Songwriting Theory I: RPM
The basic theoretical underpinnings of songwriting are quite easy to learn. Because we have all been exposed to pop music from an early age, there’s a lot we inherently understand even if we don’t have the jargon to describe what we hear. I want to change that with a series of blogs about Songwriting Theory. My hope is that you can walk away from these blogs with the language to describe how songs are written.
Today, we’ll be talking about RPM, which is an acronym for Rhythm, Phrasing, and Melody. The theory is quite simple: each section of your song should have its own distinct rhythmic cadence, melodic arc, and vocal phrasing. If your verse is a staccato, one point melody with breathy phrasing that uses quarter notes, then your chorus should act as a counterpoint, perhaps with lagotto, multi-note melodies, delivered in a belt. The idea here is to create differentiation within a single song in order to maintain a listener’s attention.
Let’s look at Taylor Swift’s Blank Space for reference. In Taylor’s verse we have an AB + C melodic structure, the A end of the melody pulses in staccato on a single note while the B melody is a multi-note glide. The juxtaposition of the rhythms and melodies are designed for intrigue. The C part of Taylor’s verse repeats a single rhythmic cadence 6 times in quick succession with an ascending melody. It works in concert with the AB parts, acting almost like a pre-chorus. Before the chorus lands, Taylor makes a quick departure with a spoken word, rap-like lyric “I can make the bad guys good for a weekend.”
As we can tell, there’s a lot of variation within the verse itself. Departures in rhythmic and melodic choice are doing a lot of heavy lifting. But, by the end of the verse, it is the phrasing choice that draws us back in. Taylor masterfully uses RPM here to keep us captivated.
The chorus melody returning to a one note, punchy melody and rhythmic choice. In order to decisively differentiate the verse from the chorus, Swift connects her phrasing. The notes are not so accented, but rather blend into each other. Mid-chorus, the shouted phrasing “and you love the game,” resets our ears as we enter the B chorus which essentially mirrors the A part of the chorus melodically and rhythmically. You can hear that, at this point, the producer has wisely chosen to layer in harmonies. This choice keeps us engaged.
Our bridge rejects the strategies of the song’s former section. Instead of variety, Swift chooses repetition. She uses the same descending melody and lyric twice. The listener has already been required to engage with so much variety, that the bridge is almost a reprieve. Layered harmonies once again create a sense of evolution throughout the bridge.
As you can probably guess, all songwriters apply the theory of RPM differently in their work. But, the principles are essential for anyone hoping to make a three minute experience captivating for their listening. As you go into this week’s sessions, I hope that you’ll think deeply about the sections of your songs are working in concert with each other to create a sense of intrigue.