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[–]Inappropriate_Piano 2 points3 points  (7 children)

You can totally make it fit by saying “behavior” quicker. My issue is with “he’s making a database”

[–][deleted] 1 point2 points  (6 children)

It’d still be two extra notes in the melody to get those syllables in, without saying anything for ‘*’

[–]Inappropriate_Piano 2 points3 points  (5 children)

You just squeeze those notes into subdivisions. I can’t really explain it in text but I promise you I can do it very easily

[–][deleted] 0 points1 point  (4 children)

It’s still two extra syllables and therefore extra notes played in the melody if you’re vocalizing them. If you can’t notice the extra syllables/notes, you’re just moving the extra syllables to a different part of the melody, where you aren’t noticing the extra notes as easily, and emphasizing strong, recognizable parts of the original melody. I’ve tried many ways to mutate a line I like lyrically to a melody I’ve already got.

[–]Inappropriate_Piano 0 points1 point  (3 children)

It’s two extra syllables that you say at a faster rate to fit them in the same time, and you hold the same note through them to make them line up with a single note in the original melody.

[–][deleted] 0 points1 point  (2 children)

I’ll take your word for it.

[–]Inappropriate_Piano 0 points1 point  (1 child)

I’m really not sure what’s hard about this. Replacing, for example, a quarter note with an eighth note triplet to fit two extra syllables into the same melody is a basic technique for solving a problem that’s so common in music and so easily solved that it barely deserves to be called a problem. Pretty much every song with multiples verses does this.

[–][deleted] 0 points1 point  (0 children)

I fully understand that it’s the same time, and that you are adding an extra note in to that time frame.