Lyrical composition

This is an introduction to Lyrical Composition and assumes the student is focusing on the words and language of a composition, rather than melody or harmony.

Anatomy of a Lyrical Composition

To begin with, let us define what we mean by "Lyrical Composition"

In this context we are referring to the words, use of language and literary devices used within a musical context. Examples include but are not limited to: "Songs" , "Musicals" , Choral music etc.

As an overview, let us look at the parts that make up a lyrical composition:

1. Line length and syllabic rhythm (aka Metre (UK) or Meter (US) )
2. Rhyme scheme
3. Repetition or Structure
4. Literary Devices

All of these work together to move along a narrative or present an impression on the listener. Different genres of music will demand a different focus and use of the above elements.

For example, Country music is typically be less focused on complex rhyme scheme and more geared toward using typically simple rhyme schemes to deliver powerful Literary Devices like Metaphor, Subtext, and Puns. Whereas, Hip Hop music is typically more critical of rhyme scheme. As a genre, it tends to lean toward emphasizing a mastery of Meter and Literary Devices such as Logos (aka Reason/Logical arguments), Pathos (aka Emotional/Empathetic Arguments), Simile, and Double Entendre (with some lyricist going up to Triple ..., Quadruple ... etc.).

Keep in mind: These examples are broad and based off historical precedent. Music/Lyrical Compositions, like many art forms, has many interpretations/exceptions to the rules etc. and the practice of lyrical art is subjective. But, it's important to remember you don't have to "reinvent the wheel" to be a good lyricist. Listen and analyze lyrics you like or would want to write. Simply by thoroughly understanding the above elements and discovering their patterns of use in the music you are writing for, you'll be able to create lyrical compositions in the style you prefer.

The major concept is Tension and Release. The overall impression of your lyrics on the listener will flow between these two states. In your lyrics /"your energy" or "vibe" can start off being very "unstable" or "tense", building up to land on a Chorus Section creating a sense of release and movement. Or vise versa, starting stable and dropping off in to tense rhythmic or complex section, again creating a sense of movement. Along with your chosen structure, this ebb and flow between "Tension and Release" guides the listener through your song.

For example; when you want to reinforce an idea, place that idea in the "Release" part of the lyrics. When you want to leave an idea unresolved, place that idea in the "Tension" part of the lyrics. Thus, simply by placing your ideas within the structure and pattern of tension and release you have chosen, you have created: movement or a sense of direction, highlighted the meaning of your lyrics, and taken the listener on a journey through the song.

Odds and Evens

1. An even number of refrains creates a stable vibe. An uneven number of refrains creates an unstable vibe.
2. A pair of evenly matched lines is stable, whereas a long second line highlights the stressed syllable at the end of the line, and a short second line leaves us wanting more (unstable).
3. An ABAB or AABB symmetrical rhyme scheme is stable, while ABBA or XXAA is unstable.
4. Similarly the repetition of rhyme words can be unstable (uneven) and stable (even). Alternately a consonant rhyme can be unstable while a perfect rhyme can be stable.
5. Four stress syllables is balanced and complete, i.e. stable. Three stress syllables is unbalanced.
6. An end on a tonic chord is stable, an end on a fourth or seventh is unstable.

The number of lines, length of lines, rhythms of lines, rhyme scheme, rhyme types, and chords/melody/harmony can all be used to support and enhance what you're saying. An unstable structure and a stable structure will give different results. Even a collision between one set of structural ideas and another can make an unstable vibe.

Rhyme

Rhyme moves emotion. With a rhyme scheme one can make you feel happy and stable or one can subvert your expectation and make you feel inconstant. Remember we're working to avoid cliche. Also, beware the weak stress: "see" versus "lonely". Use a dictionary and look for the long stress mark and use that.

The emotional spectrum of rhymes

1.) Perfect rhyme (identical vowel sounds, identical consonants after the vowel if any, rhyming syllable begins differently): Fully Resolved (and crisp acceleration)

2.) Family rhyme (identical vowel sounds, consonants after the vowel are phonetically related if any): Strongly Resolved

A Chart of Phonetics and Consonants

• Plosives Partner sounds

1. b, d, g Voiced (least possible sound when added)
2. p, t, k Unvoiced

• Fricatives Partner sounds

1. v, TH, z, zh, j Voiced
2. f, th, s, sh, ch Unvoiced

• Nasals Partner sounds

1. m, n, ng Voiced

3.) Additive Rhymes(identical vowel sounds, consonants after the vowel add a little sound if any): Moderately More Resolved

• Adding least possible sound creates a stable connection
• Adding more creates a less stable connection
• Examples: free/speed, glow/stove, fit/grits, fine/resigned, cry/smile

4.) Subtractive Rhymes(identical vowel sounds, consonants after the vowel subtract a little sound if any): Moderately Less Resolved

• Examples: speed/free, stove/glow, resigned/fine, smile/cry

5.) Assonance Rhymes(identical vowel sounds, ending consonants belong to different phonetic families): Strongly Unstable

• Examples: life/tide, blood/rush, fool/rude, fire/smile

6.) Consonance Rhymes(different vowel sounds, ending consonants are Identical): Fully Unstable

• Examples: friend/wind, defense/innocence, one/gone, one/alone, scars/fears, filled/crawled

A perfect rhyme scheme that doesn't work...

Fire, transpire, desire, conspire...for a song about a heartbreak.

An imperfect rhyme scheme that does work...

Fire, blood, fear, bland...for a song about heartbreak.

For Rap

Rhyme columns, placing rhymes in lines. Think about rhyme placements as though they were harmonic rhythm, they become the flow. Simple lyrics can be very moving, while uninteresting, which has the listener attentive to the bassline.

Syllables

Stressed Syllables

Mul-Syl-Ble are the higher pitches in "Multi-Syllable". The middle one "Syl" is the primary stress, and has the highest pitch. "Mul" and "Ble" are the secondary stresses.

One-syllable words will be stressed if they have meaning (nouns, verbs, adjectives, adverbs). Grammatical words (Articles, conjunctions, prepositions and personal pronouns) are lower in pitch and may become emphasized, but not stressed, unless showing a contrast.

Rhythm

In 4/4 time, the downbeat (1st) and third beat are the stressed beats. Simply, the primary stresses should fall together. The primary stressed syllables should fall on the 1st or 3rd beats. A secondary stress syllable should fall on a secondary stress beat like the 2nd or 4th. To diminish a secondary stress syllable, simply move the secondary stress syllable to after the stress beat.

Tones

The personal tonic; Harmonic Function

People whine and tease on minor thirds, they use "a" and "the" on their tonic. To emphasize positively, or ask questions we use a fifth. We threaten on a dominant below the tonic. The preacher, auctioneer use the fourth (subdominant) because it's really going somewhere and unstable. We express surprise and warning on the seventh degree of our scale.

The emotional spectrum of the notes of the scale

1. Tonic, "do" (most stable)
2. Octave, "do"
3. Perfect Fifth, "sol"
4. Third, "mi" (a little stable)
5. Sixth, "la" (a little unstable)
6. Second, "re"
7. Fourth, "fa"
8. Seventh, "ti" (most unstable)

Chords

The emotional spectrum of the chords of the scale

1. Chord 1 (most stable)
2. Chord 6
3. Chord 3
4. Chord 4
5. Chord 2
6. Chord 5
7. Chord 7 (least stable)

Metaphor

A metaphor is a collision of two things that are seemingly unrelated and now we've got all these textures. "Falling in love" and "Las Vegas", all number of things happen in Las Vegas, but what we're going to write about is "Falling in love"... One way to approach metaphors is to start by writing similes, like these: "He made my skin feel like I was winning" and "her smile was like a light show". The simile can then be abstracted into a metaphor. If you want the listener to understand how you feel when you are touched by your lover (the first simile), you might tell them how you feel when you win at Blackjack:

I watched the dealer reach; his hand slid across the cards and gently turned one. My heart raced and sweat beads formed on my brow. A brief glance showed me I had the winning cards; I clenched my fists and bit my lower lip to avoid screaming in joy.

Hopefully, it is obvious that the previous has nothing to do with cards.

Find, create, extend and reverse metaphor. Finding metaphor is a great way to start a song, and is a great way to dig in and find an interesting way to express something, particularly feelings.

Exercises

Exercise no. 1

To practice (or even when in the practice of actually writing lyrics), the student should take a moment to reflect on the purpose/genre, and theme/message the lyrics are to convey. This will be used to focus down to an Idea that can be expressed in a sentence or two. Then, the student should select one (1) preferred/randomly selected/assigned a Part of Lyrical Compositions (PLC for short): 1) Literary Devices, 2) Repetition/Structure, 3) Rhyme Scheme, or 4) Meter.

After selecting both an Idea and a PLC, write 2 lines that convey the idea (write 4 lines if your PLC is "Repetition/Structure")