![]() Occasionally abcd or abca are possible, but only if b is a clear response to a, not simply new material.Īn srdc structure tends to tend to divide neatly into halves: sr and dc.īobby Darin’s “Dream Lover” ( Example 3) provides a classic example of a four-part srdc phrase structure.Process of aligning text to a musical rhythm In conventional lettering, an srdc section could employ an aaba structure (with statement material returning as a restatement and again as the conclusion), or an aabc structure (where the conclusion material is new). Walter Everett (2001, 132) has called such a four-phrase sentential structure in pop/rock music srdc (statement, restatement/response, departure, conclusion). In pop/rock music, this often appears as a basic musical idea in the first phrase, a repetition or “response” to it in the second, contrasting material in the third phrase (often employing fragmentation, acceleration of harmonic rhythm, and movement away from tonic harmony), and a conclusion in the fourth phrase―either with a return to the basic idea and tonic harmony or with still newer material that forms a strong melodic, rhythmic, and harmonic conclusion. Well, you ain't never caught a rabbit and you ain't no friend of mine.Ī section composed of four phrases often contains a sentential structure (presentation → continuation → cadential/conclusion). “Hound Dog” contains aa′ b strophes ( Example 2). If the first two phrases are based on the same music and the third is different, the section is labeled aa′ b.ġ2-bar blues progressions are the most common example of a three-part aa′ b section. ![]() “Livin’ on a Prayer.” Three-PartĪ section containing three phrases is a three-part section. Very rarely, a section’s phrases can be grouped into two clear halves based on different music. ![]() New lyrics, new musical endings, or musical variations simply warrant a “prime.” However, if the two phrases begin with similar musical material, give them the same letter. The first four-bar phrase (“Oh, we’re half-way there…”) and the second four-bar phrase (“Take my hand…”) have identical melody and harmony (so they both get the letter a), but different lyrics (so the second a is marked as “ a prime”: a′). Note that in many songs, this relationship is not as clear cut. The chorus to “Livin’ on a Prayer” (1’33”) has an aa′ structure ( Example 1). Often these two halves begin the same but have different endings, participating in an antecedent– consequent (weak → strong) relationship. In two-part sections, the second half is usually based on the same music as the first half, and thus it is labeled aa′. Two-PartĪ section is two-part when the phrases that make up the section can be grouped into a first half and a second half. ![]() In labeling these structures, phrases are designated by lowercase letters. Each section consists of at least two phrases-in pop/rock music, a phrase is a musical unit that typically lasts for four bars and corresponds to one line of the lyrics. This chapter discusses the structure of song sections such as a verse, chorus, or bridge. ![]()
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