PG Music Home Forums General Discussion Woodshedding - Learning to Play! Lyric Techniques: "I Got Rhythm" (Part 2)

Hi Pauline,

Thanks for having a read and for commenting. I'd love to be a jazz singer.... if only I knew how! You're very lucky.

In relation to understanding the nuances of rhythm, that's a really interesting comment. I find myself sitting here reflecting on it now as I type. The most important thing things that I can think of from a lyric placement perspective, and I guess that could also be useful to singing, are...

ONE
Syncopation pretty much always strengthens the rhythmic value of a note. Whether the note is before or after the beat, experience tells me that this seems to hold true. An exception is that this strengthening is not felt if the note the follows the potential syncopation is the same length of note (or shorter). In this case, I don't think that the note can be thought of as syncopated.

For example:

In the below, the note that's supporting the word "Stars" is usually felt as being stronger than if it occurred on beat 3.



The note with the word "Fly" on beat 2 in (2) below is usually felt as stronger than the note on beat 1 in (1). To my way of thinking, the second situation can be thought of as either a beat 1 note that has been syncopated by delaying it or a beat 3 note that has been syncopated by anticipating it.



The note before beat 2 below, with the word "want" on it, is not felt as overly stronger because the note that follows it is of the same length.




The below is assuming 4/4 time.

TWO
Words that are important from a primary meaning perspective (i.e. those words that identify or enhance the main parts of a sentence; verbs and nouns (mostly) and sometimes adjectives and adverbs), should be set musically so that their strong syllable occurs on a primary beat. In most instances, beats 1 or 3 should be the first consideration. If beats 2 and 4 are syncopated as above then placement of strong syllables on these beats can also work.

Words that are important from a grammatical perspective (i.e. prepositions, articles, conjunctions, etc.) should occur on the weaker note beats. There are instances when these deserve a strong beat (i.e. beats 1 or 3 or a syncopated note). How a phrase is spoken in English will determine where the note placement occurs from a beat perspective.

I'll save my discussion about how note grouping affects rhythmic stresses for another post

All the best,
Noel

P.S. I'll post the above-indicated images within the next day or so.