I was watching an old biopic the other day about Gus Kahn, the noted popular song lyricist from the early 20th century. In it, the writers tried to show examples of the songwriting processes he and his collaborators went through to create popular songs. "32 bars. No more. No less." Although he could write perfectly good lyrics without the tune, he usually wrote lyrics to fit the composer's existing tunes. One tune that gave Gus a challenge was essentially built on just two notes! You probably know the one:
Nothing could be finer than to be in Carolina in the morn------ing.
No one could be sweeter than my sweetie when I meet her in the morn------ing.
The inner rhyme scheme here is so clever! Clearly, the melody -- those two notes in a catchy rhythm -- dictated where the word emphasis and rhyme patterns should be. And it was not just the couplet ending by repeating "in the morn----ing."
So what are the poetic devices used by good lyricists when writing song lyrics? A short list might include ALLITERATION, IMAGERY, RHYTHM, METER, INNER RHYME, EXTENDED RHYME, PATTERN, REPETITION, METAPHOR, SIMILE, A GOOD HOOK -- and the list goes on.
Nothing could be finer than to be in Carolina in the morn------ing.
No one could be sweeter than my sweetie when I meet her in the morn------ing.
The inner rhyme scheme here is so clever! Clearly, the melody -- those two notes in a catchy rhythm -- dictated where the word emphasis and rhyme patterns should be. And it was not just the couplet ending by repeating "in the morn----ing."
So what are the poetic devices used by good lyricists when writing song lyrics? A short list might include ALLITERATION, IMAGERY, RHYTHM, METER, INNER RHYME, EXTENDED RHYME, PATTERN, REPETITION, METAPHOR, SIMILE, A GOOD HOOK -- and the list goes on.
As a young person, I was interested in writing songs. I made the same mistakes most beginners make. I thought that lyrics were just a bunch of rhyming couplets. My aunt Janie Thompson, a very clever lyricist herself, took me aside one day and gave me a lesson in songwriting that I'll never forget. She said that rhyming couplets alone don't make the song interesting. In fact, you don't actually need exact ending rhyme at all (provided the held vowels match) if you have other poetic devices in play. For her, the tune was most important. It drove the shape of the lyrics. "If the tune is good, the shape of the melody will dictate where the words will fit, or vice versa, if you are writing a melody, you need to match the shape, feel, and rhythm of the text."
Budding songwriters need to understand these things!
Once while I was in my car, stopped, waiting at a red light, a little melody came into my mind. It started with an ascending major scale in quick notes then jumped at the top to soar on some longer notes. As I turned it around and around in my mind, I thought, maybe I would like it better if it was in minor. Yep! That little melody grew and developed a bit like the wind-up of a pitcher on the mound. After the third wind-up, the pitcher lets go and the ball goes lofting on it's way and gets hit to the outfield before being thrown in to home plate. That's what this little tune did. It wrote itself as I drove the rest of the way home.
Then, I thought, "What do I do with this little tune? Well, Christmas is coming. I'll add some lyrics and it will be a new Christmas song."
Once again, this song practically wrote itself. The lyrics jumped into my mind as I scrambled to write out the notes on the manuscript paper. Because the melody was so strong and dictated where the words would go, it didn't even occur to me to worry about a rhyme scheme at all. However, there were plenty of poetic devices going on. Imagery, story-telling, excitement, alliteration, rhyme within the phrases, and extended rhyme through repetition of the hook. Sometimes the important notes are so long that all you need is the proper vowel to approximate a rhyme. And you don't even need to worry about the ending consonants!
Two hours later, "On a Sacred, Still and Silent Night" was complete.
Budding songwriters need to understand these things!
Once while I was in my car, stopped, waiting at a red light, a little melody came into my mind. It started with an ascending major scale in quick notes then jumped at the top to soar on some longer notes. As I turned it around and around in my mind, I thought, maybe I would like it better if it was in minor. Yep! That little melody grew and developed a bit like the wind-up of a pitcher on the mound. After the third wind-up, the pitcher lets go and the ball goes lofting on it's way and gets hit to the outfield before being thrown in to home plate. That's what this little tune did. It wrote itself as I drove the rest of the way home.
Then, I thought, "What do I do with this little tune? Well, Christmas is coming. I'll add some lyrics and it will be a new Christmas song."
Once again, this song practically wrote itself. The lyrics jumped into my mind as I scrambled to write out the notes on the manuscript paper. Because the melody was so strong and dictated where the words would go, it didn't even occur to me to worry about a rhyme scheme at all. However, there were plenty of poetic devices going on. Imagery, story-telling, excitement, alliteration, rhyme within the phrases, and extended rhyme through repetition of the hook. Sometimes the important notes are so long that all you need is the proper vowel to approximate a rhyme. And you don't even need to worry about the ending consonants!
Two hours later, "On a Sacred, Still and Silent Night" was complete.
On a sacred, still and silent night
When the heav'ns were hushed with breathless waiting,
In a mean and lowly stall the Lord of All
was born that first Christmas night.
Suddenly a hillside shone with great light!
Angel choirs resounded with glorious praising!
Shepherds left their flocks and hastened to find the Child
who was born that first Christmas night.
Angels stood watch o'er that blessed holy Babe,
Born in a stable and in a manger laid.
For God so loved us, He sent His only Begotten Son, Atoning One.
Still, when we recall that holy night,
When the God of Love sent down our Salvation,
Joyously our praises sing to our Savior and King
who was born that first Christmas night.
Christ was born that first Christmas night.
I had written original songs before and many thereafter, but none came so quickly! Inspiration is a wonderful thing --- plus some expert tips from a pro!
Thanks, Aunt Janie for the lesson in songwriting!
When the heav'ns were hushed with breathless waiting,
In a mean and lowly stall the Lord of All
was born that first Christmas night.
Suddenly a hillside shone with great light!
Angel choirs resounded with glorious praising!
Shepherds left their flocks and hastened to find the Child
who was born that first Christmas night.
Angels stood watch o'er that blessed holy Babe,
Born in a stable and in a manger laid.
For God so loved us, He sent His only Begotten Son, Atoning One.
Still, when we recall that holy night,
When the God of Love sent down our Salvation,
Joyously our praises sing to our Savior and King
who was born that first Christmas night.
Christ was born that first Christmas night.
I had written original songs before and many thereafter, but none came so quickly! Inspiration is a wonderful thing --- plus some expert tips from a pro!
Thanks, Aunt Janie for the lesson in songwriting!
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