus is also referred to as a ‘build’, ‘lift’, ‘climb’, ‘set up’, ‘channel’ or ‘pre-hook’. Each of these terms accurately describes its important role as a means of building momentum and drawing the listener’s attention to the start of the chorus.
If you analyze the pre-chorus section of some of today’s biggest hits, you’ll find it often sounds like you’ve already reached the chorus—then the real chorus suddenly bursts in and hits you between the eyes. The tension and subsequent sense of release that this creates helps to make the hook even more impactful.
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