Hello again friends, we’re back talking about syllable control. Last time we talked a little bit about how a gospel songwriter can use syllable control to plan the meter of the song. Today, let’s talk about how to use just a few syllables to smash home the meaning of your song!

Last time we took a look at “filling buckets”. Today, we’ll pick up where we left off, but you’re going to see very few buckets this time. Probably the most underrated song, the song with few syllables that says a ton is a hot one waiting to happen.

My Favorite Example

My favorite example of a song with few syllables that says a lot is Beulah Land. Off the top of my head, I don’t even know who wrote it. It’s one of those songs that’s been done countless times by countless groups. And for illustration purposes, that’s what we’re going to look at today.

Other notable songs like this are “If You Knew Him”, “Holy Shore”, and “There Is Hope For America” to name a few off the top of my head. Note that these songs seem to have pretty serious themes, as opposed to more lighthearted ones.

So here’s what the chorus of the song, Beulah Land looks like chopped into syllables:

Beu lah Land

I’m long ing for you

And some day

On thee I’ll stand

There my home

Will be e ter nal

Beu lah land

Sweet Beu lah land

Seriously, gospel songwriter – check that out: for a combined total of 30 syllables, here is an amazing southern gospel song chorus that has blessed countless people. 30 syllables – that’s all!

Break It Down

So let’s make some general observations here. Off the top of my head, here’s what I’m noticing:

• The title of the song (Beulah Land) opens and closes the course, which is typical

• The phrase is used three times in the chorus

• The phrase is 3 syllables, multiply that by 3 occurrences, and you get 9 syllables of the chorus spoken for by simply using the song title

• 9/30 is about one third of all syllables in the chorus

• The first half of the course is about a future goal

• The second half of the course indicates the significance of Beulah Land

• The language is very direct and straightforward, with an old-English teaser word (thee)

You may have noticed more, and that’s great. Let’s take this simple list and see what we can do to come up with something similar. We’re gonna literally write a course right now.

Let’s Write One

Here’s where we turn to the idea list, and it looks like we have one dealing with the idea of remembering a salvation day. Actually, we’ll make that the title of the song, “Sweet Day to Remember”.

Notice that the title has 6 syllables. We will build a song to the tune of “Did I Mention” (for now). Here’s what we got so far:

Sweet day to re mem ber

Sweet day of sal va tion

Sweet day my e ter ni ty

For ev er was changed

I cling to that mem ry

One mor ning at an al tar

Sweet day of days

Sweet day to re mem ber

Not bad for a rough draft, but far from sharpened as there’s a lot more than 30 syllables here! We took advantage of the shortcuts – notice how we used the title and the first and last lines, that’s a freebie. It looks like the phrase, “sweet day” appears, well, shucks, 5 times I guess. Like Beulah Land, our chorus has coherence: the first half explains, and the second half indicates action.

So in conclusion, here are a few things that you want to consider when writing a song with few but powerful syllables:

1. Usually slow songs work best

2. Usually serious and reflective themes fit most appropriately

3. Repetition is your friend – don’t be afraid to use it; be afraid of NOT taking advantage of it!

I’m Adam of AdamTigges.com, saying so long, God bless, and keep writing the good stuff.

p.s. – use your hips to throw the bat with your leading arm through the bottom half of the softball and kiss that baby goodbye!