the end.  If you have a number of paragraphs, the last must be the most emphatic.  This is a common rule of composition founded on the law of attention—­we remember best what is said last.  The same thing is true of songs.  And song-writers are compelled by vaudeville performers to put a punch near the end of their choruses because the performer must reap applause.  Thus commerce keeps the song-writer true to the laws of good art.  Therefore remember: 

The most attractive lines of a popular song must be the last lines, or next to the last lines, of the chorus.

This holds true whether the song is a “sob” ballad or a humorous number.  And—­strictly adhering to this rule—­put a punch, if you can, at the end of each verse.  But whether you put a punch at the end of a verse or not, always put a punch close to the end of your chorus.

10.  Contrast an Element of the “Punch”

One of the easiest ways of securing the vitally necessary punch lies in contrast.  Particularly is this true in humorous songs—­it is the quick twist that wins the laughter.  But in all songs contrast may form a large part of the punch element.

The ways of securing a contrast are too many to permit of discussion here, but I name a few: 

You may get contrast by switching the application as Harris did in: 

     You may not care, they’re not your own,
     But just suppose you lost your loved one.

Or you may get contrast by changing your metre and using a contrasting measure.  While you may do this in the middle of the chorus, it is nearly always done throughout the chorus.  I mean that the measure of the chorus is usually different from the measure used in the verse.

And of course when you change the measure of your lyric, the movement of the music changes too.  It is in the resulting contrasting melody that lies much of the charm of the popular song.

But, whatever means you use, be sure you have a contrast somewhere in your lyric—­a contrast either of subject matter, poetic measure or musical sounds.

11.  Love the Greatest Single Element

If you will review all the great song successes of this year and of all the years that are past, you will come to the conclusion that without love there could be no popular song.  Of course there have been songs that have not had the element of love concealed anywhere in their lyrics, but they are the exceptions.

If your song is not founded on love, it is well to add this element, for when you remember that the song’s reason for being is emotion, and that the most moving emotion in the world is love, it would seem to be a grave mistake to write any song that did not offer this easy bid for favor.  If you have not love in your lyrics make haste to remedy the defect.

The ballad is perhaps the one form by which the greatest number of successful song-writers have climbed to fame.  It is also one of the easiest types to write.  It should seem worth while, then, for the newcomer to make a ballad one of his earliest bids for fame.