Unit 1-4: Phrase Structure

Objectives

By the end of this lesson, students will be able to:

Identify two-part, three-part, and four-part (srdc) phrase structures in popular music and diagram the structure using lowercase letters (e.g. aa'b, aabb, etc.).
Compose examples of 2-, 3-, and 4-part phrase structures given a starting phrase.
Explain how phrase structure varies in popular music as compared to other types of repertoire, including the period structure common in Western classical music.

Preparation for Class

Read:

Review the following reading from Theory & Practice I:
- - Melody and Phrasing in Popular Music (Hughes & Lavengood, OMT)
  - Sentence and Periods (Mount, Fundamentals, Function, and Form)
  - Phrases and Periods (Timothy Rolls)

Watch

(Review) Sentences & Periods
Seth Monahan (23 mins)

Reference Aids

Relationships between SRDC schemas and Section Roles
Image Source: Trevor de Clercq, "Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock," PhD Dissertation, University of Rochester (2012)

A flowchart-like diagram illustrating the structural evolution of a song over multiple stages, labeled from (a) to (g). Each stage is enclosed in a dashed-line box and represents a different song structure, with connections indicating progression between forms. The boxes contain labeled segments representing different musical sections. (a) The initial structure consists of a "Verse" section that contains a "Refrain." Below it, a sequence of labeled blocks—S, R, D, and C—represent different musical elements. (b) The structure remains the same as (a), with "Verse" containing "Refrain" and the same sequence of blocks: S, R, D, C. (c) The structure expands by adding an extra C block at the end, while still maintaining "Verse" and "Refrain." (d) A major structural shift occurs as the "Verse" and "Chorus" are now separate sections, though the block sequence remains S, R, D, C. (e) The structure is similar to (d) but retains the extra C block from (c), making the sequence S, R, D, C, C with distinct "Verse" and "Chorus" sections. (f) The "Chorus" is further modified, replacing the final C blocks with a new, unspecified segment labeled "(new)," while the "Verse" retains S, R, and D. (g) A "Prechorus" section is introduced between the "Verse" and "Chorus." The "Verse" still includes S, R, and D, while the "Chorus" retains the "(new)" segment.

In-Class Activities

Discussion

Definitions: Compare and contrast the three different types of phrase structure common in popular music (discussed in the Open Music Theory reading). How do these differ from the period structure that you studied in Music Theory I. Create a pictorial diagram for each structure that uses lowercase letters (e.g. a, a', b).
- - These were the phrase groupings discussed in the reading:
    - - Periods: Parallel and Contrasting
      - Sentence
      - 2-Part Phrase Structure
      - 3-Part Phrase Structure
      - 4-Part (SRDC) Structure
- Periods are far less common in popular music than in common-practice Western art music. Why do you think that is?
- How many measures long are each of the above phrases commonly?

Activity

SRDC Phrase Structure in the Beatles: Open the analysis activity in the Google slideshow here to practice analyzing SRDC phrase structures using lowercase letters (e.g. aaba, aabb, aabc)
- - Once you've completed this activity, explore a few of your favorite popular music songs. Do you hear a 2-part, 3-part, or 4-part phrase structure? How would you describe the structure using lowercase letters (a, a', b, c, etc.)?
2-, 3-, and 4-Part Phrase Structure in Popular Music: Practice identifying examples of two, three, and four-part phrase structures in popular music and labeling the phrases using lowercase letters (e.g. aa', aab, etc.) Examples are provided in the anthology here.
- - Check out this Open Music Theory Worksheet for additional practice: PDF | MuseScore | Spotify Playlist.
Song Analysis: Analyze each of the following songs. Identify the form used, then identify the phrase structure of each section. Diagram the phrase structure in Briformer. (See the how-to video for using Briformer in Lesson 1-2). What pop schemas do you recognize?
- - Billie Eilish, "What Was I Made For?" [Musescore | PDF | Youtube ]
  - Beyoncé, "If I Were a Boy" [YouTube]
  - Elton John, "Tiny Dancer" [Musescore | PDF | Youtube ]
Online Practice Worksheet: See the worksheet here for practice drawing phrase diagrams, completing sentences and periods, and analysis. (From Fundamentals, Function, and Form)
Composing 2-, 3- and 4-Part SRDC Phrase Structures: Work as a class or in groups. The instructor or a member of your group composes or selects a 4-bar melody from a song. Your group leader then announces the type of phrase structure and reveals only the first phrase of the song. Your task is to try to compose the remaining phrases, getting as close to the original composition as possible. When you're done, compare and play your solutions alongside the original.

Repertoire for Practice

Phrase Structure Analysis: This page includes examples of sentences, periods, and 2-, 3-, and 4-part phrase structures in popular music for analysis and listening. Identify Roman numerals, cadences where appropriate, and diagram the phrase stucture using lowercase letters (i.e. a, a', b, b').
For additional examples, see the Repository of Periods and Sentences here.

Anthology Sections:

Sentences

Periods

2, 3, 4-Part Phrases in Pop

Assignment

Assignment 4-1

NEXT STEP

Next Lesson: Modes & Pentatonic Collections

Want to learn more?

De Clercq, Trevor Owen. "SRDC Structure," Section 4.3 in Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music, pp. 153–178. Ph.D Dissertation (University of Rochester, 2012).

Mark Richards, "Film Music Themes: Analysis and Corpus Study," Music Theory Online 22, no. 1 (2015).

This article explores the development of phrase structure in film music from the early 1930's to now, with examples and audio for listening and comparing

Robin Attas, "Sarah Setting the Terms: Defining Phrase in Popular Music," Music Theory Online 17, no. 3 (2011).

This article by Robin Attas digs into some of the differences and idiosyncrasies of phrasing in popular music, using Sarah McLachlan's music as an example

Walter Everett, "Forms: Phrases and Sections." In The Foundations of Rock: From 'Blue Suede Shoes' to 'Suite: Judy Blue Eyes.' Oxford University Press, 2008.

Michael Callahan, "Sentential Lyric-Types in the Great American Songbook," Music Theory Online 19, no. 3 (2013)

Practice

Musition:
- Form & Phrase: Levels 2a, 2b

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