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h.—The 1'opular Love Ballad.
j.—High Class Ballads. •
k.—Bacred Songs.
There are, of course, many subdivisions and classifications about which it. is not necessary to enter into detail, however, as each of the above heads will be treated separately in another chapter.
The lyric writer should bear in mind that originality, conciseness, good metre and rhythm, and above all, good grammar, are the main essentials required. If the song be Character, Dialect, or otherwise, the; lyric writer should be careful to keep in the atmosphere of the subject, to seek strong points and good wit wherever applicable. If you cannot write lyrics for a certain style of song, don't attempt it. "Every man to his last" is a very wise and practical axiom for lyric or melody writers of popular songs.
Choice of good singable words in the writing of lyrics is also vital. Words with harsh consonants, many syllabled words, words or phrases that do not seem to speak or sing smoothly, should be studiously discarded. Tell your tale tersely, make it as strong as possible, and let it almost sing itself as you recite it.
In most song lyrics, excepting those for topical, or comic songs, two verses are ample. One argument in favor of this is, that the public singer of your songs, who is, of course, its best advertisement, rarely cares to use more than two verses. If three are written, and the third verse contains, as it naturally would, the climax, or moral of your story, the public seldom hears it sung, and accordingly entertains a totally wrong impression as to the merits of your composition, which to them appears unfinished, and, therefore, uninteresting. Thus, a handicap is attached to the song at the outset.
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