/songwriting-and-ai-music

name: songwriting-and-ai-music
description: "Songwriting craft and Suno AI music prompts."
tags: [songwriting, music, suno, parody, lyrics, creative]
triggers:
  - writing a song
  - song lyrics
  - music prompt
  - suno prompt
  - parody song
  - adapting a song
  - AI music generation
origin: aggregated
source_license: MIT
source_repo: NousResearch/hermes-agent
source_url: https://github.com/NousResearch/hermes-agent/tree/main/skills/creative/songwriting-and-ai-music
language: en

Songwriting & AI Music Generation

Everything here is a GUIDELINE, not a rule. Art breaks rules on purpose. Use what serves the song. Ignore what doesn't.

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1. Song Structure (Pick One or Invent Your Own)

Common skeletons — mix, modify, or throw out as needed:

ABABCB  Verse/Chorus/Verse/Chorus/Bridge/Chorus    (most pop/rock)
AABA    Verse/Verse/Bridge/Verse (refrain-based)    (jazz standards, ballads)
ABAB    Verse/Chorus alternating                    (simple, direct)
AAA     Verse/Verse/Verse (strophic, no chorus)     (folk, storytelling)

The six building blocks:

• Intro — set the mood, pull the listener in
• Verse — the story, the details, the world-building
• Pre-Chorus — optional tension ramp before the payoff
• Chorus — the emotional core, the part people remember
• Bridge — a detour, a shift in perspective or key
• Outro — the farewell, can echo or subvert the rest

You don't need all of these. Some great songs are just one section that evolves. Structure serves the emotion, not the other way around.

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2. Rhyme, Meter, and Sound

RHYME TYPES (from tight to loose):

• Perfect: lean/mean
• Family: crate/braid
• Assonance: had/glass (same vowels, different endings)
• Consonance: scene/when (different vowels, similar endings)
• Near/slant: enough to suggest connection without locking it down

Mix them. All perfect rhymes can sound like a nursery rhyme. All slant rhymes can sound lazy. The blend is where it lives.

INTERNAL RHYME: Rhyming within a line, not just at the ends. "We pruned the lies from bleeding trees / Distilled the storm from entropy" — "lies/flies," "trees/entropy" create internal echoes.

METER: The rhythm of stressed vs unstressed syllables.

• Matching syllable counts between parallel lines helps singability
• The STRESSED syllables matter more than total count
• Say it out loud. If you stumble, the meter needs work.
• Intentionally breaking meter can create emphasis or surprise

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3. Emotional Arc and Dynamics

Think of a song as a journey, not a flat road.

ENERGY MAPPING (rough idea, not prescription): Intro: 2-3 | Verse: 5-6 | Pre-Chorus: 7 Chorus: 8-9 | Bridge: varies | Final Chorus: 9-10

The most powerful dynamic trick: CONTRAST.

• Whisper before a scream hits harder than just screaming
• Sparse before dense. Slow before fast. Low before high.
• The drop only works because of the buildup
• Silence is an instrument

"Whisper to roar to whisper" — start intimate, build to full power, strip back to vulnerability. Works for ballads, epics, anthems.

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4. Writing Lyrics That Work

SHOW, DON'T TELL (usually):

• "I was sad" = flat
• "Your hoodie's still on the hook by the door" = alive
• But sometimes "I give my life" said plainly IS the power

THE HOOK:

• The line people remember, hum, repeat
• Usually the title or core phrase
• Works best when melody + lyric + emotion all align
• Place it where it lands hardest (often first/last line of chorus)

PROSODY — lyrics and music supporting each other:

• Stable feelings (resolution, peace) pair with settled melodies,

perfect rhymes, resolved chords

• Unstable feelings (longing, doubt) pair with wandering melodies,

near-rhymes, unresolved chords

• Verse melody typically sits lower, chorus goes higher
• But flip this if it serves the song

AVOID (unless you're doing it on purpose):

• Cliches on autopilot ("heart of gold" without earning it)
• Forcing word order to hit a rhyme ("Yoda-speak")
• Same energy in every section (flat dynamics)
• Treating your first draft as sacred — revision is creation

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5. Parody and Adaptation

When rewriting an existing song with new lyrics:

THE SKELETON: Map the original's structure first.

• Count syllables per line
• Mark the rhyme scheme (ABAB, AABB, etc.)
• Identify which syllables are STRESSED
• Note where held/sustained notes fall

FITTING NEW WORDS:

• Match stressed syllables to the same beats as the original
• Total syllable count can flex by 1-2 unstressed syllables
• On long held notes, try to match the VOWEL SOUND of the original

(if original holds "LOOOVE" with an "oo" vowel, "FOOOD" fits better than "LIFE")

• Monosyllabic swaps in key spots keep rhythm intact

(Crime -> Code, Snake -> Noose)

• Sing your new words over the original — if you stumble, revise

CONCEPT:

• Pick a concept strong enough to sustain the whole song
• Start from the title/hook and build outward
• Generate lots of raw material (puns, phrases, images) FIRST,

then fit the best ones into the structure

• If you need a specific line somewhere, reverse-engineer the

rhyme scheme backward to set it up

KEEP SOME ORIGINALS: Leaving a few original lines or structures intact adds recognizability and lets the audience feel the connection.

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6. Suno AI Prompt Engineering

Style/Genre Description Field

FORMULA (adapt as needed): Genre + Mood + Era + Instruments + Vocal Style + Production + Dynamics

BAD:  "sad rock song"
GOOD: "Cinematic orchestral spy thriller, 1960s Cold War era, smoky
       sultry female vocalist, big band jazz, brass section with
       trumpets and french horns, sweeping strings, minor key,
       vintage analog warmth"

DESCRIBE THE JOURNEY, not just the genre:

"Begins as a haunting whisper over sparse piano. Gradually layers
 in muted brass. Builds through the chorus with full orchestra.
 Second verse erupts with raw belting intensity. Outro strips back
 to a lone piano and a fragile whispe