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Verse–chorus form is a musical form common in popular music, used in blues and rock and roll since the 1950s,<ref>Michael Campbell & James Brody (2007), Rock and Roll: An Introduction, page 117</ref> and predominant in rock music since the 1960s. In contrast to thirty-two-bar form, which is focused on the verse (contrasted and prepared by the B section), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse).<ref>Covach, John. "Form in Rock Music: A Primer", p.71, in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5.</ref> "Many popular songs, particularly from early in [the 20th] century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the [20th] century consist only of a chorus."<ref>Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.317. Seventh Edition. ISBN 978-0-07-294262-0.</ref>

Thus, while in both forms A is the verse and B is the chorus, in AABA the verse takes up most of the time and the chorus exists to contrast and lead back into the return of the verse, in verse–chorus form the chorus often takes much more time proportionally and the verse exists to lead into it. For example: ABABB(B) [approximates: "Be My Baby"], rather than thirty-two-bar form's AABA.

The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. This is referred to as a "breakout chorus."<ref>Doll, Christopher. "Rockin' Out: Expressive Modulation in Verse–Chorus Form", Music Theory Online 17/3 (2011), § 2.</ref> See: arrangement.


Verse–chorus form sections
Intro   Contrasting verse\u2013chorus form    Simple verse\u2013chorus form    Simple verse form    Sources    See also   

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Verse–chorus form is a musical form common in popular music, used in blues and rock and roll since the 1950s,<ref>Michael Campbell & James Brody (2007), Rock and Roll: An Introduction, page 117</ref> and predominant in rock music since the 1960s. In contrast to thirty-two-bar form, which is focused on the verse (contrasted and prepared by the B section), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse).<ref>Covach, John. "Form in Rock Music: A Primer", p.71, in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5.</ref> "Many popular songs, particularly from early in [the 20th] century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the [20th] century consist only of a chorus."<ref>Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.317. Seventh Edition. ISBN 978-0-07-294262-0.</ref>

Thus, while in both forms A is the verse and B is the chorus, in AABA the verse takes up most of the time and the chorus exists to contrast and lead back into the return of the verse, in verse–chorus form the chorus often takes much more time proportionally and the verse exists to lead into it. For example: ABABB(B) [approximates: "Be My Baby"], rather than thirty-two-bar form's AABA.

The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. This is referred to as a "breakout chorus."<ref>Doll, Christopher. "Rockin' Out: Expressive Modulation in Verse–Chorus Form", Music Theory Online 17/3 (2011), § 2.</ref> See: arrangement.


Verse–chorus form sections
Intro   Contrasting verse\u2013chorus form    Simple verse\u2013chorus form    Simple verse form    Sources    See also   

PREVIOUS: IntroNEXT: Contrasting verse\u2013chorus form
<<>>