Plotting a Song by Warren Bull

Plotting a Song by Warren Bull

Image by Benjamin Wagner on Upsplash

In addition to writing, I enjoy expressing myself by singing. As I see it, both are ways to tell a story. The songs I enjoy most are songs with strong plots. The singers I like to listen to most have the ability to communicate what the song is about. Willie Nelson has a nasal tone. Art Garfunkel sings “breathy” high notes. Both of them are wonderful musicians who present moving and vibrant songs.

 When I want to connect to the audience I find that I need to understand the storyline of songs. That influences which words in a lyrical phrase I want to emphasize and where I want to pause long enough to take a breath.  Sometimes in the rhythm of a song emphasis falls naturally on words like “the” or “and,” which do not convey meaning.  So, as a singer, I have to finesse that beat. I have to balance music, lyrics and acting during a performance.

I also need to decide what the singer is telling the audience and why. For example, when writing, it is important to decide on point of view. Is the story told as this happened to me, which is personal or is the narrator detached and observing — this happened. Is the time frame this happened in the undefined past or the immediate — do the events unfold right now.

I wanted to sing Don’t Get Around Much Anymore, a jazz standard with music by Duke Ellington and lyrics by Bob Russell. It is a great song “covered,” i.e. sung, by many artists. It is a musically upbeat tale of heartbreak and loss after being discarded by a lover. It has a bouncy tempo that contrasts with the lyrics about staying home and not enjoying formerly favorite activities. Most singers use a quick jazzy approach to the song.

When I thought about how to perform Don’t Get Around Much Anymore, my voice teacher suggested I identify an emotion suggested by the song and consider how I could express the emotion in the way would sing the song.

I found the history of the song interesting, The tune was originally called Never No Lament and was recorded as a big-band instrumental. Ellington apparently conceived of the tune as reflecting an attitude of: “You hurt me, but I will go on without you…just not yet.”  

I wondered how it might be presented as a lament. What if the singer, was still in the early stages of mourning the end of the relationship.  Most singers start with the punchy lyrics, “Missed the Saturday dance.” However, Bob Russell actually wrote an introductory phrase about the singer staying isolated at home, which is rarely performed. I tried starting with the usual opening at a slow tempo.  I also tried singing the introduction. In the end, I decided to ask the pianist to play the lyricist’s introduction to set the mood and then to come in where expected but at a slow tempo. 

After listening to Ella Fitzgerald “scat,” i.e. sing sounds that are not words, during jazz performances, I decided to imitate a trumpet in Ellington’s orchestra when I came in on the second verse.  I changed the last three notes so, “a-ny-more” rose in pitch.

The audience seemed to like my personal interpretation of a jazz classic.