The 32- bar form , also known as the AABA song form , American popular song form and the ballad form , is a song structure commonly found in Tin Pan Alley songs and other American popular music, especially in the first half of the 20th century.
17-480: AABA may refer to: AABA form , a musical form common in Tin Pan Alley songs All-American Basketball Alliance , a defunct basketball league All-American Basketball Alliance (2010) , an unrelated all-white basketball league announced in 2010 alpha-Aminobutyric acid , an isomer of the amino acid aminobutyric acid Altaba ticker symbol Rhyme scheme of
34-602: A section is a complete, but not independent, musical idea . Types of sections include the introduction or intro, exposition , development , recapitulation , verse , chorus or refrain , conclusion , coda or outro, fadeout , bridge or interlude . In sectional forms such as binary , the larger unit ( form ) is built from various smaller clear-cut units (sections) in combination, analogous to stanzas in poetry or somewhat like stacking Lego . Some well known songs consist of only one or two sections, for example " Jingle Bells " commonly contains verses ("Dashing through
51-406: Is also called a middle eight because it happens in the middle of the song and the length is generally eight bars . In early-20th-century terminology, the main 32-bar AABA section, in its entirety, was called the " refrain " or "chorus". Accordingly, jazz players improvising on the 32-bar sections may still speak today of "blowing for a couple of choruses". This is in contrast to the modern usage of
68-471: Is as follows: Gone is the romance that was so divine, 'tis broken and cannot be mended You must go your way, and I must go mine, but now that our love dreams have ended... In music theory , the middle eight or bridge is the B section of a 32-bar form. This section has a significantly different melody from the rest of the song and usually occurs after the second "A" section in the AABA song form. It
85-433: Is different from Wikidata All article disambiguation pages All disambiguation pages AABA form As its alternative name AABA implies, this song form consists of four sections: an eight-bar A section; a second eight-bar A section (which may have slight changes from the first A section); an eight-bar B section, often with contrasting harmony or "feel"; and a final eight-bar A section. The core melody line
102-491: Is generally retained in each A section, although variations may be added, particularly for the last A section. Examples of 32-bar AABA form songs include " Over the Rainbow ", " I Got Rhythm ", " What'll I Do ", " Make You Feel My Love ", " The Man I Love " , "Dream River", "Primrose Lane", "Let's Get Away From It All", and " Blue Skies ". Many show tunes that have become jazz standards are 32-bar song forms. At its core,
119-428: Is particularly common in analysis of a fugue to designate sections during which a fugue subject is not heard (though it may still draw on motifs from the subject). After the opening exposition , fugues generally follow a plan of alternating thematic statements and episodes. A passage is a musical idea that may or may not be complete or independent. For example, fill , riff , and all sections. Musical material
136-700: The Rubaʿi , a type of Persian poem, also known as "Rubaiyat Quatrain" See also [ edit ] Aaba , a village in the Koura District of Lebanon Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title AABA . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=AABA&oldid=1041021114 " Category : Disambiguation pages Hidden categories: Short description
153-405: The A sections, and may or may not contain the title lyric. The "B" section may use a different harmony that contrasts with the harmony of the A sections. For example in the song "I've Got Rhythm", the A sections are in the key of B ♭ , but the B section involves a circle of fifths series of dominant seventh chords going from D , G , C , to F . Song form terminology is not standardized, and
170-453: The AABA form consisting of the chorus or the entirety of many songs in the early 20th century. It was commonly used by composers George Gershwin (for example, in " I Got Rhythm " from 1930 ), Cole Porter , and Jerome Kern , and it dominated American popular music into the 1950s. The 32-bar form was often used in rock in the 1950s and '60s, after which verse–chorus form became more prevalent. Examples include: Though more prevalent in
187-480: The B section is also referred to as the " middle eight ", " bridge ", or "primary bridge". The song form of "What'll I Do" by Irving Berlin is as follows: Some Tin Pan Alley songs composed as numbers for musicals precede the main tune with what was called a " sectional verse" or "introductory verse" in the terminology of the early 20th century. This introductory section is usually 16 bars long and establishes
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#1732780638870204-468: The background and mood of the number, with a free musical structure, speech-like rhythms, and rubato delivery, in order to highlight the attractions of the main tune. Some verses contained a second set of lyrics intended to be sung between repeated performances of the main chorus. The sectional verse is often omitted from modern performances. It is not assigned a letter in the "AABA" naming scheme. The introductory verse from " What'll I Do " by Irving Berlin
221-457: The basic AABA 32-bar song form consists of four sections, each section being eight bars in length, totaling 32 bars. Each of these eight-bar sections is assigned a letter name ("A" or "B"), based on its melodic and harmonic content. The A sections all share the same melody (possibly with slight variations), and the recurring title lyric typically falls on either the first or last line of each A section. The "B" section musically and lyrically contrasts
238-561: The first half of the 20th century, many contemporary songs show similarity to the form, such as " Memory " from Cats , which features expanded form through the B and A sections repeated in new keys. Songwriters such as Lennon–McCartney and those working in the Brill Building also used modified or extended 32-bar forms, often modifying the number of measures in individual or all sections. The Beatles (" From Me to You " [1963] and " Yesterday " [1965]), like many others, would extend
255-585: The form with an instrumental section, second bridge, break or reprise of the introduction, etc., and another return to the main theme. Introductions and codas also extended the form. In " South of the Border Down Mexico Way " by Gene Autry , "the A sections… are doubled in length, to sixteen bars—but this affects the overall scheme only marginally". The theme tune of the long-running British TV series Doctor Who has, in some incarnations, followed 32-bar form. Section (music) In music ,
272-405: The snow...") and choruses ("Oh, jingle bells..."). It may contain "auxiliary members" such as an introduction and/or outro, especially when accompanied by instruments (the piano starts and then: "Dashing..."). A section is, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena." An episode may also refer to a section. This term
289-458: The term "chorus", which refers to a repeating musical and lyrical section in verse–chorus form . Additionally, "verse", "chorus", and "refrain" all have different meanings in modern musical terminology. See the below chart for clarification: Though the 32-bar form resembles the ternary form of the operatic da capo aria , it did not become common until the late 1910s. It became "the principal form" of American popular song around 1925–1926, with
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