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THE COMPLETED SONG - Part 1
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SO FAR WE HAVE DISCUSSED ONLY THE STRUCTURAL
requirements of the popular song. Assuming that the new songwriter has mastered the initial technique of composing a lyric, melody, or both, there are still a few points that he should be acquainted with before he is ready to present his song to the publishers. Among the questions that may be in his mind are: "When starting a song, shall I begin with the lyric or with the melody?" "If I can only write lyrics, or if I can only write the melody, where shall I find a collaborator?" "Can I interest the publishers in an unfinished song; i.e., melody without lyrics, or lyrics without melody?" "In what form should the song be presented to the publishers?" "Should the composer have a knowledge of harmony?" These questions will be answered on the following pages. Starting the Song. Very few songwriters, including the professionals, are capable of writing both lyrics and melody. As a general rule, the songwriter may either have a special talent for writing lyrics, or be a natural composer. It is only on rare occasions that one comes
across a songwriter who combines both talents and is able to do both jobs equally well. The new songwriter who believes that he has a flair for both words and music should make a serious attempt at honest evaluation to determine whether or not he has more talent in one field than in another. If he finds that this is true, he should, of course, specialize in the particular field in which he shows the most ability.
Neither the lyric writer nor the composer can afford to disregard or neglect the associated field. For example, it is important, when composing the melody, to be fully acquainted with the lyric requirements, to set up a strong melody line for the title, to arrange the rhythmic pattern so that the words, when written, can be easily sung and so that the singer will have time to pause and breathe at the end of phrases. It is equally important for the lyric writer to adhere to a strict structural and rhythmic pattern which will enable the composer to build up a strong melody line, which will build up the "A" phrase and title, and which will offer the proper change of pace and mood in the "B" or "C" sections of the chorus. There is no set rule for starting a song. This depends entirely upon the individual's work habits, the source of initial inspiration, and many other factors. In writing the lyric, it is quite common to start from the title, or from an idea offering a new slant on the treatment of a familiar subject. The original idea may come from any number of sources. For instance, the following true story is often cited to show how a good title may be inspired. Some years ago when Rodgers and Hart were in Paris, they were riding with a girl in one of the famous pre-war French taxi-cabs. Suddenly the taxi skidded and headed straight for an oncoming car, swerving just in time to avoid a head-on collision. As the three passengers picked themselves up from the floor of the cab, the girl caught her breath and said, "Oh, my heart stood still!" Rodgers looked at her thoughtfully for a moment and then said to his partner, "There, my friend, is a swell title for a song." When My Heart Stood Still finally appeared in “The Connecticut Yankee," it became an overnight hit. Occasionally the initial idea for a song will arise from a situation which strikes the songwriter as being good song material. Some years ago, Sammy Stept was listening to a radio program describing the peaceful lives and customs of people in Norway, Holland, France, and other countries before the German invasion. As he listened, he visualized the setting for a stirring war song. Shortly after this incident, Sammy and Eddie Delange finished the lyric for This Is Worth Fighting For.
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