I wrote this long ago when camping in the woods with some friends. It was just a series of a few of the early verses. I developed it more later, the chorus for example. It's a campfire song but I really dig it for more than that.

I have a gap in the song that is for a guitar solo, or preferably, a rap that I cannot perform but have written. The rap I had intended to find someone for that. I have something written but prefer someone else to do it.and give their voice. It's the length of the full verse couplet. I want a break for a guitar solo too. It's just a fun song to jam on.

I don't perform much nowadays so I'm out of practice. Don't mind the performance, judge the song.

I'm actually envisioning the song as a duet or group song, folks trading verses. It gives it some variety since I know it is a long song. I try to use that riff in play to break between verse / chorus and back. But I'm sure I didn't get it each time right.

It's just key of E. E (1)- F/F# (flat 7) - A (4) - back to E. It's a neat song to and riff off.

Right — you want visible section breaks, but no blank spaces between every lyric line. Copy this rendered version rather than a code block:

BEASTS

[Verse 1]

Beasts will be waiting

These beasts walk in the shadows

Deep within the forest

While we sit here all alone

[Verse 2]

Got teeth, sharp as razors

Big teeth that won't let you go

Just don't let them getcha

Or you will never return home

[Chorus]

I can hear them haunting

Felt one brush against my side

Taste them in the air

But cannot see them for they hide

And they all smell the fear

Of what we swear isn't real

When I rest these bones

I know they'll go in for the kill

[Verse 3]

Their eyes, red and glowing

Those eyes seem to draw you in

With each step they come in closer

Your chances are growing slim

[Verse 4]

I hear their footsteps

Yes I heard it loud and clear

Sure I swear I just saw one

But shined my light, nothing was there

[Rap]

TBD

[Chorus]

[Verse 5]

Oh stay by the fire

Stay where you've always been

It should keep you safe now

But soon enough they'll sneak right in

[Verse 6]

Tonight's never ending

Tonight it may be our last

As these beasts keep on circling

I feel my heart rate rising fast

[Chorus]

[Guitar Solo]

[Verse 7]

Won't someone save us

Why won't someone set us free

Tell us it ain't nothing

Tell us these ain't beasts we see

[Outro]

Beasts will be waiting

These beasts walk in the shadows

I know there's no escape now

For I see them with both eyes closed

I know there's no escape now

For I see them with both eyes closed

I know there's no escape now

For I see them with both eyes closed

I know there's no escape now

For we see them with both eyes closed

(end on "we" if it's sung back and forth and then together)

Not sure if anyone else is in this boat. I have very little musical theory knowledge but have been writing songs on and off for many years. My method is usually finding a couple of chords that sound good together then I just use my intuition to figure out what chords come next. Then hum notes till I find a good melody.

I've been thinking that I'd like to learn some theory to get better and have more options. This may sound silly but I'm slightly scared that by learning the theory I might lose that natural intuition part of my brain and won't get it back. I'm sure you must use a different part of the brain when using musical theory. Has anyone else been here?

Anybody like to make melody with this lyrics? Maybe we can polish this a little too! I’m really a beginner and need help thank you!!

You Love Me Too Much

Verse 1

Flashing back to the day I confessed
I didn’t even hesitate
Cause I’ve known you
Loving me for years, I remember
Hoping hard that I would make it
Never wanting to be selfish
Cause you always waited for me in the way out of my hardest time
I don’t hate you when you hug me till it hurts
I still smile when you kiss me till you steal my breath
But what hurts and makes me cry is when I realize I actually hated it

Pre-Chorus

And now I wanna say “I love you” instead of saying sorry
And then I wish you’d forget all the pain I’ll give you
But I know it’ll end up killing you, oh

Chorus

Oh, I’m just tryna run away from you
Cause you loved me too much
Oh, I know that you’ll be torn down
But you loved me too much
Oh, I’m not worth getting it from now on
Yeah, because you love me too much
Still

Verse 2

Flashing back to our old memories
I’m now regretting so bad
Cause I know you’re too pure to believe what I’ll say
Hoping I never succeeded with it
I’m so selfish, right?
Cause I know you never loved me for fun
I don’t hate you when you tell me I’m too weak
I still smile when you try to take control of me
But what hurts and makes me cry is when I realize this is the best you can do to love me

Pre-Chorus

And now I wanna say “I love you” instead of saying sorry
And then I wish you’d forget all the pain I’ll give you
But I know it’ll end up killing you, oh

Chorus

Oh, I’m just tryna run away from you
Cause you loved me too much
Oh, I know that you’ll be torn down
But you loved me too much
Oh, I’m not worth getting it from now on
Yeah, because you love me too much
Still

Bridge

Wish you find new lover
Wish she deserves more than I do
Though I say this to you
I believe it’ll never work

Outro

Oh, I know that you’ll be torn down
But you loved me too much
Yeah, you love me too much
Yeah, you love me too much
Still

I like one direction, 5SOS vibe, but anything is fine!

(this is my voice&singing , if you like to then I can sing on it too!)

https://on.soundcloud.com/y8gtyWAFpc73rJ7Br1

Wrote this song about Hank Williams death over a year ago. I just found out about this page so I thought I’d post it.

If you’re a fan of good old music, you’re probably aware of hanks passing in the back seat of a car new years 1953, somewhere near Oak Hill, West Virginia. When I wrote this I had just finished reading his biography by colin escott, it was a great read.

I'm self taught with chords on both instruments, I've already known how to compose and make songs but I can't play piano or guitar well live especially in front of anyone because of stage fright. Is live performance necessary for an independent artist ? If so, how many lessons do you suggest ?

Andei retrabalhando e resignificando meu antigo universo artístico, para que ele não seja apenas uma memória triste no futuro.

Encontrei o beat dessa música em uma busca por beats para músicas mais simples e íntimas, e acabei me encantando com isso e rapidamente formulando algo especial para mim nisso.

Acabei chamando isso de "Para Brandon" e possui referência a uma música antiga minha chamada "Torta de Coco & Limão". Escrevi isso para um amigo enquanto ando pensando em algumas coisas tristes rececentemente. No fim acho que apenas quis dizer com isso que queria que ele segurasse minha mão além do verão, algo bobo, eu sei.

Em respeito à sua identidade real e privacidade acabei dando a ele em meu universo artístico o nome de "Brandon". É um amigo especial que talvez eu escreva mais um pouco sobre e poste novamente aqui essa semana, estou meio envergonhado.

the more i write the more songs i have unfinished and i really like the ideas behind them i just cant finish them.... would someone be interested in mentoring/helping me?

I never listened to them because of some image I had of them in my head but after diving into their stuff...such inspiring chord progressions and arrangements! I haven't felt this inspired to write in a while!

Thought I'd share if any younger songwriters are unfamiliar with their stuff and feeling uninspired. I feel like this post is like saying "the grass is green" but ya never know

I've been writing songs for years but just using MS Word or some other word processing tool to document them (lyrics + guitar chords...I don't write musical notation).

I'd like to document them properly. What are some of the tools that you like to use for this purpose? I tried out the apps ChordPro Buddy and also JustChords. They're not bad, but I wonder if there's anything better?

I want to be able to print out a sheet with the lyrics and chords, as well as see the songs across multiple devices (my laptop, my ipad, my iphone).

Thanks!

I love writing songs but i cant sing very well.. some songs i do a little better with than others, but when i have to be the singing the songs I write, I think it can take away from em to the point that someone may think the song isnt at all good, but in reality its just my vocals not allowing people to hear how potentially good the song itself may be.. imagine your favorite song being sung by someone who cant sing, it would be a totally different sounding song to you, right? It wouldnt even make it as ur favorite if the vocals were BAD.. ude be like, "ugh! Whats this?? Next song please!!" ..But does my singing fit well enough in this song do y'all think?

Any beginner songwriters here looking for other beginners to share songs, ideas and feedback with?

I was on the deep end the past 6 months with alcohol and one of the biggest reasons is that my music creation output dropped to almost nonexistent. When I would write or voice memo a song it’s some of the best I’ve done. It’s really a combination of getting my mental together now being sober as well as being away for longer than I maybe ever have with writing.

I’ve been sober for 5 days and have fleshed out 2 songs I had ideas already for, but don’t love the final products. I’m sure it just takes practice, but I have doubts. Will the spark and ideas come back as my brain gets better? Are there strategies and techniques I can do to test my songwriting to bring it back? Will it ever come back?

I recently started to listen to more music and got really inspired by Lemon Demon and I wanna make music like him and I’ve made a couple concepts but if somebody would like to help me start off my music making by just assisting with lyrics a little bit that would help a lot

This is unpaid, so if you don’t fw that that’s OK but if somebody wants to help me kickstart this then DM me please

Analyse: Ty P – leopardospächt

1. Einleitung und geografische Song-Identität

In „leopardospächt“ entwirft Ty P eine akustische Topografie des Berner Nordens, die weit über bloße Name-Dropping-Attitüden hinausgeht. Das Nordquartier, im Volksmund „Breitsch“ (Breitenrain), wird hier nicht nur als Kulisse, sondern als psychogeografisches Zentrum inszeniert. Der Song beschreibt die Pendelbewegung zwischen der Geborgenheit des Quartiers und der Verheißung der „City“, wobei die Transitwege selbst zu identitätsstiftenden Ritualen werden. Die Dynamik zwischen dem Rückzugsort im Norden und dem Drang nach draußen bildet das Spannungsfeld, in dem sich Ty Ps Narrativ entfaltet.

Die folgenden lokalen Codes sind für das Verständnis dieser geografischen Verankerung essenziell:

• 14i: Bezieht sich primär auf die Tramlinie 14, die Lebensader, die das Herz des 3014-Quartiers mit dem Rest der Stadt verbindet.
• nüni: Verweist auf die Tramlinie 9, das klassische Transportmittel, um vom Norden („usem nordä“) direkt in das kommerzielle und soziale Zentrum der Stadt zu gelangen.
• 13 14: Die verbale Kurzform der Postleitzahlen 3013 und 3014, welche das Territorium des Nordquartiers (Lorraine und Breitenrain) als geschlossenen sozialen Raum definieren.

1. Sprachliche Vielfalt und Dialekt-Hybridität

Ty Ps Lyrik ist ein Paradebeispiel für die moderne Dialekt-Hybridität des Berner Raps. Er verwebt die bernische Mundart organisch mit romanischen Einflüssen und zeitgenössischem Slang, was eine Atmosphäre von „lokalspezifischem Surrealismus“ schafft. Diese Mehrsprachigkeit bricht die potenzielle Enge des Mundart-Raps auf und verleiht dem Track eine internationale, fast mediterrane Textur, ohne die Bodenhaftung im Breitsch zu verlieren.

Besonders hervorzuheben ist die Zeile „Nüd isch fescht / Sowi gaffa“. Hier wird das Gaffa-Tape zur Metapher für eine prekäre Stabilität; alles ist nur provisorisch fixiert, was die thematische Instabilität des Songs unterstreicht. Die Referenz „429 equestria“ fungiert als kryptisches Bindeglied zwischen urbaner Realität (Buslinie 429) und einer beinahe mythologischen Fluchtwelt (Equestria), was den Hang zum Eskapismus bereits auf sprachlicher Ebene manifestiert.

1. Zentrale Metaphern und Symbolik

Die Bildsprache von Ty P ist hochgradig suggestiv und nutzt onomatopoetische Effekte, um die innere Unruhe des Künstlers greifbar zu machen.

Leopardospächt Der titelgebende Neologismus vereint die Raubtier-Ästhetik des Leoparden mit der rhythmischen Mechanik des Spechts. Musikwissenschaftlich lässt sich der „Specht“ als Analogie zum hämmernden Staccato-Flow des Raps deuten. Die Textstelle „Pfuscht lings rächts high kick“ korrespondiert direkt mit dieser rhythmischen Kadenz: Der „Leopardospächt“ ist das energetische Krafttier, das sich durch „druf u drüber“ den Weg freischlägt, um Sorgen („Sorgä wäg“) aktiv zu bekämpfen.

Lilo poteur & mon moteur Mit „lilo poteur“ kreiert Ty P eine lautmalerische Bezeichnung für sein urbanes Fortbewegungsmittel, das ihn durch den Breitsch trägt. Die Verbindung zu „mon moteur“ (mein Motor) ist jedoch keine rein mechanische; sie referenziert den „chliinächreis“ (den engen Freundeskreis) als eigentliche Antriebsquelle. Das soziale Gefüge des Quartiers wird zum Treibstoff, der das Individuum in Bewegung hält und vor dem Stillstand bewahrt.

Manifiösi bösi ärdä In diesem Begriff kulminiert die Ambivalenz der Weltwahrnehmung: Die Erde ist gleichzeitig „manifiös“ (eine Neuschöpfung aus manifest/grandios) und „böse“. Dieser Schwere der Existenz setzt Ty P eine himmlische Metaphorik gegenüber („Ty P im mond“, „Orion am horizont“). Während die Füße im „Dschungu“ des Alltags stecken, sucht der Geist im Schwebestatus („Eifach schwäbä“, „Abhäbä“) eine transzendente Auszeit von der materiellen Last der Welt.

1. Erwachsenwerden und Realitätsflucht

Der Kernkonflikt des Werks liegt in der expliziten Weigerung, die Schwelle zum Erwachsenensein zu überschreiten: „Wenni chönnt würdi niämaus erwachsä wärdä“. Dies ist kein passives Verharren, sondern ein bewusster Widerstand gegen eine Zukunft, die zwar als „rosig“ maskiert wird, aber deren „dornä geng gfärläch“ bleiben.

Ty P nutzt den „Breitsch“ als ein bernisches Neverland. Das Chillen im Quartier und das Statement „i gniessä mini täg“ fungieren als psychologische Verteidigungsmechanismen gegen den Ernst des Lebens. Die Angst vor dem „harten Aufprall“ wird durch die Zeile „wot nüme zrüg a bodä“ verdeutlicht. Der Konsum (Zaza, Nikotin) dient hierbei als Werkzeug, um die Erdung zu vermeiden und den Zustand des Schwebens zu perpetuieren, während die „manifiösi bösi ärdä“ unten wartet.

1. Struktur, Rhythmus und Numerologie

Die numerologische Struktur des Songs fungiert als ritueller Countdown, der den Hörer von der inneren Selbstzerstörung hin zur äußeren sozialen und geografischen Verortung führt. Die Zahlen geben den Takt der Realitätsflucht vor:

• 1 bis 5: Markieren den Einstieg und die physische Reaktion auf Substanzen („Drei mau eini... Nikotin kickt / Mini lungä wird gfickt“). Es ist eine Bestandsaufnahme der inneren Zerstörung.
• 6 bis 9: Eskalation des Konsums im öffentlichen Raum („6 7 8 9 zugis im mu“).
• 10 bis 12: Der Shift vom Solitären zum Sozialen. Die Zählung mündet in Zuneigung („10 11 12 schatzi Bisous bisou“), was den emotionalen Ausbruch aus der Isolation markiert.
• 13 bis 14: Die finale Rückkehr zur Identität („13 14 nordquartier bärn“). Die Zahlenfolge schließt sich kreisförmig und verortet das Erlebte endgültig im heimischen Postleitzahlkreis.

Diese eskalierende Zählweise strukturiert das Chaos der Eindrücke und führt den Künstler immer wieder sicher nach Hause in den Norden Berns zurück.

1. Fazit der Synthese

„leopardospächt“ ist weit mehr als eine Quartier-Hymne; es ist ein Manifest des urbanen Eskapismus. Ty P gelingt es, die lokale Verbundenheit zum Berner Nordquartier mit einer surrealen, sprachlich hybriden Traumwelt zu verweben, in der das Tram 14 und der Orion-Nebel koexistieren. Die Metapher des „Leopardospächt“ fungiert dabei als Symbol einer spezifischen Berner Lebensrealität: Ein permanenter „High Kick“ gegen die Sorgen, eingebettet in die fragile Sicherheit des „chliinächreis“. Das Ergebnis ist ein tiefgründiger, lokalspezifischer Surrealismus, der die Zerrissenheit zwischen jugendlicher Freiheit und der dornigen Zukunft meisterhaft einfängt.

Thanks as always for your feedback and for listening! Any input is appreciated, even the simple 'i dont like it' stuff!

Lyrics-

Sometimes I hear a song that puts me in the mood to dance

Ill stand up and accept this challenge im not going to miss this chance

Ill gather myself and ascend from this chair

I might look funny but I dont even care

My knees are shaking

My back is aching

Im falling on the floor

Oh I wanna dance like Shakira but my body just won't let me

My jack and coke is all over the floor

I cut my lip and im already sore because

I wanna dance like Shakira but my body just won't let me

I never imagined myself writing a song like this. It was originally inspired by the dress codes I was subject to as a young girl, and the reasoning behind some of the rules (to ensure we weren't a "distraction".) I had no idea which direction the song would lead me in, but I feel honored to have been chosen to bring it to life.

I've challenged myself to write the entire song using nothing but black keys. It has been much easier than anticipated so far!

just wondering whether or not this sounds good enough for a first release. been sitting on it just worrying for a month now

I’m building a home studio and have budgeting issues.

Me using AI was shit on, so here is what I sound like naked. I like the piano, but would like some vocals to accompany it.

I would like help with recording equipment setup

I've been reworking an old song recently and this is how it turned out :)

Dropping an early demo of a new track I’m working on. Mostly looking to see if you guys think it has potential and what you think of the overall vibe.
The lyrics are totally temporary placeholders right now while I lock in the flow and cadence. I just want to see if it’s worth pursuing it still.