In this segment, we're going to take a look at verses two and three using the melody that we've constructed for verse one to see how everything works there. Now remember in the last segment I was talking about the long o of moan. And between the last segment and this segment, I've gone back and I've readjusted some of the lyric in verse two and verse three, and by the way, a bit of verse one, to reflect this new love affair that we're having with long o with hobo. So, to the first verse and note that in the first verse, rather than I hear you out there crying, which will say begging let me in, you make your way between the cracks. Rather than I hear you moan, I thought maybe let's use that long o a little bit more and so I changed that to I know your moan, I know your laugh and then singing as you pass. And it feels like the oh, oh, oh, feels a little bit more moany, does a little bit more of that long o thing, but still retains the rhyme scheme that we have. And then note the changes in verse two and verse three. [MUSIC] I hear you out there crying, begging let me in. You make your way between the cracks. I know your moan, I know your laugh. Singing as you pass. O Hobo Wind. Hobo Wind. I wonder where you're going. I wonder where you've been. All the hearts you must have touched. The ones alone, the ones unloved. The ones you couldn't move. O Hobo Wind. Hobo Wind. I wish you'd take me wandering, I'd join you in your hymns. Now there, note that the word in, the preposition, does not deserve a strong stress there. So rather than singing, this. [MUSIC] I wish you'd take me wandering. Join you in your hymns. I wish you'd take me wandering. Join you in your hymns. So there's in, in that big spotlight, and in the spotlight, it really takes the light away from join and hymns. I wish you'd take me wandering to join you in your hymns. I wish you'd take me wandering to join you in your hymns. So that here, we have to join you in your hymns. If we put in on a strong beat. Think of in as being in the spotlight and join being in the spotlight and hymns being in the spotlight. And once we put in, in the spotlight, it diminishes the focus on join and hymns. And remember hymns is a big word for me here. And so what I want to do is take this unimportant word in out of that spotlight. This is a setting issue. Take it out of the spotlight so that all of the light is unjoined in hymns. [MUSIC] I wish you'd take me wandering, I'd join you in your hymns. Climb your mountains, kiss your shores. Know your valleys green and pure. Anywhere but here. O Hobo Wind. Hobo Wind. Know your valleys green and pure. I've got the long o sound again with know there, and I'm wondering about the word pure, because here, remember, is where we go for the d, [SOUND]. And I wonder if there, we can change that unstable note to a stable note and support the purity a little more. [MUSIC] Climb your mountains, kiss you shores. Know your valley's green and pure. Anywhere but here. Oh Hobo Wind. And that feels right, because the purity is the thing that I'm going for, the purity is the thing I really want to join. And I don't want to diminish the purity with an unstable tone, so that I'm changing that note, changing that adjective, which has served so well in verse one and verse two. On loved, on laugh, but now on pure, it doesn't make emotional sense. So I'm changing it, just like that. In lines two in the first, second and third verse, note that there are only two strong hits. Begging, let me in. Three, four, begging, let me in. And in the second, wonder where you've been. Or it could be, wonder where you've been. Three, I wonder where you're going, wonder where you've been. Or wonder where you're going, wonder where you've been. It feels to me like that delay which worked well in the first verse, begging let me in. I wonder where you're going. I wonder you've been. Feels like skipping that downbeat there is expressive. And that, by the way, parallels then, I wish you'd take me wandering. I'll join you in your hymns. So that this setting thing, that is to say making sure that what you mean to say is in the brightest spotlights. If you think of the stressed positions in the bar as turning on spotlights. Whenever you put a word in that spotlight it gets attention. And so putting a word like in, a preposition or putting a word like the, an article. Putting a word like and or but or yet in that kind of position, or even usually putting personal pronouns there is going to steal light from your bigger ideas. And so, make sure that as you are creating the melodic rhythm, that the melodic rhythm, those strong and weak positions in the bar, are perfectly aligned with the linguistic rhythms, that is the stressed and unstressed syllables, that move along. And here I think we have a pretty good match. So the only thing that we have left to do here, is to find something for the bridge and we'll do that in the next segment.
