Verse–chorus form
From The Art and Popular Culture Encyclopedia
Revision as of 21:53, 28 August 2011 Jahsonic (Talk | contribs) ← Previous diff |
Current revision Jahsonic (Talk | contribs) (Verse-chorus form moved to Verse–chorus form) |
||
Line 1: | Line 1: | ||
{{Template}} | {{Template}} | ||
- | '''Pop music''', often called simply '''pop''', is a common type of [[popular music]] (distinguished from [[classical music|classical]] or [[art music]] and from [[folk music]]. The term, which was coined as a genre in [[1954]], does not refer specifically to a single [[genre (music)|genre]] or sound, and its meaning is different depending on the time and place. Within popular music, "pop music" is often distinguished from other subgenres by stylistic traits such as a [[dance]]able [[rhythm]] or [[beat (music)|beat]], simple [[melody|melodies]] and a repeating [[song structure (popular music)|structure]]. Pop [[song]] [[lyrics]] are often emotional, [[love song|relating to love]]. | + | '''Verse-chorus form''' is a [[musical form]] common in [[popular music]] and predominant in [[rock and roll|rock]] since the 1960s. In contrast to [[Thirty-two-bar form|AABA]] (thirty-two-bar) form, which is focused on the verse (contrasted and prepared by the [[bridge (music)|bridge]]), in verse-chorus form the chorus is highlighted (prepared and contrasted with the verse). |
- | ==Style== | + | The [[refrain|chorus]] often sharply contrasts the [[Song structure (popular music)#Verse|verse]] [[melody|melodically]], [[rhythm]]ically, and [[harmony|harmonically]], and assumes a higher level of [[dynamics (music)|dynamics]] and activity, often with added instrumentation. See: [[arrangement]]. |
- | The standard format of pop music is the [[song]], customarily less than five minutes in duration, with [[Instrumentation (music)|instrumentation]] that can range from an orchestra to a lone singer. Pop songs are generally marked by a consistent and noticeable [[Rhythm|rhythmic element]], a [[Mainstream (terminology)|mainstream]] style and traditional [[Song structure (popular music)|structure]]. Rare variants are the [[verse-chorus form]] and the [[thirty-two-bar form]], with a focus on [[Melody|melodies]] and catchy [[Hook (music)|hooks]], and a [[Refrain|chorus]] that contrasts melodically, rhythmically and [[Harmony|harmonically]] with the [[Verse (popular music)#Verse|verse]]. | + | |
+ | ==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) | ||
+ | *"[[Penny Lane]]" by [[The Beatles]] (1967) | ||
+ | *"[[Smoke on the Water]]" by [[Deep Purple]] (1973) | ||
+ | *"[[That'll Be the Day]]" by [[Buddy Holly]] (1957) | ||
+ | *"[[California Girls]]" by [[The Beach Boys]] (1965) | ||
+ | *"[[All You Need Is Love]]" by [[The Beatles]] (1967) | ||
+ | *"[[Foxy Lady]]" by [[Jimi Hendrix]] (1967) | ||
+ | *"[[Bad Company (album)|Can't Get Enough]]" by [[Bad Company]] (1974) | ||
+ | |||
+ | ==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|Shake, Rattle, and Roll]]" by [[Big Joe Turner]] (1954) | ||
+ | *"[[Louie, Louie]]" by [[The Kingsmen]] (1963 cover), example not using blues form | ||
+ | *"[[La Bamba (song)|La Bamba]]" by [[Ritchie Valens]] (1959) | ||
+ | |||
+ | ==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 (band)|Santana]] (1969) | ||
+ | *[[blues]]-based songs which are not simple verse-chorus form (above), such as "[[Heartbreak Hotel]]", "[[Jailhouse Rock (song)|Jailhouse Rock]]", "[[Hound Dog (song)|Hound Dog]]", and "[[Lucille (Little Richard song)|Lucille]]" | ||
+ | and with a contrasting [[bridge (music)|bridge]]: | ||
+ | *"[[Eight Miles High]]" by [[The Byrds]] (1966) | ||
+ | *"[[Tomorrow Never Knows]]" by [[The Beatles]] (1966) | ||
+ | *"[[Purple Haze]]" by [[Jimi Hendrix]] (1967). | ||
+ | |||
+ | Both simple verse-chorus form and simple verse form are [[strophic form]]s. | ||
- | ==See also== | ||
- | *[[List of popular music genres]] | ||
- | *[[Traditional pop music]] | ||
{{GFDL}} | {{GFDL}} |
Current revision
Related e |
Featured: |
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 bridge), in verse-chorus form the chorus is highlighted (prepared and contrasted with the verse).
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.
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)
- "Penny Lane" by The Beatles (1967)
- "Smoke on the Water" by Deep Purple (1973)
- "That'll Be the Day" by Buddy Holly (1957)
- "California Girls" by The Beach Boys (1965)
- "All You Need Is Love" by The Beatles (1967)
- "Foxy Lady" by Jimi Hendrix (1967)
- "Can't Get Enough" by Bad Company (1974)
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)
- "Louie, Louie" by The Kingsmen (1963 cover), example not using blues form
- "La Bamba" by Ritchie Valens (1959)
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)
- blues-based songs which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Hound Dog", and "Lucille"
and with a contrasting bridge:
- "Eight Miles High" by The Byrds (1966)
- "Tomorrow Never Knows" by The Beatles (1966)
- "Purple Haze" by Jimi Hendrix (1967).
Both simple verse-chorus form and simple verse form are strophic forms.