WRITING THE SONG - Part 21

Summing up, the lyric follows the same form as the melody. Where the main melodic theme is repeated, so also is the title, and the lyric story remains almost static. When the melody develops, the lyric does also, and as the melody ends with the final statement of the theme, the lyric ends with the concluding title. For example, let us assume we were writing a song titled "This Is The End." The four sections of the chorus might, conceivably show this breakdown:

1. This is the break that will never mend. This is the parting. This is the end.

2. You want me to call you just a friend. But its too late now. This is the end.

3. It was such fun while it lasted. We were so gay. Never a thought that our love would be blasted this way. You've made it plain, dear. This is the end.

4. We can't go on and try to pretend.

Notice that the complete "plot" is summarized in the first section. The only development in the second section is the indication that the other party is responsible for the parting. The third section is a natural reflection upon happier times. This naturally leads to the fourth part which emphasizes the finality of the parting.

Where other structural forms are used, the lyric follows suit. For instance, in the ABAB form, where the main theme is mentioned in the first and third sections, and the secondary theme in the second and fourth sections, the lyric story develops in the same manner. The title is usually mentioned in both "A" phrases and, occasionally, in the concluding four measures of the final "B" section. The lyric story states the principal situation (built around the title) in the first section, develops the story in the second section, reverts to a restatement of the title in the third section, and develops into a conclusion which may or may not mention the title. The ABAC pattern also uses a lyric that follows the structural form in developing the story. In all cases, the lyric theme is built around the title, giving the title the full prominence that it deserves.

Accent: All words in the English language are accented; that is, any word has one or more stressed syllables. If it is a long word, the accent may be heavier on one syllable than on another. If it is a short word, the stress may depend upon how the word is used in a sentence. Accents and the pauses between words play an important part in conveying correct understanding. For instance, in the sentence "I will think of you every day," stress on any word conveys a different shade of meaning. If the first word is stressed, the implication is that there is someone else who will not "think of you every day"; accent on the second word implies determination; etc.

When words are put to music, the songwriter must so arrange his words and notes that the natural accents of speech and shades of meaning are preserved in the song. An untrue or faulty accent may not only alter the actual context of the lyric but, more importantly, distract the attention of the listener and spoil the entire effect of the song.

There are two ways of preserving the natural accent of the words and obtaining true synchronization with the music. The first method consists of placing each accented syllable on an accented, or down-beat, and each unaccented syllable on the unstressed or up-beat. If two accented syllables fall within one measure, it is always preferable to have the syllable with the stronger accent fall on the first beat of the measure. This rule applies, no matter what the time signature of the song may be. The syllable having the weaker accent will, of course, coincide with the note occupying the third beat of the measure (in foxtrot time). Unaccented words or syllables will be lined up with notes on the second and fourth beats of the measure.

The second method of transferring speech to song is to use note values and rests to indicate short syllables, long syllables and pauses. These methods are illustrated below.