Along with the concrete/abstract
balance, one of the most important tools for communicating effectively through
lyrics is the concept of “semantic
field”. It is this aspect of
a lyric that determines whether or not it appears focused and cohesive, or
diffuse and wandering. Most
English words have multiple meanings.
The particular meaning intended is clarified for the receiver by the
other word preceding and following the key word.
For example
the words “set” and “jack” each have more than 20 meanings. The sentences “That set of Jack’s was
the best tennis he’s ever played” and
“This set of jacks is the child’s favorite play toy” are made clear only
by the words other than set and jack. Those other words provide context and
define the semantic fields being used.
Key words in a lyric should stay with a single semantic field and not
bounce around... i.e., if you’re writing about apples as the semantic field,
talk about Delicious and Macintosh and cider, not oranges and pears.
If you’re writing about fruit
(a broader semantic field),
write about apples, oranges, and pears, not carrots, celery, and
turnips. If you’re writing about edible plants (a
still broader semantic field) then you can mix apples, oranges and carrots, but
not poison ivy or redwood trees.
If you’re writing about all plants...well, you get the idea. The semantic field is defined by
the main metaphor of the song, and straying outside that semantic field
essentially means you’re mixing metaphors, which generally dilutes the impact
of your lyric. So it’s not enough
just to balance concrete and abstract references, but they should all be
consistent within the context defined by the governing metaphor of the song.
Of course we have exceptions. There are times where it is highly desirable to switch semantic fields in
midstream... this is the essence
of punning, irony, and related
wordplay. It can be the source of memorable titles and
lyrical hooks. “We live in a
two-story house” is an example. By
itself, this sentence places
“story” in the semantic field of “words relating to houses and buildings”. But the rest of the lyrics, dealing
with deception and cheating, create a semantic field where “story” means a lie
or deceitful tale. Switching
semantic fields can be done locally (within a line or verse) or globally (from
one verse to another). In a
song about going back in time to change the mistakes in your life, the line “An
hour, a minute, a second chance” clearly uses
“second” simultaneously in two ways, both of which are embodied in the
premise of the song (time, and correcting mistakes).
This is the key point... it is not
good writing to use double meanings just to be clever; Both meanings of a word must be
fully supported by the song and the lyric must contain words from both semantic
fields. This creates a no-lose situation for
you-- the listener gets two chances to hear it right, and if they only get one
of the two, it still makes sense, because other parts of the lyric are
supporting the meaning. If they
get both meanings, they appreciate your crafting that much more. Another example:
Ten thousand
faces, I see only yours
I hear your
heartbeat over all the applause
You are my shining
sun, but everybody thinks it’s me
who’s the star
It’s you helped me
get this far...
The word “star” has both meanings
clearly referenced in the rest of the verse (i.e., applause and sun)
It takes a good deal of practice and
craft to do this effectively, and here in its entirety is one of the very best examples,
written by Greg Ham and recorded by Men at Work.
Snakes and
Ladders (©EMI-Blackwood Music)
I could stand but
I don’t like the feeling
I could fall but
I’m always on the floor
You can make a
million staring at the ceiling
You can break your
back and still be poor
One for the liar,
one for the cheat
One for the man
who you’ll never meet
He saw the action
and a portion of pie
He’ll be there
waiting when your big chance comes by
There's a snake at
the top of every ladder
Who will tell you
that he’s your best friend
Everyone important
needs an adder,
But subtraction
gets you in the end..
One for the liar,
one for the thief
One for the man
whose time is so brief
He saw the action
and a portion of pie
He’ll be there
waiting when your big chance comes by
This whole song converges at that one key word “adder”, which is a kind of snake, and which is also used in the math
sense of an accountant who adds up your money. The snake reference is supported immediately before the
word, and the math reference is supported immediately after
(“subtraction”). Let’s look at
some of the craft elements of this lyric: The title immediately sets up the
song premise, that when you climb the ladder of success, there are people
waiting to prey on you to get a piece of your pie instead of one of their
own. The title is a common phrase
based on the name of the popular children’s game (also known as “Chutes and
Ladders”). The chorus explicitly
supports the premise, and sets up both semantic fields for the key word to
follow. Notice the
technique of subtly changing the chorus the second time around to balance the
familiar with the new. The
second verse is a shining example of lyric craft. Not only does it effectively switch semantic fields, but the word it pivots on, “adder”, is
an unusual, fresh , and memorable word.
The “snake” reference is literal and concrete, while the “accountant”
reference is figurative and abstract. An excellent lyric.
Another example of this type occurs in the song by Terry Kirkman (The Association) "Requiem for the
Masses". Here, the semantic pivot is "masses", which can be interpreted to mean
either the Catholic church ceremony, or the population of a country. Either interpretation is well supported
in the lyric which simultaneously tells two stories.
Thus, once you’ve gotten a handle on
balancing concrete and abstract references, you can turn your attention to semantic fields, first to
insure consistency of the metaphors you use, and then for seasoning your songs
with wordplay that enhances the communication effectiveness of your lyric. And if it all works out, you’ll have to
hire an adder of your own...but watch out for adders.
For more on this topic see www.songcrafterscoloringbook.com
Bill Pere was named one of the
"Top 50 Innovators, Groundbreakers and Guiding Lights of the Music
Industry" by Music Connection
Magazine. With more than 30 years
in the music business working with top industry pros as a songwriter,
performer, recording artist and educator,
Bill is well known for his
superbly crafted lyrics, with
lasting impact. Bill has
released 16 CDs, and is President of the Connecticut Songwriters
Association. He is an Official
Connecticut State Troubadour, and is the Founder and Executive Director of the
LUNCH Ensemble (www.lunchensemble.com). Twice named Connecticut Songwriter of the Year, Bill is a qualified MBTI practitioner, trained by the Association
for Psychological Type. He is a
member of CMEA and MENC, and as
Director of the Connecticut Songwriting Academy, he helps develop young talent in songwriting, performing, and learning about the
music business. Bill's song
analyses and critiques are among the best in the industry. Bill has a graduate degree in Molecular
Biology, an ARC Science teaching certification, and he has received two awards
for Outstanding contribution to Music Education. © Copyright 2011
Bill Pere. All Rights
Reserved. This article may not be
reposted without permission of the author. Reproduction for educational
purposes is permitted with proper attribution. For workshops,
consultation, critiques, or other
songwriter services, contact Bill
via his web sites, at www.billpere.com, www.ctsongwriting.com, and www.lunchensemble.com