WRITING THE SONG - Part 8

In the following discussion of form, one must bear in mind that the rules laid down are not based on the whims of a few composers or publishers. They have all been established to meet certain logical requirements. Moreover, they have been thoroughly tested by time and public demand. It is therefore unwise for the new songwriter to break or ignore these rules—not, at least, until he has completely mastered them.

Song Division

Practically every popular song is divided into verse and chorus. Although the verse is relatively unimportant and is seldom played or sung, it is considered an integral part of the song and has a very definite place in song construction. Its main function, of course, is to build up, melodically, to the introduction of the main theme in the chorus, and to act in the same capacity, lyrically, for the title and main "story" idea contained in the chorus. For these reasons, the verse must always be subordinate to the chorus. This is evidenced in the length of the verse, the types of melodies (and lyrics) employed and in the verse ending.

The verse is generally not more than half the length of the chorus. Thus, for a thirty-two measure chorus, the verse will usually be eight measures or sixteen measures long. Note that the verse also employs the eight-measure phrase. (The eight-measure phrase is used throughout the song except in those few songs containing a sixteen-measure chorus. These songs employ a four-measure phrase and follow the same constructional patterns except for this fact. For example, the verse for such a song would be eight measures long, and the chorus would conform to the divisions discussed below. (For many reasons, it is not advisable for the new writer to experiment with the sixteen-measure chorus.)

Since the verse is designed only as an introduction or background for the chorus, the verse melody Is relatively unimportant. In no instance is the main melodic theme of the chorus stated or even imitated in the verse. The rhythmic mood of the chorus may be suggested in the verse but even this is rarely done. In an eight-measure verse, a simple melody is usually stated in the first four measures and then repeated, with some variation in the second half of the phrase. The same pattern might be used in a sixteen-measure verse except that, in the latter case, the melodic theme would occupy eight measures instead of four.

In many instances, even this slight pattern will not be evident in the verse. We will often find an eight-measure melody leading into another melodic theme for the final eight measures.

Although there is no particular rule about developing the melody of the verse, there is a fairly standard convention about the manner of ending the verse. The verse rarely ends on the key-note. This would bring the melody to a complete stop, whereas it is intended to lead directly into the chorus. If the verse does end on the key note it is usually followed by a succession of chords which lead into the opening phrase of the chorus. In most cases, however, the final phrase of the verse ends on an incomplete cadence, usually consisting of some note in the dominant or dominant seventh chord. A good instance of this is shown in the verse-ending shown on page 20.