WRITING THE SONG - Part 13

In composing a song, the composer does not usually make a conscious selection of one or two patterns and attempt to combine them into a melody. Although this can be done, and quite successfully, the process is too mechanical and the results are generally unsatisfactory. However, if it is merely a question of building up a weak tune or changing a too-familiar phrase, it is often a good plan to study the melodic patterns that are present in the phrase and experiment with different combinations until the desired results are obtained.

Rhythmic Patterns

We have already discussed rhythmic pattern briefly. We know, for example, that the basic rhythmic pattern (fundamental rhythm) of a song may be varied by a secondary rhythm formed by the actual value of the notes forming the measure. Thus, for example, if the time signature of a foxtrot is 4/4, calling for the time units of four quarter notes to the measure, there may be superimposed upon this steady beat a secondary rhythm which is governed by the long and short notes, and dots and rests distributed throughout the song.

This may be illustrated very graphically by the following experiment. Have some one tap out a steady 4/4 rhythm or, better yet, use a metronome. Then, using a stick or pencil, tap out the "tune" of some well-known melody. You will then have an interesting combination of rhythms . . . the fundamental time-beat (four equal beats to the measure), and a subsidiary (or rather, dominating) pattern comprising the stressed and unstressed beats and the time values of the notes and rests in the measures. The combined patterns might appear as follows:

TIME BEAT

Rhythmic patterns appear throughout the structural form in phrase combinations. For it is obvious that when a phrase, such as the main melodic phrase, is repeated, the rhythmic pattern of that phrase is also repeated. For instance, in the AABA form, the notes and note-values of the "A" phrase are stated three times. The rhythmic pattern contained in these phrases is also stated three times. The release or "B" section often has a different and contrasting rhythmic pattern as well as a different melodic pattern. A current popular song furnishes a good example of this. The rhythmic pattern of the "A" section is shown on page 33.

As we resolve this melody to its basic rhythmic schemes, certain definite patterns become evident. Starting with the fundamental rhythm, the composer soon achieves a marked syncopation, making use of dotted eighth and sixteenth notes and also eighth notes combined with quarter notes. Note that the second and fourth measures have the identical pattern and that a repetitious pattern is evident in the third, fifth and seventh measures.

And here is the rhythmic pattern of the "B" section.

Note that this section furnishes an immediate and distinct relief from the rhythmic pattern of the "A" section. Here, instead of the syncopated measures of dotted sixteenths and eighths, we find a prevalence of quarter and half notes, resulting in a more restrained and deliberate tempo. This section, also has a definite rhythmic pattern as evidenced by the similarity between measures 1-2, 3-4, and 5-6.