Song lyrics - an attempted defintion

[busker]

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I define song lyrics as “words set to music that need the music”

All lyrics are song lyrics. They are defined as “sung text.” 

More formal requirements are suggested by modern usage. 

Specifically, lyrics are two things: syntactically, lyrics are a script meant to help the composer and then later the performers to execute the lyrics as a sung melody. As such, lyrics must be formatted optimally to aid those collaborators.

This performative text has four authors: the lyricist, the composer, the singer, and the audience. In practice, the composer, performer, and, most often, the audience can erase or rewrite text. In the case of erasure, the lyric becomes muted syllables, but they are not mooted. 

Each performer contributes to the interpretation of the meaning of lyrics.

Sometimes, lyrics can be performed and interpreted differently by different audiences. Sometimes, lyrics have a steadfast meaning.

Usually, lyrics are most concerned with facilitating the performative audience. To be metaphorical, verses orbit the chorus. In its most practical form, modern lyrics progress as follows: [Verse 1], [Chorus], [Verse 2], [Chorus], [Bridge], [Chorus]. (A side note on syntax: If the chorus text varies slightly, the chorus is denominated [Chorus A], [Chorus B], etc. Similarly, if the verse text varies only slightly, it is denominated, [Verse A], [Verse B], etc. If the Verse text is unchanging, [Verse] is most appropriate.)

With that having been said, the interpretation of lyrics requires analysis, just like a poem. Typically, this analysis centers on pronouns. Pronouns in lyrics have an ordinal quality: “I” then “you” then “he/she” then “they” then “it.” 

Sings with an “I” and a “you” can be interpreted according to their verbs. 

“Baby’s black balloon makes her fly,
“I almost fell into that hole in your life”

is an I–you lyric. This dense and admirable lyric describes a heroin addiction, getting high, and a protagonist avoiding the consequence of codependency. This is a song where an entity overcomes an obstacle. The obstacle is a bad relationship. 

We should anticipate a chorus that maintains the themes of verticality, addiction, and a breakup. The chorus reads: 

Comin' down the world turned over
And angels fall without you there
And I go on as you get colder
Or are you someone's prayer

The protagonist suspects the obstacle is dead and hopes that she has become an angel in heaven. If she went to hell, he thinks she’s incited a luciferous heavenly revolt. 

These are excellent song lyrics. 

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That’s brain farts. I don’t think they’re useful. Maybe they can jog an intuition that lyrics are worth a long discussion, and that a comment like this isn’t helpful to a novice.

I don’t think these are useful at all

You’re over intellectualising something that we know from experience doesn’t follow a process of craftsmanship any better than “hey, have reasonably short lines, bonus points if they rhyme”.

We know of popular songs with lyrics that are just an excuse to say something to accompany the music  (Suzanna, I’m crazy loving you) and those with lyrics that are fine as stand alone poems (The times they’re a-changing).

Songs usually - or often - start with a bar or two and the lyrics are written to fit the music. Eg “Yesterday” was originally “Scrambled eggs”

Now if you had a theory that could write the best poetry lyrics to a given tune, optimising for breath intake, ease of singing, letting the music flow without too many consonants getting in the way etc - you’d be on to something. Otherwise, you’re trying to solve a problem that isn’t there.