Bridge (music)

In popular music, a bridge is a contrasting section which also prepares for the return of the original material section. The bridge may be the middle-eight in a thirty-two-bar form (the B in AABA), or it may be used more loosely in verse-chorus form, or, in a compound AABA form, used as a contrast to a full AABA section, as in "Every Breath You Take". Lyrically, the bridge is typically used to pause and reflect on the earlier portions of the song, or prepare the listener for the climax. See also: song structure (popular music), interlude. ---- The bridge is the portion of a musical instrument that transmits the vibrations of the strings to the soundboard. Category:Popular music Category:Formal sections

Thirty-two-bar form

The thirty-two-bar form, often shortened to AABA, is a musical form common in Tin Pan Alley songs, later popular music including rock and pop music, and jazz, though "there were few instances of it in any type of popular music until the late teens," it became "the principal form" around 1925-1926 (Wilder 1972, p. 56, [http://home.earthlink.net/~hsbecker/pops.html]). "In this form, the musical structure of each chorus is made up of four eight-bar sections, in an AABA pattern...Thousands of Tin Pan Alley tunes share this scheme and Adorno is quite justified in arguing that to listeners of the time it would be totally predictable. Moreover, within the chorus, the identical music is heard" more than once: "it is, to use Adorno's phrase, 'the same familiar experience' that is emphasized (1941: 18)." (Middleton 1990, p.46) The A section or verse is harmonically closed, usually cadencing on the tonic. The B section or middle eight is often referred to as the bridge and sometimes as the release. Modulation is common and the bridge remains harmonically open, often ending on the dominant of the home key, preparing the return of the verse (Covach, p.69).

Tin Pan Alley

Most Tin Pan Alley songs consisted of a verse or "sectional verse", and a refrain or "sectional refrain", often in thirty-two-bar form. The sectional verse is often omitted from modern performances and thus the refrain is often the only section remembered and heard. Perhaps the most recognizable example, "Somewhere Over the Rainbow", however, consists of a full AABA scheme and a reprise of two verses and an ending based on the bridge material. (Covach 2005, p.70) One example is "Down in Mexico Way", in which, "the A sections...are doubled in length, to sixteen bars - but this affects the overall scheme only marginally" (ibid)...

Later rock and pop

Thirty-two-bar form was often used in rock in the 1950s and 60s, afterwhich verse-chorus form became more prevalent. Examples (ibid, 71) include:
- Jerry Lee Lewis's "Great Balls of Fire" (1957)
- The Everly Brothers' "All I have to Do Is Dream" (1958)
- The Shirelles' "Will You Still Love Me" (1960)
- The Beach Boys' "Surfer Girl" (1963), and
- The Beatles' "From Me to You" (1963) and "Hey Jude" (1968). The Brill Building and other songwriters, such as Lennon-McCartney, often used modified thirty-two-bar forms, often modifying the number of measures in individual or all sections. Examples include (ibid, p.70):
- the Beatles' "I Want to Hold Your Hand" Compound AABA form is the combination of a AABA like bridge (B) that contrasts and prepares the return of a verse-chorus pair (A). The Police's "Every Breath You Take" (1983), features a thirty-two-bar section, a contrasting bridge, and then a repeat of the thirty-two-bar section, making a compound of ABA and AABA form. Other examples include:
- Boston's "More Than a Feeling" (1976)
- Righteous Brothers' "You've Lost That Lovin' Feelin'" (1964)
- Led Zeppelin's "Whole Lotta Love" (1969)
- Tom Petty's "Refugee" (1979) :(ibid, p.74-75)

Sources

- Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0335152759.
- http://home.earthlink.net/~hsbecker/pops.html
- Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0195170105. Category:Musical forms

Verse-chorus form

Verse-chorus form is a musical form common in popular music and predominant in rock since the 1960s. In contrast to AABA form, which is focused on the verse (contrasted and prepared by the bridge), in verse-chorus form the chorus is highlighted (prepared and contrasted with the verse). (Covach 2005, p.71) The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. See: arrangement.

Contrasting verse-chorus form

Songs which use different music for the verse and chorus are in contrasting verse-chorus form. Examples include:
- "Be My Baby" by The Ronettes' (1963)
- "Penny Lane" by The Beatles' (1967)
- "Smoke on the Water" by Deep Purple's (1973)
- "That'll Be the Day" by Buddy Holly's (1957)
- "California Girls" by The Beach Boys (1965)
- "All You Need Is Love" by The Beatles (1967)
- "Foxy Lady" by Jimi Hendrix (1967)
- "Can't Get Enough" by Bad Company (1974)

Simple verse-chorus form

Songs that use the same music for the verse and chorus, such as the twelve bar blues, though the lyrics feature different verses and a repeated chorus, are in simple verse-chorus form. Examples include:
- "Shake, Rattle, and Roll" by Big Joe Turner (1954)
- "Louie, Louie" by The Kingsmen (1963 cover), example not using blues form
- "La Bamba" by Ritchie Valens (1959)

Simple verse form

Songs which feature only a repeated verse are in simple verse form (verse-chorus form without the chorus). Examples include:
- "Evil Ways" by Santana (1969)
- twelve or other bar blues which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Hound Dog", and "Lucille" and with a contrasting bridge:
- "Eight Miles High" by The Byrds (1966)
- "Tomorrow Never Knows" by The Beatles (1966)
- "Purple Haze" by Jimi Hendrix (1967). (ibid, p.71-72) Both simple verse-chorus form and simple verse form are strophic forms.

Source

- Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0195170105. Category:Musical forms

Every Breath You Take

"Every Breath You Take" a song written by Sting and originally performed by The Police, was first released on Synchronicity, a blockbuster 1983 album (see 1983 in music). The single was one of the biggest of 1983, topping the Billboard Music Charts (North America) for eight weeks. While the song sounds like a sedate and seemingly harmonious love ballad, it was actually written during the collapse of Sting's marriage; the lyrics describe not well-meaning love but the motivations of a stalker, who is watching "every breath you take/every move you make". However, this fact has often gone unnoticed, or is ignored, and hence the song is often incorrectly classed as a love song. The song is an example of compound AABA form. Steve Huey of [http://www.allmusic.com allmusic.com] says: :"Guitarist Andy Summers picks a nearly identical arpeggio pattern on each chord he plays, and Sting's bass line keeps a steady eighth-note pulse without much rhythmic variation."[http://www.allmusic.com/cg/amg.dll?p=amg&token=&sql=33:d7ozefrkbg56|1] And this lack of rhythmic variation (which in other songs may be considered boring), is actually what gives the song its compellingly hypnotic atmosphere and matches the song's lyrics perfectly. The song had a music video (directed by duo Godley & Creme) that was highly praised for its evocative black and white cinematography that many thought enhanced the song's lyrics. Sting performed a slight variation of the song at the Live 8 concert, United Kingdom on July 2, 2005. The song's hook was the basis for Puff Daddy's collaborative tribute to slain rapper The Notorious B.I.G., entitled "I'll Be Missing You," recorded with Faith Evans and 112. The song was performed with Sting himself at the MTV Video Music Awards. As with many of Puff Daddy's releases, his song was criticized for a perceived over-reliance on the original. A track off of Madonna's 2005 release Confessions on a Dance Floor, Push, has similar lyrics and melody to Every Breath You Take.

External link

- [http://www.azlyrics.com/lyrics/sting/everybreathyoutake.html Lyrics] Category:1983 singles Category:The Police singles Category:Number one singles Category:1983 songs

Interlude

An interlude ("between play") is:
- In music/theatre, as a separate creation/movement (see also overview of the different meanings of interlude in the Entr'acte article):
- a short play or, in general, any representation between parts of a larger stage production: see entr'acte.
- a piece of music composed of one or more movements, to be inserted between sections of another composition: see also intermezzo, and for the Baroque era: sinfonia.
- In music, as part of a single movement:
- a section in a movement of a musical piece, see: Bridge.
- General:
- a period of time between or interrupting a larger one Interlude is the name of:
- A song recorded by the McGuire Sisters in 1957
- A song by Timi Yuro
- An album by British band Saint Etienne.
- Interlude (magic trick) is a stage illusion where someone passes through a magician's body.
- an anime OVA produced by Toei Animation.

Category:Popular music

Popular music contains a variety of genres are intended for mass consumption and propagated over the radio and similar media. Category:Musical genres Category:Pop culture ja:Category:ポピュラー音楽

Category:Formal sections

Musical form, section and form. See also: exposition, interlude. Category:Musical form

Le Broc (Alpi marittime)

Le Broc è un comune francese di 671 abitanti situato nel dipartimento delle Alpi marittime della regione della Provenza-Alpi-Costa Azzurra. Broc Broc

Hotele w Warszawie alojamientos en edimburgo Zapraszamy Ci��a Gry

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