Song Forms 3

Welcome to the third and final article on song forms. So far, we’ve looked at the first four of the six common forms found in popular music. Click here to go back to the beginning.

To recap; second, third and fourth forms use the familiar verse/chorus idea with either the simplest version of this, alternating the verse with the chorus, or with an added lift (pre-chorus), bridge or both. First form is the only other one we have covered that doesn’t use this concept with the simplest repetition of the same section throughout the whole song.

Now to look at Fifth form, First form was the same refrain (or A section) this one is a particular pattern of two section, AABA. This is a common form in musicals of the 20th Century and therefore a good chunk of the Jazz standard repertoire. Essentially, the majority of the song is made up of the A section with some relief in the form of the B section or Bridge. Usually each section is eight measures in length, making thirty two measures in total. The thing to keep in mind is that neither of these is a verse or a chorus, rather one or both usually contain the title. A common way of extending this form is to repeat the B and last A section, giving you AABABA, found a lot in Jazz ballads. In faster tempi, Jazz songs will usually repeat the AABA chord progression after the melody for solos before returning to the melody at the end.

Some instances where AABA is used to great effect – Brown Eyed Girl by Van Morrison and All The Things You Are by Jerome Kern.

Sixth form is a variation on the old verse/Chorus concept, yet is different because it hits you with the Chorus right from the start. It is interesting to note that this form can shoot up the charts very quickly but don’t sit up there as long as Third and Fourth forms. This is probably due to the catchy hook and title is right up front, but it can get worn out fairly quickly. There seems to be a lot more flexibility in this form, with some songs like Blake Shelton’s record of “Who Are You When I’m Not Looking” (chorus, verse, chorus, verse, verse, chorus) and Jason Aldean’s record of “Dirt Road Anthem” (chorus, four short verses, chorus, three short verses, chorus repeating) taking a few liberties. What ever works!

Steve Holy’s recording of “Good Morning Beautiful” and “Marry You” by Bruno Mars (Bruno Mars, Philip Lawrence, Ari Levine) are some popular songs that use Sixth form.

That’s it. I’ve given you an outline of the six commonly used forms: · First Form (AAA (repeat as you need)) · Second Form (Verse (Verse Optional), Chorus, Verse, Chorus, Instrumental, Chorus) · Third Form (Verse (Verse Optional), Chorus, Verse, Chorus, (Bridge) Chorus (with an instrumental before or after the chorus) · Fourth Form (Verse, Lift, Chorus, Verse, Lift, Chorus, (Bridge Optional) Lift, Chorus, Outro) · Fifth Form (AABA) · Sixth Form (Chorus, Verse, Chorus, Instrumental, Bridge, Chorus, Outro).

I hope this has shed some light on what is on the radio and given you some ideas for your own songs.

Song Forms 2

Last months issue saw us looking at First and Second forms, also referred to as AAA and VCVCVCC respectively. Two of the most popular forms, Third and Fourth forms both add sections to expand the story. Click here to go back to the beginning.

Third form, like second form, contains Verse and Chorus sections but what makes it different is the added part known as the Bridge also known as the Middle 8 (which refers to the position in the song and the typical length of the section – eight measures [bars]). The function of the bridge is to add a new perspective to the story and to add a new musical flavour. Lyrically, this might be asking 'what if...?', or giving new info that doesn't fit into a verse structure. A bridge typically doesn't repeat, but usually leads back into the repeated chorus to take us to the end. When writing a Bridge it needs to be seen as a musically new section, so you typically wouldn't recycle chord progressions or melodies from verses or chorus but create a new sound. It may dynamically comedown to a quiet reflection of the rest of the song or build with even a key change (like in “Leave The Pieces” by The Wreckers, written by Billy Austin and Jennifer Hanson). Its strength isn't in a soaring melody and catchiness like a chorus, but in the fact that it is different. In terms of the rhyming scheme, it should also change from what was used previously in the verses and choruses.

Some great examples of this form are; “My Life Would Suck Without You” by Kelly Clarkson (written by Max Martin, Lukasz Gottwald and Claude Kelly) or “Then” by Brad Paisley (written by Chris DuBois, Ashley Gorley and Brad Paisley).

Fourth form is also similar to second form but the new section is known as a Pre-Chorus or Lift. Yep, it's the short section between the verse and the chorus that provides a ramped up section to prepare you for the gloriously soaring chorus. Usually the pre-chorus is repeated exactly the same each time and similar to the bridge, it should have a unique rhyming scheme. Pre-Choruses often use some literary tricks, like rapid fire internal rhymes (“I stole a whole fruit bowl”) or alliteration (“Lucky lizards lounged while leering at Lucy”). Also, musically it should build and lead into the chorus. It is these types of ideas that make the Chorus seem catchier.

Trends in songwriting in the last 10 or so years have lead to the expansion of this form to also contain a Bridge. Obviously writers only use this when they have a lot to say and it won't just fit into a couple of verses, a lift (repeated) and a chorus (repeated). For example, “Summer of '69” by Bryan Adams, written by Bryan Adams and Jim Vallance.

Some Fourth form examples are; “Roar” by Katy Perry (written by Katy Perry, Lukasz Gottwald, Max Martin, Bonnie McKee and Henry Walter) and Taylor Swift’s “Sparks Fly”.

Next month we will finish up this 3-part series on song forms with a look at the final two forms – Fifth and Sixth forms.