As we shall see later, another definition of the popular song-hit might be, "A song with a punch in the lyrics and a punch in the music." Berlin expressed the application to the problem of melody by the following:

"In the 'International Rag,' for example, I got my punch by means of my melody. I used the triplet, the freak, from out of my bag of tricks:

Raggedy melody, Full of originality.

5. Punch is Sometimes Secured by Trick of Repet.i.tion

Anatol Friedland, who composed the music of "My Persian Rose," and L. Wolfe Gilbert's "My Little Dream Girl," in discussing this question, said:

"Ten notes may be the secret of a popular song success. If I can make my listeners remember ten notes of a song that's all I ask.

Whenever they hear these ten notes played they'll say, 'That's. . .,'

and straightway they'll begin to whistle it. This is the music punch, and it depends on merit alone. Now here's one angle of the musical punch trick:

"To make a punch more punchy still, we repeat it at least once, and sometimes oftener, in a song. You may start your chorus with it, repeat it in the middle, or repeat it at the end. Rarely is it repeated in the verse. High-brow composers call it the theme.

For the popular song composer, it's the punch. Clever repet.i.tion that makes the strain return with delightful satisfaction, is one of the tricks of the trade--as well as of the art of popular music."

6. A Musical Theme Might be Practically the Entire Song

If what Friedland says is so, and you may turn to your well-thumbed pile of music for confirmation, the theme or the punch of popular music may prove the entire song. I mean, that in its final sales a.n.a.lysis, the magic bars are what count. To carry this logical examination still further, it is possible for a popular song to be little more than theme. As a musical theme is the underlying melody out of which the variations are formed, it is possible to repeat the theme so often that the entire song is little more than clever repet.i.tions.

One of the most common methods is to underlay a melody with what E. M. Wickes, [1] one of the keenest popular song critics of today, calls the "internal vamp." This is the keeping of a melody so closely within its possible octave that the variations play around a very few notes. Try on your piano this combination--D, E flat, and E natural, or F natural, with varying tempos, and you will recognize many beginnings of different famous songs they represent.

Either the verse of these songs starts off with this combination, or the chorus takes these notes for its beginning. "Sweet Adeline"

and "On the Banks of the Wabash" are but two of the many famous songs built on this foundation. Of course, there are other combinations. These few combinations taken together might be considered as the popular idea of "easy music."

[1] Mr. Wickes has been contributing to The Writer's Monthly a series of valuable papers under the general caption, "Helps for Song Writers."

And now it is through the consideration of the importance of the variations of the theme that we may come to an understanding of what, for the want of a better phrase, I shall call unexpected punches.

7. Punches not Suggested by the Theme

The impossibility of adequately pointing out by words the specific examples of what I mean in certain songs makes it necessary for me to direct you back to your own piano. Run over a group of your favorites and see how many musical punches you can find that are not due directly to the theme. Pick out the catchy variations in a dozen songs--you may chance on one or two where the biggest punch is not in the theme. Of course you may trace it all back to the theme, but nevertheless it still stands out a distinct punch in the variation. If you can add this punch to your theme-punch, your song success is a.s.sured.

8. Use of Themes or Punches of Other Songs

When Sol P. Levy, the composer of "Memories," the "Dolly Dip Dances," and a score of better-cla.s.s melodies, shared my office, one of our sources of amus.e.m.e.nt was seeking the original themes from which the popular songs were made. As Mr. Levy was arranging songs for nearly all the big publishers, we had plenty of material with which to play our favorite indoor sport. It was a rare song, indeed, whose musical parent we could not ferret out. Nearly all the successful popular songs frankly owned themes that were favorites of other days--some were favorites long "before the war."

Berlin's use of "Way down upon the Swanee River"--"played in ragtime"--for a musical punch in "Alexander's Ragtime Band," was not the first free use of a theme of an old favorite for a punch, but it was one of the first honestly frank uses. The way he took Mendelssohn's "Spring Song" and worked it into as daring a "rag"

as he could achieve, is perhaps the most delightfully impudent, "here-see-what-I-can-do," spontaneously and honestly successful "lift" ever perpetrated. Berlin has "ragged" some of the most perfect themes of grand opera with wonderful success, but not always so openly. And other composers have done the same thing.

The usual method is to take some theme that is filled with memories and make it over into a theme that is just enough like the familiar theme to be haunting. This is the one secret or trick of the popular song trade that has been productive of more money than perhaps any other.

This lifting of themes is not plagiarism in the strict sense in which a solemn court of art-independence would judge it. Of course it is well within that federal law which makes the copyrightable part of any piece of music as wide open as a barn door, for you know you can with "legal honesty" steal the heart of any song, if you are "clever" enough, and want it. The average popular song writer who makes free use of another composer's melody, doubtless would defend his act with the argument that he is not writing "serious music," only melodies for the pa.s.sing hour and therefore that he ought to be permitted the artistic license of weaving into his songs themes that are a part of the melodic life of the day.

[1] But, although some song writers contend for the right of free use, they are usually the first to cry "stop thief" when another composer does the same thing to them. However, dismissing the ethics of this matter, right here there lies a warning, not of art or of law, but for your own success.

[1] An interesting article discussing the harm such tactics have done the popular song business is to be found over the signature of Will Rossiter in the New York Star for March 1, 1913.

Never lift a theme of another popular song. Never use a lifted theme of any song--unless you can improve on it. And even then never try to hide a theme in your melody as your own--follow Mr.

Berlin's method, if you can, and weave it frankly into your music.

Now, to sum up all that has been said on the music of the popular song: While it is an advantage for one man to write both the words and music of a song, it is not absolutely essential; what is essential is that the words and music fit each other so perfectly that the thought of one is inseparable from the other. One octave is the range in which popular music should be written. Melodies should go up on open vowels in the lyrics. A "punch" should be put in the music wherever possible. Punch is sometimes secured by the trick of repet.i.tion in the chorus, as well as at the beginning and end. The theme may be and usually is the punch, but in the variations there may be punches not suggested by the theme. Themes, semi-cla.s.sical, or even operatic, or punches of old favorites may be used--but not those of other popular songs--and then it is best to use them frankly.

To state all this in one concise sentence permit me to hazard the following:

The music-magic of the popular song lies in a catchy theme stated at, or close to, the very beginning, led into clever variations that round back at least once and maybe twice into the original theme, and finishing with the theme--which was a punch of intrinsic merit, made stronger by a repet.i.tion that makes it positively haunting.

CHAPTER XXII

THE ELEMENTS OF A SUCCESSFUL LYRIC

One question about song-writing is often asked but will never be settled: Which is more important, the music or the words? Among the publishers with whom I have discussed this question is Louis Bernstein, of Shapiro, Bernstein & Co. He summed up what all the other publishers and song-writers I have known have said:

"A great melody may carry a poor lyric to success, and a great lyric may carry a poor melody; but for a song to become widely popular you must have both a great melody and a great lyric."

This is but another way of stating the fact noted in the preceding chapter, that the words and music of a popular song-hit are indivisible. And yet Mr. Bernstein gives an authoritative reply to the question with which this chapter opens.

Charles K. Harris put it in another way. Referring particularly to the ballad--and to the particular style of ballad that has made him famous--he said:

"The way to the whistling lips is always through the heart. Reach the heart through your lyrics, and the lips will whistle the emotion via the melody. When the heart has not been touched by the lyric, the lips will prove rebellious. They may, indeed, whistle the melody once, even twice, but it takes more than that to make a song truly popular. A catchy tune is not sufficient in itself.

It goes far, it is true, but it will not go the entire distance of popularity, or even two-thirds of the distance, unless it is accompanied by a catchy lyric."

You may read into this a leaning toward the lyric, if you like.

And it might be better if you did, for you would then realize that your part of a popular song must be as "great" as you can make it.

But whatever may be your opinion, it does not alter the fact that both Mr. Harris and Mr. Bernstein have pointed out--catchy words are needed as much as catchy melody. And permit me to say very humbly that personally I have no leaning toward the musical one of the twins: my reason for discussing first the musical elements, is that a lyric writer often is called on to fit words to music, and because an understanding of the musical elements forms a fine foundation for an easy, and therefore a quick, dissection of the popular song--that is all.

I. WHAT A POPULAR SONG LYRIC IS

In its original meaning, a lyric is verse designed to be sung to the accompaniment of music. Nowadays lyrical poetry is verse in which the poet's personal emotions are strongly shown. Popular song-lyrics especially are not only designed to be sung, but are verses that show a great deal of emotion--any kind of emotion.

But remember this point: Whatever and how great soever may be the emotion striving for expression, the words designed to convey it do not become lyrics until the emotion is _shown_, and shown in a sort of verse which we shall presently examine. If you _convey_ emotion, your words may be worth thousands of dollars. If you fail to convey it, they will be only a sad joke.

As ill.u.s.trations of this vital point, and to serve as examples for the examination of the elements of the popular lyric, read the words of the following famous songs; and while you are reading them you will see vividly how music completes the lyric. Stripped of its music, a popular song-lyric is often about as attractive as an ancient actress after she has taken off all the make-up that in the setting of the stage made her look like a girl. Words with music become magically one, the moving expression of the emotion of their day.

IMPORTANT NOTE

All the popular song lyrics quoted in this volume are copyright property and are used by special permission of the publishers, in each instance personally granted to the author of this book. Many of the lyrics have never before been printed without their music.

Warning:--Republication in any form by anyone whosoever will meet with civil and criminal prosecution by the publishers under the copyright law.

ALEXANDER'S RAGTIME BAND

Words and Music by IRVING BERLIN

Oh, ma honey, oh, ma honey, Better hurry and let's meander, Ain't you goin', ain't you goin,'

To the leader man, ragged meter man, Oh, ma honey, oh, ma honey, Let me take you to Alexander's grand stand, bra.s.s band, Ain't you comin' along?

CHORUS