Jack Perricone - Melody in Songwriting: Tools and Techniques for Writing Hit Songs
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- Book:Melody in Songwriting: Tools and Techniques for Writing Hit Songs
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Many of the concepts in this book are borrowed from Pat Pattisons work on lyric structure. His enthusiasm for teaching songwriting, along with his personal encouragement of my efforts, eased my task of translating these concepts into musical equivalents. I want to thank Bob Weingart for editing parts of this workbook, for providing me with thought-provoking challenges, suggestions, and many ideas, as well as inventing some of the terms I have adopted. Jimmy Kachulis also made some valuable contributions, especially in the chapter on blues/rock.
Scott McCormick and Sammy Epstein, who are not members of the Songwriting Department but who have a special interest in scholarly endeavors, deserve special praise for editing and contributing many helpful suggestions. I thank my entire faculty for participating in the sometimes arduous task of reading, discussing, and clarifying the language and techniques found within this book. I especially want to thank Ted Pease, distinguished professor, for his support ever since my arrival at Berklee College of Music, and for giving me the chance to write a serious book on a subject not heretofore taken seriously enough by the academic music community.
The tools and techniques presented to you in this book are an important part of the essential musical knowledge needed by aspiring songwriters. Topics that need exposition or further exploration are writing from a groove, bass line or riff; refinements in setting lyrics; and the many implications of prosody.
Songwriting strategies and how to use tonality in form (such as modulation, polymodality) are topics that demand another book. Understanding various song styles and writing in those styles is a subject that could also constitute the contents of another book.
The joy of songwriting comes in creating an entity containing no superfluous note or worda crystalline gem that touches others. My hope is that this book has helped you move closer to that joy.
Jack Perricones distinguished career as songwriter, composer and arranger includes such hits as Run, Joey, Run, which reached Billboards 1975 Top Five, and Angela Bofills, What I Wouldnt Do. His songs have appeared on the pop, R&B, and country charts and have been recorded by Lou Rawls, Jerry Butler, K.T. Oslin and many others. His numerous credits as record producer include a Grammy-nominated jazz album and a recent Gail Wynters album, Boogie to Heaven, featuring Dr. John.
Jack Perricone co-founded Berklee College of Musics unique Songwriting Department, which he has chaired since 1987.
The two basic elements of music that define melody are pitch and rhythm. Melody is a succession of pitches in rhythm. The melody is usually the most memorable aspect of a song, the one the listener remembers and is able to perform.
A melodic phrase, much like a sentence or clause in verbal language, usually encompasses a complete musical statement. A melodic phrase usually defines itself by resting or holding or coming to some point of resolution (rhythmically and/or tonally) and, especially in vocal music, is directly related to the natural areas to breathe. Short phrases usually group together to form a longer phrase.
In the following example, phrase I and phrase 2 group together to form a longer phrase; phrase 3 and phrase 4 group together to form a longer phrase.
There are two types of melodic motion: conjunct motion, which proceeds by step from one scale degree to the next (i.e., by the interval of a second) and disjunct motion, which proceeds by leap (i.e., by intervals larger than a second).
A melody assumes character by a number of means: its rhythmic structure, its contour, its tonal makeup, and its intervallic content. Most vocal melodies consist of conjunct motion, which is the most natural and comfortable to sing. It is usually the intervallic leaps, however, that give a melody character and cause the melody to assume more of a memorable profile.
It is absolutely essential to the craft of songwriting that the writer sing the melody, feel it in the voice, reach for the high notes, and focus on experiencing the relationship between the lyric and the melody. Much of melody writing done for instruments, especially for the piano, is difficult or impossible to sing. The following are to be considered when writing for the voice:
- How disjunct is the melody? Too many intervallic leaps can cause the melody to be difficult or impossible to sing.
- Does the vocalist have time to breathe between phrases? Is the phrase so long that it doesnt allow the singer to breathe?
- Is the vocal range of the song too great? Does the range within a section of the song change too quickly?
The lead sheet format reflects the importance of the melody. Harmonic voicings, texture, and orchestration are not found in lead sheets. The lead sheet solely contains the melody, the lyric, and the harmony notated with chord symbols.
The following guidelines for leadsheet writing are given to help eliminate the usual errors.
- The melody should be notated in a clear-cut but accurate fashion in the treble clef. Notes and rhythms that are purely embellishments need not appear on the lead sheet.
- If a section of a song is repeated and some melodic rhythms and pitches are slightly altered (as often happens in verse sections), cue notes should be written for these deviations.
- Chord symbols should appear directly over the beat or part of the beat on which they are played. It may be necessary to approximate this if a melody note is not sung on the exact rhythm.
One of the most common errors is placing a chord in the middle of the bar when the chord is intended to be sounded for the entire measure. This is confusing to a player who must play the chord on the first beat.
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