So it feels different, doesn't it? It has some body language. I want to make a couple of comments about it, in terms of its body language. front heavy sounds stable, sounds like I mean it, sounds like it's a fact. Back heavy feels[INAUDIBLE] a little like that. so that going through these lines now. Note as, as you have that every line in the first verse is front heavy. That is to say it's a series of facts, I had just caught my breath, I was starting to smile, I had just gotten ahold of my mood, excetra. All of that is just me saying, I'm just saying. And at the first back-heavy line, is, and just like that, I broke in half. And so there's the back-heavy lines which now contain a different kind of body language. Now I'm not saying, hey, and just like that, I broke in half. It's rather, and just like that, I broke in half. And then we're heading into the big boss of the song, pieces. And that's back heavy. So, in terms of this whole thing of contrast. It felt to me like I would really like to have the last line of the pre-chorus. Funny what your name can do. Front-heavy. Because if it's front-heavy then pieces, the boss of the song, will really feel back-heavy because I've just come from a front-heavy line. So, the question then emotionally, can I say, as a fact? Funny what your name can do. And just like that, I broke in half. It's funny what your name can do. Yeah, it sounds like, it sounds like I can say, credibly say that, as a fact. So I thought, okay, good. So I can now make sure that pieces is set up much more clearly as a back heavy line. Has, starting on the third beat of the bar, if you want to count it. that, that it will now feel much more emotional coming from a place of fact. And then we get into the chorus. I want you to note now particularly, that in the chorus these lines, most of them, are two bars long. That is to say, most of them contain two downbeats. And so that not only are we in the business as phrasers of deciding of the phrase will start relative to the down beat. But we also have this what's going on inside the line in that second down beat, because that's going to be able to feel more or less stable depending on what we do with that downbeat. 1,2,3,4. 1,2, pieces, 3, 4. Little reminders that take me back. So that the downbeat for take me back is skipped. And so it's little reminders that take me back as apposed to. Little reminders that take me back. Little reminders that take me back. And so the take me back gets this different emotional color, by skipping the downbeat inside the line. And then the next oh, whenever I find them. Right on the down beat, front heavy. And setting up then, one, letting go would be, one. So much easier. Note that the second downbeat in, letting go would be so much easier. In that line, I skipped a downbeat too. Now there's two ways you can say that line. You can say, letting go would be so much easier. Or, you can say, letting go would be, so much easier. And for me, the m, difference emotionally, between, letting go would be so much easier, and letting go would be, so much easier. The second says, yeah, and I can't, at least to me, emotionally, skipping that downbeat says, no I can't. And it, it, it feels like it feels like skipping that second downbeat creates some more emotion. Letting go would be so much easier if I could lose you all at once. Instead of in pieces. And so, then, in the second verse, there's actually going to be some phrasing. Phrasing is a local event. Although you try really hard in verse to verse, matching number of lines, length of lines, rhythm of lines, rhyme scheme, phrasing is a local event. Phrasing is keyed to the emotion of the moment. And so if in the first verse a line had been, say, front-heavy, in the second verse, it could well be back-heavy. And retain essentially the same melodic rhythm, the same melody, but feel unstable rather than stable. So that note in the second verse that, the first part of the back, the first, first back heavy thing we get is in the third line. In the middle of the, of the line until somebody laughed just like downbeat you. And so it's, it's until somebody laughed just like you, until somebody laughed just like you. And there's a different emotional resonance. and kind of, this sense of,longing that's created by the instability of skipping the downbeat there. and then we get to the second prechorus one, and just like that, it all comes back, and I feel myself coming unglued. So again the question arises, since I'm going to pieces, the big boss of the song. I'm wondering if it makes emotional sense, to say, and just like that, it all comes back, and I feel myself coming unglued. As a fact, hm, yeah, I can buy that. Feels like a little bit of a compromise to me. And just like that, it all comes back, and I feel myself coming unglued, would work too. But since I am trying to set up pieces, I said okay, we'll go with that line as effect, and so I was fine with that. Then we get into the bridge. Instead of in, little flashes I, Keep on having, I guess that's just the way love lets go. Now that line really stuck in my craw. Upon hearing it, man I don't think you'd say, little flashes I Keep on having. I guess that's the way love let's go. I don't think I can say that emotionally, credibly. So, part of me says well then that line should skip the downbeat, that line should back heavy. But then the other part of me says, well, really. If it's back heavy, then the back heavicityof pieces is going to be less prominent, less emotional. And so, there I am in a quandary. I guess that's just the way love lets go. Front heavy, can't say it that way, but need it. Back heavy, I can say it that way, but takes the wind out of pieces sails, what to do? And then I remembered. This is in four four time. Four four time is architectonic. You don't need to remember that. What it means is that the architecture of four four time is the same on all levels of four four time. Four four time, four 1 4th notes per bar. And four 1 4th notes per bar, four quarter-notes per bar, have a relationship to each other. Strong, weak, strong, weak. With the first strong, obviously, the downbeat being stronger than the third beat of the bar. So, the architecture says that whatever quarter note of those four I take and subdivide will retain the same relationship that the quarter notes retain. So if I take, for example, the second beat of the bar, and subdivide it into 4 16th notes, those 4 16th notes retain the relationship of strongest, weak, strong, weak. If I go into half notes. One to three four[INAUDIBLE] Downbeat third beat, downbeat third beat, if I go into that then we still have strongest, strongest, not so strong, strong, not so strong. If I have four whole notes, 2, 3, 4, baaaaa-daaaaa-baaaaa-daaaaa, strong, less strong, strong, less strong even though they're all downbeats. So that relationship that the quarter notes define, of strong weak strong weak, is retained on all levels of the architecture of four four time. If we clean those whole notes out of those bars completely, and just mark time with four bars, those bars go: strong bar, weak bar, strong bar, weak bar. Interesting. What I'd like for you to do now is listen to Ric Ocasek's Heartbeat City. And I want you to listen first, without prejudice to the first verse and just tell me how you fill. Stable or unstable? And note, that all of the lines of that verse start right on the downbeat of a bar. But then, I want you to start with the verse and count. Strong bar, three, four. Weak bar, three, four. Strong bar, three, four. Weak bar, three, four. And see where those phrases start. I'll wait.
