The Decline of Lyrical Craftsmanship – Part 4
Wednesday, February 22nd, 2012Note: If you have not read my previous three posts, “The Decline of Lyrical Craftsmanship – Part 1 2 & 3” first, I strongly suggest that you do that now, if possible.
So here’s where we left off at the end of Part 3:
I also had to throw out any notions I might have had about scanning verses simply because I could not change anything. This proved to be the most difficult of obstacles and at times left me wondering if I wasn’t simply barking up the wrong tree. To be continued…
As discussed in Part 1 of this amazing tale, scanning (the ability to match perfectly the word rhythms and accents from verse to verse to keep the repetition of the melody intact) is a crucial part of good lyric writing. Without perfect scanning one loses his melody in a confusion of listener choices.
Writing from prose that offers me no possibility to change words, edit words, or move words around in a sentence, made good scanning an absolute impossibility. This was a disappointment to the composer side of me because it meant that the use of the most powerful tool in music, repetition, would have to be forsaken. Would this also mean that I would be forced by the prose to write songs where we would never hear the same melody twice in the performance of the song?
As it turns out, no.
As I worked compositionally, sometimes naturally, sometimes miraculously, I would find words that would fit previously stated melodies within the song and allow me to bring back melodies. These melodies would not always scan perfectly, but often enough would capture the essence of the previously stated melody without jamming as long as I worked the words into the melodies naturally – the way one would really say them when speaking. I began to term these kinds of melodies “reminiscent melodies” – melodies that would remind the listener of previous melodies, but were not, in fact, perfect repetitions.
When there were too many syllables and jamming would occur, I would simply open up the bar and add another beat to the music.
A simple solution for the lyricist, but then a rougher one for the composer. Going from a 4/4 meter that has been established into a sudden 5/4 or 6/4 bar meant that I, as the composer, had to be extra smart and make the melody and song still flow naturally so that the listener would not even notice the change of meter. Not an easy task…
But I figured that if Stravinsky did it so beautifully, the why not me?
So that became my method to eliminate jamming (too many syllables in a musical line). I believe it has worked, by and large. To me the songs feel natural because the prose is spoken/sung naturally with the original intent of meaning within the music.
It makes it, perhaps, a bit rougher on some singers learning the music if they are not accomplished professionals with experience in changing meters, but even the amateur will pick up the nuances of the music by careful listening and not have to worry about whether they are singing a 5/4 bar or a 3/8 bar.
I’m very fortunate to work with a highly trained vocalist, Julia Wade, who has had years of experience singing some of the world’s greatest music as an opera performer and even sings in 5-6 languages. With her, I have to remind myself to write more simply sometimes so that many others can sing the songs as well because Julia can handle just about anything I throw at her. (more…)











