That seems to express a lot about the
laughter, that is the note itself, because it's unstable.
And note that once you, again, divide this prosody thing, this support thing, into
stable versus unstable, and apply it actually,
to the scale that you're working in.
Where are the stable notes, where are the unstable notes.
Then, you're choices are very clear.
Otherwise, you're simply operating on instinct.
And not that instinct is a terrible thing, you need it all the time.
But you need to have informed instinct.
And so just the, just the knowledge that D is an unstable tone in A minor, in the
key of A minor, gives me the opportunity to try that and see how it feels.
Now
I'm not going to use it just because theoretically it's unstable.
But I'm going to use it because my heart says, oh that feels just right and I was
directed to that note because my brain told me
that you could try this and it might work.
Which is a whole different thing than just hit and miss.
So I like the D there. I, I, I like that fourth
degree of the scale on A-minor as expressing a kind of modified laugh.
[MUSIC]
So now we'll try the singing as you pass, and maybe that can be more stable.
>>
[MUSIC]
>> for two reasons. Number one, because the wind is singing.
The wind is you know, out there doing that thing.
And secondly, because the stability of the notes in singing as you
pass is going to open up the instability of the nine on Hobo Wind.
You know, that is to say, if pass was also an aching, longing note, then when
we get to the, the nine, the B on Hobo Wind, then again, the
maid of honor who came out just before Berniece is going to be really hot
which we don't want. So we'll try to stay fairly
stable in the singing as you pass line.
[MUSIC]
I hear you out there crying.
Begging, let me in. You make your
way between the cracks. I hear you moan.
[MUSIC]
I hear you laugh, singing
his pass. O Hobo
Wind, Hobo
Wind. That seems to work.
Now that may not be perfect and that may not be where we end up at the end
of all of it. But it seems like a workable place.
And the nice thing, of course is, that since we're working here in an
A, A, B, A form, that this melody should work for all three verses.
At least with maybe a few modifications here
and there, should work for all three verses.
Because we're very careful to put the to, to create
the verses with the with the same structure,
and therefore they will hold the same melody.
Now, is that always important, to have the verses, always have the same structure?
Well, no.
it, it, it really depends, in this case on how important melody is.
And for me, in this song, melody is
a huge player.
And so when I'm writing the lyric for this idea, which
is not a, a Who Let the Dogs Out kind of idea.
it's it's something where it's lyric-driven.
It's it, it, it's idea-driven.
and in that case the melody is going to be pretty important, it seems to me.
So yeah, keep, keep your, keep your lyric working
for you.
if you don't have melody and you're working with your lyric, still, try to
keep everything as parallel as you can to open the door for a melody that works.
Of course, now it's it's really up to us to to actually see if this melody will
carry over to verse two and verse three, which we'll look at in the next segment.