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 (thirty-two-bar) 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). 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 (1973)
 * "That'll Be the Day" by Buddy Holly (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: and with a contrasting bridge: Both simple verse-chorus form and simple verse form are strophic forms.
 * "Evil Ways" by Santana (1969)
 * blues-based songs which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Hound Dog", and "Lucille"
 * "Eight Miles High" by The Byrds (1966)
 * "Tomorrow Never Knows" by The Beatles (1966)
 * "Purple Haze" by Jimi Hendrix (1967).