Verse/Chorus structure and how it works

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stretch

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« on: August 25, 2016, 11:59:13 AM »
If any of you are interested in digging under the hood of song construction and what makes songs work, I’ve put together a blog on the nuts and bolts of verse/chorus structure.

It’s a fairly in-depth analysis, and hopefully will help clarify what a chorus actually is, and then what makes it work as a chorus. I feel that there are a lot of fairly vague descriptions floating around, which aren’t necessarily wrong, but aren’t particularly helpful either. I’ve tried to isolate the specific musical elements (harmonic, rhythmic, melodic) that characterise a chorus, and examine how they work together.

If you’re interested, elsewhere on my blog there is some analysis of specific songs, as well as other blogs about form and structure in pop/rock music. (work in progress … AABA form coming up!)

Putting this out there in a spirit of research for discussion. If it’s helpful, so much the better!

**Edited By Boydie**
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« Last Edit: October 20, 2017, 04:42:08 PM by Boydie »

TimCurtis

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« Reply #1 on: December 16, 2016, 02:22:00 PM »
An interesting article with plenty to think about.  Like, if you want to make your chorus stand out, change the verse not the chorus.  Also, that the verse is kind of the inverse of the chorus.  Gives me the idea to create a chorus first, then make the verse out of it by following some of the rules.

Applying it to one of my own songs (Fraying) which is kind of interesting as it has the same chord sequence all the way through it, but played twice as fast in the chorus and middle:
1. The chorus is definitely in the home key as the whole song has the same chords!
2. This fails the "different chords" rule but has the change in pattern - twice the speed
3. The chorus chords are twice as fast, so there's a change in the chordal rhythm
4. Different melodic rhythm - Gaby's vocals are much more in time and on the beat whereas they're a lot looser and free flowing elsewhere
5. Different placement of melody - same comment as 4.

We've started on a new one which is very much in embryonic form at the moment, so I'll try to bear some of these in mind and see if we can come up with a corker. :D

TimCurtis

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« Reply #2 on: December 16, 2016, 02:30:07 PM »
...just a shame you don't come on the forum more often and discuss these things here.  2 posts....?!   ::)

GuyBarry

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« Reply #3 on: December 18, 2016, 04:14:32 PM »
I've read the article and it's certainly interesting, but I don't think any of his five "requirements" are in fact necessary, though they're all pretty common.

1. Moving into the home key, and/or an increased focus on the home key.

That's usually the case, but "Pulling Mussels from the Shell" by Squeeze fails this test - the verses are in A minor and it ends in A minor, so that's presumably the home key, but the chorus is in C major.  I'm sure I can come up with other examples.

2. Different chords and/or a change in the chord pattern.

Plenty of songs fail this test - "I Saw the Light" by Hank Williams is the first to spring to mind.

3. Different harmonic rhythm.

I'm not sure what's meant by "harmonic rhythm" - the pace at which the chords change?  Again, "I Saw the Light" fails this test.

4. Different melodic rhythm

Lots of songs fail this test.  In fact many songs have exactly the same melody in the chorus as in the verse, e.g. "The Yellow Rose of Texas".

5. Different rhythmic or temporal placement of the melody.

I'm not sure how this differs from 4 but again "The Yellow Rose of Texas" would fail.  There must be lots of other examples.

It's a good question though - what exactly defines a chorus?  We generally know it when we hear one, but it's difficult to pin down.   It's usually the case that the chorus lyrics remain the same throughout the song while the verse lyrics change from one verse to the next, but by no means always, particularly in comedy songs where you don't want to repeat the jokes too often (e.g "A Song of Patriotic Prejudice" by Flanders and Swann).

Perhaps the best definition of the chorus is the bit that everyone goes out humming  :)

jonel

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« Reply #4 on: January 12, 2017, 11:48:53 PM »
The article and replies have been very interesting but I'm not sure about the discussion of the 'Home Key though.

My thoughts are that the home key defines the key of the song. So if the home key was F, say, then the key of the whole song is in F. So, does that mean that the first verse will begin with a chord that is not related to the home key?


I know I'm probably misunderstanding the point but could anybody explain please. An example would be great in a country verse/chorus to illustrate the point.

Regards

John

Buc McMaster

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« Reply #5 on: January 13, 2017, 01:39:55 AM »
Geez.  Who cares what the parts are called!?!?  Does the song work or not?  It ain't rocket science.

Sheesh.


CaliaMoko

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« Reply #6 on: January 13, 2017, 02:27:46 AM »
Understanding the theory behind the construction of music can be very helpful. It helps me to break out of ruts and try new techniques. It gives me clues for ways to solve problems when I get stuck.

It's true, a lot of people (who know nothing about theory) have written a lot of music, and much of it is good music. Especially when you're looking at a person with years of experience and experimentation. I believe two things about that.

1. Many of them could have reached a higher level of success sooner if they had known more about theory in the beginning.
2. Many of them "discover" the theoretical details spontaneously over time and learn to apply them to their work. Which is basically the same as #1, as--if they had learned the theory in the beginning--they could have saved the time that took.

I know some people think their creativity would be stifled if they learned the "rules" in the beginning. I suppose it's possible, depending on how they are taught. But, so far, the most skilled, talented, and creative composers I have known had very solid backgrounds in classical theory. And I think it's easier to get away with breaking the rules when you know what they are and why you are breaking them.

On the other hand, I agree that a lack of theoretical knowledge shouldn't stop someone from writing music if that is what s/he wants to do. But, unless all one writes is melodies and words, it will be necessary at least to learn chords.