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    Song Structure

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    hana
    The document discusses common song structures in pop music, including in the Philippines. It describes the A-B, A-B-C, and A-B-C-D structures as some of the most prevalent, with the A-B-C structure being most common in Filipino pop ballads. The document also distinguishes between choruses and refrains, provides examples of other song structures like AB1ACB2DB2, and briefly mentions the "middle 8th" section.

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    Song Structure

    Uploaded by

    hana
    14 views23 pages
    The document discusses common song structures in pop music, including in the Philippines. It describes the A-B, A-B-C, and A-B-C-D structures as some of the most prevalent, with the A-B-C structure being most common in Filipino pop ballads. The document also distinguishes between choruses and refrains, provides examples of other song structures like AB1ACB2DB2, and briefly mentions the "middle 8th" section.

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    The document discusses common song structures in pop music, including in the Philippines. It describes the A-B, A-B-C, and A-B-C-D structures as some of the most prevalent, with the A-B-C structure being most common in Filipino pop ballads. The document also distinguishes between choruses and refrains, provides examples of other song structures like AB1ACB2DB2, and briefly mentions the "middle 8th" section.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    14 views23 pages

    Song Structure

    Uploaded by

    hana
    The document discusses common song structures in pop music, including in the Philippines. It describes the A-B, A-B-C, and A-B-C-D structures as some of the most prevalent, with the A-B-C structure being most common in Filipino pop ballads. The document also distinguishes between choruses and refrains, provides examples of other song structures like AB1ACB2DB2, and briefly mentions the "middle 8th" section.

    Copyright:

    © All Rights Reserved
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    Song Structure

    Plus, developments through the years.


    Previously from PHILMUS
    • Strophic – still existent
    • Kundiman
    • First half – minor
    • Second half - major
    Common Pop Song Structure
    A-B
    • Still existent in a few pop songs, but rarely used
    • Sometimes known as the verse-chorus form
    • Verse = tells the story
    • Chorus = most important part of the song; should bear the most
    intensity, compared to the verses
    Jukebox Hits!
    Isang Babalikan, Isang Iiwanan (Cristy
    Mendoza) Bakit (Imelda Papin)
    Kapalaran (Rico J. Puno)
    • Another type of A-B song
    structure
    • Strophic structure, only different
    on the second half of the second
    verse
    A-B-C structure
    • Includes the following elements
    • Verse
    • Chorus
    • Bridge
    • Most common structure among
    Filipino pop ballads
    A-B-C structure
    • Sometimes include the following
    elements
    • Verse
    • Pre-chorus
    • Chorus (usually repeated towards
    the end)
    A-B-C-D structure
    • Variation of the verse-chorus-
    bridge structure
    • Includes the pre-chorus as a
    leverage to the chorus section
    • Also, a common structure
    among Filipino pop ballads
    Ideas on song length
    • 3 minutes and 30 seconds at the most to make it more marketable
    • However, there are songs that are more than 3 minutes and 30
    seconds
    • Digital age – much shorter length
    • Shorter attention span, especially Spotify and TikTok users
    Chorus vs Refrain

    Refrain Chorus
    • Hook/title (main lyrical • Special type of refrain
    hook/title) • Multiple voices (common part
    • Often used in upbeat songs (a where backup singers enter)
    rarity in Filipino pop, due to its • Different intensity from verse, in
    ballad-heavy culture) terms of:
    • Part of verse melody and rhythm • Melody
    • Rhythm
    • Most dominant part of the song
    Binibini (Rainmakers)
    • Strophic, ending each verse with
    “O kay ganda, o kay gandang
    mag-alay sa iyo.”
    • Only has a short contrasting
    section.
    Rampa (Rox Santos, Vice Ganda)
    • Verse-Pre chorus – refrain -
    bridge structure
    • Focuses on the hook, proving
    that “all choruses are refrains,
    but not all refrains are choruses”
    Itaktak Mo (Joey de Leon)
    • Verse-refrain structure
    • Focused on the phrase, “Itaktak
    mo,” with syllabic variations
    Other song structures
    AB1ACB2DB2
    • Another variation of the verse-
    chorus form
    • Third verse – variation of the first
    two
    • Fourth verse – different theme
    from the first three verses
    • B2 – different lyrics from first B
    section
    • D – chorus but different melody
    from the original chorus melody
    • Example: “You’ll Be Safe Here”
    (Rivermaya)
    ABCD
    • Different musical theme per
    section; not strophic.
    • No chorus and bridge sections.
    • Example: “Pers Lab” (Hotdog)
    ABCDECDAD
    • Another variation of the verse-
    chorus form
    • Verses are not strophic.
    • Example: “Halik” (Aegis)
    The Middle 8th
    The unsung section.
    The Middle 8th
    • Usually instrumental, sometimes spoken
    • Different from the bridge section
    • Rarely used by Filipino composers
    Exercise: Look for the middle 8th and bridge
    sections here.

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