A-B or Verse-Chorus Structure
The verse-chorus form is widely used in both song and instrument music. At a minimum the melody is simply two parts called A and B or verse and chorus. A fundamental point in verse-chorus form is that the A and B parts or the verse and chorus parts exhibit musical contrast.
In song the melodies of the verse and chorus are unique. The lyrics of the verse change upon each repetition. But, lyrics of the chorus are always the same.
Songs often take the form of AABA. That typically produces three verses and one chorus. The result is usually a composition that is thirty-two bars long.
The verse chorus form used in pop music, some new grass and other traditional style instrumental forms is generally elaborated.
In song the melodies of the verse and chorus are unique. The lyrics of the verse change upon each repetition. But, lyrics of the chorus are always the same.
Songs often take the form of AABA. That typically produces three verses and one chorus. The result is usually a composition that is thirty-two bars long.
The verse chorus form used in pop music, some new grass and other traditional style instrumental forms is generally elaborated.
Pop songs, country songs and other highly works that rely upon a lot of post-production studio work often incorporate these elements into their structure
- Introduction - usually only a few measures that set up Part A or the Verse -- may include "the hook"
- Verse 1 or Part A of an instrumental work
- Pre-chorus (always short – could be only a measure long)
- Chorus (or refrain) or Part B of an instrumental
- Verse 2 or Part A of an instrumental work
- Pre-chorus,
- Chorus or Part B
- Bridge – sometimes called “the middle eight”. This may be instrumental or vocal. The term “bridge” suggests that the purpose of this section is to connect the verse and chorus. However, just as often the “bridge” is an instrumental break designed to show off a player's prowess and may have no connection to either the verse or the chorus
- Verse 3 or Part A of an instrumental work
- Chorus or Part B
- Outro
- Either as a stand alone or part of the outro a work may include a "tag" or "coda" that comments on the composition. It may summarize or suggest something additional
Creating Contrast in a Two Part Tune
Perhaps the melody has been composed with inherent contrast between the two parts. But, when that doesn't occur, composers often change the key to create contrast. Think of the song Greensleeves as an example.
Here is a clear example of a Verse-Chours ballad from the traditional repertoire. Molly Vaughn is an Irish song that came the Appalachian region to be reborn as the bluegrass standard Polly Vaughn. Note that the verses are in a minor-modal key while the chorus is in a major key. Listen to the song at this link.
https://www.youtube.com/watch?v=j-SK0tz-ZM4
Here’s the structure:
Intro with banjo hook (the hook will be repeated throughout the song)
Verse 1 – chorus
Verse 2 – chorus
Verse 3 – chorus
Verse 4– chorus
Tag (oh and alas, it was she Polly Vaughn)
Outro
Perhaps the melody has been composed with inherent contrast between the two parts. But, when that doesn't occur, composers often change the key to create contrast. Think of the song Greensleeves as an example.
Here is a clear example of a Verse-Chours ballad from the traditional repertoire. Molly Vaughn is an Irish song that came the Appalachian region to be reborn as the bluegrass standard Polly Vaughn. Note that the verses are in a minor-modal key while the chorus is in a major key. Listen to the song at this link.
https://www.youtube.com/watch?v=j-SK0tz-ZM4
Here’s the structure:
Intro with banjo hook (the hook will be repeated throughout the song)
Verse 1 – chorus
Verse 2 – chorus
Verse 3 – chorus
Verse 4– chorus
Tag (oh and alas, it was she Polly Vaughn)
Outro
