7% of our communication, when we talk to each other, are the actual words that we use. 35% of our communication is tone of voice. And the rest of it is body language. Rest of it is body language. Rest of it is body language. So let's consider these two, brilliant lines, of my own construction. Where are you going? What did I do? Where are you going? What did I do? Now that sounds like I want an answer, doesn't it? Where are you going? What did I do? Let's put that to, a simple drum loop. [MUSIC] One two three four. Two two three. Where are you going? What did I do? Where are you going? Three four. What did I do? [MUSIC] Again, it sounds like I want an answer. Doesn't it? Check this out. One, two, three, four, two, two, three, four. Where are you going? What did I do? Where are you going? [MUSIC] What did I do and now it sounds like I'm puzzled. That gives us four possiblities here. Possibility one, two, three, four, two, two, three, four. Where you going? [MUSIC] What did I do? Possibility two. Three, four, two, two, three, four. Where are you going? What did I do? Third possibility. Two, two, three, four. Where are you going? What did I do? Fourth possibility. Three, four, two, two, three, four. Where are you going? What did I do? So that depending, on the relationship. Of the phrase to the downbeat of the bar, you will get four different emotional combinations of these two lines. So, let me give you two definitions. Definition one, any phrase that starts on the down beat, the one of the bar, and this is true in every time signature. Any phrase that starts on the downbeat of the bar we will call front-heavy. That is to say the weight of the line will be in the front of the line because the line, the phrase is starting in the weightiest part of the bar, the strongest, the brightest light, that is the downbeat in any time signature is always the strongest. Or in our metaphor, the heaviest. So that when we start a phrase on the downbeat, it feels heaviest. That's where the emphasis is. Where are you going? So that's a front-heavy line. And note by the way that a front-heavy line has to do basically with the stressed syllable so that it's possible for example to still have a front-heavy line maybe something like I say, where are you going. I say, so it's a pickup. I say, doesn't negate the fact that this is a front-heavy line. So that's front-heavy. Think of it this way. That the downbeat is a flagpole and that the phrase, in a front-heavy line is attached to the flagpole. It is grounded. And then it spreads out over the bar, so that we can call a front-heavy line because it is attached. We can call it staple. Definition two, we will call any phrase that starts after the downbeat of the bar back-heavy. Because the weight of that phrase is in the back. So that if you detach the flag from the flagpole, it is now in motion towards something else, toward a stronger beat. And so it's weight is in the back but because it is in motion it feels unstable. So that, front-heavy, stable. Back-heavy, unstable which is why it sounds puzzling [SOUND] two, three, four, two, two, three, four. Where are you going? What did I do? Sounds like I really want an answer with. [MUSIC] One, two, three, four. Where are you going? What did I do? And then you can combine wanting an answer with the puzzlement as follows. Two, three, four. Where are you going? [MUSIC] What did I do? Or two, three, four. Where are you going? What did I do? That becomes a very interesting tool, front-heavy versus back-heavy. Because, frankly. Every song you will ever write has a plethora, of phrases. And an even bigger plethora, of downbeats. And so that for every phrase you have, you can make, and ought to make, a decision, front-heavy, back-heavy. That will be keyed to stable, unstable. How do I feel? Stable, unstable. That is to say that the relationship between. Your phrase and the downbeats of your bar is tantamount to creating with your phrases, body language for your song. Body language. Phrasing is the body language of your song. Two three. I like you. Two two three. I like you. Three four, two two three four. I like you, which has a completely different emotional context. Leaning back, back-heavy. Leaning forward, I like you. Leaning back, I like you. and you know, facial expression, all of that stuff. The body language is created, at least, in great part, by your phrasing.
