What is a Middle 8?

A middle 8 is a section of a song that differs in melody and lyrics and helps the song develop naturally by providing contrast to what was previously playing in the song, usually set after the second chorus.

In this article, we’re going to explain this commonly misunderstood song section in more detail. The middle 8 can even feature a completely different atmosphere in terms of the arrangement, forming an interesting contrast with the rest of the song. It may involve a key change, but contrast in the melody, chords, or arrangement can work without one.

Whatever you choose to put in this section, there is only one important factor to keep in mind: a middle 8 exists to bring variety to a song. It is a sort of break before we go back to the main part of the tune, the chorus. It serves the need to make the song more dynamic, as it adds movement and tension, finalized to resolve on the hook.

Is a Middle 8 the same as a Bridge?

In common pop-song terminology, a middle 8 is a kind of bridge: a contrasting section before the main material returns. The names overlap, although musicians do not always use them consistently.

The repeated passage that builds from a verse into a chorus is usually called a pre-chorus. A contrasting section later in the song can be called a bridge or middle 8. Listen to what the section does, rather than relying only on its label.

For example, Lenny Kravitz’s song I’ll Be Waiting illustrates a recurring build into the chorus and a separate contrasting passage later on. Using the terminology above, these are a pre-chorus and a bridge or middle 8.

The first pre-chorus starts at about 0:40 and takes the listener to the exploding chorus at 0:53. The middle 8, on the other hand, starts at 2:32. It presents a different chord progression and also a change in the arrangement, with a fuller backing that leads toward the final choruses. The timings here are guides to this recording, not fixed rules for where every song must change sections.

Lenny Kravitz used both the pre-chorus and the middle 8 wisely in this song, but let’s see some other examples of great middle 8s in the history of pop music.

Songs with a great Middle 8

One of the best middle 8s of all time is probably represented by the Beatles’ song A Day in the Life. The middle 8 starts at 2:17 after an orchestral break that intensively builds up towards another calmer section, somewhat symbolizing the chaos of a dream minutes before waking up. On top of adding an interesting section to the song, the orchestral break and the middle 8 serve as a sonic representation of the story portrayed in the song.

For another great middle 8, check out David Bowie’s Changes. Starting at 2:26, right after the second chorus, this section adds a certain dreamy flavor to this gritty song. A new atmosphere that perfectly tends back to another chorus.

Bruce Springsteen’s Born To Run offers another fantastic example to understand what a good middle 8 is. Occurring at 2:12, after an exciting sax solo, it breaks up the rock’n’roll mood of the song to bring us into a sort of eerie fantasy. The melody changes to a calmer and almost whispered tale, to build up towards an instrumental break ending with one of The Boss’ legendary countdowns that brings us back to a verse.

The ethereal Running Up That Hill by Kate Bush presents another evocative middle 8 that effectively breaks up the song to offer a more enticing rhythm before returning to the initial synth riff and then another chorus.

Let’s end with another beautiful example of female songwriting, by adding Stevie Nicks’ Edge of Seventeen. In this epic song, the middle 8 appears a bit earlier than usual, at about 2:27. A change in the rhythmical patterns of the lyrics and the overall melody transport the listener to a more dramatic mood before getting back to the initial haunting guitar riff.

How do you write a Middle 8?

To write a great middle 8, we must focus on bringing movement and change to our song. A great way to do that in the songwriting stage is to bring a drastic change to the melody and deliver a completely different mood or atmosphere.

Try also to change the mode. For example, if your song is in a major mode, switch to a minor mode. Or change the key, moving one step up or down. Just make sure the melody will compel the listener to get back to the chorus, perhaps by leaving the harmony open. If the returning chorus begins on I, ending the middle 8 on V is one way to create that pull. IV can also lead into I in pop music, but it does not create the same dominant-to-tonic cadence.

As for the lyrics, they should introduce a new idea, a new act in the story portrayed by the song. Consider changing metrics too, using longer or shorter phrases.

Generally speaking, a middle 8 section is not always necessary. If misused it could actually feel like a useless addition. However, it may be necessary if a song is particularly simple or minimal in terms of melody and harmony. The middle 8, especially in these cases, can hugely help to add movement and structure.

Conclusion

The name middle 8 comes from the eight-bar contrasting B section in a typical 32-bar AABA song. In modern pop, a bridge or middle 8 can be shorter or longer, so eight bars is a useful starting point rather than a compulsory length. It can involve an instrumental solo or a lead vocal part with changed lyrics and mood.

A middle 8 serves the need to make a song more dynamic, as it adds movement and tension, which will be resolved on the hook. It brings variety to the song and should introduce a new idea or act in the story portrayed by the song.

If misused it could feel like a useless addition, but it may be necessary for a song that is particularly simple or minimal in terms of melody and harmony. The middle 8 here can add movement and structure.