1291:) occurs when the main lead vocal or a second lead vocal breaks away from the already established lyric and/or melody to add melodic interest and intensity to the end of the song. Often, the ad lib repeats the previously sung line using variations on phrasing, melodic shape, and/or lyric, but the vocalist may also use entirely new lyrics or a lyric from an earlier section of the song. During an ad lib section, the rhythm may become freer (with the rhythm section following the vocalist), or the rhythm section may stop entirely, giving the vocalist the freedom to use whichever tempo sounds right. During live performances, singers sometimes include ad libs not originally in the song, such as making a reference to the town of the audience or customizing the lyrics to the current events of the era.
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461:....The musical structure of the verse nearly always recurs at least once with a different set of lyrics." The tonic or "home key" chord of a song can be prolonged in a number of ways. Pop and rock songs often use chords closely related to the tonic, such as iii or vi, to prolong the tonic. In the key of C Major, the iii chord would be E Minor and the vi chord would be A Minor. These chords are considered closely related to the tonic because they share chord tones. For example, the chord E Minor includes the notes
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734:, 2007): the chorus begins "When the sun shine, we shine together" and run through "You can stand under my umbrella / You can stand under my umbrella, ella, ella, eh, eh, eh", which is followed by three more repetitions of "Under my umbrella, ella, ella, eh, eh, eh", the last one adding another "eh, eh-eh". Here the division between chorus and post-chorus is blurred, as the "ella, ella" begins in the chorus, and was a play on the reverb effect.
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363:" progression may be played, such as the I–vi–ii–V progression (particularly in jazz influenced pop songs). More rarely, the introduction may begin by suggesting or implying another key. For example, a song in C Major might begin with an introduction in G Major, which makes the listener think that the song will eventually be in G Major. A cliche used to indicate to the listener that this G Major section is in fact the
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158:, verse, hook, bridge, hook" method. Pop and rock songs nearly always have both a verse and a chorus. The primary difference between the two is that when the music of the verse returns, it is almost always given a new set of lyrics, whereas the chorus usually retains the same set of lyrics every time its music appears." Both are essential elements, with the verse usually played first (exceptions include "
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that does not use any of the material from the song that is to follow. With this type of intro, the goal is to create interest in the listener and make them unsure of what will happen. This type of intro could consist of a series of loud, accented chords, punctuated by cymbal, with a bassline beginning near the end, to act as a pitch reference point for the singer. The intro also sets the story too.
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745:, 2017): the chorus runs "I'm in love with the shape of you ... Every day discovering something brand new / I'm in love with your body", and the post-chorus repeats vocables and the hook "Oh—I—oh—I—oh—I—oh—I / I'm in love with your body", then repeats the end of the chorus, switching "your body" to "the shape of you": "Every day discovering something brand new / I'm in love with the shape of you"
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would not be unusual to the listener, as it is a shared chord that exists in both G Major and C Major. A minor is the ii chord in G Major, and it is the vi chord in C Major. The chord that would alert the listener that a change was taking place is the D chord. There is no D chord in C Major. A listener experienced with popular and traditional music would hear this as a
1010:, such as I–vi–ii–V or a stock progression, such as ii–V. If the tag includes the tonic chord, such as a vamp on I–IV, the bandleader typically cues the last time that the penultimate chord (a IV chord in this case) is played, leading to an ending on the I chord. If the tag does not include the tonic chord, such as with a ii–V tag, the bandleader cues the band to do a
784:, but in popular music, it more often is "...a section that contrasts with the verse... usually ends on the dominant... often culminates in a strong re-transitional." "The bridge is a device that is used to break up the repetitive pattern of the song and keep the listener's attention....In a bridge, the pattern of the words and music change." For example,
529:) being tonicized (treated like a "home key" for a short period), a chord progression could be used for the pre-chorus that gets the listener ready to hear the chorus' chord (G Major) as an arrival key. One widely used way to accomplish this is to precede the G Major chord with its own ii–V chords. In the key given, ii of G Major would be an
654:). The term can be used generically for any section that comes after a chorus, but more often refers to a section that has similar character to the chorus, but is distinguishable in close analysis. The concept of a post-chorus has been particularly popularized and analyzed by music theorist Asaf Peres, who is followed in this section.
1098:, the points at which the music comes to rest on, typically on a tonic or dominant chord. If a song has a section that ends with a cadence on the tonic, if the songwriter gives this cadence a full bar, with the chord held as a whole note, this makes the listener feel like the music is stopping. However, if songwriters use an
756:, 2018): the chorus runs "'Cause girls like you ... I need a girl like you, yeah, yeah ... I need a girl like you, yeah, yeah", and the post-chorus repeats the hook with added "yeah"s: "Yeah, yeah, yeah, yeah, yeah, yeah / I need a girl like you, yeah, yeah / Yeah yeah yeah, yeah, yeah, yeah / I need a girl like you".
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the harmony of the end of the different A sections to guide the listener through the key changes. As well, the composer or arranger may re-harmonize the melody on one or more of the A sections, to provide variety. Note that with a reharmonization, the melody does not usually change; only the chords played by the
991:, ended with a fade-out, the live band might simulate that by playing progressively quieter. However, the live band will more likely invent an instrumental ending to definitively finish the song, which may be some standard closing cadence or perhaps a coda specifically patterned after the song's refrain.
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The most straightforward, and least risky way to write an introduction is to use a section from the song. This contains melodic themes from the song, chords from one of the song's sections, and the beat and style of the song. However, not all songs have an intro of this type. Some songs have an intro
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While the form is often described as AABA, this does not mean that the A sections are all exactly the same. The first A section ends by going back to the next A section, and the second A section ends and transitions into the B section. As such, at the minimum, the composer or arranger often modifies
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Thirty-two-bar form uses four sections, most often eight measures long each (4×8=32), two verses or A sections, a contrasting B section (the bridge or "middle-eight") and a return of the verse in one last A section (AABA). The B section is often intended as a contrast to the A sections that precede
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of a song is a way of finishing or completing the song. It signals to the listeners that the song is nearing its close. The reason for having an outro is that if a song just ended at the last bar of a section, such as on the last verse or the last chorus, this might feel too abrupt for listeners. By
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chord. V of G Major would be D. As such, with the example song, this could be done by having a pre-chorus that consists of one bar of A minor and one bar of D. This would allow the listener to expect a resolution from ii–V to I, which in this case is the temporary tonic of G Major. The chord A minor
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chord) or similar transitional harmonies. "Often, a two-phrase verse containing basic chords is followed by a passage, often harmonically probing, that leads to the full chorus." Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony
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Verse-chorus form or ABA form may be combined with AABA form, in compound AABA forms. That means that every A section or B section can consist of more than one section (for example Verse-Chorus). In that way the modern popular song structure can be viewed as a AABA form, where the B is the bridge.
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In general, songwriters and arrangers do not introduce any new melodies or riffs in the outro. However, a melody or riff used throughout the song may be re-used as part of an outro. Generally, the outro is a section where the energy of the song, broadly defined, dissipates. For example, many songs
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that resolves onto the tonic (I) chord. With an instrumental and vocal tag, the band and vocalist typically repeat a section of the song, such as the chorus, to give emphasis to its message. In some cases, the vocalist may use only a few words from the chorus or even one word. Some bands have the
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As with distinguishing the pre-chorus from a verse, it can be difficult to distinguish the post-chorus from the chorus. In some cases they appear separately – for example, the post-chorus only appears after the second and third chorus, but not the first – and thus are clearly distinguishable. In
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Lyrically, "the verse contains the details of the song: the story, the events, images and emotions that the writer wishes to express....Each verse will have different lyrics from the others." "A verse exists primarily to support the chorus or refrain...both musically and lyrically." A verse of a
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The chorus or refrain is the element of the song that repeats at least once both musically and lyrically. It is always of greater musical and emotional intensity than the verse. "The chorus, which gets its name from a usual thickening of texture from the addition of backing vocals, is always a
688:, 2014): the chorus begins and ends with "I'm gonna swing from the chandelier / From the chandelier", while the post-chorus repeats instead "holding on", in "I'm holding on for dear life" and "I'm just holding on for tonight", and has a new melody, but the same chord progression as the chorus.
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are often used interchangeably, both referring to a recurring part of a song. When a distinction is made, the chorus is the part that contains the hook or the "main idea" of a song's lyrics and music, and there is rarely variation from one repetition of the chorus to the next. A refrain is a
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Characterization of a post-chorus varies, beyond "comes immediately after the chorus"; Peres characterizes it by two conditions: it maintains or increases sonic energy, otherwise it is a bridge or verse; and contains a melodic hook (vocal or instrumental), otherwise it is a transition.
190:(also called an "outro") are usually only used once. Some pop songs may have a solo section, particularly in rock or blues-influenced pop. During the solo section, one or more instruments play a melodic line which may be the melody used by the singer, or, in blues or jazz improvised.
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progression. In some pop songs, the solo performer plays the same melodies that were performed by the lead singer, often with flourishes and embellishments, such as riffs, scale runs, and arpeggios. In blues- or jazz-influenced pop songs, the solo performers may improvise a solo.
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1407:–g minor/c minor–F), the B section consists of two bars of D, two bars of G, two bars of C and two bars of F. In some songs, the "feel" also changes in the B section. For example, the A sections may be in swing feel, and the B section may be in Latin or Afro-Cuban feel.
1102:, they can bring the section to a cadence on the tonic, and then, immediately after this cadence, begin a new section of music which overlaps with the cadence. Another form of elision would, in a chorus later in the song, to interject musical elements from the bridge.
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discrete section that nearly always prolongs the tonic and carries an unvaried poetic text." In terms of narrative, the chorus conveys the main message or theme of the song. Normally the most memorable element of the song for listeners, the chorus usually contains the
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An elision is a section of music where different sections overlap one another, usually for a short period. It is mostly used in fast-paced music, and it is designed to create tension and drama. Songwriters use elision to keep the song from losing its energy during
127:). Pop and traditional forms can be used even with songs that have structural differences in melodies. The most common format in modern popular music is introduction (intro), verse, pre-chorus, chorus, verse, pre-chorus, chorus,
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The "I Got Rhythm" example also provides contrast because the harmonic rhythm changes in the B section. Whereas the A sections contain a vibrant, exciting feel of two chord changes per bar (e.g., the first two bars are often
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665:). Some restrict "post-chorus" to only cases where it is an extension of a chorus (attached postchorus), and do not consider the second part of two-part choruses (detached postchorus) as being a "post"-chorus.
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genre). Each verse usually employs the same melody (possibly with some slight modifications), while the lyrics usually change for each verse. The chorus (or "refrain") usually consists of a melodic and lyrical
352:(the "home" key of the song). With songs, another role of the intro is to give the singer the key of the song. For this reason, even if an intro includes chords other than the tonic, it generally ends with a
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The introduction is a unique section that comes at the beginning of the piece. Generally speaking, an introduction contains just music and no words. It usually builds up suspense for the listener so when the
183:("tag"), but these elements are not essential to the identity of most songs. Pop songs often connect the verse and chorus via a pre-chorus, with a bridge section usually appearing after the second chorus.
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during the outro, a process of gradually slowing down the tempo. Both the fade-out and the ritardando are ways of decreasing the intensity of a song and signalling that it is nearing its conclusion.
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during the outro, but it is not the focus of the section; instead, it is more to add interesting improvisation. A guitar solo during an outro is typically mixed lower than a mid-song guitar solo.
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A solo is a section designed to showcase an instrumentalist (e.g. a guitarist or a harmonica player) or less commonly, more than one instrumentalist (e.g., a trumpeter and a sax player).
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typically plays in the "feel" of the song that follows. For example, for a blues shuffle, a band starts playing a shuffle rhythm. In some songs, the intro is one or more bars of the
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There is a distinction between ad lib as a song section and ad lib as a general term. Ad lib as a general term can be applied to any free interpretation of the musical material.
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repetitive phrase or phrases that serve the function of a chorus lyrically, but are not in a separate section or long enough to be a chorus. For example, refrains are found in
714:, 1991): the chorus lasts from "With the lights out, it's less dangerous" to "A mosquito, my libido", while the post-chorus features a heavy riff with the vocals "hey, yay".
764:), where the post-chorus keeps the hook from the chorus (like an attached postchorus), but introduces some additional content (hook or melody, like a detached postchorus.
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other cases they always appear together, and thus a "chorus + post-chorus" can be considered a subdivision of the overall chorus, rather than an independent section.
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and lyrics, which helps the song develop itself in a natural way by creating a contrast to the previously played, usually placed after the second chorus in a song.
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For an outro that fades out, the arranger or songwriter typically repeats a short section of the music over and over. This can be the chorus, for example. An
998:. There are two types of tags: the instrumental tag and the instrumental/vocal tag. With an instrumental tag, the vocalist no longer sings, and the band's
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in the song, often found after the middle chorus part. In pop music, there may be a guitar solo, or a solo performed with another instrument such as a
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371:, which in this case would shift the harmony to a G chord. In some cases, an introduction contains only drums or percussion parts that set the
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using an outro, the songwriter signals that the song is, in fact, nearing its end. This gives the listeners a good sense of closure. For
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for the song. Alternately the introduction may consist of a solo section sung by the lead singer (or a group of backup singers), or a
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The
Foundations of Rock : From "Blue Suede Shoes" to "Suite: Judy Blue Eyes": From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"
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Lyrics of attached post-choruses typically repeat the hook/refrain from the chorus, with little additional content, often using
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For example, if a song is set in C Major, and the songwriter aims to get to a chorus that focuses on the dominant chord (
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in the standard key); however, the B section changes key and moves to V/vi, or D in the standard key, which then does a
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Samples. Online
Publikationen der Gesellschaft für Popularmusikforschung/German Society for Popular Music Studies e.V.
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drops in, it creates a pleasing sense of release. The intro also creates the atmosphere of the song. As such, the
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Characterizations of post-chorus vary, but are broadly classed into simply a second chorus (in Peres's terms, a
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song, is a repeated sung melody where the words change from use to use (though not necessarily a great deal).
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movement to G, C and finally F, setting the listener up for a return to the tonic Bb in the final A section.
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and follow it. The B section may be made to contrast by putting it in a new harmony. For example, with the
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2073:"The-Dream on Penning Rihanna's 'Umbrella' Hook: 'It Just Never Stopped Pouring, Metaphor After Metaphor'"
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The introduction may also be based around the chords used in the verse, chorus, or bridge, or a stock "
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The verse, chorus and pre-chorus are usually repeated throughout a song, while the intro, bridge, and
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Structure: Intro, Verse I, Chorus, Verse II, Chorus, Verse III, Chorus, Verse IV, Chorus, Outro.
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2144:"AABA, Refrain, Chorus, Bridge, Prechorus — Song Forms and their Historical Development"
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American Popular Ballad of the Golden Era, 1924–1950: A Study in Musical Design
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Detached post-choruses typically have distinct melody and lyrics from the chorus:
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By adding a powerful upbeat middle eight, musicians can then end the song with a
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Rock Music: Critical Essays on
Composition, Performance, Analysis, and Reception
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of a few chords that the band repeats. In a jazz song, this could be a standard
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Modulation in Verse–Chorus Form",
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to gradually decrease the volume of the recording. When a band, especially a
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The
Everything Songwriting Book: All You Need to Create and Market Hit Songs
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style, while the post-chorus features a prominent riff by two lead guitars.
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Besides fading out, another way some pop and rock songs may end is with a
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consists of two main sections – a verse and chorus – that often contrast
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Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005).
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because it consists of rhyming lyrics most often with an AABB or ABAB
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5 Quick Steps to
Becoming a Music Producer: A music producer's voyage
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1929:"The Post-Chorus, And It's [sic] Unsung Place In Pop Music"
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509:(usually built on the IV chord or ii chord, which in the key of
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takes over the music to finish off the song. A tag is often a
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that prepares the verse chords to transition into the chorus.
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An optional section that may occur after the chorus is the
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2219:. "Form", in Horner, Bruce and Swiss, Thomas, eds. (1999)
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ABA (verse/chorus or chorus/verse) format may be found in
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An optional section that may occur after the verse is the
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Musically, "the verse is to be understood as a unit that
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The
Beatles as Musicians: Revolver Through the Anthology
538:. Harmonic theorists and arrangers would call it V/V or
2237:"The Structure, Function, and Genesis of the Prechorus"
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Arrangement of a song, part of the songwriting process
2005:"The Post-Chorus, And It's Unsung Place In Pop Music"
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The foundation of popular music is the "verse" and "
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72:is the arrangement of a song, and is a part of the
1910:"Everything You Need to Know About the Postchorus"
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818:A song employing a middle eight might look like:
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154:" structure. Some writers use a simple "verse,
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1870:: How Popular Music Works, and Why it Matters
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1751:Davidson, Miriam; Heartwood, Kiya (1996).
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1356:Learn how and when to remove this message
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356:, either on the tonic or dominant chord.
279:Learn how and when to remove this message
116:of lyrics (as opposed to songs that are "
2163:Engaging Music: Essays in Music Analysis
2117:
2085:
1948:
1946:
1944:
1942:
1903:
1901:
1899:
1897:
1895:
1893:
1829:
1771:
1769:
901:
549:
394:
290:
2234:
1970:
1968:
1742:
14:
2981:
2221:Key Terms in Popular Music and Culture
2070:
1865:Sloan, Nate; Harding, Charlie (2019).
1426:A: Deck the hall with boughs of holly,
831:
2573:
2267:
2176:Covach, John and Boone, Graham, eds.
2165:. New York: Oxford University Press.
2096:Davidson & Heartwood (1996), p.8.
2052:von Appen & Frei-Hauenschild 2015
1952:
1939:
1926:
1920:
1907:
1890:
1840:Davidson & Heartwood (1996), p.7.
1808:
1766:
722:like "ah" or "oh". Examples include:
2194:, Princeton University Press, 1995.
1974:
1965:
1435:A: Troll the ancient Yuletide carol.
1334:adding citations to reliable sources
1301:
1243:adding citations to reliable sources
1210:
1142:adding citations to reliable sources
1109:
1105:
1059:adding citations to reliable sources
1026:
868:adding citations to reliable sources
835:
545:
257:adding citations to reliable sources
224:
193:
175:that repeats. Pop songs may have an
29:
1872:. Oxford University Press. p.
24:
2135:
1283:section of a song (usually in the
943:or (in popular-music terminology)
477:, both part of the C Major triad.
367:of another key area is to add the
25:
3005:
1731:, p.15. Oxford University Press.
2558:
1755:, p.6. Alfred Music Publishing.
1623:" (ABABCBAB), and Billy Joel's "
1496:Don't It Make My Brown Eyes Blue
1440:Variation on the basic structure
1306:
1215:
1114:
1031:
840:
792:" is a song with a bridge while
760:Hybrids are also common (Peres:
440:roughly corresponds to a poetic
229:
34:
2108:
2099:
2064:
2021:
1997:
1567:ABABCB format may be found in
1429:A: 'Tis the season to be jolly.
798:You Are the Sunshine of My Life
220:
135:, there is usually one or more
1787:
1778:
1721:
1706:
1682:
1671:
1625:It's Still Rock and Roll to Me
1581:What's Love Got to Do with It?
1536:ABAB may be found in AC/DC's "
1432:B: Don we now our gay apparel,
828:in the end chorus and finale.
635:
383:played by an instrumentalist.
18:Song structure (popular music)
13:
1:
2071:Platon, Adelle (2017-04-28).
1664:
1454:The Times They Are a-Changin'
484:
2213:8/1 (2011) – ISSN 1862-6742.
1955:"The Power of Post-Choruses"
1297:
7:
2599:
1959:Broadcast Music, Inc. (BMI)
1953:Blume, Jason (2018-04-02).
1630:
1458:The House of the Rising Sun
1448:AAA format may be found in
610:You Shook Me All Night Long
10:
3010:
2937:Sound reinforcement system
2797:Concepts · Techniques
2033:musictheory.pugetsound.edu
1908:Peres, Asaf (2018-07-31).
1795:The Music of Joni Mitchell
1367:
1175:
1022:
932:
771:
639:
580:
429:
329:
166:, an early example in the
2950:
2912:
2796:
2723:
2692:
2605:
2556:
2305:
2223:. Malden, Massachusetts.
2187:. Cited in Covach (2005).
2180:. Cited in Covach (2005).
1979:. Berklee Press. p.
1927:Zeger, Eli (2016-08-17).
1793:Whitesell, Lloyd (2008).
1753:Songwriting for Beginners
1206:
800:" is a song without one.
767:
693:The Boys Are Back in Town
76:process. It is typically
60:Proposed since July 2024.
1727:Everett, Walter (1999).
1621:Every Rose Has Its Thorn
604:" ("yeah, yeah, yeah"),
554:"Jingle Bells"'s chorus
390:
84:for vocal music include
2150:Ed. by Ralf von Appen,
906:"Jingle Bells"'s outro
708:Smells Like Teen Spirit
2105:Watson (2003), p.87-8.
1975:Keys, Scarlet (2018).
1814:Watson, C. J. (2003).
1784:Everett (2008), p.146.
1717:17/3 (2011), § 2.
1613:Back on the Chain Gang
1591:". Variations include
1569:John Cougar Mellencamp
930:
624:" ("fa la la la la").
578:
427:
327:
120:"—an approach used in
2235:Summach, Jay (2011),
2183:Everett, Walter, ed.
1852:Everett (1999), p.16.
1818:, p.86. Adams Media.
1525:" (chorus first) and
1490:AABA may be found in
905:
614:Simon & Garfunkel
553:
398:
294:
2724:Voice classification
2370:Developing variation
2128:Watson (2003), p.90.
2114:Watson (2003), p.89.
1504:Just the Way You Are
1330:improve this section
1239:improve this section
1138:improve this section
1055:improve this section
864:improve this section
618:The Sound of Silence
436:In popular music, a
332:Introduction (music)
253:improve this section
2788:Non-classical music
2693:Forms · Genres
2530:Thirty-two-bar form
2395:Formula composition
2256:10.30535/mto.17.3.2
2242:Music Theory Online
2029:"Verse-Chorus Form"
1715:Music Theory Online
1456:", and songs like "
1370:Thirty-two-bar form
1015:guitar player do a
832:Conclusion or outro
663:attached postchorus
659:detached postchorus
503:transitional bridge
493:. Also known as a "
2623:Extended technique
2217:Middleton, Richard
1775:Cope (2009), p.68.
1527:The Rolling Stones
1474:The Thrill Is Gone
1418:Examples include "
1415:musicians change.
931:
778:A bridge may be a
579:
536:secondary dominant
428:
328:
2976:
2975:
2567:
2566:
2550:Verse–chorus form
2505:Sonata rondo form
2340:Call and response
2320:Ausmultiplikation
2200:978-0-691-04399-9
2158:. Vol. 13 (2015).
1589:Sharp Dressed Man
1533:" (verse first).
1523:Turn! Turn! Turn!
1484:Edmund Fitzgerald
1482:The Wreck of the
1385:chord progression
1366:
1365:
1358:
1275:
1274:
1267:
1174:
1173:
1166:
1106:Instrumental solo
1091:
1090:
1083:
900:
899:
892:
762:hybrid postchorus
701:call-and-response
546:Chorus or refrain
432:Verse–chorus form
289:
288:
281:
199:Verse–chorus form
194:Verse–chorus form
133:heavy metal music
94:verse–chorus form
67:
66:
62:
16:(Redirected from
3001:
2932:Pitch correction
2899:Vocal resonation
2677:Vocal percussion
2633:Overtone singing
2618:Bathroom singing
2594:
2587:
2580:
2571:
2570:
2562:
2535:Through-composed
2288:
2281:
2274:
2265:
2264:
2259:
2258:
2129:
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2115:
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2061:
2049:
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2025:
2019:
2018:
2016:
2015:
2009:Vinyl Me, Please
2001:
1995:
1994:
1972:
1963:
1962:
1950:
1937:
1936:
1933:Vinyl Me, Please
1924:
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1773:
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1749:
1740:
1725:
1719:
1710:
1704:
1686:
1680:
1675:
1627:" (ABABCABCAB).
1562:Hotel California
1531:Honky Tonk Woman
1478:Gordon Lightfoot
1406:
1405:
1395:circle of fifths
1392:
1391:
1361:
1354:
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1155:
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1086:
1079:
1075:
1072:
1066:
1035:
1027:
989:recorded version
929:
928:
927:
925:
917:
916:
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913:
895:
888:
884:
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875:
844:
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561:
426:
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414:
413:
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402:
369:dominant seventh
325:
324:
323:
321:
313:
312:
311:
309:
302:'s introduction
301:
284:
277:
273:
270:
264:
233:
225:
118:through-composed
58:
38:
37:
30:
21:
3009:
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3004:
3003:
3002:
3000:
2999:
2998:
2979:
2978:
2977:
2972:
2946:
2942:Monitor speaker
2915:(popular music)
2914:
2913:Sound equipment
2908:
2792:
2719:
2688:
2601:
2598:
2568:
2563:
2554:
2301:
2292:
2262:
2205:Kaiser, Ulrich
2138:
2136:Further reading
2133:
2132:
2127:
2118:
2113:
2109:
2104:
2100:
2095:
2086:
2069:
2065:
2055:
2050:
2046:
2037:
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2027:
2026:
2022:
2013:
2011:
2003:
2002:
1998:
1991:
1973:
1966:
1951:
1940:
1925:
1921:
1906:
1891:
1884:
1868:Switched on Pop
1863:
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1839:
1830:
1813:
1809:
1792:
1788:
1783:
1779:
1774:
1767:
1750:
1743:
1726:
1722:
1711:
1707:
1689:Everett, Walter
1687:
1683:
1676:
1672:
1667:
1662:
1633:
1593:Smokey Robinson
1442:
1403:
1402:
1389:
1388:
1372:
1362:
1351:
1345:
1342:
1327:
1311:
1300:
1271:
1260:
1254:
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1236:
1220:
1209:
1190:, particularly
1180:
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548:
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434:
420:
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393:
334:
319:
316:
315:
307:
304:
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285:
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268:
265:
250:
234:
223:
196:
122:classical music
63:
39:
35:
28:
23:
22:
15:
12:
11:
5:
3007:
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2996:
2991:
2974:
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2965:
2960:
2954:
2952:
2948:
2947:
2945:
2944:
2939:
2934:
2929:
2924:
2922:In-ear monitor
2918:
2916:
2910:
2909:
2907:
2906:
2901:
2896:
2894:Vocal register
2891:
2886:
2884:Vocal pedagogy
2881:
2876:
2871:
2866:
2861:
2856:
2851:
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2674:
2673:
2672:
2667:
2657:
2652:
2647:
2642:
2637:
2636:
2635:
2630:
2628:Throat singing
2620:
2615:
2609:
2607:
2603:
2602:
2597:
2596:
2589:
2582:
2574:
2565:
2564:
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2555:
2553:
2552:
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2537:
2532:
2527:
2522:
2517:
2512:
2510:Song structure
2507:
2502:
2497:
2492:
2487:
2482:
2477:
2472:
2467:
2465:Recapitulation
2462:
2457:
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2232:
2214:
2203:
2188:
2181:
2174:
2159:
2152:André Doehring
2139:
2137:
2134:
2131:
2130:
2116:
2107:
2098:
2084:
2063:
2044:
2020:
1996:
1989:
1964:
1938:
1919:
1889:
1882:
1854:
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1828:
1807:
1786:
1777:
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1668:
1666:
1663:
1661:
1660:
1655:
1650:
1645:
1640:
1634:
1632:
1629:
1609:The Pretenders
1605:Ticket to Ride
1546:Margaritaville
1441:
1438:
1437:
1436:
1433:
1430:
1427:
1420:Deck the Halls
1368:Main article:
1364:
1363:
1314:
1312:
1305:
1299:
1296:
1273:
1272:
1223:
1221:
1214:
1208:
1205:
1186:are common in
1176:Main article:
1172:
1171:
1122:
1120:
1113:
1107:
1104:
1100:elided cadence
1089:
1088:
1039:
1037:
1030:
1024:
1021:
1000:rhythm section
971:then uses the
969:audio engineer
933:Main article:
898:
897:
848:
846:
839:
833:
830:
820:
774:Bridge (music)
772:Main article:
769:
766:
758:
757:
750:Girls Like You
746:
735:
716:
715:
704:
689:
640:Main article:
637:
634:
622:Deck the Halls
581:Main article:
547:
544:
486:
483:
430:Main article:
392:
389:
365:dominant chord
343:rhythm section
330:Main article:
287:
286:
237:
235:
228:
222:
219:
195:
192:
70:Song structure
65:
64:
42:
40:
33:
26:
9:
6:
4:
3:
2:
3006:
2995:
2992:
2990:
2989:Popular music
2987:
2986:
2984:
2969:
2966:
2964:
2961:
2959:
2956:
2955:
2953:
2951:Miscellaneous
2949:
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2940:
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2933:
2930:
2928:
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2923:
2920:
2919:
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2837:
2835:
2832:
2830:
2827:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2805:
2804:Backup vocals
2802:
2801:
2799:
2795:
2789:
2786:
2784:
2781:
2777:
2774:
2772:
2771:Mezzo-soprano
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2741:Bass-baritone
2739:
2737:
2734:
2733:
2732:
2729:
2728:
2726:
2722:
2716:
2713:
2711:
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2631:
2629:
2626:
2625:
2624:
2621:
2619:
2616:
2614:
2611:
2610:
2608:
2606:Singing types
2604:
2595:
2590:
2588:
2583:
2581:
2576:
2575:
2572:
2561:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2515:Strophic form
2513:
2511:
2508:
2506:
2503:
2501:
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2229:0-631-21263-9
2226:
2222:
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2201:
2197:
2193:
2190:Forte, Allan
2189:
2186:
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2172:
2171:0-19-517010-5
2168:
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2160:
2157:
2156:Thomas Phleps
2153:
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2093:
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2067:
2059:
2054:, p. 79.
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2010:
2006:
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1992:
1990:9781540039965
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1883:9780190056674
1879:
1875:
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1859:
1849:
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1837:
1835:
1833:
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1824:9781440522666
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1803:9780199719099
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1737:9780195129410
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1701:9780199718702
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1615:" (ABABCAB),
1614:
1610:
1606:
1602:
1598:
1594:
1590:
1586:
1582:
1578:
1574:
1573:Hurts So Good
1570:
1565:
1563:
1559:
1555:
1551:
1547:
1543:
1542:Jimmy Buffett
1539:
1538:Back in Black
1534:
1532:
1528:
1524:
1520:
1515:
1513:
1509:
1505:
1501:
1497:
1493:
1492:Crystal Gayle
1488:
1486:
1485:
1479:
1475:
1471:
1470:Amazing Grace
1467:
1466:Old MacDonald
1463:
1459:
1455:
1451:
1446:
1434:
1431:
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1425:
1424:
1423:
1421:
1416:
1414:
1413:accompaniment
1408:
1398:
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1386:
1382:
1378:
1377:jazz standard
1371:
1360:
1357:
1349:
1346:February 2020
1339:
1335:
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1324:
1320:
1315:This section
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1309:
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1281:
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1255:February 2020
1248:
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1234:
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1229:
1224:This section
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1213:
1212:
1204:
1201:
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1185:
1179:
1168:
1165:
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1154:February 2020
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1143:
1139:
1133:
1132:
1128:
1123:This section
1121:
1117:
1112:
1111:
1103:
1101:
1097:
1085:
1082:
1074:
1071:February 2020
1064:
1060:
1056:
1050:
1049:
1045:
1040:This section
1038:
1034:
1029:
1028:
1020:
1018:
1013:
1009:
1005:
1001:
997:
992:
990:
987:that, in the
986:
982:
978:
974:
970:
965:
963:
959:
953:
951:
946:
942:
936:
935:Outro (music)
926:
914:
904:
894:
891:
883:
880:February 2020
873:
869:
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859:
858:
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849:This section
847:
843:
838:
837:
829:
827:
819:
816:
814:
810:
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801:
799:
795:
794:Stevie Wonder
791:
790:Country Roads
787:
783:
782:
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763:
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611:
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603:
602:She Loves You
599:
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399:"Jingle Bells
397:
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269:February 2020
262:
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238:This section
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160:She Loves You
157:
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102:strophic form
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82:musical forms
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31:
19:
2904:Vocal weight
2869:Sprechgesang
2864:Scat singing
2761:Countertenor
2655:Sign singing
2650:Scat singing
2520:Ternary form
2509:
2405:Introduction
2295:Musical form
2246:
2240:
2220:
2210:
2191:
2184:
2177:
2162:
2147:
2110:
2101:
2076:
2066:
2047:
2036:. Retrieved
2032:
2023:
2012:. Retrieved
2008:
1999:
1976:
1958:
1932:
1922:
1914:Top40 Theory
1913:
1866:
1815:
1810:
1794:
1789:
1780:
1752:
1728:
1723:
1714:
1708:
1692:
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1566:
1554:Sugar, Sugar
1535:
1516:
1489:
1483:
1447:
1443:
1417:
1409:
1399:
1381:I Got Rhythm
1373:
1352:
1343:
1328:Please help
1316:
1293:
1278:
1276:
1261:
1252:
1237:Please help
1225:
1200:12-bar blues
1184:Guitar solos
1181:
1178:Solo (music)
1160:
1151:
1136:Please help
1124:
1092:
1077:
1068:
1053:Please help
1041:
993:
981:tribute band
977:mixing board
966:
954:
944:
940:
938:
886:
877:
862:Please help
850:
823:
817:
809:middle eight
805:music theory
802:
779:
777:
761:
759:
739:Shape of You
717:
675:
671:
667:
662:
658:
656:
651:
647:
645:
626:
592:
588:
586:
540:five of five
539:
524:
513:would be an
502:
498:
494:
490:
488:
479:
474:
470:
466:
462:
452:
448:rhyme scheme
441:
437:
435:
385:
358:
335:
297:Jingle Bells
275:
266:
251:Please help
239:
221:Introduction
211:harmonically
207:rhythmically
197:
185:
177:introduction
149:
137:guitar solos
106:12-bar blues
98:ternary form
69:
68:
59:
50:Musical form
48:
2968:Vocal coach
2958:Vocal music
2889:Vocal range
2844:Lead vocals
2829:Death growl
2819:Chest voice
2640:Oversinging
2500:Sonata form
2460:Post-chorus
2375:Development
2365:Cyclic form
2330:Binary form
2299:development
1601:The Beatles
1577:Tina Turner
1550:The Archies
1519:Pete Seeger
1508:The Beatles
1194:and in the
1192:heavy metal
1017:guitar solo
956:end with a
786:John Denver
648:post-chorus
642:Post-chorus
636:Post-chorus
598:the Beatles
560:Play chorus
507:subdominant
215:dynamically
203:melodically
164:The Beatles
141:synthesizer
90:32-bar form
74:songwriting
2994:Song forms
2983:Categories
2927:Microphone
2839:Head voice
2814:Coloratura
2731:Voice type
2682:Beatboxing
2660:Sing-along
2613:A cappella
2540:Transition
2470:Repetition
2455:Pre-chorus
2385:Exposition
2355:Conclusion
2038:2022-05-20
2014:2022-05-20
1761:0739020005
1665:References
1558:The Eagles
1500:Billy Joel
1462:Clementine
1188:rock music
1008:turnaround
985:cover song
983:, plays a
962:ritardando
941:conclusion
912:Play outro
781:transition
743:Ed Sheeran
697:Thin Lizzy
682:Chandelier
652:postchorus
587:The terms
491:pre-chorus
485:Pre-chorus
409:Play verse
361:turnaround
308:Play intro
168:rock music
104:, and the
2874:Tessitura
2849:Passaggio
2766:Contralto
2751:Baritenor
2545:Variation
2410:Leitmotif
2310:Arch form
2078:Billboard
1797:, p.151.
1695:, p.145.
1512:Yesterday
1464:". Also "
1450:Bob Dylan
1317:does not
1298:AABA form
1226:does not
1125:does not
1042:does not
924:full song
851:does not
572:full song
421:full song
403:'s verse
320:full song
240:does not
145:saxophone
125:art songs
78:sectional
2834:Falsetto
2824:Crooning
2746:Baritone
2715:Vocables
2670:Lip sync
2440:Overture
2435:Ostinato
2430:Movement
2325:Bar form
2315:Argument
1691:(2008).
1648:Ostinato
1631:See also
1460:", and "
1404:♭
1390:♭
1096:cadences
958:fade-out
754:Maroon 5
728:Umbrella
720:vocables
620:", and "
455:prolongs
377:"groove"
339:downbeat
86:bar form
2859:Rapping
2854:Quintus
2809:Belting
2776:Soprano
2665:Karaoke
2645:Rapping
2600:Singing
2495:Section
2475:Reprise
1653:Subject
1638:Earworm
1583:", and
1556:", and
1506:", and
1476:", and
1338:removed
1323:sources
1247:removed
1232:sources
1146:removed
1131:sources
1063:removed
1048:sources
1023:Elision
1012:cadence
975:on the
872:removed
857:sources
732:Rihanna
712:Nirvana
593:refrain
583:Refrain
531:A minor
527:G Major
519:D minor
515:F Major
511:C Major
501:", or "
499:channel
354:cadence
261:removed
246:sources
55:Discuss
2879:Timbre
2700:Choral
2450:Phrase
2445:Period
2420:Melody
2390:Finale
2335:Bridge
2227:
2209:. In:
2198:
2169:
2146:. In:
1987:
1880:
1822:
1801:
1759:
1735:
1699:
1617:Poison
1597:My Guy
1585:ZZ Top
1280:ad lib
1207:Ad lib
813:melody
768:Bridge
589:chorus
443:stanza
373:rhythm
173:phrase
152:chorus
129:bridge
114:stanza
45:merged
2963:Choir
2756:Tenor
2705:Opera
2525:Theme
2490:Rondò
2485:Rondo
2425:Motif
2360:Cycle
2249:(3),
1289:outro
1196:blues
973:fader
945:outro
606:AC/DC
495:build
459:tonic
438:verse
391:Verse
350:chord
347:tonic
162:" by
143:or a
110:verse
47:into
2783:Fach
2736:Bass
2710:Lied
2480:Riff
2415:Lick
2400:Hook
2380:Drop
2350:Coda
2345:Cell
2297:and
2225:ISBN
2196:ISBN
2167:ISBN
2154:and
2058:help
1985:ISBN
1878:ISBN
1820:ISBN
1799:ISBN
1757:ISBN
1733:ISBN
1697:ISBN
1658:Vamp
1643:Lick
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1321:any
1319:cite
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1230:any
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630:hook
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591:and
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