After You; No. After You
Which Comes First, Music or Lyrics?
If you’re wondering who the chicken and egg are in songwriting, I can only say, I am too — because it’s not an easy thing to figure out.
As a songwriter in a folk-turned-rock band, I often had to fit my lyrics into music created by guitarists, the bass player and drummer. It was easier to start with lyrics — and because I had an understanding songwriting partner, I probably got to do things my way more than I would have in any old band.
When I joined a musical theater group, we started with lyrics for the first few weeks, and it seemed pretty normal to share them with a composer and then make some adjustments on both sides to get to a song. After about three weeks, though, the groupleader told us our next assignment was the composer’s choice — and it was up to the lyricists to fit words to music.
Once chicken and egg were reversed, it was time for lyricists to listen, over and over again, to the music our composers had written. For me, that meant counting every syllable and trying to discern the flavor of the music I was hearing.
I must have listened to the wordless song my composer sent me about fifteen times. It seemed like a sad song, and I started thinking about someone who had to leave home and knew they wouldn’t be back.
Counting syllables brought me to the first few lines, but I had to double back several times to make the phrases rhyme with each other. (I don’t know what it is about rhymes, but most songs just don’t work without rhyming.)
I sent my work to the composer and we went back and forth, just as I had when starting with the lyrics. When it came time to meet with our group, I presented our song solo, as the composer couldn’t make it that night. I was completely surprised to hear praise from nearly everyone in the group, who told me the song was really connecting with them.
I couldn’t have been more surprised — and was extremely happy — and then not happy. Of course, everyone loves hearing they hit a home run, but it was much harder to write a song while counting the syllables to it — especially a musical theater song, which is usually part of a larger story.
That’s why I was relieved when we went back to lyricist’s choice again, and then excited when we began to pair off to write our own musicals. Yet, working with an experienced composer brought out some difficulties I hadn’t counted on. One of them was that she was able to pair both music and lyrics in her head, and my words, while she liked them, did not always fit very well.
After a few first tries that didn’t go anywhere, the composer asked me to write “stream of consciousness” style and see where that got us. It seemed a little daunting, because I wanted to write lyrics that were already cooked instead of being only partially done. Still, I knew the composer wouldn’t have asked if she didn’t think it would be helpful, so I agreed.
I started with run-on sentences that ran up and down hills trying to build the stories I wanted to tell. And then, surprise! I stopped worrying about it and started having fun instead. That meant writing from inside each character’s mind, exploring their struggles, contradictions, and dreams.
I stopped thinking about rhyme schemes, though by doing that I found more rhymes came into what I was writing naturally. Best of all, the composer was able to use everything I sent her and create music that fit.
Yes, she changed some of the lines I sent so they ended on rhymes, but during that second draft, I could send back my own suggestions on polishing them.
One example started with thoughts like these:
“You said I was just another loser — schmoozer — a social climber who loves to whine. How could I forget those stinging words? You said I had no spark and you’d left me in the dark — and I deserved to be left behind. You were sure people would laugh at me — and now look! It’s all changed. Hasn’t it?”
Those lyrics then became a rhyming chorus:
(Intro) I’ll always remember you —
How could I forget those stinging words?
Still, I hear you say…
Close my eyes and hear you every day…
You said I was just another climber, a whiner
I’d never be here to stay
Without a real spark, I’d be in the dark
And that’s where I’d lay
You said I was just another schmoozer, a loser
And people would laugh at me
But now things have changed, it’s all re-arranged
So, pull up a chair and see —
Will this work for every songwriting team? Absolutely not. Is it something you should try? If you both agree, why not?
On the other hand, as you know, every songwriter is different. If you prefer to write lyrics first, and then work through them as the music is being written, so be it. If you’d rather listen to a melodic line and then create lyrics, you can write great songs that way, too.
If you get stuck, you can always try switching it up — so if you started with music first, try lyrics instead, and vice versa. Some composer-lyricist teams prefer that a scene be written first before they figure out where the song’s going to live and how it’s going to go. I’ve done that too, because you want the song to be the highest peak of the scene, and knowing what the story is going to be can only help you.
The main thing you need to know is there is no set answer to the question I’m asking — because there’s no set way to write a musical. I mostly think musicals are like scientific discoveries — born of trial and error, though you’ll know when you hit on something that works.
Once you find that something, don’t expect smooth sailing all the way through, but do expect an easier time of it. Because finding the way you need to work together is more than half the battle. It’s really all you need.
And if you’re a songwriter who wants to weigh in here, I’d love to hear what you think about starting with lyrics or music. What comes first for you?
