WRITING THE SONG - Part 26

There are certain occasions when a "corny" lyric is called for. A sentimental ballad such as The Old Spinning Wheel, When Mother Plays The Organ, etc., may, if it has a strong, sweet melody line, and if it is properly exploited, become a best-seller. Such a song might also become an immediate failure. Both the publisher and the band-leaders must gauge their public properly and launch such a song only if there is a strong possibility that it will be well accepted. However, assuming that the odds are in favor for the publication of such a number, the lyric writer may use a stock situation and old-fashioned language, and still make the grade. Generally speaking, the new songwriter should studiously avoid the "corny" type of number and should strive to be original and up-to-date in both his melodic and lyric treatment.

9. The Lyric and Melody Should Be in the Same Mood

This rule seems fairly obvious, but many new songwriters fail to realize the importance of combining music and lyric into a unified, integral and logical entity.

In the majority of cases, the songwriter does not write both the music and lyric. The majority of successful songs are written by songwriting teams. In such instances, the collaborator must, if he is to be successful, get the feeling of the tune or lyric, as the case may be. If, for instance, the tune is gay and lively with a catchy rhythm, the lyric should be in the same mood. In this case, clever rhyming, and an unusual treatment or comic twist might be called for. Certainly, a sad or sentimental lyric would be out of place with such a tune. On the other hand, if the songwriter should be composing music to a gay and modern lyric, the tune should reflect the same mood.

The experienced songwriter will automatically retain the same tempo and character in the melody and words. The new songwriter may have to spend some time in analyzing the required mood before attempting to write a melody or lyric that will be in perfect harmony.

10. The Melody and Lyric Should Be Sufficiently Novel to Be Outstanding.

One of the difficulties in formulating rules for any creative field is that they tend to limit the opportunity for originality and individuality. This is particularly true in the field of songwriting.

We have learned that the melody is limited by its structural form, length, range, and the number of basic patterns that are pleasing to the ear. We find that the lyric is also confined to a definite structural pattern, that the story development must focus on the title, that the choice of title, subject and lyric treatment must conform to public taste, and that the words must be so arranged that the accented syllables conform to the melodic and rhythmic patterns. This seems to leave a small field for the songwriter.

While this is a broad picture, it is actually not accurate, for if it were, there would be no new songs and no new songwriters. The majority of published songs do conform to all the limitations listed above, but there is still a profundity of new ideas in both lyrics and music.

The public demands novelty in songs but this novelty need not be present in the basic melodic or lyric idea, nor in the structural development. There must be something about the song that provides an element of surprise and appeal and that distinguishes it from all other songs. This factor of novelty is gained, largely, by a new approach to a basically familiar idea. In other words, the successful songwriter uses the familiar and basic formulas but dresses them up with a new sauce and flavoring. The same framework may be used, time and again, providing the songwriter has sufficient individuality in his approach and treatment. The successful songwriter is able to maintain a fresh outlook in creating each new song. The average new songwriter can only attain this through experience. This explains, to some extent, why a new writer might, by a streak of luck, write a hit number at his first attempt and then not be able to turn out an acceptable song. He must always bear in mind that he is required not only to produce a product that conforms to all established standards, but that he must sell this product to publishers and bandleaders who will view his work suspiciously, simply because he is a new and inexperienced songwriter. To make this sale, he must definitely have something "on the ball." He must show a song that is structurally correct and that has a melody line and lyric which will insure its success. Once he has had a successful song published, he will experience little, if any, difficulty in interesting the publishers in new numbers, providing, of course, that they come up to standard.