How to Format Lyrics for MiniMax Music 3

Start with [Verse] and [Chorus]. Add [Pre-Chorus] only when a short section genuinely raises anticipation between them. Add [Bridge] when the song needs a new perspective, melodic contrast, or harmonic turn before the ending. [Intro] and [Outro] can contain words, vocal sounds, or no lyric at all, but keep instructions concise. [Instrumental] or [Solo] can mark a break when you want the arrangement to carry the story without new lines.

Put each tag on its own line and keep naming consistent. Do not alternate casually between [Hook], [Refrain], and [Chorus] when they refer to the same passage. Avoid packing mixing notes, camera directions, and paragraphs of explanation inside the lyric field. Put broad vocal, genre, tempo, instrument, and production direction in the prompt. Let the lyric area remain easy to scan as words and sections.

Write out the full chorus each time it returns. A note such as “repeat chorus” is convenient for a human collaborator but gives less explicit lyric content to interpret. Repeating the words also lets you make intentional final-chorus changes. You might add one answering line, extend the title phrase, or keep the lyric identical while asking the production prompt for wider harmonies and stronger drums.

A chorus benefits from concentration. It usually carries the song’s title, emotional claim, or most singable phrase. Verses can explain where, when, and why; the chorus tells the listener what the story means. Keep the core wording stable enough to recognize after one pass. If every chorus changes completely, label it deliberately and consider whether the song still has a central hook.

Read every section aloud at the approximate pace of the song. Lines with dramatically different syllable counts can still work, but they require different phrasing. If one line consistently feels crowded, remove an unnecessary clause, split it at a natural breath, or slow the production direction. Punctuation can suggest pauses, yet it should support normal reading rather than act as a dense code for performance.

Leave room around important words. A title phrase intended for a sustained melody should not be followed immediately by several extra ideas. Open vowels are often easier to hold, but clarity and meaning matter more than forcing every line into a technical rule. The goal is a lyric that a singer can phrase naturally. Use a rhyme only when it strengthens the thought; do not distort syntax merely to match an ending sound.

A second verse should reveal new information. A pre-chorus should narrow attention or raise pressure. A bridge should alter perspective, time, harmony, or emotional certainty. An outro can resolve the hook, leave it unanswered, or reduce it to one final image. These jobs help the music find contrast because the lyric itself provides a reason for contrast. Section tags are most useful when the content underneath behaves differently.

Before generating, scan only the first and last line of each section. Do they show movement? Then scan the repeated phrases. Are they deliberate? Finally compare your production prompt to the lyric. A restrained confession may not fit a prompt asking for constant maximal power. Align vocal delivery and arrangement with the text’s arc: close verses, rising pre-chorus, open chorus, reflective bridge, and a final return with a clearly stated change.