Now that we've talked about what creates a stressed syllable, what creates an unstressed syllable, let's have

some practice. Let's take a look at some lines and see how we can apply the concept of, first of all multisyllable words. And it's stressed and unstressed syllables. And then of course, get into the one syllable words which are divided once again into content words, cognitive functions. And grammatical functions which contain remember personal pronouns. prepositions, articles, and conjunctions. So, let's take a look at some lines. take a look at this one. Magnets, industrial strength magnets. Magnets, industrial strength magnets. And say that, three or four times, without thinking. It's a little toggle switch right behind your right ear. Put it in the down position for, I'm not listening, I'm not listening, banana, banana, banana. just, just turn that down. And just say, magnets, industrial strength magnets. Go ahead, I'll wait. Okay. Now, slow it down and listen to your pitches. Right. Magnets. Magnets. So that's a multisyllable word. Magnets. And it's set up according to our book of agreements. As a stressed first syllable, which means that the first syllable is higher in pitch. And the second syllable is lower in pitch. Magnets, industrial, industrial. Indust-, so clearly, dust rises higher in pitch than in and dust-ry. And what about al, industrial, mag no. Industrial. It feels like weak, strong, weak, weak. Unstressed, stressed, unstressed, unstressed. Magnets, industrial, industrial. Industrial. So there's two, magnets, industrial. And now a one syllable word, strength which has a meaning.

it, it is a noun and therefore it is stressed. So magnets, industrial strength magnets. Magnets, industrial strength magnets. So it goes; stress, unstress, unstress, stress, unstress unstress, stress, stress, unstress. That's the pattern. The syllabic pattern of magnets, industrial strength magnets. And it really is a little jarring, that rhythm. Magnets, industrial strength magnets. Feels unstable. take the next line. Do you dream of them at night? Do you dream of them at night? Do you dream of them at night? Say that several times. Keep that toggle switch off, say it several times. Don't listen. All right. So, here we have a whole line of one syllable words. The very, very, weak verb, do. The pronoun, you. The verb, dream. The preposition of, the pronoun them, the preposition at, and the noun night. Do you dream of them at night? Now it might be, tempting, to scan that line as, do you dream of them at night. Do you dream of them at night. But note that them, really, isn't saying hi, I want attention. It's a pronoun. And pronoun, again, pronoun. Professional noun. Doesn't need the spotlight, it's a professional. It's a studio cat. Anybody can use it. And it means sort of the same thing so do you dream of them at night. Do you dream of them at night? So there's a little acceleration. And the two big positions there are dream and night, some magnets. Industrial strength magnets. Do you dream of them at night. So in scanning these lines we're looking for stressed and unstressed syllabals. And we're looking for really where are the power points. That is where's the real juice in the line. And here in this line it's only dream and night. Do you dream of them at night?

Waiting there outside. Waiting there outside. Waiting Waiting there outside. Try that a couple of times. This one's a little trickier. Give it a shot. Toggle switch off, 'kay. Say it several times. Okay, so waiting, waiting, very simple. Obviously, waiting is a multisyllable word, and the higher pitch is on wait. Waiting. And outside, outside, outside, outside, moves weaker stronger. So those two are really easy. What about there? What about there? interesting word, there, because it has two identities. It can either be, there are some things, there are some things, there are some things. where it's un-stressed. But then it can also point as what's called a demonstrative pronoun, waiting there outside. If you were to say, waiting there outside. Then the there in the unstressed position, if you lower your voice on there. It sounds like the pronoun. Waiting there, outside turned inside. But it, it's really waiting there, outside, waiting there, outside. There it is, waiting there, outside. Waiting there, strong, weak, strong, outside, weak, strong. So, we have these three lines. Magnets. Industrial strength magnets. Do you dream of them at night? Waiting there out, waiting there outside? Humming through the walls. Humming through the walls. Humming through the walls. Now this one, I will guarantee you. That a majority of songwriters in setting this line to music would set it humming through the walls. Humming through the walls. But through is a preposition. Through really is one of those sign holders saying, pay no attention to me. Just, I'm showing the relationship between the more important words, humming and walls. So it's humming through the walls. Humming through the walls. So this gives you some sense, of the

subtleties in deciding what is stressed and what is unstressed. Humming through the walls coming down the halls, magnets. Are you afraid of magnets? Magnets, are you afraid of magnets? Are you afraid of magnets? So there's the whole section. Magnets, industrial strength magnets. Do you dream of them at night? Waiting there outside. Humming through the walls. Coming down the halls. Magnets, are you afraid of magnets? Put that together with the whole body piercing thing that we did before and [LAUGH] it gets kind of fun.