If the tag does not include the tonic chord, such as with a ii–V7 tag, the bandleader cues the band to do a cadence that resolves onto the tonic (I) chord. During the solo section, one or more instruments play a melodic line which may be the melody used by the singer, or, in blues or jazz an improvised line. As such, at the minimum, the composer or arranger often modifies the harmony of the end of the different A sections to guide the listener through the key changes.

Characterization of a post-chorus varies, beyond "comes immediately after the chorus"; Peres characterizes it by two conditions:[12] it maintains or increases sonic energy, otherwise it's a bridge or verse; and contains a melodic hook (vocal or instrumental), otherwise it's a transition. One widely used way to accomplish this is to precede the G Major chord with its own ii–V7 chords. [14] Examples include: Hybrids are also common (Peres: hybrid postchorus), where the post-chorus keeps the hook from the chorus (like an attached postchorus), but introduces some additional content (hook or melody, like a detached postchorus. [12], A bridge may be a transition, but in popular music, it more often is "...a section that contrasts with the verse...[,] usually ends on the dominant...[,] [and] often culminates in a strong re-transitional. As with distinguishing the pre-chorus from a verse, it can be difficult to distinguish the post-chorus from the chorus.

[clarification needed] The most common format in modern popular music is introduction (intro), verse, pre-chorus, chorus (or refrain), verse, pre-chorus, chorus, bridge ("middle eight"), verse, chorus and outro.

[4] A refrain is a repetitive phrase or phrases that serve the function of a chorus lyrically, but are not in a separate section or long enough to be a chorus. In the AAA song form, titles are placed either at the beginning or end of each verse. Normally the most memorable element of the song for listeners, the chorus usually contains the hook. In the song "Just Once" recorded by James Ingram, the bridge part begins with the line "Just once I want to understand...". When a distinction is made, the chorus is the part that contains the hook[8] or the "main idea" of a song's lyrics and music, and there is rarely variation from one repetition of the chorus to the next. The Parts of a Song Title Placement. Some pop songs may have a solo section, particularly in rock or blues-influenced pop. Both the fade-out and the ritardando are ways of decreasing the intensity of a song and signalling that it is nearing its conclusion. Generally, the outro is a section where the energy of the song, broadly defined, dissipates.

An example of a song with a climb is "If Ever You're In My Arms Again" by Peabo Bryson: Climb:We had a once in a lifetimeBut I just couldn't seeUntil it was goneA second once in a lifetimeMaybe too much to askBut I swear from now on. AAA format may be found in Bob Dylan's "The Times They Are a-Changin'", and songs like "The House of the Rising Sun", and "Clementine". For example, many songs end with a fade-out, in which the song gets quieter and quieter.

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With songs, another role of the intro is to give the singer the key of the song. The first A section ends by going back to the next A section, and the second A section ends and transitions into the B section. A minor is the ii chord in G Major, and it is the vi chord in C Major. For example, a song in C Major might begin with an introduction in G Major, which makes the listener think that the song will eventually be in G Major. If a song has a section that ends with a cadence on the tonic, if the songwriter gives this cadence a full bar, with the chord held as a whole note, this makes the listener feel like the music is stopping. "[6] Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony that prepares the verse chords to transition into the chorus. This would allow the listener to expect a resolution from ii–V to I, which in this case is the temporary tonic of G Major. The verse functions the same way; it gives listeners more insight leading to the main message of the song and it moves the story forward. A listener experienced with popular and traditional music would hear this as a secondary dominant. The main theme is expressed in the chorus; the title of the song is usually included in the chorus too.

More rarely, the introduction may begin by suggesting or implying another key. This gives the listeners a good sense of closure. In popular music, a verse roughly corresponds to a poetic stanza because it consists of rhyming lyrics most often with an AABB or ABAB rhyme scheme. In the key of C Major, the iii chord would be E Minor and the vi chord would be A Minor. A song may have a number of verses, depending on the form, consisting of several lines each. For this reason, even if an intro includes chords other than the tonic, it generally ends with a cadence, either on the tonic or dominant chord. Zur Terminologie der Formanalyse von Pop- und Rockmusik", "The Structure, Function, and Genesis of the Prechorus", https://en.wikipedia.org/w/index.php?title=Song_structure&oldid=982046626, Wikipedia articles needing clarification from May 2016, Articles needing additional references from February 2020, All articles needing additional references, Articles with unsourced statements from February 2020, Creative Commons Attribution-ShareAlike License, Appen, Ralf von / Frei-Hauenschild, Markus. As such, with the example song, this could be done by having a pre-chorus that consists of one bar of A minor and one bar of D7.

[21], ABABCB format may be found in John Cougar Mellencamp's "Hurts So Good", Tina Turner's "What's Love Got to Do with It?

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