The Importance of Contrast

Imagine if every section of our lyric and melody had the same number of lines, the same rhyme scheme, and the same rhythms. It would be predictable at best, and infinitely boring. Many times we find ourselves in just this position, unable to break out of the familiar. And with lyric and melody so intimately related, we know that if our lyric follows the same patterns from section to section, our melody will too. 

I find that working on lyrics or melody alone helps me hear and see the contrast I can create between sections. Contrast keeps the listener engaged, highlights a new lyric idea and concept, and generally results in good forward motion for the song.

When I isolate lyric, I can contrast two sections by:

1. Changing the rhyme scheme
2. Changing the rhythm
3. Changing the number of lines in the section
4. Changing the content (verse shows the story, chorus tells why the story matters)

Each of these characteristics affects the melody, too. Changing the rhyme scheme changes the phrasing of my melody over the harmonic progression. Changing the rhythm changes my melodic theme - and the earlier the change in rhythm, the more distinctly different that new theme sounds. Adding or taking away lines is a great tool to remind myself to move from a four-line section into a six-line section with a different rhyme scheme. Heck, maybe I’d prefer a three-line section instead of four, or a five-line section where I repeat line four in line five.

When dealing with melody alone, I’m focused on rhythm and pitch. Two sections may rely on distinctly 1) different note lengths, 2) position of the phrases, 3) length of the phrases, 4) amount of rest space, and 5) pitches. The more characteristics that distinguish one section from another, the more contrast that results. This is where highly commercial music gets its zing - the greater the contrast, the bigger the splash each theme has on our ears.

The key to creating distinctly different song sections lies in applying each of these tools one at a time. Try writing two sections whose note lengths differ, moving from short notes and rest space in the verse, to long notes and very little rest space in the chorus. Then try moving from short, half-measure phrase lengths in the verse, to longer full-measure phrases in the chorus. Try changing only pitch from one section to another, keeping the rhythms roughly the same. Experimenting with one tool at a time helps us identify our tendencies, and recognize how we can broaden our toolbox and style.

In the end, the tools are there to help us move the listener to ‘feel’ what we want them to feel. So when all is said and done, trust your intuition. The tools will be there to help when your intuition raises a red flag.

Stay creative,