Best examples of transitioning from verse to chorus in songwriting (and how to write your own)

Real-world examples of transitioning from verse to chorus in songwriting

Let’s start straight with the fun part: real examples of transitioning from verse to chorus in songwriting that you probably know by heart. Pay attention to what changes right before the chorus: melody, rhythm, harmony, lyrics, or energy.

1. Building tension with a pre-chorus: “Blinding Lights” – The Weeknd (2019)

If you want a textbook example of transitioning from verse to chorus in songwriting using a pre-chorus, listen to “Blinding Lights.”

• Verse: The melody is relatively contained and rhythmic, sitting in a comfortable range. The groove is steady, almost hypnotic.
• Pre-chorus: Suddenly, the chords feel more urgent, the melody climbs, and the lyrics hint at emotional stakes: “I said, ooh, I’m blinded by the lights…” You can feel the song leaning forward.
• Transition move: The pre-chorus acts like a ramp. The last line is held longer, the melody rises, and there’s a tiny rhythmic pause before the chorus drops.

This is one of the best examples of using a rising melody and slight rhythmic break to make the chorus feel like a release instead of just “the next section.”

2. Drum fill into a bigger chorus: “Smells Like Teen Spirit” – Nirvana (1991)

Rock has countless examples of transitioning from verse to chorus in songwriting using drums. “Smells Like Teen Spirit” is a classic.

• Verse: The guitars pull back, the vocal is almost muttered, and the drums are tight and driving.
• Pre-chorus (“Hello, hello, hello…”): The energy starts to build; the vocal gets more intense, and the harmony gets thicker.
• Transition move: Right before the chorus, there’s a short, explosive drum fill. The guitars slam back in at full power, and the chorus melody opens up.

If your song feels like it “falls” into the chorus instead of exploding into it, study this kind of drum-led transition. Even in pop and indie, a tiny fill or rhythmic switch can signal, “Here comes the big part.”

3. Lyric pivot and hook setup: “Anti‑Hero” – Taylor Swift (2022)

In newer pop, some of the best examples of transitioning from verse to chorus in songwriting rely heavily on lyrics.

In “Anti‑Hero”:

• Verse: Taylor sets up the emotional situation with conversational, detailed lines.
• Pre-chorus: The lyrics shift toward self-reflection and build tension: “I’ll stare directly at the sun but never in the mirror…”
• Transition move: The very last line of the pre-chorus lands right on the emotional idea that becomes the chorus hook: “It’s me, hi, I’m the problem, it’s me.”

The hook is foreshadowed in the pre-chorus, so when the chorus arrives, it feels inevitable. This is a powerful example of transitioning from verse to chorus in songwriting by using a lyrical “zoom-in” on the core idea.

4. Harmonic lift into the chorus: “Someone Like You” – Adele (2011)

Ballads often give clear harmonic examples of transitioning from verse to chorus in songwriting.

• Verse: The chords move steadily, supporting a storytelling vocal.
• Pre-chorus: The harmony adds tension; it feels like the floor is shifting slightly under the melody.
• Transition move: Right as the chorus hits, the chord progression opens up and resolves in a way that feels both new and deeply satisfying. The melody also jumps to a higher range.

If your chorus doesn’t feel bigger than your verse, experiment with:

• Starting the chorus on a different chord than the verse
• Moving the melody up a third or a fifth
• Holding notes longer in the chorus than in the verse

This harmonic and melodic lift is one of the best examples of why listeners wait for the chorus in emotional ballads.

5. Groove switch: “Levitating” – Dua Lipa (2020)

Modern pop and dance tracks give great rhythmic examples of transitioning from verse to chorus in songwriting.

In “Levitating”:

• Verse: The rhythm is tight and slightly more sparse. Vocals are rhythmic and playful.
• Pre-chorus: The bass and drums start hinting at a different groove, and the vocal phrasing stretches slightly.
• Transition move: When the chorus arrives, the groove locks in with a more driving, danceable feel. You can basically feel the imaginary dance floor light up.

Try this in your own songs by:

• Adding a new percussion layer only in the chorus
• Changing the kick drum pattern to something more driving
• Simplifying the vocal rhythm so it floats over the groove instead of fighting it

6. Dynamic drop then impact: “Bad Guy” – Billie Eilish (2019)

Sometimes the best examples of transitioning from verse to chorus in songwriting are almost anti-transitions. “Bad Guy” plays with expectations.

• Verse: Already minimal, with a dry vocal and sparse production.
• Pre-chorus: There’s a slight build, but still super restrained.
• Transition move: Instead of exploding, the chorus slides in with a sideways energy: the bass line takes over, the vocal gets even more deadpan, and the hook is carried more by attitude than volume.

Here, the contrast is more about character than loudness. The lesson: not every chorus has to be “bigger.” Sometimes the transition is about shifting personality—from serious to sarcastic, from calm to unbothered.

7. Genre-blend transition: “Old Town Road” – Lil Nas X (2019)

Hybrid tracks give fascinating examples of transitioning from verse to chorus in songwriting because they juggle multiple genre expectations.

• Verse: The vocal is more rap-influenced, with a steady flow over a trap-style beat and country-tinged instrumental.
• Pre-chorus / hook setup: The melody starts to become more singable and repetitive.
• Transition move: The chorus lands as a fully singable country-pop hook (“Yeah, I’m gonna take my horse…”), while the beat still keeps that trap flavor.

This is a great example of using the chorus to clarify the genre identity of the song. The transition is not just verse-to-chorus; it’s talk-to-sing, rap-to-hook, and tension-to-anthem.

8. Indie storytelling shift: “Motion Sickness” – Phoebe Bridgers (2017)

Indie and alternative songs often use more subtle examples of transitioning from verse to chorus in songwriting, but they’re just as powerful.

In “Motion Sickness”:

• Verse: The lyrics are detailed and almost journal-like. The melody is conversational.
• Pre-chorus: There’s a slight melodic rise and emotional tightening.
• Transition move: The chorus lands on a more universal, summary line (“I have emotional motion sickness…”), with the melody opening up and the band supporting more strongly.

This kind of transition is less about big production tricks and more about shifting from specific details in the verse to a big-picture statement in the chorus.

Common patterns in the best examples of verse-to-chorus transitions

Looking across these songs, some patterns show up again and again. These patterns give you practical examples of transitioning from verse to chorus in songwriting that you can borrow.

Melodic patterns you can steal

In almost every strong example of transitioning from verse to chorus in songwriting, the melody does one or more of these things:

• Rises in the pre-chorus. Even a small climb signals that something bigger is coming.
• Jumps to a higher range in the chorus. The chorus often sits higher than the verse, making it feel more intense.
• Holds notes longer in the chorus. Verses tend to be wordy; choruses often stretch syllables and let them ring.

Try this experiment: write a verse melody that mostly sits in the middle of your range. Then, for the chorus, force yourself to start at least three to five notes higher. Sing it out loud. You’ll feel the energy difference immediately.

Harmonic moves that signal “we’re here now”

Some of the best examples include clear harmonic shifts between verse and chorus:

• Starting on a different chord. If your verse starts on the I chord, try starting your chorus on the IV or VI. That alone can make the chorus feel fresh.
• Using tension chords in the pre-chorus. Chords like ii, IV, or V can create a sense of lift heading into the hook.
• Resolving only in the chorus. Let the verse feel slightly unresolved so the chorus feels like the emotional landing spot.

If you want to go deeper into how chords affect mood, Berklee College of Music has free articles and course descriptions that break down harmonic function in popular music: https://online.berklee.edu/blog

Rhythmic and production tricks

Recent pop from 2020–2024 shows a trend: transitions are often production-driven as much as they are written into the melody.

Common moves include:

• Adding or removing kick and snare right before the chorus
• A short drum fill or reverse cymbal leading into the downbeat
• Pulling the track down to almost nothing for half a bar, then slamming in the full chorus
• Introducing a new synth, guitar, or vocal layer only in the chorus

Producers and songwriters are increasingly working together from the ground up, especially in genres like hyperpop, K‑pop, and modern country-pop. That means you can treat the transition as both a writing decision and a production decision.

Organizations like the Recording Academy and educational programs at places like UCLA and Berklee often highlight this collaborative approach in modern songwriting and production: https://www.uclaextension.edu/entertainment/courses/songwriting

How to design your own verse-to-chorus transition

Now let’s turn those examples of transitioning from verse to chorus in songwriting into a step-by-step process you can actually use.

Step 1: Decide what your chorus does that the verse doesn’t

Before you write transitions, answer this honestly: Why should a listener care when your chorus arrives?

Is it:

• A bigger melody?
• A catchier rhythm?
• A more universal lyric?
• A heavier or more danceable groove?

Pick one or two main differences. Your transition’s job is to guide the listener from “verse world” into “chorus world” without confusion.

Step 2: Choose your transition tools

Based on the difference you picked, use matching tools:

• If the chorus is higher and bigger, let the pre-chorus melody climb and shorten the note lengths so the chorus feels like a release.
• If the chorus has a different groove, start hinting at that groove in the last line or two of the verse.
• If the chorus lyric is the big idea, start circling that idea in the pre-chorus with words or images that point toward it.

You don’t have to use every trick at once. Many of the best examples of transitioning from verse to chorus in songwriting use just two or three changes: a small melodic rise, a drum fill, and a slightly more emotional lyric.

Step 3: Write a pre-chorus (even a tiny one)

You don’t always need a full, separate pre-chorus section, but one or two lines that feel different from both verse and chorus can transform your song.

Try this:

• Make the chord progression change slightly
• Let the melody rise or get more intense
• Use lyrics that set up the hook without repeating it yet

Listen again to “Blinding Lights” or “Anti‑Hero” as living examples of this. The pre-chorus is where the emotional and musical tension coils up.

Step 4: Polish the very last bar before the chorus

Many transitions are made or broken in one bar.

In that final bar, you can:

• Add a drum fill or short rhythmic figure
• Drop the backing track for half a bar, then slam in the chorus
• Hold a note or chord slightly longer than expected
• Use a pickup line that flows straight into the first chorus lyric

If you’re stuck, loop the last bar of your verse and first bar of your chorus and experiment with different fills, breaks, or pickup lines until the moment feels satisfying.

2024–2025 trends in verse-to-chorus transitions

If you’re aiming to sound current, it helps to notice how newer tracks are handling transitions.

Recent trends include:

• Shorter pre-choruses. On streaming platforms, songs often get to the hook faster. You’ll hear two-line pre-choruses that do just enough to build tension.
• Hybrid drops instead of traditional choruses. In EDM-pop and some hip-hop inspired tracks, the “chorus” is a vocal phrase plus a production drop rather than a long sung section.
• Hook-first writing. Many writers start with the chorus and then design verses and transitions around it, making sure every path leads clearly to that main hook.
• Dynamic contrast over sheer volume. Instead of just making the chorus louder, producers use contrast—like filtering the verse, then opening it up in the chorus—to make that transition feel bigger.

Songwriting education resources, such as workshops and online courses offered by institutions like the University of Miami’s Frost School of Music, often highlight these modern structures when training new writers: https://music.miami.edu

FAQ: examples of verse-to-chorus transitions

Q: Can you give a simple example of transitioning from verse to chorus in songwriting for beginners?
A: Start with a verse using a steady, mid-range melody over a I–V–vi–IV progression. For the pre-chorus, repeat the same chords but raise the melody a few notes and sing slightly faster, more urgent phrases. In the last bar, add a tiny drum fill. Then, in the chorus, keep the chords but jump the melody higher and hold notes longer. That simple shift already echoes many real examples of transitioning from verse to chorus in songwriting.

Q: Do I always need a pre-chorus to make the transition work?
A: No. Some of the best examples include pre-choruses, but others jump straight from verse to chorus. If you skip the pre-chorus, you’ll usually need a clear change in melody, groove, or harmony right at the start of the chorus so listeners instantly know they’ve arrived somewhere new.

Q: What are some other good songs to study as examples of transitioning from verse to chorus in songwriting?
A: Try “Drivers License” by Olivia Rodrigo, “As It Was” by Harry Styles, “Good 4 U” by Olivia Rodrigo, “Stay” by The Kid LAROI & Justin Bieber, and “Shallow” by Lady Gaga & Bradley Cooper. Listen specifically to the last line of each verse and the first line of each chorus and note what changes.

Q: Is it okay if my chorus is quieter than my verse?
A: Yes, as long as the focus shifts. Some songs, like “Bad Guy,” use a more understated chorus. The transition still works because the character, groove, or melody changes enough that the chorus feels like its own world.

Q: How can I practice writing better transitions without writing a whole song every time?
A: Write one short verse and one chorus. Then challenge yourself to create three different ways of moving between them: one with a pre-chorus, one with a drum fill and groove shift, and one with a lyric pivot. This kind of focused practice, based on real examples of transitioning from verse to chorus in songwriting, will sharpen your instincts quickly.