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WRITING THE SONG - Part 25
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Rhymes usually occur at the ends of lines, and for all practical purposes, this form of rhyming is entirely satisfactory. When this type of rhyme scheme is put to music, the rhymes usually occur at the end of the four-measure, or eight-measure phrase. Occasionally, an unusual effect can be obtained by rhymes within a line. These internal rhymes should always be used with discretion and only when the music or the type of lyric calls for this extra decoration. It may be found sometimes in show numbers. A good example is in the line: "Comes the dawn, I'll be gone." This type of rhyming is effective but should not be over-done.
8. The Lyric Story Should Build up the Title This particular point has been discussed at some length in the analysis of titles and lyric patterns. There are, however, a few additional points that should be covered. The development of the lyric story, we have found, conforms to the structural pattern of the chorus. In the "A" phrases where the main melodic theme is expressed or the title is mentioned, the actual story development remains static. In the "B" or "C" phrases where a secondary melodic theme is expressed, the story may develop. The "story" of course, is nothing more than the outline or description of a situation. This situation is either stated or strongly hinted at in the title. The lyric itself, merely gives the background and explanation of the title. The lyric writer must never disappoint his audience. A catchy title must not have a dull lyric. A smart lyric, on the other hand, requires a title in the same mood. There must be the same consistency between the lyric and the title as there is between the melody and the lyric. This is achieved chiefly by the method in which the lyric story is treated. For instance, the nucleus of the story might possibly be based on the familiar "Boy-Meets-Girl" theme. Depending upon the title and the mood suggested by the music, the treatment might be sentimental, in the "blues" tradition, "hard-boiled," "jivey," or "straight." The principal point to bear in mind is that the music, title, and lyric treatment should be of an equal mood and tempo, and that there should be nothing in any of these three factors that will tend to distract the listener and break up the entity of the song or lyric story. The secret of good lyric writing lies not so much in the creation of an original story or situation but in treating a familiar subject in an original and appealing manner. For general purposes, this lyric treatment should be simple and smooth-flowing. Unusual rhyming schemes, slang, "jive" language, etc., should be avoided unless a special effect is desired. The general language should be sufficiently simple to be easily comprehended by children as well as adults. Furthermore, the language should be modern and up-to-date. In using slang, one should make sure that the slang is colloquial and widely accepted. Outdated slang, or slang terms that are restricted to a small locale should be avoided.
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