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Structure
Structure
Song Forms
Song Forms
You can think of a song as a block of time, which can be broken down into smaller blocks of time. In many types of music, the smaller sections consist of even smaller patterns like the ones you've been making, combined in multiples of four, eight, or 16 bars.
Putting these sections together is called arranging; it's how you get from small patterns to a full song.
The combination of a song's sections is the song's structure or form. Some types of forms are used over and over in many types of music.
Sections
Sections
Intro
Many songs have an introductory section that lays out some of the sounds that will be used, and establishes the song’s key.
Verse 1
In songs with vocals, the verse is usually a section that occurs multiple times and has the same music but different lyrics each time.
Pre Chorus
A pre-chorus is a section that serves as a kind of link between a song’s verses and its choruses.
Chorus
In songs with vocals, the chorus is usually a section that is repeated exactly; both the music and the lyrics are the same each time a chorus is repeated. The lyrics in the chorus often include the song’s title. The chorus is often the “strongest” part of the song: more instruments, higher pitches, louder overall sound, etc.
Break
After a chorus a break could be an instrumental transition.
Verse 2
Will be similar to verse 1 but will usually include some differences. These could be in melody, instrumentation, texture
Outro
The ending of the song. Works well when it is similar to the breaks
CHVRCHES - 'Bury It'
CHVRCHES - 'Bury It'
This synthpop track uses a very common song form, which is labeled below the video. Try listening through the song once, following the form as discussed below. Then try clicking the blocks to jump around in the form so you can hear the relationships between the sections.
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Intro
This song’s four-bar intro lays out the rhythmic synthesizer pattern that repeats often throughout the song.
Verse 1
This song’s two eight-bar verses work in exactly this way.
Pre Chorus
In this song, each pre-chorus helps to build a sense of tension and energy that leads into the chorus. Each of the three eight-bar pre-choruses in this song has identical lyrics.
Chorus
This song’s first chorus is four bars long — half the length of the other two choruses.
Break
After each chorus is a four-bar instrumental transition. Notice that the break is similar to the intro, but with a much denser texture.
Verse 2
The second verse is also eight bars long, but with some interesting differences from the first verse. The first two bars here are very sparse, before all of the instruments suddenly enter in the third bar.
Chorus 2
Is twice as long as chorus 1
Outro
The song ends with a section that’s similar to the previous two breaks, but with even more instrumental layers.
A Tribe Called Quest - 'Award Tour'
A Tribe Called Quest - 'Award Tour'
This classic hip hop track is also constructed by alternating between verses and choruses (more commonly called hooks in hip hop), again all built in multiples of four bars.
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Intro
The four bar intro introduces the chords that appear throughout almost the entire track.
Hook (Chorus)
Here, the hook appears immediately after the intro, and before the verse. There are two eight bar hooks in this track and (unusually for choruses) each has slightly different lyrics. The third hook (which ends the track) is sixteen bars long.
Verse 1a
There are two 24-bar verses. These verses can be subdivided further: the two outer eight bar sections share the same music, while the inner eight bars are different. As is typical of hip hop, each verse features a different rapper.
Verse 1b
The middle eight bars of the verse have different chords than the outer two sections.
Hook 2
This second hook has slightly different lyrics than the first hook.
Hook 3
The third and final hook is sixteen bars long — twice the length of the earlier hooks.
Photek - 'Ni-Ten-Ichi-Ryu'
Photek - 'Ni-Ten-Ichi-Ryu'
This classic drum and bass track is quite different from the previous examples. Because the track is almost all drums, terms like "verse" and "chorus" don't really make sense. Instead, the form is defined by changes in textural density — how much is happening at any point in the song.
But even here, you can see that most of the sections are in regular lengths that are multiples of eight bars.
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(silence)
(The first few seconds of this video are silent.)
Intro
The intro is divided into two 16-bar sections. This first section uses sparse drum hits to establish the dark and mysterious mood for the whole track.
Intro B - “bassline” enters
The second 16 bar section introduces a sort of “bassline” made up of drum sounds that have an audible pitch. This bassline is one of the only stable, repeating elements in the entire track.
A
In this 32-bar section, the drums finally enter completely. The drums undergo a kind of continuous variation; there is very little literal repetition of patterns.
B
This 48-bar section is the most dense part of the whole track. An additional layer of drums is added, and higher-pitched flute-like sounds appear irregularly.
Short breakdown
Breakdowns serve to provide a contrast with sections of high activity or density. This short breakdown feels like time has completely stopped (although it works out to be exactly four-bars long).
B2
A return of the dense “B” section material, but for only half the length: 24 bars. The high-pitched flute-like sounds are not used in this section.
Long breakdown
This much longer breakdown again serves as a break from the relentless drive of the continuously changing drums. Again, this breakdown has no sense of rhythm, but works out to be exactly 16 bars long.
A2
A return of the lighter “A” section material, which gradually fades out to end the song. Note that the flute-like sounds from the “B” section are used here. So this section is sort of a hybrid of “A” and “B.”
Donner Summer - 'I Feel Love'
Donner Summer - 'I Feel Love'
This disco track from 1977 was an early example of dance music with almost entirely electronic instrumentation, and continues to be a huge influence on electronic artists in a variety of styles.
Once again, this track is largely built from alternations between verses and choruses, with lengths that are (mostly) multiples of four or eight bars.
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Intro
The song starts with a gradual fade in. Since there are no rhythmic elements, it’s impossible to get a sense of tempo in this section.
Pre-verse 1
All of the instrumental layers enter at once here, with a simple repeating bassline that outlines only a single chord for 16 bars. This leads into the arrival of the vocals in the main verse. Each of the three verses begins with a version of this ’pre-verse,’ although each is a slightly different length.
Verse 1
When the voice enters, the long, sustained synthesizer sounds drop out, freeing up space in the texture. Each of the three verses is 24 bars long.
Chorus 1
The choruses have the same chord progression as the verses but they change much faster; each chord in the chorus lasts only a single bar. This first chorus is quite short; only two repetitions of the progression.
Pre-verse 2
The repeated bassline returns here, but for only eight bars; half the length of the first pre-verse.
Verse 2
Notice that in this verse, a second singer joins in, creating harmony with Donna Summer’s main vocal line.
Chorus 2 (breaking down)
The second and third choruses are both 20-bars long; five complete repeats of the chord progression. In this chorus, the texture gradually thins out until only the kick drum and bassline remain.
Pre-verse 3 (building up)
The texture gradually builds back up again, with the drum and synthesizer sounds re-entering every few bars.
The “hiccup“: a half-bar adjustment
Although the rest of the song is in bars that are four beats long, a two-beat bar occurs here. This is unusual!
Verse 3
In the final verse, the vocal harmony becomes even thicker with the addition of two background singers.
Fade out
The repeated bassline from the pre-verses continues as the track fades into silence.
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