Verse-chorus form
Verse-chorus form is a musical form common in popular music and predominant in rock since the 1960s. In contrast to AABA (thirty-two-bar) form, which is focused on the verse (contrasted and prepared by the B section), in verse-chorus form the chorus is highlighted (prepared and contrasted with the verse). [1] "Many popular songs, particularly from early in this century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the century consist only of a chorus."[2]
Thus, while in both forms A is the verse and B is the chorus, in AABA the verse takes up most of the time and the chorus exists to contrast and lead back into the return of the verse, in verse-chorus form the chorus often takes much more time proportionally and the verse exists to lead into it. For example: ABABB(B) [approximates: "Be My Baby"], rather than thirty-two-bar form's AABA.
The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. See: arrangement.
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[edit] Contrasting verse-chorus form
Songs which use different music for the verse and chorus are in contrasting verse-chorus form. Examples include:
- "Be My Baby" by The Ronettes (1963)[3]
- "Penny Lane" by The Beatles (1967)[3]
- "Smoke on the Water" by Deep Purple (1973)[3]
- "That'll Be the Day" by Buddy Holly (1957)[3]
- "California Girls" by The Beach Boys (1965)[3]
- "All You Need Is Love" by The Beatles (1967)[3]
- "Foxy Lady" by Jimi Hendrix (1967)[3]
- "Can't Get Enough" by Bad Company (1974)[3]
[edit] Simple verse-chorus form
Songs that use the same music for the verse and chorus, such as the twelve bar blues, though the lyrics feature different verses and a repeated chorus, are in simple verse-chorus form. Examples include:
- "Shake, Rattle, and Roll" by Big Joe Turner (1954)[3]
- "Louie, Louie" by The Kingsmen (1963 cover), example not using blues form[3]
- "La Bamba" by Ritchie Valens (1959)[3]
[edit] Simple verse form
Songs which feature only a repeated verse are in simple verse form (verse-chorus form without the chorus). Examples include:
- "Evil Ways" by Santana (1969)[3]
- blues-based songs which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Hound Dog", and "Lucille"[3]
and with a contrasting bridge:
- "Eight Miles High" by The Byrds (1966)[3]
- "Tomorrow Never Knows" by The Beatles (1966)[3]
- "Purple Haze" by Jimi Hendrix (1967). [3]
Both simple verse-chorus form and simple verse form are strophic forms.
[edit] Source
- ^ Covach, John. "Form in Rock Music: A Primer", p.71, in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5.
- ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.317. Seventh Edition. ISBN 978-0-07-294262-0.
- ^ a b c d e f g h i j k l m n o p Covach (2005), p.71-72
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