More than upon either the first verse or the chorus, unity of effect depends upon the second verse. In it you must keep to the key of emotion expressed in the chorus and to the general trend of feeling of the first verse. If your first verse tells a love-story of two characters, it is sometimes well to change the relations of the characters in the second verse and make the repet.i.tion of the chorus come as an answer. But, whatever you make of your second verse, you must not give it a different story.

Don't attempt to do more than round out your first-verse story to a satisfying conclusion, of which the chorus is the completing end.

And now we have come to

8. The Punch Lines in the Verses

Toward the end of each verse it is customary to place punch lines which are strong enough pictorially to sum up the contents of the verse and round it out into the chorus. In humorous songs, these punch lines are often used as the very last lines, and the first line of the chorus is depended on to develop the snicker into a laugh, which is made to grow into a roar with the punch lines of the chorus. In other words, there are in every song three places where punch lines must be used. The most important is toward the end of the chorus, and the other places are toward the end of the verses.

9. Don'ts for Verse Last-Lines

Don't end your lines with words that are hard to enunciate--there are dozens of them, of which are "met," and most of the dental sounds. Experience alone can teach you what to avoid. But it may be said that precisely the same reason that dictates the use of open vowels on rising notes, dictates that open sounds are safest with which to end lines, because the last notes of a song are often rising notes. This applies with emphatic force, also, to your chorus. Never use such unrhetorical and laugh-provoking lines as the grotesquely familiar "and then to him I did say."

Don't always feel that it is necessary to tell the audience "here is the chorus." Imagination is common to all, and the chorus is predicted by the turn of thought and the "coming to it" feeling of the melody.

III. a.s.sEMBLING THE SONG

Having gone over your verses and made sure that you have punch lines that rise out of the narrative effect into revealing flashes, and are completed and punched home by the punch lines of the chorus, and having made sure that your lyrics as a whole are the best you can write, you must give thought to the music.

1. The "One Finger Composer's" Aid

If you are the sort of modern minstrel who has tunes buzzing in his head, it is likely that you will have composed a melody to fit your lyrics. The chances are that you know only enough about music to play the piano rather indifferently. Or, you may be an accomplished pianist without possessing a knowledge of harmony sufficient to admit of your setting down your melody in the form of a good piano score. But even if you are only able to play the piano with one finger, you need not despair. There are dozens of well-known popular song composers who are little better off. You may do precisely what they do--you can call to your aid an arranger.

This is the first moral I shall draw from the true story with which this chapter begins.

As the composer played over his melody for the arranger to take down in musical notes, you may sing, whistle or play your melody on the piano with one finger, for the arranger to take down your song. All you need give him is the bare outline of your melody.

At best it will be but a forecasting shadow of what he will make out of it. From it he will make you a "lead-sheet," the first record of your melody. Then, if you desire, he will arrange your melody into a piano part, precisely identical in form with any copy of a song you have seen. With this piano version--into which the words have been carefully written in their proper places--you may seek your publisher.

For taking down the melody and making an "ink lead-sheet," the arranger will charge you from one to two dollars. For a piano copy he will charge you anywhere from three to ten dollars--the average price is about five dollars.

2. Be Sure Your Words and Music Fit Exactly

Here we may draw the second moral from the little scene we witnessed in the song publisher's room--this is the big lesson of that scene.

In a word, successful song-writers consider a song not as a lyric and a melody, but as a composite of both. A successful song is a perfect fusing of both. The melody writer is not averse to having his melody changed, if by changing it a better song can be made.

And the successful lyric writer is only too glad to change his words, if a hit can be produced. With the one end in view, they go over their song time after time and change lyrics and melody with ruthless hands until a whistle-making unity rises clear and haunting.

This is what you must now do with your song. You must bend all your energies to making it a perfect blend of words and music--a unity so compressed and so compactly lyrical that to take one little note or one little word away would ruin the total effect.

This is why

3. Purchasing Music for a Song is Seldom Advisable

If you are invited to purchase music for a new song, it is the part of wisdom to refuse--because only in very rare instances has a successful song been the result of such a method. The reason is perfectly plain, when you consider that the composer who offers you a melody for a cash price is interested only in the small lump sum he receives. You are his market. He does not care anything about the market the music must make for itself, first with a publisher and then with the public.

Therefore, no matter how willing a composer may appear to change his melody to fit your song, scan his proposition with a cynical eye. On the surface he will make the music fit, but he would be wasting his time if he worked over your lyric and his music to the extent that a composer who is paid by the ultimate success of a song would have to labor.

It is very much better to take your chances with even an inferior melody maker who is as much interested as you are in a final success. And when you have found a composer, do not quibble about changing your words to fit his music. And don't fear to ask him to change his melody, wherever constant work on the song proves that a change is necessary. It is only by ceaselessly working over both words and melody that a song is turned into a national whistle.

IV. SEEKING A PUBLISHER [1]

[1] The matter under this section would seem to be an integral part of the following Chapter, "Ma.n.u.scripts and Markets," but it is included in this chapter because some of the points require a discussion too expansive for the general treatment employed in describing the handling of other stage material.

You have written your lyrics, and you have fashioned your melody, or you have found a composer who is anxious to make his melody fit your lyrics so perfectly that they have been fused into a unity so complete that it seems all you have to do to start everybody whistling it is to find a publisher. And so you set about the task.

1. Private Publication Seldom Profitable

While it is perfectly true that there have been many songs that have paid handsome profits from private publication, it is more nearly exact to believe that private publication never pays.

Printers and song publishers who make a business of this private trade will often lure the novice by citing the many famous songs "published by their writers." Whenever you see such an advertis.e.m.e.nt, or whenever such an argument is used in a sales talk, dig right down to the facts of the case. Nine chances out of ten, you will find that the writers are successful popular song publishers--it is their business to write for their own market. Furthermore--and this is the crux of the matter--they have a carefully maintained sales force and an intricate outlet for all their product, which would take years for a "private publisher" to build up. Really, you cannot expect to make any money by private publication, even at the low cost of song-printing these days--unless you are willing to devote all your energies to pushing your song. And even then, the song must be exceptional to win against the better organized compet.i.tion.

2. Avoid the "Song Poem" Advertiser

It is never my desire to condemn a cla.s.s even though a majority of that cla.s.s may be worthy of reproach. Therefore, instead of inveighing against the "song-poem" fakir with sounding periods of denunciation, permit me to state the facts in this way:

The advertisers for song-poems may be divided into two cla.s.ses.

In the first cla.s.s are publishers who publish songs privately for individuals who have enough money to indulge a desire to see their songs in print. The writer may not intend his song for public sale. He wishes to have it printed so that he may give copies to his friends and thus satisfy his pride by their plaudits. It is to these song-writers that the honest "private publisher" offers a convenient and often cheap opportunity. His dealings are perfectly honest and fair, because he simply acts as a printer, and not as a publisher, for he does not offer to do more than he can perform.

The second cla.s.s of song-poem advertisers lure writers by all sorts of glowing promises. They tell you how such and such a song made thousands of dollars for its writer. They offer to furnish music to fit your lyrics. They will supply lyrics to fit your music.

They will print your song and push it to success. They will do anything at all--for a fee! And I have heard the most pitiful tales imaginable of high hopes at the beginning and bitter disappointment at the end, from poor people who could ill afford the money lost.

These "publishers" are not fair--they are not honest. They make their living from broken promises, and pocket the change with a grin over their own cleverness. Why these men cannot perform what they promise is perfectly plain in the light of all that has been said about the popular song. It does not need repet.i.tion here.

If you wish to publish your song privately for distribution among your friends, seek the best and cheapest song printer you can find.

But if you hope to make your fortune through publication for which you must pay--in which the publisher has nothing to lose and everything to win--take care! At least consider the proposition as a long shot with the odds against you--then choose the fairest publisher you can find.

3. How to Seek a Market for Your Song

But let us hope that you are the sort of song-writer who is anxious to test his ability against the best. You do not care to have your song published unless it wins publication on its merits--and unless you can be reasonably sure of making some money out of it.

You aspire to have your song bear the imprint of one of the publishers whose song-hits are well known. To find the names and addresses of such publishers you have only to turn over the music on your piano. There is no need to print individual names here.

But a few words of direction as to the way you should approach your market may be helpful. I quote here the composite opinion of all the well-known song publishers with whom I have talked:

"To find a great song in the ma.n.u.scripts that come through the mail--is a dream. It is rare that the mail brings one worthy of publication. If I were a song-writer I should not submit my song through the mails. Of course, if I were far from the big markets I should be compelled to. But if I were anywhere near the market I should go right to the publisher and demonstrate the song to him.

"You see, I must be convinced that a song is a winner before I'll gamble my money on its publication. And the only way I can be easily convinced is to be compelled to listen to the song.

Naturally, being a song publisher, I think I know a hit when I hear it--I may 'kid' myself into believing I can pick winners, but I can be made to see the possibilities by actual demonstration, where I might 'pa.s.s a song up' in ma.n.u.script."

Therefore, it would seem wise to offer a song through the mails only when a personal visit and demonstration are impossible. You need not copyright your song, if you send it to a reputable publisher. All you need do is to submit it with a short letter, offering it on the usual royalty basis, and _enclose stamps for return_, if it is not available. From two to four weeks is the usual time required for consideration.

If you are near a song publisher, the very best thing you can do is to fortify yourself with una.s.sailable faith in your song and then make the publisher listen to you. If you have a song that shows any promise at all, the chances are that you will come out of the door an hour later with a contract.

CHAPTER XXIV

Ma.n.u.sCRIPTS AND MARKETS

It is in the hope of directing you to your market that this chapter is designed. But there is no form of writing for which it is more difficult to point out a sure market than for vaudeville material.

Even the legitimate stage--with its notorious shifting of plans to meet every veering wind--is not more fickle than the vaudeville stage. The reason for this is, of course, to be found in the fact that the stage must mirror the mind of the nation, and the national mind is ever changing. But once let the public learn to love what you have given them, and they will not jilt your offering in a day. The great advantage the writer of vaudeville material today has over every one of his predecessors, lies in the fact that the modern methods of handling the vaudeville business lend him security in the profits of his success.

1. Preparing the Ma.n.u.script