WRITING THE SONG - Part 14

In songs using the ABAB formula, the rhythmic pattern in the "B" section does not show so much variance to the "A" pattern. This permits the melody to flow smoothly from one section to the next. Songs written in the ABAC formula often show a striking resemblance in rhythmic pattern of the "A" and "C" sections. This is shown quite clearly in the "A" and "C" sections of a current popular number:

A brief glance at both the "A" and "C" sections reveals the similarity in rhythmic treatment. Notice that in the "A" section the first and second four-measure phrases are repetitive, containing the identical rhythmic pattern. This repetition necessitates a relief and contrast in the "B" section (not shown). The final *'C" section, with its pattern of alternate dotted eighths and sixteenths provides a distinct imitation of the "A" section. In fact, the last three measures of the two sections are identical.

Rhythmic pattern should be studied carefully when composing a melody for it can be instrumental in either making a tune sound monotonous and too familiar, or in pepping up a melody that might otherwise sound dull. For instance, a composer might create a melodic phrase such as the following:

Stated in this manner, with one note falling on almost every beat of the fundamental rhythm, the tune sounds fairly pleasant but quite obviously lacks character. By altering the rhythmic pattern and yet retaining the same sequence of notes, we obtain the following phrase which is certainly an improvement over the original:

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WRITING THE SONG - Part 14

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