Meter, Melody and Repetition

Meter, rhythmic phrasing and melody is a big key to drawing the listener in, allowing the listener to remember the song. Repetition of phrases, both melodically and rhythmically conveys a sense of form and structure to the listener. Let’s break this down.

First, what IS meter anyway? It is the pattern of accented and unaccented syllables in a lyric. We can count the number of syllables in a line. For example:

I’ll never be

your beast of burden

My back is strong

But it’s a hurtin

All I want

Is for you to make love to me

Notice that lines 1, 3 have symmetry—each four syllables

Lines 2 and 4 each have five syllables

Line 5 is close to lines 1 and 3—same emphasis at the end of the phrase

The sixth line is a variation on the other lines—8 syllables, but sharing some of the accents.

This sets up a basic pattern that the rest of the verses follow. Both the melodies and the meter follow this, with only slight variations to allow for the inclusion of things like two syllable words in places.

The next example shows a current technique that gets used often.

You make me smile like the sun

Fall out of bed, sing like bird

Dizzy in my head, spin like a record

Crazy on a Sunday night

You make me dance like a fool

Forget how to breathe

Shine like gold, buzz like a bee

Just the thought of you can drive me wild

Ohh, you make me smile  (Smile by Uncle Cracker)

This uses a four syllable phrase that gets repeated over and over—with the occasional use of a pick up syllable, like dizzy in the head and spin like a record. Notice that each line has a strong accent or stress on the first word of the phrase and uses basically the same melody.

There are two lines used that break up the pattern. Crazy on a Sunday night and Ohh, You make me smile.

The human brain seems to latch onto patterns. Think about the song “Single Ladies” by Beyonce. Whether you like it or hate it, the repetition of:

If you like it then you shoulda put a ring on it

If you like it then you shoulda put a ring on it

If you like it then you shoulda put a ring on it

If you like it then you shoulda put a ring on it

Creates a melodic and rhythmic hook that some call an earworm—cause it burrows into your brain—whether you want it to or not.

Let’s look at one more—2008 Grammy winner for Best Song in a Motion Picture—“Falling Slowly”

I don't know you

But I want you

All the more for that

Words fall through me

(And) always fool me

And I can't react

And games that never amount

To more than they're meant

Will play themselves out

(Take this sinking boat) (and point it home)

We've still got time

(Raise your hopeful voice) (you have a choice)

You'll make it now

Note the repetition and symmetry of the lines. Even though the melody makes slight changes in lines 1, 2 and 3, 4—the meter remains consistent. Lines 3 and 6 also mirror themselves in both meter and melody. Notice also the rise in melody notes on the words “time” and “now”. Such a device impacts the sensory experience of the listener and these “mirrored” melodies make the melody stick by use of repetition.

Such repetition allows the listener to assimilate and remember the song because there are relatively few actual parts to the whole. Its not like each line is totally different in terms of melody and structure of meter. The similarities make the song easier to remember.

The point here is to be aware of using repetition to your advantage. Also, to break up the repetition with lines that deviate from the basic pattern. The lines that deviate may also be incorporated into a separate pattern of their own. Using such techniques creates melodic and rhythmic structure that the human ear and mind can easily grasp. It also provides a sort of “payoff” to the listener when the pattern is easily identified and not too complex. If the same verse meter and melody is used in all verses, the effect is even stronger.

Exercise: Pick ten favorite songs and try to isolate the meter and the melody patterns that are used. Also note the lines that provide variation. 

Patterns: Are what people remember before they remember lyrics. Melodic phrases and, then, key lyrical phrases are what listeners latch onto first. These are usually tied to a repeated rhythm. In the grand scheme of things, the title and its musical hook are what first catches a listener’s attention. After that, the general melody line, groove and story line of the lyric begin to be assimilated. Notice that most of the songs you have even a slight familiarity with, you have the ability to sing the title.

Good songwriting requires both repetition and variation. Too much of the same thing becomes stale quickly, but too little repetition takes the “hooking power” out of a tune. Write with the idea of making your chorus different than the verse and make the bridge different from either.