About one thing there is no argument: the melody is a very integral part of a song. It is more difficult to hit on an original melody because you actually have less to work with than in a lyric. The lyrist has the world of English to draw from while the melody composer works around just seven notes. Out of these notes he has to draw a melody that will be different, sound original, and be an appealing message to the music world. There are set rules to writing melodies, just as a set of rules has grown up surrounding lyrics. Melodies conform to definite patterns and it is in the repetition of the melodic strain that the public, the artists, and the music trade feel that songs exert their greatest strength. These rules should be adhered to by the beginning composer. The public must come to know this composer before he can branch out with an original style. Until that time it is most advisable that he stick to the conventions and rules that have come to be a part of our music writing.

The same patterns develop in melodies as in lyrics, because the lyric is an expression of the melody in words. The most common patterns are the AABA, ABAC, ABAB, and AA. There is no need to go into an extensive discussion of patterns and how they are developed, because this has been done in other pamphlets and publications. It is suffice to say that the new writer should adhere to these patterns. The patterns are formed around a 32-measure chorus. By breaking up the pattern into four stanzas, 8 measures to a stanza, your song has the definite appearance of form. It gives you an opportunity to construct your melody in form. This, too, is a vital consideration.

The publisher, the recording company official and the artist are influenced by a song that is well-balanced in standard form. Your song, adhering to this established form, will give the appearance of commercial construction. And it is important because a deviation, or a different opinion by the trade -- will be the kiss of death for the general, run-of-the-mill song. It is amazing how many songwriters forget a very important fact: A SONG IS WRITTEN TO BE SUNG! Too many songs are written in an unsingable key or in a range that could not be sung properly by today's singers. The normal, popular singer today does not have a trained voice. He or she may have a special quirk or quiver in the voice, or a manner of delivery, or a different way of facing the camera. It may even be a new kind of hairdo or way of parting one's hair. Singers today are not picked by the public because their voices are trained.

That is why the songwriter must write in a simple manner that easily can be sung by the kind of singer running rampant today. What is the use of writing a song that only a highly trained voice can sing? There are so few of our singers who would even chance such a song in public! The simpler the key the better; the less sharps and flats, the better. The most popular key is C, no flats or sharps. The keys of F (one flat), B (two flats), E flat (three flats), G (one sharp), D (two sharps) are useful and feasible. Never change your key in your chorus, and always finish your melody on the same key in which you started. The melody's last note is usually the indication of the key, and when you end your melody on the key note, then you are continuing to write in good form. Also, do not write the verse in one key, and the chorus in another key.

As for the range, again consider the present type of singer. While he can handle one octave well (8 notes), it is problematical whether he could handle a full two octaves. Usually he or she can get by in ten or eleven notes. It would be more feasible to restrict your song to the one octave. Here you would be certain that all singers will find your song singable. There sould be no question about ease of performance. Our songs today normally break down to several categories; the fox trot (written in 4/4 time); the waltz (written in 3/4 time); the polka (6/8 time, double waltz); and the ballad and folk type song (4/4 time). Don't strive for something unique and so different in your song that it cannot be sung well, does not record properly, and cannot be danced to in the smooth and even manner required.

Concern yourself with the present styles and types of songs, and their construction. Let the unique methods come after you have built up a reputation. Don't let the publisher and the artist think of you as strictly in the novelty groove, as that would "type" you. By following the patterns and the standards set up in Nashville, this does not mean you must construct a melody that is dull and very ordinary. It means that the patterns and standards are the shell; what goes into that shell will determine the value of your song.

There are many stock, and time-worn melodic progressions which are similar to bromides in lyric writing. The public senses these over-used melodic expressions, and shies away from them. Today's songs must be original, or have the semblance of being brand new. Infringement is possible, of course. That is the risk that must be run at all times. But since you are working around only seven notes, it is almost impossible to hit upon a passage that has not been used at some time or another. It is more than likely that everything you write must have been written at one time or another in the past. It is how you put these things together that will determine the extent of infringement. If you use a complete eight bars of "Cheatin Heart" in a song, you most surely will be sued. But if you bring together two bars of one song, three of another, three of still another -- you certainly will not run the risk of a suit. (Have a professional musician play over your completed song. He will tell you instantly whether your song is similar to another, and whether you have infringed on a standard or popular song.) As a composer, you should aim for a fresh and new idea when you sit down at the piano. It must be an idea that will blend perfectly with the lyric (if it is already written) and an idea that will be lilting, melodic, easy to sing, and easy on the ears. Give it a lift -- a feeling of lightness and freshness. This will make the public's ears perk up and stop to listen what you are trying to say melodically.

One good way of educating yourself in Country songwriting is by purchasing new songs as they come out, and studying them closely. Play them over often and try to ascertain why they became successful. There is a reason for each song attaining success; a careful study of 50 songs will lead you quickly to the core of the matter and you will then be in a position to adapt your in a commercial manner .

Take your cue for the melody from the lyric and the title, because your melody must reflect that title and lyric. If it is a romantic lyric, one that is a touching love story, you won't use a fast rhythmic melody. By contrast, you would not write a waltz for a novelty lyric. Your song should be one that could be sung at all times, on all occasions, by most singers. Most recently, there has been a surgence to the folk type of song. In this style, we have just a simple musical presentation. The simpler the musical setting and story, the better. Songs of this nature capture the public's attention because of the simple presentation. In this type of song, there is a closer bond between the lyric and the melody.

In connection with simplicity, don't overdo your song with a heavy sugarcoating of harmony. A lead sheet is sufficient. The harmony will not sell the song, because songs are sold mostly by audition records and the voice. A publisher will make up his own arrangement, and in all probability, he'll make changes in the song, too, thereby throwing a good part of your arrangement out the window. Here are pertinent rules that should be followed by new melody composers: *Use a key that is easy to play and to sing. *Use a range maximum of 11 notes, preferably 8 notes (an octave). *Keep to a standard pattern, one that is accepted as good form. *Make sure your melody transfers the idea of the title and the lyric into music. Get into the "groove" of the lyric story. *Don't sugar coat it with an elaborate musical presentation. Keep it simple. *Make it an interesting melody. If you must return to the over-done musical phrases, then don't write melodies. Be original and at all times be fresh and new in your approach. *Don't deliberately infringe, and don't turn to the classics unless you know what you are doing. There is sheer beauty in a good melody. One who can write such melodies will be remembered as long as there are people on earth, for people always will sing and always will play music. It is for this reason that you should exert only the best that is within you. Approach your melody writing from this original and fresh feeling, and you will write better, more commercial melodies which will be remembered for all time.