995:
854:
42:
380:
RMS 1 Census-Catalogue of
Manuscript Sources of Polyphonic Music, 1400-1550, edited by Herbert Kellman and Charles Hamm in 5 Volumes. Vol. I A-J (Volume 1),
885:
579:
183:
430:
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381:
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311:
572:
194:
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871:
285:
828:
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238:
565:
303:
209:
229:, though the melody is different and the lyrics feature different verses and a repeated chorus, are in
113:
910:
698:
663:
429:
The Life and Death of Tin Pan Alley, David Ewen, Funk & Wagnalls; First
Edition (1 January 1964)
334:
150:
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592:
46:
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and activity, often with added instrumentation. This is referred to as a "breakout chorus". See:
446:
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198:
853:
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323:
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226:
135:
89:
73:), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse).
818:
788:
260:
403:"Aaba, Refrain, Chorus, Bridge, Prechorus — Song Forms and Their Historical Development"
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341:
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66:
38:
557:
225:
Songs that use the same harmony (chords) for the verse and chorus, such as the
920:
748:
508:
Doll, Christopher. "Rockin' Out: Expressive
Modulation in Verse–Chorus Form",
486:
Covach, John. "Form in Rock Music: A Primer", p.71, in Stein, Deborah (2005).
146:
124:
62:
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45:", and many others. It became passé in the early 1900s, with advent of the
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298:-based songs which are not simple verse–chorus form (above), such as "
1074:
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81:
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778:
295:
69:, which is focused on the refrain (contrasted and prepared by the
54:
773:
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104:
Songs that use different music for the verse and chorus are in
280:(verse–chorus form without the chorus). Examples include:
447:"Tin Pan Alley | musical history | Britannica"
348:
Both simple verse–chorus form and simple verse form are
1002:
901:
276:Songs which feature only a repeated verse are in
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573:
76:The chorus often sharply contrasts the verse
8:
470:Michael Campbell & James Brody (2007),
37:going back to the 1840s, in such songs as "
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256:(1963 cover), example not using blues form
43:The Daring Young Man on the Flying Trapeze
547:
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401:Ralf von Appen; Markus Frei-Hauenschild.
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488:Engaging Music: Essays in Music Analysis
373:
490:. New York: Oxford University Press.
7:
27:Musical form common in popular music
25:
61:in the 1950s, and predominant in
53:days. It became commonly used in
993:
852:
382:American Institute of Musicology
88:, and assumes a higher level of
65:since the 1960s. In contrast to
318:and with a contrasting bridge:
472:Rock and Roll: An Introduction
1:
106:contrasting verse–chorus form
100:Contrasting verse–chorus form
1121:
991:
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384:, Inc. (1 January 1979),
344:" by Jimi Hendrix (1967).
49:(with verse) form in the
231:simple verse–chorus form
221:Simple verse–chorus form
337:" by The Beatles (1966)
239:Shake, Rattle, and Roll
1003:Other musical elements
551:Covach (2005), p.71–72
512:17/3 (2011), § 2.
210:Prayer of the Refugee
664:Developing variation
335:Tomorrow Never Knows
233:. Examples include:
151:All You Need Is Love
108:. Examples include:
824:Thirty-two-bar form
689:Formula composition
510:Music Theory Online
410:www.gfpm-samples.de
451:www.britannica.com
173:Smoke on the Water
114:That'll Be the Day
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903:Verse–chorus form
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844:Verse–chorus form
799:Sonata rondo form
634:Call and response
614:Ausmultiplikation
278:simple verse form
272:Simple verse form
199:Sexy! No No No...
31:Verse–chorus form
18:Verse-chorus form
16:(Redirected from
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324:Eight Miles High
300:Heartbreak Hotel
227:twelve bar blues
184:Can't Get Enough
136:California Girls
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59:rock and roll
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51:Tin Pan Alley
48:
44:
40:
36:
32:
19:
982:False ending
911:Introduction
902:
843:
814:Ternary form
699:Introduction
589:Musical form
509:
503:
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454:. Retrieved
450:
441:
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413:. Retrieved
409:
396:
376:
347:
317:
277:
275:
254:The Kingsmen
250:Louie, Louie
230:
224:
214:Rise Against
166:Jimi Hendrix
129:The Ronettes
105:
103:
86:harmonically
82:rhythmically
75:
35:musical form
30:
29:
931:Post-chorus
794:Sonata form
754:Post-chorus
669:Development
659:Cyclic form
624:Binary form
593:development
342:Purple Haze
203:Girls Aloud
188:Bad Company
177:Deep Purple
155:The Beatles
118:Buddy Holly
94:arrangement
78:melodically
67:32-bar form
39:Oh! Susanna
1105:Song forms
921:Pre-chorus
834:Transition
764:Repetition
749:Pre-chorus
679:Exposition
649:Conclusion
435:B000B8LYVU
390:1595513116
368:References
147:Penny Lane
125:Be My Baby
63:rock music
968:Breakdown
839:Variation
704:Leitmotif
604:Arch form
328:The Byrds
308:Hound Dog
286:Evil Ways
162:Foxy Lady
71:B section
1099:Category
1054:Ostinato
1010:Bassline
734:Overture
729:Ostinato
724:Movement
619:Bar form
609:Argument
476:page 117
456:27 March
415:27 March
356:See also
310:", and "
261:La Bamba
90:dynamics
1030:Harmony
789:Section
769:Reprise
312:Lucille
290:Santana
197:" and "
195:Biology
149:" and "
1081:Groove
1075:Rhythm
1049:Melody
947:Guitar
936:Bridge
744:Phrase
739:Period
714:Melody
684:Finale
629:Bridge
494:
433:
388:
330:(1966)
292:(1969)
267:(1959)
245:(1954)
216:(2006)
190:(1974)
179:(1973)
168:(1967)
157:(1967)
142:(1965)
131:(1963)
120:(1957)
84:, and
1020:Drone
976:Outro
962:Break
916:Verse
819:Theme
784:Rondò
779:Rondo
719:Motif
654:Cycle
406:(PDF)
326:" by
296:Blues
288:" by
263:" by
252:" by
241:" by
212:" by
201:" by
186:" by
175:" by
164:" by
153:" by
138:" by
127:" by
116:" by
55:blues
33:is a
1067:Riff
1060:Loop
1044:Hook
1025:Drop
954:Drum
941:Solo
774:Riff
709:Lick
694:Hook
674:Drop
644:Coda
639:Cell
591:and
492:ISBN
458:2021
431:ASIN
417:2021
386:ISBN
306:", "
302:", "
57:and
47:AABA
41:", "
1101::
518:^
474:,
449:.
408:.
352:.
96:.
80:,
887:e
880:t
873:v
581:e
574:t
567:v
498:.
460:.
419:.
340:"
333:"
322:"
314:"
284:"
259:"
248:"
237:"
208:"
193:"
182:"
171:"
160:"
145:"
134:"
123:"
112:"
20:)
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