Tag: Song a Day

Posted on

Song a Day: “Over the Rainbow”

There are few songs in American popular culture that are as iconic as “Over the Rainbow” from The Wizard of Oz. It is surprising to think that the song was almost cut from the movie. Written by Harold Arlen and E. Y. Harburg, the lyrics encapsulate the meaning of the film. They express the protagonist’s dissatisfaction, as well as her feelings of powerlessness.

The melody of the song complements the lyrics, and serves as an analog for the journey taken by the protagonist. This is accomplished through contour. We can think of the tonic of the key (scale degree one), as functioning like ‘home.’ Likewise since the first note of the melody is the tonic, this statement is doubly true. The opening melodic interval is a leap up an octave. We can think of this leap as being dissonant, in terms that we are leaving the home of the first note of the song.

This leap is resolved melodically through a structural stepwise descent of the melody. While this may initially be difficult to see, it is very plain if we look at the structure of the melody. We can do this by selecting the most important note of the melody for each measure of music. This begs the question of what makes one note more important than other notes? Emphasis of one note over another happens through duration, volume, and range or tonal concerns. The importance of duration and volume is pretty clear and intuitive. If a note is held longer, or is played more loudly, we will certainly hear it as being more important. Implicit in the question of volume though is the issue of metric placement, meaning that notes that are played on beats one or three (in music that descends from the Western classical tradition) tend to be played more loudly than other notes.

The issue of range and tonal concerns is a bit more difficult to define. That being said, notes that are higher or lower than other notes in a passage tend to stand out. Likewise, notes that have strong tonal implications (dissonance) such as the the leading tone, may stand out more than other, more stable notes.

Let’s explore this reduction by looking at the melody of the verse (figure 1). Measure four and eight are self explanatory, as there’s only one note in each of those measures. In measures one, three, and five we could imagine picking the highest note in each measure. In measures two, six and seven if we pick the note that happens on beat one, it is also the most emphasized note, as in each case that note recurs on beat three, taking up half of the measure in all. If we look at all of these notes selected for the reduction what we get is a descending scale (figure 2).

Figure 1: Verse melody “Over the Rainbow”

Figure 2: Verse reduction “Over the Rainbow”

Once you notice this structural descending scale it is hard to ignore. Again the dramatic leap up an octave in the first two notes can be thought of setting up a dissonance that is resolved through the systematic structural stepwise descent of the melody back to the lower octave tonic (the last note). This leap and descent can be thought of as a musical analog of the rainbow mentioned in the song’s title. The melodic motion also reflects the story of the movie. where the protagonist goes on a dramatic journey away from home, only to take on a methodical quest to find a way to return.

The melody in the bridge of the song ascends, but this ascent is not nearly as methodical as the descent of the verse. In that regard, it is probably best to think of this ascent as functioning as a contrast to the verse, rather than to think of it in terms of a metaphor. That being said, the structural use of contour in the verse of “Over the Rainbow” serves as a prime example of how contour can be used for both musical interest as well as a metaphor that can embody the meaning of lyrics or a narrative.

Posted on

Song a Day: “Birdhouse in Your Soul” (John Flansburgh / John Linnell)

When demonstrating metaphors in lyrics, I used to cover “Candle in the Water” from the 1977 film Pete’s Dragon.  While the metaphors in this song work very well, I found that the song did not speak to students.  So, I have moved on to covering the They Might Be Giants classic “Birdhouse in Your Soul.”

John Flansburgh and John Linnell from They Might Be Giants are known for their clever lyrics, and “Birdhouse in Your Soul” is no exception.  The premise of the song is quirky, clever, and sweet.  The singer personifies a nightlight in the form of a blue canary, who is singing to the person (probably a child) who the nightlight protects (“who watches over you”).  The message this object conveys, through metaphor, is to keep a spot for it in your heart.

The beginning starts very playfully, with the nightlight continuously backpedalling on its relationship to the audience . . .
I’m your only friend,
I’m not your only friend,
but I’m a little glowing friend,
but really I’m not actually your friend,
But I am

While this is playful, it also establishes the affection that the nightlight has for his protectee, and starts to set up the desire of the nightlight to have this affection reciprocated. This hope is expressed in chorus with the line, “say I’m the only bee in your bonnet,” which is charmingly rhymed with the previous line, “not to put to fine a point on it.”

Part of Flansburgh and Linnell’s gift for lyrics comes from their use of obscure sayings, vocabulary and references. One such example of an antiquated saying is the previously mentioned “bee in your bonnet.” In terms of vocabulary, the first verse includes the line, “filibuster vigilantly.” Perhaps the most obscure reference of the song is the “Longines Symphonette,” which is a brand of luxury, high quality wristwatches. This reference adds a bit of humor, as a cheap night light compares itself to a thousand dollar wristwatch. The second verse humorously invokes the legend of Jason and the Argonauts as well.

Another feature of the lyrics to “Birdhouse” is the use of multiple syllable rhymes.  In the chorus we hear “bonnet” rhymed with “on it,” while the first verse rhymes “listen to me” with “vigilantly” and “l-i-t-e,” as well as “infinte” and “Symphonette.” This last rhyme is softened by appending the line with the non-rhyming phrase “it doesn’t rest.” In the second verse we have three multi-syllable rhymes in a row: “opposite me,” “ancestry,” and “shipwreck free.” These rhymes echo those from the first verse (“listen to me,” “vigilantly,” “l-i-t-e”). While these multiple syllable rhymes make the verse very rhyming, Flansburgh and Linnell clear our palette by having the final lyric of each verse not rhyme, which leaves the verse open, leading into the chorus.

Finally, the lyrics also feature some remote rhymes.  One such instance happens in the second verse. While “a lot” and “Argonauts” are additive rhymes, “job” is an assonance rhyme with both of these. This passage is even more effective as the nightlight humbly compares itself to lighthouses, which despite the deprecating humor does make the connection between nightlights and lighthouses in terms of protection and guidance. Clearly the protagonist views its function as important and meaningful, later comparing itself to a guardian angel.

However, we’ve lost sight of why we came here, the metaphor.  The title line, “birdhouse in your soul,” works as a metaphor.  The protagonist, the nightlight shaped like a canary, begs the listener, cast as the occupant of the room, presumably a child’s bedroom, to build a “make a little birdhouse in your soul.” What does this line mean? Clearly it is not literal.  A soul is not a physical place. Even if we take the word “soul” to mean heart, it is doubtful that the nightlight wants the listener to carve open their chest and put a birdhouse adjoining their aorta. Rather, “make a little birdhouse in your soul” likely translates to make a place for me in your thoughts, or even think of me tenderly.

Given the content of the lyrics, the protagonist is asking to be thought of tenderly in return for the protection the nightlight has been offering faithfully, one presumes over the length of the listener’s childhood. On a larger scale, one can view the song as advocating thoughtfulness for non-sentient articles that aid you in your life. While such thoughtfulness does not, in reality, comfort such objects, it does encourage us to be thoughtful creatures of gratitude, which is clearly a noble goal.

So, how does this relate to the construction of the lyrics? The obscure sayings, vocabulary, and references cast the nightlight as a quirky individual. This is furthered by the multiple syllable and distant rhymes. One imagines the nightlight as a somewhat bookishly shy, awkward individual who cautiously asks for kind, warms wishes. The process puts the nightlight in a vulnerable state, which is highly sympathetic. This reinforces the meaning of the metaphor through this casting, established lyrically.  All in all, it also makes for a unique, effective song.

Posted on

Song a Day: “Eleanor Rigby” (Paul McCartney)

The lyrics of “Eleanor Rigby” were somewhat of a collaborative effort, though ultimately Paul McCartney made all the final decisions, and is considered to be the primary author of the song.  While the tune is quite compelling, if you strip away George Martin’s wonderful string octet arrangement, the chord progression is very basic, consisting only of E minor and C Major chords.  Today we will be looking at the song from the perspective of what Pat Pattison would call a three verse story.

Songs that tell a story are hardly unique.  However, ones that tell a captivating story are a treasure.  The best way to create a story that is engaging is to get the listener to be more invested with each passing verse.  Pattison refers to this process as stacking verses.  “Eleanor Rigby” is personally my favorite example of this.  In order to fully appreciate this, we have to approach the song imagining that we are listening to it for the first time without any prior knowledge.

The first verse introduces the title character, a probable romantic (picking up “rice in the church where a wedding has been”) who “lives in a dream.”  The verse also leaves us with more than a bit of mystery about Rigby through the cryptic line “wearing the face that she keeps in a jar by the door.” This metaphoric reference to makeup is rendered more interesting by noting that it is kept near the door, begging the question why. The mystery is further established by ending the verse with the question, “Who is it for?” It is a question, by the way, that the song never answers (leaving it to our collective imaginations).

We can easily imagine Rigby waiting “at the window” for someone who we are left to assume does not come (suggested by the chorus “all the lonely people”).  Is she expecting a caller who does not come?  Is she hoping she will see the object of her devotion in the street?  Does he know she exists?  Again, none of these questions are answered, though the chorus suggests Rigby’s primary motivation may be desperation.

The second verse however abandons this sympathetic character.  Instead, it moves on to Father McKenzie.  This clergyman seems less desperate (and thus less sympathetic) than Rigby.  In fact, the last line of of the verse, “what does he care?” leaves us with a sense of indifference.

Dramatically, the second verse is a significant step down from the first.  While there’s some good imagery (“darning his socks in the night when there’s nobody there”), the character in the verse is significantly less sympathetic.  Furthermore the only tenuous connection between the two characters (at this point) is both of them have a connection to a church.

This step down in drama sets up the sucker punch of the third verse when the connection between two characters is revealed, namely that Father McKenzie conducts Eleanor Rigby’s funeral.  The lonely desolation of the first verse is intensified by specifying that Rigby was, “buried alone with her name,” and that “nobody came.” The final bleak nail in the coffin (pun intended) comes when the lyrics note that, “no one was saved.”  Or, to put it another way, since no one attended Rigby’s funeral, no one was there to learn a lesson.

This three verse story is particularly effective, by setting up the sympathetic Rigby, moving away from her in a somewhat cinematic matter to the seemingly unrelated Father McKenzie, and then connecting these two lonely characters through the death of the Rigby.  The third verse effectively pays off the emotional investment made in the first verse.  Furthemore, the song invests in the audience through questions.  When the chorus asks “where do they all come from?” and “where do they all belong?” it directly addresses and confronts the audience, forcing them to take ownership in the plights of Rigby and McKenzie, as well as any lonely people that may be known to the listeners.

Posted on

Song a Day: “Please Please Me” (John Lennon)

When I teach songwriting, typically the first project I assign is to write a song that uses a refrain instead of a chorus.  A refrain is kind of like a mini-chorus.  It is a single line that typically appears as the last line of every verse.  That line is usually the title line of the song, and it serves to frame or contextualize each verse.

The example I use for a song with a refrain is “Please Please Me.”  Credited as being by John Lennon and Paul McCartney, the song is generally understood to be written primarily by John Lennon.  We will be investigating the song in relationship to its lyrics.

At first glance, the lyrics to “Please Please Me” seem pretty lazy.  There are only two verses (the first verse is repeated as a third verse).  Furthermore, the rhymes seem lazy. It appears that he rhymes girl with girl in the first verse, love with love in the second verse, and you with you in the bridge.

However, the real rhyming in the lyrics are internal rhymes.  The first verse rhymes “my girl” with “try girl.”  In the second verse Lennon rhymes “way love” with “say love.”

These simple internal rhymes become more involved and playful in the bridge.  “Sound complaining” at the end of the first line rhymes with “always rain in” in the second line.  Furthermore, Lennon tags the end of the second line with “my heart,” which softens the sing songy quality of the multi-syllable rhymes.  The following two lines also use multi-syllable rhymes, ending with “pleasing with you” and “reason with you” respectively.  The bridge ends with the single syllable rhyme “blue.”

“Please Please Me” is at its essence a cute, novel teenage rock and roll love / lust song.  However, its effectiveness is not by accident.  These multi-syllable rhymes lend the tune its playful nature, hiding carnal urges behind flirtatious banter. This, in turn conformed perfectly to the Beatles early fun, clean cut, boy-next-door personas.