In the last segment, we looked at the effect of the number of lines in terms of the emotion that is either an even or an odd number of lines can create since the stability or instability. That, that is to say we linked it to prosity, we linked it to the feeling that's created. And that feeling, like a film score, supports the idea that you're talking about. If you're talking about something that creates some kind of longing. Then, that odd number of lines actually helped that feeling to be more vibrant. the even number of lines creates a sense of yes, I'm telling you the truth, yes indeed, this is, this is how I feel. This is a fact. And when you feel that way then even number of lines tend to support that. So, it makes a difference whether you use an odd or an even number of lines. although, that's not the only thing we have to think about, but certainly as a tool, it's there for you to use. I just simply think that it's something that you need to think about, rather than just letting it happen. Rather than just letting it sort of come out by feeling. actually check it, by thinking about it. What kind of feeling am I trying to create? Stable or unstable. So, that's the basic and most important reason to use these compositional elements that is to say to support ideas, to create prosity. But, there are other effects that happened too with these five compositional elements that we've talked that, that we're going to talk about. the first of which, again is how many lines you use. There are three other effects that the number of lines will create. Now, the first of them is that the number of lines has a way of creating spotlights. That is to say, you can use the number of lines to spotlight important ideas. And this is sort of linked to expectation. when I say, I love the way you look at me. I love the way you look at me. And you hit it that second time, that balancing time, you're balancing position, your resolving position. The place where you do, where you create stability, automatically, by itself, creates a brighter spotlight. So, the balancing position, that is the position of stability, because you are satisfying expectations, actually turns on a brighter spotlight. So, if I say, I love the way you look at me. I love the way you look at me. That second one, in the balancing position, really feels like it stands stronger than the first one. So that, to create a spotlit or a balancing position. [MUSIC] I love the way you look at me. [MUSIC] I love the way you look at me. The second effect, that using an odd or an even number of lines, is to create a an effective either stopping motion or suggesting further motion. That is to say, an even number of lines tends to create a sense of, I'm done. An odd number of lines sort of creates the sense of, let's keep going, let's keep going. And so that, you can use an even number of lines to stop motion, to say I'm done, or you can use an odd number of lines to say, let's keep going, let's keep going. So that, typically, the odd number of lines is used in sections that are made to create forward motion. Sections that want to move into something else. So that, for example, the pre-chorus, the thing that bridges between verse and chorus, as in the cars, why can't I have you? that thing that that bridges between those two is often unstable, and it can be unstable in a number of ways, as we'll see in in the following segments. But the odd number of lines can work very nicely to do that. [MUSIC] I love the way you look at me, I love the way you look at me, I love the way you look at me. [MUSIC] And that wants to move. Now, thirdly, you can use your number of lines to create contrast between sections. Now, in terms of being able to create contrast between sections, number of lines is not one of your big players, but it still is useful. so that for example, take a look at The Great Pretender, written by Buck Raum and as recorded by The Platters you can check out a link to it you can download it, but note that the that the first two verses of that song, are four line verses. And then, there's a little two line bridge, and then the the, and then, the last verse has five lines. And what happens with the five lines is, first of all you don't expect it to be five lines long, and because you don't expect it to be five lines long, big spotlights come into the last line pretending that you are still around which of course is the reason that I'm the great pretender. And so, these huge spotlights come along, but it also creates a contrast between the two sections. Go ahead and listen to it and see what I mean. Welcome back. Now, let's take a look at what we can do in terms of creating a section of a song. And I want to show you two versions of this verse. one with an even number of lines and one with an odd number of lines. And I want you to particularly notice how, using the odd number of lines, creates kind of a different tone. So here we go. [MUSIC] Here we go with stable. One for your belly button, two through your nose. Three for your eyebrows and four that don't show. Some beneath your tan line to give your boyfriend fits. Of course, you've got the tongue stud, you're pretty proud of it. [MUSIC] Again. One for your belly button, two through your nose. Three for your eyebrows and four that don't show. Some beneath your tan line to give your boyfriend fits. Of course, you've got the tongue stud, you're pretty proud of it. And so, that just feels like, of course, look at all those pieces of body piercing. [MUSIC] Enough that you'd kind of want to throw a rope around the person's leg and troll for bass. here's the other one. [MUSIC] One for your belly button, two through your nose. Three for your eyebrows, and four that don't show. Of course, you've got the tongue stud, to give your boyfriend fits, you're pretty proud of it. [MUSIC] Now it feels like it wants to move forward with the seven lines. One for your belly button, two through your nose. Three for your eyebrows and four that don't show. Of course, you've got the tongue stud to give your boyfriend fits, you're pretty proud of it. And for me, what that does, the pretty proud of it, takes on kind of a sarcastic tone, when it feels unbalanced, and just comes in as a fact when it feels balanced. Go back and listen again if you, if you want and maybe make your own judgment about how that odd number of lines makes it feel. So, in this segment we've talked about the uses, the effects of creating an even or an odd number of lines. First of course, the even or odd number of lines support the emotion of the ideas that you're creating. But as we've just seen in the belly button thing, it can actually create an emotion, rather than simply support one. So, when it feels odd, it feels different than when it feels even. So secondly spotlighting ideas. and as you saw, both an even and an odd number of line can spot, lines can spotlight ideals. But what's interesting about, say, The Great Pretender, is that rather than subtracting a line from the last verse, they added a line that we didn't expect and that addition of the line is a spotlighting tool whereas subtracting a line seems to be a destabilizing tool. So, you can create spotlights in balancing position or by adding a line. and then of course there's making one section move by create, or, or making a section stop by creating a stable or unstable sequence, and finally, there's the ability to create a contrast between two sections. In the next segment, we'll talk about the second of our compositional tool for creating stability and instability, your line lengths.
