Songs are an ancient tapestry woven into the very fabric of human culture, a primal form of self-expression that dates back to the dawn of our existence. Intriguingly, recent scientific discoveries have unveiled a specialized “music center” nestled within the human brain. This remarkable region lights up with activity, echoing the way our minds respond to other sources of joy and satisfaction. It is the rhythm and melody that stir emotions within us, allowing songs to resonate deeply and linger in our collective memory. Yet, it is the underlying, recognizable patterns of song structure that anchor these melodies to our souls, making them unforgettable parts of our lives.
What Is Song Structure?
Song structure refers to how a song is organized, using a combination of different sections. A typical song structure includes a verse, chorus, and bridge in the following arrangement: intro, verse — chorus — verse — chorus —bridge — chorus — outro. This is known as an ABABCB structure, where A is the verse, B is the chorus and C is the bridge.
Hit songs and pop songs tend to follow the standard structure while jam bands and experimental musicians might diverge from the formula. If a song sounds familiar to us when we hear it for the first time, it’s because our ears have been trained to recognize the most commonly used song structures. But that’s not to say there isn’t value in variation as well.
What Makes A Song?
There are six primary parts to a song:
- Intro. Like the beginning of a film or novel, a song introduction should catch the listener’s attention. However, it should do this without overwhelming them. For this reason, song intros are typically slower and more low-key. The goal is to establish the rhythm, tempo, and melody of the song, and introduce the singer or singers’ voices.
- Verse. The verse of a song is a chance to tell a story. Lyrically speaking, this is where the story develops and advances. In most songs, the chorus and pre-chorus generally use the same lyrics each time, so the verse is your chance to get your message across. It might be helpful to split the story you want to tell in two and think about how the second verse can build on the first. Some songwriters use the second verse as an opportunity to change or subvert the meaning of the chorus, or even the entire song with different lyrics. It’s a chance to be creative and explore the different emotions you’re trying to bring out in your listener.
- Pre-chorus. Although optional, a pre-chorus helps to heighten the impact of the chorus. A pre-chorus usually contains a chord progression from either the verse or the chorus, building upon that familiarity. It’s another chance to experiment—a pre-chorus can utilize different harmonies, for example, or break the pattern of the song.
- Chorus. The chorus is the culmination of all the big ideas in your song. This is often why the title of the song also appears in the chorus. It’s a summary of what the entire song is about. The chorus typically also contains the hook—the catchiest part of the song. Choruses should serve as the climax to the song. The verses and pre-chorus both serve to build up to this one moment; therefore the chorus should reflect that release of tension.
- Bridge. The bridge typically happens only once towards the end of a song, usually between the second and third chorus. It’s a change of pace in the song—it stands out both lyrically and musically. The point is to jolt the listener out of her reverie and remind her that there’s more to this song than just repetition. This can be achieved through something like switching to a relative key in the same key signature (for example, from A-Minor to C-Major) or through something like a guitar solo.
- Outro. This is the end of the song. An outro should signal clearly to the listener that the song is coming to an end. This can be done in several ways but typically is achieved by doing the reverse of the intro—in other words, slowing down. More often than not, the outro is usually a repeat of the chorus with a slow fade-out.
What Are the Most Common Song Structures?
When it comes to songwriting, there’s a reason pop songs follow largely the same structure. This tried-and-tested formula has proven successful for decades for songwriters across genres. Something about these common song structures resonates with listeners and keeps them wanting more.
AABA (32-bar-form). This musical structure was dominant in American popular songwriting in the first half of the twentieth century, beginning with Tin Pan Alley pop greats like Bing Crosby and Cole Porter. The form consists of two eight-bar A sections, an eight-bar B section (usually contrasting in harmony to the first two A-sections), and a final eight-bar A section which retains the core melody of the previous A-sections. The 32-bar form became popular in rock songs in the 1950s and ’60s before being overshadowed by the verse-chorus form.
Famous examples of the 32-bar form include:
- “Great Balls of Fire” by Jerry Lee Lewis (1957)
- “All I Have to Do Is Dream” by The Everly Brothers (1958)
- “Surfer Girl” by The Beach Boys (1963)
Verse-chorus form. This is one of the most popular song structure forms, used in pop songs, rock music, and the blues. In contrast to the 32-bar form, the chorus plays a key role in the verse-chorus structure since it differs substantially in both rhythm and melody from the rest of the song.
Famous examples of verse-chorus song structure include:
- “That’ll Be the Day” by Buddy Holly (1957)
- “California Girls” by The Beach Boys (1965)
- “Penny Lane” by The Beatles (1967)
- “Foxy Lady” by Jimi Hendrix (1967)
- “Smoke on the Water” by Deep Purple (1973).
ABABCB. Or: Verse / Chorus / Verse / Chorus / Bridge / Chorus. This is a variation on the verse-chorus structure, with the addition of a bridge. A is the verse, B is the chorus and C is the bridge.
Famous examples of ABABCB song structure include:
- “High and Dry” by Radiohead (1995)
- “What’s Love Got To Do With It” by Tina Turner (1984)
- “Hot N Cold” by Katy Perry (2008)
What Are Variations on Common Song Structures?
As with any creative form, there are exceptions to the rule. These successful variations have worked for many musical artists across different time periods and genres.
No chorus
AABA or Verse / Verse / Bridge / Verse
In this type of song structure, one of the main elements of a song—the chorus—is missing. To make up for this, each verse typically either begins or ends with a refrain: a line or few lines that repeat throughout the song. (This is usually the title of the song.) This song structure is common in the work of artists like Billy Joel and The Beatles. For example, in The Beatles’ “We Can Work It Out” (1965), the refrain is the song title.
No bridge
This structure is not often used because it involves so much repetition. Similarly to the AABA structure, this structure also relies on the use of a refrain to keep things interesting and to help give the song focus. A famous example of this structure is Bob Dylan’s “Tangled Up in Blue” (1975). Dylan uses different melody variations in the verses to keep things from becoming too repetitive.
Songwriting is an exercise in creativity: learn the basics of common song structures first, then build upon the ABABCB to create a sound that’s unique to you.
Source: Masterclass
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Adele’s songwriting, while it can conform to traditional structures like ABABCA (verse, chorus, verse, chorus, bridge, chorus), often showcases a more fluid and emotive approach that aligns with her deeply personal lyrical content. This flexibility in structure allows her to emphasize the emotional arc and storytelling within her songs, making the structure serve the message rather than the other way around.
In typical ABABCA structured songs, the pattern is quite rigid, providing a predictable framework that listeners can latch onto. This framework is useful for songs aiming for a strong, memorable hook in the chorus that is revisited multiple times. However, Adele often deviates from such predictability. Her songs, like “Hello” or “Someone Like You,” may still follow a verse-chorus pattern but are tailored in a way that the emotional gravity of the lyrics dictates when a chorus or a bridge might reappear, or how many verses are included before reaching a climactic bridge.
Adele’s use of what might seem like a freeform approach is actually quite strategic:
1. Emotional Buildup: Instead of a repetitive chorus, she might extend a verse or insert a pre-chorus to build emotional intensity. This technique draws the listener into a deeper state of empathy and engagement with the narrative.
2. Dynamic Variation: She often incorporates significant dynamic changes within her songs. For instance, starting with a soft, almost conversational tone and building to a powerful belting delivery. These dynamics help to underline the emotional shifts in her storytelling.
3. Bridge as Climax: In many songs, the bridge serves not just as a contrast but as the emotional climax of the song. It’s often here that the lyrical and vocal intensity reaches its peak, providing a cathartic release for both the singer and the listener.
4. Lyrical Intimacy and Honesty: Adele’s lyrics are intensely personal and confessional. The flexibility of her song structure allows her to explore these themes without the constraints of a more rigid format, giving her the freedom to let the lyrics and emotions dictate the song’s flow.
In analyzing Adele’s songwriting, especially from a freeform perspective, it’s essential to consider how the structure is employed to enhance the storytelling. Each element of the song (verse, chorus, bridge) isn’t just a part of the songwriting formula but a tool that is used at the precise moment to heighten the emotional impact of the song. This approach makes her music resonate on a deeply personal level with her audience, transcending traditional pop song structures.
Adele’s songwriting, although it occasionally aligns with conventional structures, is characterized by a more nuanced and flexible approach that prioritizes emotional expression and narrative depth over strict structural adherence. Her songs often exhibit a fluidity that allows her to exploit various songwriting elements dynamically, adapting the structure to the emotional and lyrical needs of the piece rather than following a preset formula. This can be described in more detail by examining the components she typically employs:
1. Verse (A) – Adele’s verses are where she lays down the foundational narrative and thematic elements of her songs. These verses are rich in detail, setting the scene and mood, and often building a deep emotional connection with the listener. The verse serves not just to advance the story but to draw listeners into the emotional landscape of the song.
2. Chorus (B) – While Adele does utilize choruses, hers are not always the repetitive, hook-driven cores typical of many pop songs. Instead, her choruses often expand on the emotional or narrative themes introduced in the verses. They are memorable and impactful but serve more to deepen the listener’s emotional engagement than to simply provide a catchy hook.
3. Refrain (R) – In some songs, Adele employs a refrain, which may not change lyrically but grows in emotional intensity with each repetition. This technique emphasizes key lyrical themes and enhances the emotional stakes of the song.
4. Bridge (C) – Adele’s bridges are pivotal; they frequently represent a climactic point in the song’s narrative and emotional journey. The bridge provides a moment of revelation or introspection, often leading to a key change or a shift in dynamic range that heightens the song’s emotional impact.
5. Outro (O) – Her songs sometimes end with an outro that either resolves the emotional narrative or leaves the listener with a lingering sense of introspection. This can be a reiteration of the chorus or a completely new section that serves as the conclusion of the song’s story.
6. Pre-Chorus and Post-Chorus Elements – Adele also makes use of pre-choruses that build tension leading into the chorus, and post-choruses that act as reflective pauses after the chorus, giving the listener a moment to absorb the emotional weight of what has just been sung.
Structural Variability: Adele’s song structures can vary significantly from one track to another, reflecting the specific emotional and narrative demands of each song. For example, in “Someone Like You,” the structure is more straightforward and adheres more closely to traditional forms, emphasizing the song’s lyrical plea and raw emotional appeal. In contrast, a song like “Hello” employs a more complex structure with multiple build-ups and releases, crafting a more dramatic emotional landscape.
Overall, Adele’s songwriting structure is characterized by its adaptability and its focus on maximizing emotional expression and narrative depth. This approach allows her to connect profoundly with her audience, making each song a unique emotional journey rather than merely a collection of catchy tunes. This flexible structure is one of the hallmarks of her style, making her music resonate deeply and broadly, striking a chord with a diverse audience.
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