EXAMPLES OF STRUCTURES
After analysing the structures that a swing song can have, you might find it useful to see some examples, both to deepen your understanding and to practice your perception.
When we dance, we have to be aware of many things, and it would be a good idea that the perception of the structure of a song (where the 1 is, when a section begins and ends, or when a chorus begins or ends) become intuitive, without counting the eights and sections. You should try to understand the discourse (when it begins and when it ends), and so be able to perceive the eights, the sections, and the musical tension, to be able to perceive whether we are in one section or another.
We hope that these examples will help you practice and be able to perceive all this without it becoming too difficult.
Here they are:
Examples of AABA songs
As we have explained before, the musical form that predominated in the 20's-40's was the AABA structure. This is why almost all the music we dance to has this structure.
Let's see some examples:
Flying Home, the great classical by Lionel Hampton and Benny Goodman, also has an AABA structure. In addition, like many songs, note how it ends with an incomplete chorus which, to close out, generates tension with a final B section that resolves this tension with an A:
Some songs split up some or all their choruses by means of an interlude. This is often used not only to better differentiate them but, above all, to generate more contrasts and expectation. A good example can be seen in Get Rhythm In Your Feet (And Music In Your Soul), by Benny Goodman. Here you can listen to this song and see its structure:
A very characteristic variant of AABA structures, which we can also see in other structures, is the one that adds an eight (two bars) to the last section of each chorus. You can hear this variation in this piece of music:
And now another rare and interesting variant where the B section is played two times. This repetition gives the possibility to repeat the riffs more times giving more musical power to this part, creating more tension:
Other examples:
Examples of ABAB songs
This is, after the AABA form, one of the most common structures in swing music that we dance to. As explained in the page How the phrases of a song are organized this structure is different from the AB form because the first B is linked, harmonically and/or melodically with the second A, making us see that it is not a repetition of AB's but an idea that is not fully complete until we have heard all four sections (ABAB).
Often there are certain differences between the first and the second B, and for this reason, there are those who describe the structure of songs such as Rose Room, which you can listen to below, as AB1AB2 or ABAB'. This is because, harmonically, the first and second B are very similar but not identical. Remember that each section is defined by its harmony, not by its melody. Therefore, although the melody may seem clearly different, if its basis of chords is the same, it is considered to be the same section.
As you might suppose, there is no clear rule that allows you to say whether two sections are quite different and not consider them the same (and then name them B and C) or just a little different to be considered a variation (and name them B1 and B2 or B and B').
In the song How High the Moon have the same harmonic structure in the first two eights but not in the last ones. The clip below shows the structure understood as AB1AB2 but we will not argue with anyone who thinks that it is an ABAC form.
Do not worry if you find it difficult to perceive the differences between the sections to be able to decide whether it is a section that is the same as or different from the previous one. It is often difficult to detect this and you can only be sure if you look at the score.
In addition, from the point of view of the dancer, the most important thing is to perceive the change from one phrase to another, regardless of whether the section has the same harmony or not.
Examples of ABAC songs
Quite often, the differences between the second and the fourth sections are so important that there is no longer any doubt about them being different sections and calling them, respectively, B and C and thus defining an ABAC form.
As we have explained in How the phrases of a song are organized, some people prefer to name these structures A1A2 or AA' thinking that each section does not have 4 eights (8 bars) but 8 eights (16 bars).
From the point of view of the dancer we think that it is much more meaningful to understand it as ABAC for various reasons. Mainly because we are accustomed to thinking of phrases of 4 and not 8, but also because the A usually differentiates quite clearly from B and C and, therefore, when expressing it in our dance it makes much more sense to do so as different ideas.
Here you can see some examples:
Yet another well-known example of a song with an ABAC structure where you will find a break in the C of the first chorus and another in the B of the last one:
Examples of AB songs
The AB form is quite common in swing music. In addition, as in this case, it is quite characteristic that there are breaks of two eights at the beginning of the Bs, as you can hear in this video:
One of the common songs in a jazz jams is Summertime, by George Gershwin, also has an AB structure.
Although it may seem incoherent, we must say that the two ideas are correct. In fact, it would be more correct to speak of structure AB or abac.
In some songs you can interpret the sections in different ways depending on whether you understand that complete ideas last 2 or 4 eights. In this way, as you can see in the video, if we consider them as made up of 4 eights, the structure consists of two different sections (A and B) that are repeated.
But, as we can feel an idea that begins and ends every two eights, we can say that the first two and the fifth and sixth are the same, and call them "a" and, given that the other two are different, call them "b" and "c" (in order not to create even more confusion, musical analysis prefers to use lowercase in the smallest sections and in upper case for those that encompass them).
For some dancers it may be practical to think of two eights in certain songs. But, for the majority, it is more practical to always think of 4 eights (or 6, in the case of the blues chorus).
Another very good example of a piece that can be perceived at different levels of detail, depending on whether we consider the sections to consist of 2 or 4 eights (four or eight bars) is Star Dust. If you listen to it closely and have a very fine ear you may see that we can understand it as aabc (sections of 2 eights) or AB (sections of 4 eights).
It is not uncommon for songs with an AB structure to have a different number of eights in the two sections. One example is the song I Wish I Could Shimmy Like My Sister Kate. It is a very versioned piece that has a peculiar structure we can also find in other songs. Note how they add an eight to the B, to create a feeling of closure to the phrase. This therefore causes the structure to be A(4)B(5) (one phrase -A- formed by four eights followed by another -B- with 5).
In addition, there are many, many pieces, as you can see below in the section examples of songs with 6 eight-phrases, which have the A(4)B(6) structure and combine one section of four eights with another with six.
Examples of AAA songs
On the page How the phrases of a song are organized we explained that many songs with an AAA form have phrases of 6 eights (12-bar blues). Here is a good example:
Or also in this great classic by Duke Ellington:
As you will have noted in the previous clip the repeatability is broken up just after the first section by inserting an interlude. This must be considered as an embellishment within the AAA structure.
These interludes can be frequent in pieces that have a 12-bar blues structure. You can hear a good example by listening to the well-known theme C Jam Blues. Remember that what defines whether two sections are the same or not is their harmony. Therefore, in this piece, although the melody and rhythmic accompaniment can lead us to believe that the sections are different (for example the first three sections might seem to follow an AAB structure), all of them have the same harmony, therefore all of them are A's.
But there are AAA songs that do not have 6 eight-phrases but 4 (8 bars). You can now listen to one that does not even use interludes to break up the repeatability. We hope you will not find it boring!
Examples of songs with 6 eight-phrases (which do not have an AAA structure)
There are many songs that use 6 eights (12-bar) phrases but do not follow the classic AAA pattern. These can be made up of different phrases, all of which are 6 eights, but there are also songs that combine six eight-phrases with others of different lengths.
Note, for example, in Darktown Strutters Ball that the A phrases have four eights while the B's have 6. This is expressed in this way: A(4)B(6). Check it out here:
Very often, pieces that have six eight-phrases (12 bars) and follow a blues harmonious progression usually incorporate a bridge every one or two verses. It is also quite common that these bridges not be placed on a regular basis in the same song. Even more, it is quite common for a single piece to have bridges in different places depending on which band is playing the tune. For example, in Route 66 it is usual that one version differs from another in terms of structure. In the clip we have included below there is a first part where the sections are combined in an AAB form but, from then on it alternates A and B. Here we would have to consider the chorus (the complete idea) to be an AAB structure, although this complete idea is only expressed once.
Another very common combination of phrases in AAB structures is what we can detect in Alright, Ok, You Win in which the A's have 6 eights but the bridge (the B) only has 4. We would express this as A(6)A(6)B(4).
The song Beyond The Sea has a very peculiar structure that uses 6 eight-phrases following the AABA structure.
Examples of uncommon structures
Curiously, some of the most popular pieces in the classical repertoire have particular, complex, or infrequent structures. If you like, you can listen to some examples here:
Autumn Leaves, a jazz classic, has an uncommon structure with a AABC patthern.
Wrap Yourself In A Christmas Package, also has the AABC structure.
The ABCD form is also quite uncommon.
Finally take a look at the structure in the classic Cheek to Cheek. This famous piece has a structure that is a little complicated (ABABCCDAB). In this version, the second chorus is incomplete (there is no initial ABAB).