SUNO로 만든 곡이 별로라면 100% 작사 문제입니다 [미친감성] 미디 작곡

Summary

The presenter argues that AI-generated songs can feel disappointing not necessarily because their melodies or production are weak, but because their lyrics may lack effective structure. The central lesson is to analyze lyric writing through patterns in syllable or character counts, rather than relying only on instinct.

The presenter says they have released more than 130 songs and written most of them. Studying lyric-length patterns, they explain, helped compensate for weaknesses in spelling and formal writing. They compare several songs to show how these patterns can shape a listener’s sense of repetition, contrast, and momentum.

Main Ideas and Examples

Avoid making every lyric line a similar length

In the presenter’s 2009 song “Yesterday,” the verse and chorus lines have relatively similar counts and repeat comparable patterns. The presenter suggests this can make a song feel predictable or monotonous, even if its melody is good.

Use contrasting patterns across sections

The presenter contrasts “Yesterday” with M.C the Max’s “That Man.” In the latter, lyric lengths vary more across sections. The presenter labels repeated or different lengths with letters—such as A, B, C, and D—to make the patterns easier to see. They argue that this variety helps the song feel more dynamic and engaging.

Consider the listener’s first impression

Listeners may not consciously count syllables, but they can sense patterns. The opening of a verse establishes an impression, and the chorus can create impact by changing the lyric lengths and melodic shape. A sudden shift from longer lines to very short ones can create a rise-and-fall effect, like a roller coaster.

Vary repeated melodic phrases

Repetition can make a song memorable, but repeating the exact same lyric-length pattern each time may become dull. In the example “Stay,” the presenter describes keeping some repetition while changing the line lengths on a later pass. This preserves the recognizable melody while adding interest.

Arrange lyric density throughout the song

The presenter compares songwriting to a multi-course meal: individual parts may work well on their own, but their order matters. They recommend considering “spreading” versus “solid” lyrics—roughly, how open or dense the words feel—and arranging them by section:

• Verse: More open or “spreading” lyrics
• Pre-chorus: Somewhat more concentrated lyrics
• Chorus: More compact or “solid” lyrics, to make the hook feel focused and impactful

Practical Method

1. Count the syllables or written characters in each lyric line.
2. Compare the counts within the verse, pre-chorus, and chorus.
3. Mark lines with similar counts using the same letter, and lines with different counts using different letters.
4. Look for patterns that repeat too uniformly across sections.
5. Create deliberate contrast—for example, by shifting from longer lines to shorter ones, or by changing the counts when a melodic phrase repeats.
6. Consider how lyric lengths affect the listener’s experience, from the first verse through the chorus and later repetitions.

The presenter describes these patterns as a useful tool, not a guarantee of a hit. Effective lyrics also depend on genre, density, and how strongly the words and melody communicate the song’s hook.

The presenter closes by saying that lyric patterns can be learned and applied quickly, while mastering melody and sound may take longer. They also promote a songwriting class, saying that students have improved after learning these techniques.

Speakers and Sources Featured

• 미친감성 (Michin Gamseong): The sole presenter and narrator.
• 머무르 and “꿈꾸던 어른이 되었나요”: Referenced as an AI-music example. The presenter says they heard about the lyric-writing challenge directly from 머무르.
• Hwan (Fly to the Sky) and Song Ji-eun (Secret): Mentioned as the singers of the presenter’s 2009 song “Yesterday.”
• M.C the Max and “그 남자” (“That Man”): Discussed as a successful song whose lyric-length contrasts illustrate the presenter’s method.
• “Stay”: Used as another lyric-structure example; the subtitles do not identify its artist.