Uncovering Songwriting Techniques with Joni Mitchell’s “Both Sides Now”
Joni Mitchell is a songwriting legend whose techniques continue to inspire musicians and lyricists around the world. In this article, we break down one of her biggest hits—“Both Sides Now”—to reveal six signature songwriting moves that you can incorporate into your own creative process.
This article is a summarised transcript of our video “6 Immortal Songwriting Lessons from Joni Mitchell”. Click here to watch the video for more details, explanations and examples.
Open Tunings
One of Joni Mitchell’s most distinctive sounds comes from her use of open tunings.
Unlike standard guitar tuning, open tunings create a richer, more inviting sound, as there are often drone notes ringing throughout the progression. In “Both Sides Now”, the song is played in an open tuning (D A D F# A D), which produces a warm tone. The addition of the capo on the 4th fret creates an even brighter tone, and this compliments her vocals well.
As a songwriter, open tunings are a great way to escape from habitual or familiar chord combinations. This happens because with the change in tuning, none of the usual guitar shapes work. The lack of familiar finger movements and chord shapes forces you to play with a focus on sounds rather than chords. So, if you’re a songwriter stuck in a creative rut, open tunings might be just what you need to help you break out of it.
Kickstart your creativity with our PDF on alternate guitar tunings here:
Contrasting Rhyme Schemes
Below is an analysis of the rhyme scheme used throughout the verse and chorus of “Both Sides Now”:
From this, we can see that both verses share the same rhyme scheme – albeit featuring a different rhyme sound. The end of both verses are also symmetrical, as Joni returns to the refrain of the song ie. line X. However, Joni switches things up, and uses an entirely new rhyme scheme for the chorus. This is important because it sends a message to the listener that these sections are to be thought of differently.
Furthermore, Joni Mitchell is using something called internal rhyme. This is when words are made to rhyme in the middle of a sentence, rather than at the end. In the case of “Both Sides Now”, this is done by using internal rhymes at the beginning of each verse. These internal rhymes help add a little bit of momentum to the verses right from the start.
Variations to the Hook Line
A prominent element of “Both Sides Now” is the manner in which Joni Mitchell creates variations to the hook line, after setting up an established lyrical pattern.
In the first chorus, she ends it with “I really don’t know clouds…at all”. Then, she changes this slightly in the second chorus to “I really don’t know love…at all”. Finally, the last chorus has the line “I really don’t know life…at all”. This method of varying the hook line slightly with each chorus helps create greater emotional depth in the song as it progresses. It’s a great technique you can use to keep your listeners interested and engaged.
This also shows that it’s entirely acceptable to play around with variations of your chorus. As long as it’s still recognisable as the chorus, changing bits of it can help add further meaning to your song.
Antithesis
If we consider that a “thesis” means making a statement, then “antithesis” means the opposite of whatever statement is being made. In this song, we can see two different applications of antithesis – macro and micro.
On a macro level, each verse in “Both Sides Now” consists of 8 lines, whereby the first 4 lines are the thesis showing the positive, and the next 4 lines are the antithesis, showcasing the negative. These two sections are separated by the word “But”, which Joni uses at the beginning of the antithesis.
On a micro level, antithesis shows itself within the chorus lines. The first chorus is as follows:
“I’ve looked at clouds from both sides now,
From up and down, and still somehow”
Then in the second chorus, we have:
“I’ve looked at love from both sides now,
From give and take, and still somehow”
And finally in the last chorus, we have:
“I’ve looked at life from both sides now,
From win and lose, and still somehow”
Each of these sentences are variations of the concept of antithesis. They juxtapose two opposing concepts in order to further reinforce the song’s title – “Both Sides Now”.
You can use antithesis in your own songs by taking a look at your refrain, and listing down any words or concepts which align with it. Then, list down words or concepts which are the opposite of your refrain. Once that’s been done, you can use these lists of contrasting ideas to help structure your lyrics, and create development through your verses.
Delayed Resolution of Melody and Hook Line
“Both Sides Now” is a classic example of how space in a melody can help contribute to the emotional impact of a hook line.
At the end of each chorus, Joni Mitchell delays the resolution in her final phrase. For example, in the first chorus, there’s a dramatic pause between the words “I really don’t know clouds”, and “at all”. This pause builds tension, and makes the eventual resolution of the line even more satisfying to the listener. By not rushing the phrase, a moment of anticipation is created, thus heightening the impact of the line.
You can use this technique in your own songs by looking for moments in your melody which could benefit from a delayed resolution. Overall, adding space is a simple way to help change your melody into a memorable hook.
Creating Momentum with Melody
For most pop songs, there isn’t much variation to the melody. The standard melodic formula for a pop song is to write a melody, then repeat the same melody with some variation before returning to the original melody. However, that’s not what Joni Mitchell does in “Both Sides Now”.
In the song, each line sounds like its own individual melody. But if you look closely, you can see that the lines actually have a call and response relationship with one another. For example, in the first verse, the line “Rows and flows of angel hair” descends, and lands on the tonic note. Then, the next line “And ice cream castles in the air” ascends instead, and again lands on the tonic note.
She then creates another two individual melodies for the lines “And feather canyons everywhere”, and “I’ve looked at clouds that way”. These two lines end on unstable notes, which is important because we then feel like we have to move onto the chorus for the resolution.
One way we can apply this concept to our songwriting is to simply look at the ends of our sections, and ensure that each of the sections don’t end in the same manner. If every section is resolved in the same manner, the song loses its sense of momentum, which then leads to your listener losing interest.
Conclusion: Uncovering Songwriting Techniques with Joni Mitchell’s “Both Sides Now”
Joni Mitchell’s “Both Sides Now” remains a classic song with many masterful songwriting techniques. By using a combination of all the techniques we’ve discussed, Mitchell has created a timeless piece that continues to inspire songwriters across generations. If you’re looking to elevate your songwriting, take these techniques to heart, and experiment with them in your own music.
If you would like more details, explanations and examples, then be sure to check out the video now.
